Studies in Song Part 3

14, 15. Poems 'on the Dead.'

16. Imaginary Conversations: Lord Brooke and Sir Philip Sidney.

17, 18. Idyllia Nova Quinque Heroum atque Heroidum (1815): Corythus; Dryope; Pan et Pitys; Coresus et Callirrhoe; Helena ad Pudoris Aram.

19, 20. Imaginary Conversations: Oliver Cromwell and Walter n.o.ble; aeschines and Phocion; Kosciusko and Poniatowski; Milton and Marvell; Roger Ascham and Lady Jane Grey; Tiberius and Vipsania.

21, 22, 23. h.e.l.lenics: To Corinth.

24. h.e.l.lenics: Regeneration.

25. The Hamadryad; Acon and Rhodope.

26. The Shades of Agamemnon and Iphigeneia.

27. Enallos and Cymodameia.

28. The Children of Venus.

29. Cupid and Pan.

30. The Death of Clytemnestra; The Madness of Orestes; The Prayer of Orestes.

32. The Last of Ulysses.

33. Imaginary Conversations. Lady Lisle and Elizabeth Gaunt.

35. _Pro monumento super milites regio jussu interemptos._

36. The Citation and Examination of William Shakespeare.

37. Pericles and Aspasia.

38. The Pentameron.

39. Imaginary Conversations: Epicurus, Leontion, and Ternissa.

40. Marcellus and Hannibal: P. Scipio aemilia.n.u.s, Polybius, and Panaetius.

41. Alexander and Priest of Ammon: Bonaparte and the President of the Senate.

42. The Empress Catherine and Princess Dashkoff.

43. Vittoria Colonna and Michel-Angelo Buonarroti.

44. Andrea of Hungary, Giovanna of Naples, Fra Rupert; a Trilogy: Five Scenes (Beatrice Cenci).

45. Luther's Parents: The Death of Hofer: (_Imaginary Conversations_) Andrew Hofer, Count Metternich, and the Emperor Francis; Judge Wolfgang and Henry of Melchthal: The Coronation. Tyrannicide (_The Last Fruit off an Old Tree_): Walter Tyrrel and William Rufus: Henry VIII. and Anne Boleyn.

46. Ess.e.x and Spenser (_Imaginary Conversations_): Ess.e.x and Bacon: Antony and Octavius (_Scenes for the Study_).

47. Critical Essays on Theocritus and Catullus.

48, 49. Heroic Idyls; Homer, Laertes, and Agatha.

'J'en pa.s.se, et des meilleurs.' But who can enumerate all or half our obligations to the illimitable and inexhaustible genius of the great man whose life and whose labour lasted even from the generation of our fathers' fathers to our own?

Hardly any reader can feel, I think, so deeply as I feel the inadequacy of my poor praise and too imperfect grat.i.tude to the majestic subject of their attempted expression; but 'such as I had have I given him.'

GRAND CHORUS OF BIRDS

FROM

ARISTOPHANES

_Attempted in English verse after the original metre._

I was allured into the audacity of this experiment by consideration of a fact which hitherto does not seem to have been taken into consideration by any translator of the half divine humourist in whose incomparable genius the highest qualities of Rabelais were fused and harmonized with the supremest gifts of Sh.e.l.ley: namely, that his marvellous metrical invention of the anapaestic heptameter was almost exactly reproducible in a language to which all variations and combinations of anapaestic, iambic, or trochaic metre are as natural and pliable as all dactylic and spondaic forms of verse are unnatural and abhorrent. As it happens, this highest central interlude of a most adorable masterpiece is as easy to detach from its dramatic setting, and even from its lyrical context, as it was easy to give line for line of it in English. In two metrical points only does my version vary from the verbal pattern of the original. I have of course added rhymes, and double rhymes, as necessary makeweights for the imperfection of an otherwise inadequate language; and equally of course I have not attempted the impossible and undesirable task of reproducing the rare exceptional effect of a line overcharged on purpose with a preponderance of heavy-footed spondees: and this for the obvious reason that even if such a line--which I doubt--could be exactly represented, foot by foot and pause for pause, in English, this English line would no more be a verse in any proper sense of the word than is the line I am writing at this moment. And my main intention, or at least my main desire, in the undertaking of this brief adventure, was to renew as far as possible for English ears the music of this resonant and triumphant metre, which goes ringing at full gallop as of horses who

'dance as 'twere to the music Their own hoofs make.'

I would not seem over curious in search of an apt or inapt quotation: but nothing can be fitter than a verse of Shakespeare's to praise at once and to describe the most typical verse of Aristophanes.

_THE BIRDS._

(685-723.)

Come on then, ye dwellers by nature in darkness, and like to the leaves'

generations, That are little of might, that are moulded of mire, unenduring and shadowlike nations, Poor plumeless ephemerals, comfortless mortals, as visions of creatures fast fleeing, Lift up your mind unto us that are deathless, and dateless the date of our being: Us, children of heaven, us, ageless for aye, us, all of whose thoughts are eternal; That ye may from henceforth, having heard of us all things aright as to matters supernal, Of the being of birds and beginning of G.o.ds, and of streams, and the dark beyond reaching, Truthfully knowing aright, in my name bid Prodicus pack with his preaching.

It was Chaos and Night at the first, and the blackness of darkness, and h.e.l.l's broad border, Earth was not, nor air, neither heaven; when in depths of the womb of the dark without order First thing first-born of the black-plumed Night was a wind-egg hatched in her bosom, Whence timely with seasons revolving again sweet Love burst out as a blossom, Gold wings glittering forth of his back, like whirlwinds gustily turning.

He, after his wedlock with Chaos, whose wings are of darkness, in h.e.l.l broad-burning, For his nestlings begat him the race of us first, and upraised us to light new-lighted.

And before this was not the race of the G.o.ds, until all things by Love were united; And of kind united with kind in communion of nature the sky and the sea are Brought forth, and the earth, and the race of the G.o.ds everlasting and blest. So that we are Far away the most ancient of all things blest. And that we are of Love's generation There are manifest manifold signs. We have wings, and with us have the Loves habitation; And manifold fair young folk that forswore love once, ere the bloom of them ended, Have the men that pursued and desired them subdued, by the help of us only befriended, With such baits as a quail, a flamingo, a goose, or a c.o.c.k's comb staring and splendid.

All best good things that befall men come from us birds, as is plain to all reason: For first we proclaim and make known to them spring, and the winter and autumn in season; Bid sow, when the crane starts clanging for Afric, in shrill-voiced emigrant number, And calls to the pilot to hang up his rudder again for the season, and slumber; And then weave a cloak for Orestes the thief, lest he strip men of theirs if it freezes.

And again thereafter the kite reappearing announces a change in the breezes, And that here is the season for shearing your sheep of their spring wool.

Then does the swallow Give you notice to sell your greatcoat, and provide something light for the heat that's to follow.

Thus are we as Ammon or Delphi unto you, Dodona, nay, Phoebus Apollo.

For, as first ye come all to get auguries of birds, even such is in all things your carriage, Be the matter a matter of trade, or of earning your bread, or of any one's marriage.

And all things ye lay to the charge of a bird that belong to discerning prediction: Winged fame is a bird, as you reckon: you sneeze, and the sign's as a bird for conviction: All tokens are 'birds' with you--sounds too, and lackeys, and donkeys.

Then must it not follow That we ARE to you all as the manifest G.o.dhead that speaks in prophetic Apollo?