You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes.
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes.
Tennyson
They all know in their hearts that
you are king. Go and conquer them as of old. "
So the king took his army by night and pushed upon Modred league after
league, until they reached the Western part of Lyonesse where the long
mountains ended in the moaning sea. There Modred's men could flee no
farther, so on the waste lands by the barren sea they began that last
dim weird battle of the West.
A white chill mist slept over all the land and water so that even Arthur
became confused since he could not see which were his friends and which
were his foes. Friends killed friends, some saw the faces of old ghosts
looking in upon the battle. Spears were splintered, shields were broken,
swords clashed, helmets were shattered, men shrieked and looked up to
heaven for help but saw only the white, white mists. There were cries
for light and moans.
At last toward the close of the day a hush fell over the whole shore; a
bitter wind from the North blew the mist aside and the pale king looked
across the battlefield. But no one was there only the waves breaking in
among the dead faces.
But bold Bedivere said: "My King! the man who hates you stands there,
Modred, the traitor of your house! "
"Don't call this traitor a person of my house," the king replied. "The
men of my house are not those who have lived under one roof with me, but
those who always call me their king. "
With that, Arthur dashed after Modred. Modred struck at the king's
helmet, which had grown thin with all his heathen wars. Arthur with his
sword Excalibur struck Modred dead, then fell down himself almost killed
with the wound through his helmet.
Sir Bedivere lifted him up and carried him to a chapel near by.
"Take my sword, Excalibur," said the King, "and fling it out into the
middle of the sea, watch what happens to it and then come back at once
and tell me. "
"It doesn't seem right to leave you all alone here," said Sir Bedivere,
"when you are wounded and ill, but since you wish me to go, I will, and
will do all that you have told me. "
He slipped away by zigzag paths, points and jutting rock to the shining
level of the sea. There he drew out the sword Excalibur. The winter moon
sparkled against its hilt and made it twinkle with its diamond sparks,
with myriads of topaz lights and fine jewelry work. Bedivere gazed so
long at it that both his eyes were dazzled as he stood, and he wondered
whether he ought to throw away so beautiful a thing. At last he decided
to hide it away among the water-flags that grew along shore.
"Did you do as I said? " asked the king, when he saw him. "What did you
see? "
"I heard the ripple washing in the reeds," said Sir Bedivere, "and the
wild water lapping on the rock. "
"You are not giving me a true answer," said the king, faint and pale.
"It's shameful for men to lie. Quickly go again and as you are true and
dear, do just as I bade you. Watch and bring me word. "
Then Sir Bedivere went the second time and paced up and down beside the
pebbly water, counting the dewey pebbles, but when he saw the wonderful
sword he clapped his hands together and cried:
"If I threw that sword away, a precious thing will be lost forever. The
King is ill; he does not know what he is doing. His great sword ought to
be kept, then in long years hereafter people will look at it at the
tournament and they will say: 'This was the great Arthur's sword
Excalibur which was made by the lonely lady of the Lake, working in the
deep sea for nine years. '"
So the second time he hid Excalibur and strode very slowly back to the
king.
"What did you see or what did you hear? " asked Arthur breathing very
heavily.
"I heard the water lapping on the rock and the long ripples washing in
the reeds. "
"Unkind! miserable! untrue! unknightly! " cried Arthur, filled with
anger. "I see what you are, for you are the only one left me of all the
knights, yet you would betray me for my sword, either to sell it or like
a girl, because you love its beauty. Go out now the third time and if
you do not throw out my sword Excalibur I'll get up and kill you with my
hands. "
At this Sir Bedivere sprang up like a flash and ran down leaping lightly
over the ridges, plunged into the beds of bulrushes, clutched the sword,
wheeled it round strongly and threw it as far as he could.
Excalibur made lightning in the moonlight as it flashed round and round
and whirled in an arch, shooting far out to the water. But before it
quite dipped into the sea an arm robed in white samite, mystic and
wonderful, rose out of the waves, caught it by the hilt, brandished it
three times and drew it under.
"Now I can see by your eyes that you have done it! " cried the King.
"Speak out; what have you seen or heard? "
"Sir King," cried Sir Bedivere, "I closed my eyes when I picked it up so
that I would not be turned from my purpose of throwing it into the
water, for I could live three lives, Sir King, and I wouldn't again see
such a wonderful thing as your sword. Sir, I threw it out with both
hands, wheeling it round and when I looked an arm robed in white samite
reached up out of the water and caught it by the hilt, brandished it
three times and drew it under. "
"Carry me to the shore," said the king.
[Illustration: AN ARM ROBED IN WHITE SAMITE. ]
So Bedivere lifted him up and walked as swiftly as he could from the
ridge, heavily, heavily down to the beach. As they reached the shore
they saw a black barge beside the water filled with stately people all
dressed in black. Among the people were three queens wearing crowns of
gold.
"Put me into the barge," cried Arthur.
So they came to the barge and the three queens held out their hands and
took the king.
The tallest and fairest of them held his head upon her lap loosed his
shattered helmet and chafed his hands, and moaned tenderly over him.
"Ah, my lord Arthur," cried Sir Bedivere, "where shall I go now? For
the old times are past now and the whole Round Table is broken. "
"Go and pray," cried the king. "Farewell, for I am going a very long way
to the lovely Island-valley of Avilion where it will never hail nor rain
nor snow, and where the loud winds never blow. It lies in deep meadows,
beautiful with lawns and fruit trees and flowery glens. "
Then the barge set sail and oar, and moved away from the shore.
"The king is gone! " groaned Bedivere.
He walked away from the shore and climbed up to the highest peaks and
ridges about him and looked far, far away. And from far away out beyond
the world he thought he heard sounds from a beautiful city as if every
one in it all together were welcoming a great King who had just come
back from his wars.
END.
Transcriber's Note:
Minor spelling and typographical errors have been corrected without note.
There are inconsistencies with italicising text that refers to
illustrations. I have left these as in the original text.
