No More Learning

Wyth styrruppes, Knyghte, to boote? "
I sayde not that--I answere "Noe"--
Yt lacketh such, I woote:
Yt ys a mutton-saddel, loe!
Parte of ye fleecye brute.

I have a bytte--a ryghte good bytte--
As shall bee seene yn tyme.
Ye jawe of horse yt wyll not fytte;
Yts use ys more sublyme.
Fayre Syr, how deemest thou of yt?
Yt ys--thys bytte of rhyme.

[Picture: I have a horse]




HIAWATHA'S PHOTOGRAPHING


[In an age of imitation, I can claim no special merit for this slight
attempt at doing what is known to be so easy. Any fairly practised
writer, with the slightest ear for rhythm, could compose, for hours
together, in the easy running metre of 'The Song of Hiawatha. ' Having,
then, distinctly stated that I challenge no attention in the following
little poem to its merely verbal jingle, I must beg the candid reader to
confine his criticism to its treatment of the subject. ]

FROM his shoulder Hiawatha
Took the camera of rosewood,
Made of sliding, folding rosewood;
Neatly put it all together.
In its case it lay compactly,
Folded into nearly nothing;
But he opened out the hinges,
Pushed and pulled the joints and hinges,
Till it looked all squares and oblongs,
Like a complicated figure
In the Second Book of Euclid.

[Picture: The camera]

This he perched upon a tripod--
Crouched beneath its dusky cover--
Stretched his hand, enforcing silence--
Said, "Be motionless, I beg you! "
Mystic, awful was the process.
All the family in order
Sat before him for their pictures:
Each in turn, as he was taken,
Volunteered his own suggestions,
His ingenious suggestions.
First the Governor, the Father:
He suggested velvet curtains
Looped about a massy pillar;
And the corner of a table,
Of a rosewood dining-table.
He would hold a scroll of something,
Hold it firmly in his left-hand;
He would keep his right-hand buried
(Like Napoleon) in his waistcoat;
He would contemplate the distance
With a look of pensive meaning,
As of ducks that die ill tempests.
Grand, heroic was the notion:
Yet the picture failed entirely:
Failed, because he moved a little,
Moved, because he couldn't help it.

[Picture: First the Governor, the Father]

Next, his better half took courage;
_She_ would have her picture taken.
She came dressed beyond description,
Dressed in jewels and in satin
Far too gorgeous for an empress.
Gracefully she sat down sideways,
With a simper scarcely human,
Holding in her hand a bouquet
Rather larger than a cabbage.
All the while that she was sitting,
Still the lady chattered, chattered,
Like a monkey in the forest.
"Am I sitting still? " she asked him.
"Is my face enough in profile?
Shall I hold the bouquet higher?
Will it came into the picture? "
And the picture failed completely.

[Picture: Next the Son, the Stunning-Cantab]

Next the Son, the Stunning-Cantab:
He suggested curves of beauty,
Curves pervading all his figure,
Which the eye might follow onward,
Till they centered in the breast-pin,
Centered in the golden breast-pin.
He had learnt it all from Ruskin
(Author of 'The Stones of Venice,'
'Seven Lamps of Architecture,'
'Modern Painters,' and some others);
And perhaps he had not fully
Understood his author's meaning;
But, whatever was the reason,
All was fruitless, as the picture
Ended in an utter failure.

[Picture: Next to him the eldest daughter]

Next to him the eldest daughter:
She suggested very little,
Only asked if he would take her
With her look of 'passive beauty. '
Her idea of passive beauty
Was a squinting of the left-eye,
Was a drooping of the right-eye,
Was a smile that went up sideways
To the corner of the nostrils.
Hiawatha, when she asked him,
Took no notice of the question,
Looked as if he hadn't heard it;
But, when pointedly appealed to,
Smiled in his peculiar manner,
Coughed and said it 'didn't matter,'
Bit his lip and changed the subject.
Nor in this was he mistaken,
As the picture failed completely.
So in turn the other sisters.

