Reviews Part 29

But Miss Nesbit is not to be judged by mere extracts. Her work is too rich and too full for that.

Mr. Foster is an American poet who has read Hawthorne, which is wise of him, and imitated Longfellow, which is not quite so commendable. His Rebecca the Witch is a story of old Salem, written in the metre of Hiawatha, with a few rhymes thrown in, and conceived in the spirit of the author of The Scarlet Letter. The combination is not very satisfactory, but the poem, as a piece of fiction, has many elements of interest. Mr.

Foster seems to be quite popular in America. The Chicago Times finds his fancies 'very playful and sunny,' and the Indianapolis Journal speaks of his 'tender and appreciative style.' He is certainly a clever story-teller, and The Noah's Ark (which 'somehow had escaped the sheriff's hand') is bright and amusing, and its pathos, like the pathos of a melodrama, is a purely picturesque element not intended to be taken too seriously. We cannot, however, recommend the definitely comic poems.

They are very depressing.

Mr. John Renton Denning dedicates his book to the Duke of Connaught, who is Colonel-in-Chief of the Rifle Brigade, in which regiment Mr. Denning was once himself a private soldier. His poems show an ardent love of Keats and a profligate luxuriance of adjectives:

And I will build a bower for thee, sweet, A verdurous shelter from the noonday heat, Thick rustling ivy, broad and green, and s.h.i.+ning, With honeysuckle creeping up and twining Its nectared sweetness round thee; violets And daisies with their fringed coronets And the white bells of tiny valley lilies, And golden-leaved narcissi--daffodillies Shall grow around thy dwelling--luscious fare Of fruit on which the sun has laughed;

this is the immature manner of Endymion with a vengeance and is not to be encouraged. Still, Mr. Denning is not always so anxious to reproduce the faults of his master. Sometimes he writes with wonderful grace and charm. Sylvia, for instance, is an exceedingly pretty poem, and The Exile has many powerful and picturesque lines. Mr. Denning should make a selection of his poems and publish them in better type and on better paper. The 'get-up' of his volume, to use the slang phrase of our young poets, is very bad indeed, and reflects no credit on the press of the Education Society of Bombay.

The best poem in Mr. Joseph McKim's little book is, undoubtedly, William the Silent. It is written in the spirited Macaulay style:

Awake, awake, ye burghers brave! shout, shout for joy and sing!

With thirty thousand at his back comes forth your hero King.

Now shake for ever from your necks the servile yoke of Spain, And raise your arms and end for aye false Alva's cruel reign.

Ho! Maestricht, Liege, Brussels fair! pour forth your warriors brave, And join your hands with him who comes your hearths and homes to save.

Some people like this style.

Mrs. Horace Dobell, who has arrived at her seventeenth volume of poetry, seems very angry with everybody, and writes poems to A Human Toad with lurid and mysterious footnotes such as--'Yet some one, _not_ a friend of --- _did_! on a certain occasion of a glib utterance of calumnies, by ---!

at Hampstead.' Here indeed is a Soul's Tragedy.

'In many cases I have deliberately employed alliteration, believing that the music of a line is intensified thereby,' says Mr. Kelly in the preface to his poems, and there is certainly no reason why Mr. Kelly should not employ this 'artful aid.' Alliteration is one of the many secrets of English poetry, and as long as it is kept a secret it is admirable. Mr. Kelly, it must be admitted, uses it with becoming modesty and reserve and never suffers it to trammel the white feet of his bright and buoyant muse. His volume is, in many ways, extremely interesting.

Most minor poets are at their best in sonnets, but with him it is not so.

His sonnets are too narrative, too diffuse, and too lyrical. They lack concentration, and concentration is the very essence of a sonnet. His longer poems, on the other hand, have many good qualities. We do not care for Psychossolles, which is elaborately commonplace, but The Flight of Calliope has many charming pa.s.sages. It is a pity that Mr. Kelly has included the poems written before the age of nineteen. Youth is rarely original.

Andiatorocte is the t.i.tle of a volume of poems by the Rev. Clarence Walworth, of Albany, N.Y. It is a word borrowed from the Indians, and should, we think, be returned to them as soon as possible. The most curious poem of the book is called Scenes at the Holy Home:

Jesus and Joseph at work! Hurra!

Sight never to see again, A prentice Deity plies the saw, While the Master ploughs with the plane.

Poems of this kind were popular in the Middle Ages when the cathedrals of every Christian country served as its theatres. They are anachronisms now, and it is odd that they should come to us from the United States. In matters of this kind we should have some protection.

(1) Lays and Legends. By E. Nesbit. (Longmans, Green and Co.)

(2) Rebecca the Witch and Other Tales. By David Skaats Foster. (G. P.

Putnam's Sons.)

(3) Poems and Songs. By John Renton Denning. (Bombay: Education Society's Press.)

(4) Poems. By Joseph McKim. (Kegan Paul.)

(5) In the Watches of the Night. Poems in eighteen volumes. By Mrs.

Horace Dobell. Vol. xvii. (Remington and Co.)

(6) Poems. By James Kelly. (Glasgow: Reid and Coghill.)