Corrections made include the following:
p34. ecstacy => ecstasy
p37. meaintime => meantime
p52. magnificientn => magnificent
p66. Springly => Springing
p75. Geriant => Geraint
p90. jealously => jealousy
p100. though => through
p101. passed => past
p101. musn't => mustn't
p106. heathern => heathen
p106. Gunievere => Guinevere
p117. to => that
p146. Mordred => Modred
End of the Project Gutenberg EBook of Tales from Tennyson, by Molly K. Bellew
*** END OF THIS PROJECT GUTENBERG EBOOK TALES FROM TENNYSON ***
***** This file should be named 35598-8. txt or 35598-8. zip *****
This and all associated files of various formats will be found in:
http://www. gutenberg. org/3/5/5/9/35598/
Produced by D Alexander, Peter Vickers, Juliet Sutherland
and the Online Distributed Proofreading Team at
http://www. pgdp. net
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you! ) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg. org/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1. A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1. E. 8.
1. B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1. C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1. E below.
1. C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1. D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1. E. Unless you have removed all references to Project Gutenberg:
1. E. 1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www. gutenberg. org
1. E. 2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1. E. 1
through 1. E. 7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1. E. 8 or
1. E. 9.
1. E. 3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1. E. 1 through 1. E. 7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1. E. 4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1. E. 5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1. E. 1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1. E. 6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www. gutenberg. org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1. E. 1.
1. E. 7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1. E. 8 or 1. E. 9.
1. E. 8.
You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation. "
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1. F. 3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1. E. 9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1. F.
1. F. 1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1. F. 2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1. F. 3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1. F. 3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1. F. 3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1. F. 4. Except for the limited right of replacement or refund set forth
in paragraph 1. F. 3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1. F. 5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1. F. 6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need, are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www. pglaf. org.
Section 3. Information about the Project Gutenberg Literary Archive
Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
http://pglaf. org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U. S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712. , but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf. org. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf. org
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
gbnewby@pglaf. org
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf. org
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U. S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit: http://pglaf. org/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U. S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Most people start at our Web site which has the main PG search facility:
http://www. gutenberg. org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
? The Project Gutenberg EBook of The Last Tournament, by Alfred Lord Tennyson
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www. gutenberg. org
Title: The Last Tournament
Author: Alfred Lord Tennyson
Posting Date: October 24, 2012 [EBook #7782]
Release Date: March, 2005
First Posted: May 16, 2003
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK THE LAST TOURNAMENT ***
Produced by Ted Garvin and the Distributed Proofreading Team
THE LAST TOURNAMENT
BY
ALFRED TENNYSON, D. C. L. ,
POET-LAUREATE
AUTHOR'S EDITION
FROM ADVANCE SHEETS
This poem forms one of the "Idyls of the King. " Its place
is between "Pelleas" and "Guinevere. "
BY ALFRED TENNYSON,
POET LAUREATE
Dagonet, the fool, whom Gawain in his moods
Had made mock-knight of Arthur's Table Round,
At Camelot, high above the yellowing woods,
Danced like a wither'd leaf before the Hall.
And toward him from the Hall, with harp in hand,
And from the crown thereof a carcanet
Of ruby swaying to and fro, the prize
Of Tristram in the jousts of yesterday,
Came Tristram, saying, "Why skip ye so, Sir Fool? "
For Arthur and Sir Lancelot riding once
Far down beneath a winding wall of rock
Heard a child wail. A stump of oak half-dead,
From roots like some black coil of carven snakes
Clutch'd at the crag, and started thro' mid-air
Bearing an eagle's nest: and thro' the tree
Rush'd ever a rainy wind, and thro' the wind
Pierced ever a child's cry: and crag and tree
Scaling, Sir Lancelot from the perilous nest,
This ruby necklace thrice around her neck,
And all unscarr'd from beak or talon, brought
A maiden babe; which Arthur pitying took,
Then gave it to his Queen to rear: the Queen
But coldly acquiescing, in her white arms
Received, and after loved it tenderly,
And named it Nestling; so forgot herself
A moment, and her cares; till that young life
Being smitten in mid-heaven with mortal cold
Past from her; and in time the carcanet
Vext her with plaintive memories of the child:
So she, delivering it to Arthur, said,
"Take thou the jewels of this dead innocence,
And make them, an thou wilt, a tourney-prize. "
To whom the King, "Peace to thine eagle-borne
Dead nestling, and this honor after death,
Following thy will! but, O my Queen, I muse
Why ye not wear on arm, or neck, or zone,
Those diamonds that I rescued from the tarn,
And Lancelot won, methought, for thee to wear. "
"Would rather ye had let them fall," she cried,
"Plunge and be lost--ill-fated as they were,
A bitterness to me! --ye look amazed,
Not knowing they were lost as soon as given--
Slid from my hands, when I was leaning out
Above the river--that unhappy child
Past in her barge: but rosier luck will go
With these rich jewels, seeing that they came
Not from the skeleton of a brother-slayer,
But the sweet body of a maiden babe.
Perchance--who knows? --the purest of thy knights
May win them for the purest of my maids. "
She ended, and the cry of a great jousts
With trumpet-blowings ran on all the ways
From Camelot in among the faded fields
To furthest towers; and everywhere the knights
Arm'd for a day of glory before the King.
But on the hither side of that loud morn
Into the hall stagger'd, his visage ribb'd
From ear to ear with dogwhip-weals, his nose
Bridge-broken, one eye out, and one hand off,
And one with shatter'd fingers dangling lame,
A churl, to whom indignantly the King,
"My churl, for whom Christ died, what evil beast
Hath drawn his claws athwart thy face? or fiend?
Man was it who marr'd Heaven's image in thee thus? "
Then, sputtering thro' the hedge of splinter'd teeth,
Yet strangers to the tongue, and with blunt stump
Pitch-blacken'd sawing the air, said the maim'd churl,
"He took them and he drave them to his tower--
Some hold he was a table-knight of thine--
A hundred goodly ones--the Red Knight, he--
"Lord, I was tending swine, and the Red Knight
Brake in upon me and drave them to his tower;
And when I call'd upon thy name as one
That doest right by gentle and by churl,
Maim'd me and maul'd, and would outright have slain,
Save that he sware me to a message, saying--
'Tell thou the King and all his liars, that I
Have founded my Round Table in the North,
And whatsoever his own knights have sworn
My knights have sworn the counter to it--and say
My tower is full of harlots, like his court,
But mine are worthier, seeing they profess
To be none other than themselves--and say
My knights are all adulterers like his own,
But mine are truer, seeing they profess
To be none other; and say his hour is come,
The heathen are upon him, his long lance
Broken, and his Excalibur a straw. '"
Then Arthur turn'd to Kay the seneschal,
"Take thou my churl, and tend him curiously
Like a king's heir, till all his hurts be whole.
The heathen--but that ever-climbing wave,
Hurl'd back again so often in empty foam,
Hath lain for years at rest--and renegades,
Thieves, bandits, leavings of confusion, whom
The wholesome realm is purged of otherwhere,--
Friends, thro' your manhood and your fealty,--now
Make their last head like Satan in the North.
My younger knights, new-made, in whom your flower
Waits to be solid fruit of golden deeds,
Move with me toward their quelling, which achieved,
The loneliest ways are safe from shore to shore.
But thou, Sir Lancelot, sitting in my place
Enchair'd to-morrow, arbitrate the field;
For wherefore shouldst thou care to mingle with it,
Only to yield my Queen her own again?
Speak, Lancelot, thou art silent: is it well? "
* * * * *
Thereto Sir Lancelot answer'd, "It is well:
Yet better if the King abide, and leave
The leading of his younger knights to me.
Else, for the King has will'd it, it is well. "
* * * * *
Then Arthur rose and Lancelot follow'd him,
And while they stood without the doors, the King
Turn'd to him saying, "Is it then so well?
Or mine the blame that oft I seem as he
Of whom was written, 'a sound is in his ears'--
The foot that loiters, bidden go,--the glance
That only seems half-loyal to command,--
A manner somewhat fall'n from reverence--
Or have I dream'd the bearing of our knights
Tells of a manhood ever less and lower?
Or whence the fear lest this my realm, uprear'd,
By noble deeds at one with noble vows,
From flat confusion and brute violences,
Reel back into the beast, and be no more? "
* * * * *
He spoke, and taking all his younger knights,
Down the slope city rode, and sharply turn'd
North by the gate. In her high bower the Queen,
Working a tapestry, lifted up her head,
Watch'd her lord pass, and knew not that she sigh'd.
Then ran across her memory the strange rhyme
Of bygone Merlin, "Where is he who knows?
From the great deep to the great deep he goes. "
* * * * *
But when the morning of a tournament,
By these in earnest those in mockery call'd
The Tournament of the Dead Innocence,
Brake with a wet wind blowing, Lancelot,
Round whose sick head all night, like birds of prey,
The words of Arthur flying shriek'd, arose,
And down a streetway hung with folds of pure
White samite, and by fountains running wine,
Where children sat in white with cups of gold,
Moved to the lists, and there, with slow sad steps
Ascending, fill'd his double-dragon'd chair.
* * * * *
He glanced and saw the stately galleries,
Dame, damsel, each thro' worship of their Queen
White-robed in honor of the stainless child,
And some with scatter'd jewels, like a bank
Of maiden snow mingled with sparks of fire.
He lookt but once, and veil'd his eyes again.
* * * * *
The sudden trumpet sounded as in a dream
To ears but half-awaked, then one low roll
Of Autumn thunder, and the jousts began:
And ever the wind blew, and yellowing leaf
And gloom and gleam, and shower and shorn plume
Went down it. Sighing weariedly, as one
Who sits and gazes on a faded fire,
When all the goodlier guests are past away,
Sat their great umpire, looking o'er the lists.
He saw the laws that ruled the tournament
Broken, but spake not; once, a knight cast down
Before his throne of arbitration cursed
The dead babe and the follies of the King;
And once the laces of a helmet crack'd,
And show'd him, like a vermin in its hole,
Modred, a narrow face: anon he heard
The voice that billow'd round the barriers roar
An ocean-sounding welcome to one knight,
But newly-enter'd, taller than the rest,
And armor'd all in forest green, whereon
There tript a hundred tiny silver deer,
And wearing but a holly-spray for crest,
With ever-scattering berries, and on shield
A spear, a harp, a bugle--Tristram--late
From overseas in Brittany return'd,
And marriage with a princess of that realm,
Isolt the White--Sir Tristram of the Woods--
Whom Lancelot knew, had held sometime with pain
His own against him, and now yearn'd to shake
The burthen off his heart in one full shock
With Tristram ev'n to death: his strong hands gript
And dinted the gilt dragons right and left,
Until he groan'd for wrath--so many of those,
That ware their ladies' colors on the casque,
Drew from before Sir Tristram to the bounds,
And there with gibes and nickering mockeries
Stood, while he mutter'd, "Craven chests! O shame!
What faith have these in whom they sware to love?
The glory of our Round Table is no more. "
* * * * *
So Tristram won, and Lancelot gave, the gems,
Not speaking other word than "Hast thou won?
Art thou the purest, brother? See, the hand
Wherewith thou takest this is red! " to whom
Tristram, half plagued by Lancelot's languorous mood,
Made answer, "Ay, but wherefore toss me this
Like a dry bone cast to some hungry hound?
Let be thy fair Queen's fantasy. Strength of heart
And might of limb, but mainly use and skill,
Are winners in this pastime of our King.