(7) Andiatorocte. By the Rev. Clarence A. Walworth. (G. P. Putnam's Sons.)

A NOTE ON SOME MODERN POETS

(Woman's World, December 1888.)

'If I were king,' says Mr. Henley, in one of his most modest rondeaus,

'Art should aspire, yet ugliness be dear; Beauty, the shaft, should speed with wit for feather; And love, sweet love, should never fall to sere, If I were king.'

And these lines contain, if not the best criticism of his own work, certainly a very complete statement of his aim and motive as a poet. His little Book of Verses reveals to us an artist who is seeking to find new methods of expression and has not merely a delicate sense of beauty and a brilliant, fantastic wit, but a real pa.s.sion also for what is horrible, ugly, or grotesque. No doubt, everything that is worthy of existence is worthy also of art--at least, one would like to think so--but while echo or mirror can repeat for us a beautiful thing, to render artistically a thing that is ugly requires the most exquisite alchemy of form, the most subtle magic of transformation. To me there is more of the cry of Marsyas than of the singing of Apollo in the earlier poems of Mr.

Henley's volume, In Hospital: Rhymes and Rhythms, as he calls them. But it is impossible to deny their power. Some of them are like bright, vivid pastels; others like charcoal drawings, with dull blacks and murky whites; others like etchings with deeply-bitten lines, and abrupt contrasts, and clever colour-suggestions. In fact, they are like anything and everything, except perfected poems--that they certainly are not. They are still in the twilight. They are preludes, experiments, inspired jottings in a note-book, and should be heralded by a design of 'Genius Making Sketches.' Rhyme gives architecture as well as melody to verse; it gives that delightful sense of limitation which in all the arts is so pleasurable, and is, indeed, one of the secrets of perfection; it will whisper, as a French critic has said, 'things unexpected and charming, things with strange and remote relations to each other,' and bind them together in indissoluble bonds of beauty; and in his constant rejection of rhyme, Mr. Henley seems to me to have abdicated half his power. He is a roi en exil who has thrown away some of the strings of his lute; a poet who has forgotten the fairest part of his kingdom.

However, all work criticises itself. Here is one of Mr. Henley's inspired jottings. According to the temperament of the reader, it will serve either as a model or as the reverse:

As with varnish red and glistening Dripped his hair; his feet were rigid; Raised, he settled stiffly sideways: You could see the hurts were spinal.

He had fallen from an engine, And been dragged along the metals.

It was hopeless, and they knew it; So they covered him, and left him.

As he lay, by fits half sentient, Inarticulately moaning, With his stockinged feet protruded Sharp and awkward from the blankets,

To his bed there came a woman, Stood and looked and sighed a little, And departed without speaking, As himself a few hours after.

I was told she was his sweetheart.

They were on the eve of marriage.

She was quiet as a statue, But her lip was gray and writhen.

In this poem, the rhythm and the music, such as it is, are obvious--perhaps a little too obvious. In the following I see nothing but ingeniously printed prose. It is a description--and a very accurate one--of a scene in a hospital ward. The medical students are supposed to be crowding round the doctor. What I quote is only a fragment, but the poem itself is a fragment:

So shows the ring Seen, from behind, round a conjuror Doing his pitch in the street.

High shoulders, low shoulders, broad shoulders, narrow ones, Round, square, and angular, serry and shove; While from within a voice, Gravely and weightily fluent, Sounds; and then ceases; and suddenly (Look at the stress of the shoulders!) Out of a quiver of silence, Over the hiss of the spray, Comes a low cry, and the sound Of breath quick intaken through teeth Clenched in resolve. And the master Breaks from the crowd, and goes, Wiping his hands, To the next bed, with his pupils Flocking and whispering behind him.

Now one can see.

Case Number One Sits (rather pale) with his bedclothes Stripped up, and showing his foot (Alas, for G.o.d's image!) Swaddled in wet white lint Brilliantly hideous with red.

Theophile Gautier once said that Flaubert's style was meant to be read, and his own style to be looked at. Mr. Henley's unrhymed rhythms form very dainty designs, from a typographical point of view. From the point of view of literature, they are a series of vivid, concentrated impressions, with a keen grip of fact, a terrible actuality, and an almost masterly power of picturesque presentation. But the poetic form--what of that?

Well, let us pa.s.s to the later poems, to the rondels and rondeaus, the sonnets and quatorzains, the echoes and the ballades. How brilliant and fanciful this is! The Toyokuni colour-print that suggested it could not be more delightful. It seems to have kept all the wilful fantastic charm of the original:

Was I a Samurai renowned, Two-sworded, fierce, immense of bow?

A histrion angular and profound?

A priest? a porter?--Child, although I have forgotten clean, I know That in the shade of Fujisan, What time the cherry-orchards blow, I loved you once in old j.a.pan.

As here you loiter, flowing-gowned And hugely sashed, with pins a-row Your quaint head as with flamelets crowned, Demure, inviting--even so, When merry maids in Miyako To feel the sweet o' the year began, And green gardens to overflow, I loved you once in old j.a.pan.