My hand--belike the lance hath dript upon it--
No blood of mine, I trow; but O chief knight,
Right arm of Arthur in the battlefield,
Great brother, thou nor I have made the world;
Be happy in thy fair Queen as I in mine. "
And Tristram round the gallery made his horse
Caracole; then bow'd his homage, bluntly saying,
"Fair damsels, each to him who worships each
Sole Queen of Beauty and of love, behold
This day my Queen of Beauty is not here. "
Then most of these were mute, some anger'd, one
Murmuring "All courtesy is dead," and one,
"The glory of our Round Table is no more. "
Then fell thick rain, plume droopt and mantle clung,
And pettish cries awoke, and the wan day
Went glooming down in wet and weariness:
But under her black brows a swarthy dame
Laught shrilly, crying "Praise the patient saints,
Our one white day of Innocence hath past,
Tho' somewhat draggled at the skirt. So be it.
The snowdrop only, flow'ring thro' the year,
Would make the world as blank as wintertide.
Come--let us comfort their sad eyes, our Queen's
And Lancelot's, at this night's solemnity
With all the kindlier colors of the field. "
* * * * *
So dame and damsel glitter'd at the feast
Variously gay: for he that tells the tale
Liken'd them, saying "as when an hour of cold
Falls on the mountain in midsummer snows,
And all the purple slopes of mountain flowers
Pass under white, till the warm hour returns
With veer of wind, and all are flowers again;"
So dame and damsel cast the simple white,
And glowing in all colors, the live grass,
Rose-campion, bluebell, kingcup, poppy, glanced
About the revels, and with mirth so loud
Beyond all use, that, half-amazed, the Queen,
And wroth at Tristram and the lawless jousts,
Brake up their sports, then slowly to her bower
Parted, and in her bosom pain was lord.
* * * * *
And little Dagonet on the morrow morn,
High over all the yellowing Autumn-tide,
Danced like a wither'd leaf before the hall.
Then Tristram saying, "Why skip ye so, Sir Fool? "
Wheel'd round on either heel, Dagonet replied,
"Belike for lack of wiser company;
Or being fool, and seeing too much wit
Makes the world rotten, why, belike I skip
To know myself the wisest knight of all. "
"Ay, fool," said Tristram, "but 'tis eating dry
To dance without a catch, a roundelay
To dance to. " Then he twangled on his harp,
And while he twangled little Dagonet stood,
Quiet as any water-sodden log
Stay'd in the wandering warble of a brook;
But when the twangling ended, skipt again;
Then being ask'd, "Why skipt ye not, Sir Fool? "
Made answer, "I had liefer twenty years
Skip to the broken music of my brains
Than any broken music ye can make. "
Then Tristram, waiting for the quip to come,
"Good now, what music have I broken, fool? "
And little Dagonet, skipping, "Arthur, the king's;
For when thou playest that air with Queen Isolt,
Thou makest broken music with thy bride,
Her daintier namesake down in Brittany--
And so thou breakest Arthur's music too. "
"Save for that broken music in thy brains,
Sir Fool," said Tristram, "I would break thy head.
Fool, I came late, the heathen wars were o'er,
The life had flown, we sware but by the shell--
I am but a fool to reason with a fool
Come, thou art crabb'd and sour: but lean me down,
Sir Dagonet, one of thy long asses' ears,
And hearken if my music be not true.
"'Free love--free field--we love but while we may:
The woods are hush'd, their music is no more:
The leaf is dead, the yearning past away:
New leaf, new life--the days of frost are o'er:
New life, new love to suit the newer day:
New loves are sweet as those that went before:
Free love,--free field--we love but while we may. '
"Ye might have moved slow-measure to my tune,
Not stood stockstill. I made it in the woods,
And found it ring as true as tested gold. "
But Dagonet with one foot poised in his hand,
"Friend, did ye mark that fountain yesterday
Made to run wine? --but this had run itself
All out like a long life to a sour end--
And them that round it sat with golden cups
To hand the wine to whomsoever came--
The twelve small damosels white as Innocence,
"In honor of poor Innocence the babe,
Who left the gems which Innocence the Queen
Lent to the King, and Innocence the King
Gave for a prize--and one of those white slips
Handed her cup and piped, the pretty one,
'Drink, drink, Sir Fool,' and thereupon I drank,
Spat--pish--the cup was gold, the draught was mud. "
And Tristram, "Was it muddier than thy gibes?
Is all the laughter gone dead out of thee? --
Not marking how the knighthood mock thee, fool--
'Fear God: honor the king--his one true knight--
Sole follower of the vows'--for here be they
Who knew thee swine enow before I came,
Smuttier than blasted grain: but when the King
Had made thee fool, thy vanity so shot up
It frighted all free fool from out thy heart;
Which left thee less than fool, and less than swine,
A naked aught--yet swine I hold thee still,
For I have flung thee pearls, and find thee swine. "
And little Dagonet mincing with his feet,
"Knight, an ye fling those rubies round my neck
In lieu of hers, I'll hold thou hast some touch
Of music, since I care not for thy pearls.
Swine? I have wallow'd, I have wash'd--the world
Is flesh and shadow--I have had my day.
The dirty nurse, Experience, in her kind
Hath foul'd me--an I wallow'd, then I wash'd--
I have had my day and my philosophies--
And thank the Lord I am King Arthur's fool.
Swine, say ye? swine, goats, asses, rams and geese
Troop'd round a Paynim harper once, who thrumm'd
On such a wire as musically as thou
Some such fine song--but never a king's fool. "
And Tristram, "Then were swine, goats, asses, geese
The wiser fools, seeing thy Paynim bard
Had such a mastery of his mystery
That he could harp his wife up out of Hell. "
Then Dagonet, turning on the ball of his foot,
"And whither harp'st thou thine? down! and thyself
Down! and two more: a helpful harper thou,
That harpest downward! Dost thou know the star
We call the harp of Arthur up in heaven? "
And Tristram, "Ay, Sir Fool, for when our King
Was victor wellnigh day by day, the knights,
Glorying in each new glory, set his name
High on all hills, and in the signs of heaven.
you are king. Go and conquer them as of old. "
So the king took his army by night and pushed upon Modred league after
league, until they reached the Western part of Lyonesse where the long
mountains ended in the moaning sea. There Modred's men could flee no
farther, so on the waste lands by the barren sea they began that last
dim weird battle of the West.
A white chill mist slept over all the land and water so that even Arthur
became confused since he could not see which were his friends and which
were his foes. Friends killed friends, some saw the faces of old ghosts
looking in upon the battle. Spears were splintered, shields were broken,
swords clashed, helmets were shattered, men shrieked and looked up to
heaven for help but saw only the white, white mists. There were cries
for light and moans.
At last toward the close of the day a hush fell over the whole shore; a
bitter wind from the North blew the mist aside and the pale king looked
across the battlefield. But no one was there only the waves breaking in
among the dead faces.
But bold Bedivere said: "My King! the man who hates you stands there,
Modred, the traitor of your house! "
"Don't call this traitor a person of my house," the king replied. "The
men of my house are not those who have lived under one roof with me, but
those who always call me their king. "
With that, Arthur dashed after Modred. Modred struck at the king's
helmet, which had grown thin with all his heathen wars. Arthur with his
sword Excalibur struck Modred dead, then fell down himself almost killed
with the wound through his helmet.
Sir Bedivere lifted him up and carried him to a chapel near by.
"Take my sword, Excalibur," said the King, "and fling it out into the
middle of the sea, watch what happens to it and then come back at once
and tell me. "
"It doesn't seem right to leave you all alone here," said Sir Bedivere,
"when you are wounded and ill, but since you wish me to go, I will, and
will do all that you have told me. "
He slipped away by zigzag paths, points and jutting rock to the shining
level of the sea. There he drew out the sword Excalibur. The winter moon
sparkled against its hilt and made it twinkle with its diamond sparks,
with myriads of topaz lights and fine jewelry work. Bedivere gazed so
long at it that both his eyes were dazzled as he stood, and he wondered
whether he ought to throw away so beautiful a thing. At last he decided
to hide it away among the water-flags that grew along shore.
"Did you do as I said? " asked the king, when he saw him. "What did you
see? "
"I heard the ripple washing in the reeds," said Sir Bedivere, "and the
wild water lapping on the rock. "
"You are not giving me a true answer," said the king, faint and pale.
"It's shameful for men to lie. Quickly go again and as you are true and
dear, do just as I bade you. Watch and bring me word. "
Then Sir Bedivere went the second time and paced up and down beside the
pebbly water, counting the dewey pebbles, but when he saw the wonderful
sword he clapped his hands together and cried:
"If I threw that sword away, a precious thing will be lost forever. The
King is ill; he does not know what he is doing. His great sword ought to
be kept, then in long years hereafter people will look at it at the
tournament and they will say: 'This was the great Arthur's sword
Excalibur which was made by the lonely lady of the Lake, working in the
deep sea for nine years. '"
So the second time he hid Excalibur and strode very slowly back to the
king.
"What did you see or what did you hear? " asked Arthur breathing very
heavily.
"I heard the water lapping on the rock and the long ripples washing in
the reeds. "
"Unkind! miserable! untrue! unknightly! " cried Arthur, filled with
anger. "I see what you are, for you are the only one left me of all the
knights, yet you would betray me for my sword, either to sell it or like
a girl, because you love its beauty. Go out now the third time and if
you do not throw out my sword Excalibur I'll get up and kill you with my
hands. "
At this Sir Bedivere sprang up like a flash and ran down leaping lightly
over the ridges, plunged into the beds of bulrushes, clutched the sword,
wheeled it round strongly and threw it as far as he could.
Excalibur made lightning in the moonlight as it flashed round and round
and whirled in an arch, shooting far out to the water. But before it
quite dipped into the sea an arm robed in white samite, mystic and
wonderful, rose out of the waves, caught it by the hilt, brandished it
three times and drew it under.
"Now I can see by your eyes that you have done it! " cried the King.
"Speak out; what have you seen or heard? "
"Sir King," cried Sir Bedivere, "I closed my eyes when I picked it up so
that I would not be turned from my purpose of throwing it into the
water, for I could live three lives, Sir King, and I wouldn't again see
such a wonderful thing as your sword. Sir, I threw it out with both
hands, wheeling it round and when I looked an arm robed in white samite
reached up out of the water and caught it by the hilt, brandished it
three times and drew it under. "
"Carry me to the shore," said the king.
[Illustration: AN ARM ROBED IN WHITE SAMITE. ]
So Bedivere lifted him up and walked as swiftly as he could from the
ridge, heavily, heavily down to the beach. As they reached the shore
they saw a black barge beside the water filled with stately people all
dressed in black. Among the people were three queens wearing crowns of
gold.
"Put me into the barge," cried Arthur.
So they came to the barge and the three queens held out their hands and
took the king.
The tallest and fairest of them held his head upon her lap loosed his
shattered helmet and chafed his hands, and moaned tenderly over him.
"Ah, my lord Arthur," cried Sir Bedivere, "where shall I go now? For
the old times are past now and the whole Round Table is broken. "
"Go and pray," cried the king. "Farewell, for I am going a very long way
to the lovely Island-valley of Avilion where it will never hail nor rain
nor snow, and where the loud winds never blow. It lies in deep meadows,
beautiful with lawns and fruit trees and flowery glens. "
Then the barge set sail and oar, and moved away from the shore.
"The king is gone! " groaned Bedivere.
He walked away from the shore and climbed up to the highest peaks and
ridges about him and looked far, far away. And from far away out beyond
the world he thought he heard sounds from a beautiful city as if every
one in it all together were welcoming a great King who had just come
back from his wars.
END.
Transcriber's Note:
Minor spelling and typographical errors have been corrected without note.
There are inconsistencies with italicising text that refers to
illustrations. I have left these as in the original text.
Corrections made include the following:
p34. ecstacy => ecstasy
p37. meaintime => meantime
p52. magnificientn => magnificent
p66. Springly => Springing
p75. Geriant => Geraint
p90. jealously => jealousy
p100. though => through
p101. passed => past
p101. musn't => mustn't
p106. heathern => heathen
p106. Gunievere => Guinevere
p117. to => that
p146. Mordred => Modred
End of the Project Gutenberg EBook of Tales from Tennyson, by Molly K. Bellew
*** END OF THIS PROJECT GUTENBERG EBOOK TALES FROM TENNYSON ***
***** This file should be named 35598-8. txt or 35598-8. zip *****
This and all associated files of various formats will be found in:
http://www. gutenberg. org/3/5/5/9/35598/
Produced by D Alexander, Peter Vickers, Juliet Sutherland
and the Online Distributed Proofreading Team at
http://www. pgdp. net
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you! ) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg. org/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1. A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1. E. 8.
1. B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1. C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1. E below.
1. C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1. D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1. E. Unless you have removed all references to Project Gutenberg:
1. E. 1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www. gutenberg. org
1. E. 2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1. E. 1
through 1. E. 7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1. E. 8 or
1. E. 9.
1. E. 3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1. E. 1 through 1. E. 7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1. E. 4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1. E. 5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1. E. 1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1. E. 6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www. gutenberg. org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1. E. 1.
1. E. 7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1. E. 8 or 1. E. 9.
1. E. 8.
You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation. "
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1. F. 3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1. E. 9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1. F.
1. F. 1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1. F. 2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1. F. 3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1. F. 3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1. F. 3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1. F. 4. Except for the limited right of replacement or refund set forth
in paragraph 1. F. 3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1. F. 5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1. F. 6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need, are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www. pglaf. org.
Section 3. Information about the Project Gutenberg Literary Archive
Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
http://pglaf. org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U. S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712. , but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf. org. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf. org
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
gbnewby@pglaf. org
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf. org
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U. S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit: http://pglaf. org/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U. S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Most people start at our Web site which has the main PG search facility:
http://www. gutenberg. org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
? The Project Gutenberg EBook of The Last Tournament, by Alfred Lord Tennyson
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www. gutenberg. org
Title: The Last Tournament
Author: Alfred Lord Tennyson
Posting Date: October 24, 2012 [EBook #7782]
Release Date: March, 2005
First Posted: May 16, 2003
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK THE LAST TOURNAMENT ***
Produced by Ted Garvin and the Distributed Proofreading Team
THE LAST TOURNAMENT
BY
ALFRED TENNYSON, D. C. L. ,
POET-LAUREATE
AUTHOR'S EDITION
FROM ADVANCE SHEETS
This poem forms one of the "Idyls of the King. " Its place
is between "Pelleas" and "Guinevere. "
BY ALFRED TENNYSON,
POET LAUREATE
Dagonet, the fool, whom Gawain in his moods
Had made mock-knight of Arthur's Table Round,
At Camelot, high above the yellowing woods,
Danced like a wither'd leaf before the Hall.
And toward him from the Hall, with harp in hand,
And from the crown thereof a carcanet
Of ruby swaying to and fro, the prize
Of Tristram in the jousts of yesterday,
Came Tristram, saying, "Why skip ye so, Sir Fool? "
For Arthur and Sir Lancelot riding once
Far down beneath a winding wall of rock
Heard a child wail. A stump of oak half-dead,
From roots like some black coil of carven snakes
Clutch'd at the crag, and started thro' mid-air
Bearing an eagle's nest: and thro' the tree
Rush'd ever a rainy wind, and thro' the wind
Pierced ever a child's cry: and crag and tree
Scaling, Sir Lancelot from the perilous nest,
This ruby necklace thrice around her neck,
And all unscarr'd from beak or talon, brought
A maiden babe; which Arthur pitying took,
Then gave it to his Queen to rear: the Queen
But coldly acquiescing, in her white arms
Received, and after loved it tenderly,
And named it Nestling; so forgot herself
A moment, and her cares; till that young life
Being smitten in mid-heaven with mortal cold
Past from her; and in time the carcanet
Vext her with plaintive memories of the child:
So she, delivering it to Arthur, said,
"Take thou the jewels of this dead innocence,
And make them, an thou wilt, a tourney-prize. "
To whom the King, "Peace to thine eagle-borne
Dead nestling, and this honor after death,
Following thy will! but, O my Queen, I muse
Why ye not wear on arm, or neck, or zone,
Those diamonds that I rescued from the tarn,
And Lancelot won, methought, for thee to wear. "
"Would rather ye had let them fall," she cried,
"Plunge and be lost--ill-fated as they were,
A bitterness to me! --ye look amazed,
Not knowing they were lost as soon as given--
Slid from my hands, when I was leaning out
Above the river--that unhappy child
Past in her barge: but rosier luck will go
With these rich jewels, seeing that they came
Not from the skeleton of a brother-slayer,
But the sweet body of a maiden babe.
Perchance--who knows? --the purest of thy knights
May win them for the purest of my maids. "
She ended, and the cry of a great jousts
With trumpet-blowings ran on all the ways
From Camelot in among the faded fields
To furthest towers; and everywhere the knights
Arm'd for a day of glory before the King.
But on the hither side of that loud morn
Into the hall stagger'd, his visage ribb'd
From ear to ear with dogwhip-weals, his nose
Bridge-broken, one eye out, and one hand off,
And one with shatter'd fingers dangling lame,
A churl, to whom indignantly the King,
"My churl, for whom Christ died, what evil beast
Hath drawn his claws athwart thy face? or fiend?
Man was it who marr'd Heaven's image in thee thus? "
Then, sputtering thro' the hedge of splinter'd teeth,
Yet strangers to the tongue, and with blunt stump
Pitch-blacken'd sawing the air, said the maim'd churl,
"He took them and he drave them to his tower--
Some hold he was a table-knight of thine--
A hundred goodly ones--the Red Knight, he--
"Lord, I was tending swine, and the Red Knight
Brake in upon me and drave them to his tower;
And when I call'd upon thy name as one
That doest right by gentle and by churl,
Maim'd me and maul'd, and would outright have slain,
Save that he sware me to a message, saying--
'Tell thou the King and all his liars, that I
Have founded my Round Table in the North,
And whatsoever his own knights have sworn
My knights have sworn the counter to it--and say
My tower is full of harlots, like his court,
But mine are worthier, seeing they profess
To be none other than themselves--and say
My knights are all adulterers like his own,
But mine are truer, seeing they profess
To be none other; and say his hour is come,
The heathen are upon him, his long lance
Broken, and his Excalibur a straw. '"
Then Arthur turn'd to Kay the seneschal,
"Take thou my churl, and tend him curiously
Like a king's heir, till all his hurts be whole.
The heathen--but that ever-climbing wave,
Hurl'd back again so often in empty foam,
Hath lain for years at rest--and renegades,
Thieves, bandits, leavings of confusion, whom
The wholesome realm is purged of otherwhere,--
Friends, thro' your manhood and your fealty,--now
Make their last head like Satan in the North.
My younger knights, new-made, in whom your flower
Waits to be solid fruit of golden deeds,
Move with me toward their quelling, which achieved,
The loneliest ways are safe from shore to shore.
But thou, Sir Lancelot, sitting in my place
Enchair'd to-morrow, arbitrate the field;
For wherefore shouldst thou care to mingle with it,
Only to yield my Queen her own again?
Speak, Lancelot, thou art silent: is it well? "
* * * * *
Thereto Sir Lancelot answer'd, "It is well:
Yet better if the King abide, and leave
The leading of his younger knights to me.
Else, for the King has will'd it, it is well. "
* * * * *
Then Arthur rose and Lancelot follow'd him,
And while they stood without the doors, the King
Turn'd to him saying, "Is it then so well?
Or mine the blame that oft I seem as he
Of whom was written, 'a sound is in his ears'--
The foot that loiters, bidden go,--the glance
That only seems half-loyal to command,--
A manner somewhat fall'n from reverence--
Or have I dream'd the bearing of our knights
Tells of a manhood ever less and lower?
Or whence the fear lest this my realm, uprear'd,
By noble deeds at one with noble vows,
From flat confusion and brute violences,
Reel back into the beast, and be no more? "
* * * * *
He spoke, and taking all his younger knights,
Down the slope city rode, and sharply turn'd
North by the gate. In her high bower the Queen,
Working a tapestry, lifted up her head,
Watch'd her lord pass, and knew not that she sigh'd.
Then ran across her memory the strange rhyme
Of bygone Merlin, "Where is he who knows?
From the great deep to the great deep he goes. "
* * * * *
But when the morning of a tournament,
By these in earnest those in mockery call'd
The Tournament of the Dead Innocence,
Brake with a wet wind blowing, Lancelot,
Round whose sick head all night, like birds of prey,
The words of Arthur flying shriek'd, arose,
And down a streetway hung with folds of pure
White samite, and by fountains running wine,
Where children sat in white with cups of gold,
Moved to the lists, and there, with slow sad steps
Ascending, fill'd his double-dragon'd chair.
* * * * *
He glanced and saw the stately galleries,
Dame, damsel, each thro' worship of their Queen
White-robed in honor of the stainless child,
And some with scatter'd jewels, like a bank
Of maiden snow mingled with sparks of fire.
He lookt but once, and veil'd his eyes again.
* * * * *
The sudden trumpet sounded as in a dream
To ears but half-awaked, then one low roll
Of Autumn thunder, and the jousts began:
And ever the wind blew, and yellowing leaf
And gloom and gleam, and shower and shorn plume
Went down it. Sighing weariedly, as one
Who sits and gazes on a faded fire,
When all the goodlier guests are past away,
Sat their great umpire, looking o'er the lists.
He saw the laws that ruled the tournament
Broken, but spake not; once, a knight cast down
Before his throne of arbitration cursed
The dead babe and the follies of the King;
And once the laces of a helmet crack'd,
And show'd him, like a vermin in its hole,
Modred, a narrow face: anon he heard
The voice that billow'd round the barriers roar
An ocean-sounding welcome to one knight,
But newly-enter'd, taller than the rest,
And armor'd all in forest green, whereon
There tript a hundred tiny silver deer,
And wearing but a holly-spray for crest,
With ever-scattering berries, and on shield
A spear, a harp, a bugle--Tristram--late
From overseas in Brittany return'd,
And marriage with a princess of that realm,
Isolt the White--Sir Tristram of the Woods--
Whom Lancelot knew, had held sometime with pain
His own against him, and now yearn'd to shake
The burthen off his heart in one full shock
With Tristram ev'n to death: his strong hands gript
And dinted the gilt dragons right and left,
Until he groan'd for wrath--so many of those,
That ware their ladies' colors on the casque,
Drew from before Sir Tristram to the bounds,
And there with gibes and nickering mockeries
Stood, while he mutter'd, "Craven chests! O shame!
What faith have these in whom they sware to love?
The glory of our Round Table is no more. "
* * * * *
So Tristram won, and Lancelot gave, the gems,
Not speaking other word than "Hast thou won?
Art thou the purest, brother? See, the hand
Wherewith thou takest this is red! " to whom
Tristram, half plagued by Lancelot's languorous mood,
Made answer, "Ay, but wherefore toss me this
Like a dry bone cast to some hungry hound?
Let be thy fair Queen's fantasy. Strength of heart
And might of limb, but mainly use and skill,
Are winners in this pastime of our King.
My hand--belike the lance hath dript upon it--
No blood of mine, I trow; but O chief knight,
Right arm of Arthur in the battlefield,
Great brother, thou nor I have made the world;
Be happy in thy fair Queen as I in mine. "
And Tristram round the gallery made his horse
Caracole; then bow'd his homage, bluntly saying,
"Fair damsels, each to him who worships each
Sole Queen of Beauty and of love, behold
This day my Queen of Beauty is not here. "
Then most of these were mute, some anger'd, one
Murmuring "All courtesy is dead," and one,
"The glory of our Round Table is no more. "
Then fell thick rain, plume droopt and mantle clung,
And pettish cries awoke, and the wan day
Went glooming down in wet and weariness:
But under her black brows a swarthy dame
Laught shrilly, crying "Praise the patient saints,
Our one white day of Innocence hath past,
Tho' somewhat draggled at the skirt. So be it.
The snowdrop only, flow'ring thro' the year,
Would make the world as blank as wintertide.
Come--let us comfort their sad eyes, our Queen's
And Lancelot's, at this night's solemnity
With all the kindlier colors of the field. "
* * * * *
So dame and damsel glitter'd at the feast
Variously gay: for he that tells the tale
Liken'd them, saying "as when an hour of cold
Falls on the mountain in midsummer snows,
And all the purple slopes of mountain flowers
Pass under white, till the warm hour returns
With veer of wind, and all are flowers again;"
So dame and damsel cast the simple white,
And glowing in all colors, the live grass,
Rose-campion, bluebell, kingcup, poppy, glanced
About the revels, and with mirth so loud
Beyond all use, that, half-amazed, the Queen,
And wroth at Tristram and the lawless jousts,
Brake up their sports, then slowly to her bower
Parted, and in her bosom pain was lord.
* * * * *
And little Dagonet on the morrow morn,
High over all the yellowing Autumn-tide,
Danced like a wither'd leaf before the hall.
Then Tristram saying, "Why skip ye so, Sir Fool? "
Wheel'd round on either heel, Dagonet replied,
"Belike for lack of wiser company;
Or being fool, and seeing too much wit
Makes the world rotten, why, belike I skip
To know myself the wisest knight of all. "
"Ay, fool," said Tristram, "but 'tis eating dry
To dance without a catch, a roundelay
To dance to. " Then he twangled on his harp,
And while he twangled little Dagonet stood,
Quiet as any water-sodden log
Stay'd in the wandering warble of a brook;
But when the twangling ended, skipt again;
Then being ask'd, "Why skipt ye not, Sir Fool? "
Made answer, "I had liefer twenty years
Skip to the broken music of my brains
Than any broken music ye can make. "
Then Tristram, waiting for the quip to come,
"Good now, what music have I broken, fool? "
And little Dagonet, skipping, "Arthur, the king's;
For when thou playest that air with Queen Isolt,
Thou makest broken music with thy bride,
Her daintier namesake down in Brittany--
And so thou breakest Arthur's music too. "
"Save for that broken music in thy brains,
Sir Fool," said Tristram, "I would break thy head.
Fool, I came late, the heathen wars were o'er,
The life had flown, we sware but by the shell--
I am but a fool to reason with a fool
Come, thou art crabb'd and sour: but lean me down,
Sir Dagonet, one of thy long asses' ears,
And hearken if my music be not true.
"'Free love--free field--we love but while we may:
The woods are hush'd, their music is no more:
The leaf is dead, the yearning past away:
New leaf, new life--the days of frost are o'er:
New life, new love to suit the newer day:
New loves are sweet as those that went before:
Free love,--free field--we love but while we may. '
"Ye might have moved slow-measure to my tune,
Not stood stockstill. I made it in the woods,
And found it ring as true as tested gold. "
But Dagonet with one foot poised in his hand,
"Friend, did ye mark that fountain yesterday
Made to run wine? --but this had run itself
All out like a long life to a sour end--
And them that round it sat with golden cups
To hand the wine to whomsoever came--
The twelve small damosels white as Innocence,
"In honor of poor Innocence the babe,
Who left the gems which Innocence the Queen
Lent to the King, and Innocence the King
Gave for a prize--and one of those white slips
Handed her cup and piped, the pretty one,
'Drink, drink, Sir Fool,' and thereupon I drank,
Spat--pish--the cup was gold, the draught was mud. "
And Tristram, "Was it muddier than thy gibes?
Is all the laughter gone dead out of thee? --
Not marking how the knighthood mock thee, fool--
'Fear God: honor the king--his one true knight--
Sole follower of the vows'--for here be they
Who knew thee swine enow before I came,
Smuttier than blasted grain: but when the King
Had made thee fool, thy vanity so shot up
It frighted all free fool from out thy heart;
Which left thee less than fool, and less than swine,
A naked aught--yet swine I hold thee still,
For I have flung thee pearls, and find thee swine. "
And little Dagonet mincing with his feet,
"Knight, an ye fling those rubies round my neck
In lieu of hers, I'll hold thou hast some touch
Of music, since I care not for thy pearls.
Swine? I have wallow'd, I have wash'd--the world
Is flesh and shadow--I have had my day.
The dirty nurse, Experience, in her kind
Hath foul'd me--an I wallow'd, then I wash'd--
I have had my day and my philosophies--
And thank the Lord I am King Arthur's fool.
Swine, say ye? swine, goats, asses, rams and geese
Troop'd round a Paynim harper once, who thrumm'd
On such a wire as musically as thou
Some such fine song--but never a king's fool. "
And Tristram, "Then were swine, goats, asses, geese
The wiser fools, seeing thy Paynim bard
Had such a mastery of his mystery
That he could harp his wife up out of Hell. "
Then Dagonet, turning on the ball of his foot,
"And whither harp'st thou thine? down! and thyself
Down! and two more: a helpful harper thou,
That harpest downward! Dost thou know the star
We call the harp of Arthur up in heaven? "
And Tristram, "Ay, Sir Fool, for when our King
Was victor wellnigh day by day, the knights,
Glorying in each new glory, set his name
High on all hills, and in the signs of heaven.