[Picture: Last, the youngest son was taken]

Last, the youngest son was taken:
Very rough and thick his hair was,
Very round and red his face was,
Very dusty was his jacket,
Very fidgety his manner.
And his overbearing sisters
Called him names he disapproved of:
Called him Johnny, 'Daddy's Darling,'
Called him Jacky, 'Scrubby School-boy. '
And, so awful was the picture,
In comparison the others
Seemed, to one's bewildered fancy,
To have partially succeeded.
Finally my Hiawatha
Tumbled all the tribe together,
('Grouped' is not the right expression),
And, as happy chance would have it
Did at last obtain a picture
Where the faces all succeeded:
Each came out a perfect likeness.
Then they joined and all abused it,
Unrestrainedly abused it,
As the worst and ugliest picture
They could possibly have dreamed of.
'Giving one such strange expressions--
Sullen, stupid, pert expressions.
Really any one would take us
(Any one that did not know us)
For the most unpleasant people! '
(Hiawatha seemed to think so,
Seemed to think it not unlikely).
All together rang their voices,
Angry, loud, discordant voices,
As of dogs that howl in concert,
As of cats that wail in chorus.
But my Hiawatha's patience,
His politeness and his patience,
Unaccountably had vanished,
And he left that happy party.
Neither did he leave them slowly,
With the calm deliberation,
The intense deliberation
Of a photographic artist:
But he left them in a hurry,
Left them in a mighty hurry,
Stating that he would not stand it,
Stating in emphatic language
What he'd be before he'd stand it.
Hurriedly he packed his boxes:
Hurriedly the porter trundled
On a barrow all his boxes:
Hurriedly he took his ticket:
Hurriedly the train received him:
Thus departed Hiawatha.

[Picture: Thus departed Hiawatha]




MELANCHOLETTA


WITH saddest music all day long
She soothed her secret sorrow:
At night she sighed "I fear 'twas wrong
Such cheerful words to borrow.
Dearest, a sweeter, sadder song
I'll sing to thee to-morrow. "

I thanked her, but I could not say
That I was glad to hear it:
I left the house at break of day,
And did not venture near it
Till time, I hoped, had worn away
Her grief, for nought could cheer it!

[Picture: At night she signed]

My dismal sister! Couldst thou know
The wretched home thou keepest!
Thy brother, drowned in daily woe,
Is thankful when thou sleepest;
For if I laugh, however low,
When thou'rt awake, thou weepest!

I took my sister t'other day
(Excuse the slang expression)
To Sadler's Wells to see the play
In hopes the new impression
Might in her thoughts, from grave to gay
Effect some slight digression.

I asked three gay young dogs from town
To join us in our folly,
Whose mirth, I thought, might serve to drown
My sister's melancholy:
The lively Jones, the sportive Brown,
And Robinson the jolly.

The maid announced the meal in tones
That I myself had taught her,
Meant to allay my sister's moans
Like oil on troubled water:
I rushed to Jones, the lively Jones,
And begged him to escort her.

Vainly he strove, with ready wit,
To joke about the weather--
To ventilate the last '_on dit_'--
To quote the price of leather--
She groaned "Here I and Sorrow sit:
Let us lament together! "

I urged "You're wasting time, you know:
Delay will spoil the venison. "
"My heart is wasted with my woe!
There is no rest--in Venice, on
The Bridge of Sighs! " she quoted low
From Byron and from Tennyson.

I need not tell of soup and fish
In solemn silence swallowed,
The sobs that ushered in each dish,
And its departure followed,
Nor yet my suicidal wish
To _be_ the cheese I hollowed.

Some desperate attempts were made
To start a conversation;
"Madam," the sportive Brown essayed,
"Which kind of recreation,
Hunting or fishing, have you made
Your special occupation? "

Her lips curved downwards instantly,
As if of india-rubber.
"Hounds _in full cry_ I like," said she:
(Oh how I longed to snub her! )
"Of fish, a whale's the one for me,
_It is so full of blubber_! "

The night's performance was "King John. "
"It's dull," she wept, "and so-so! "
Awhile I let her tears flow on,
She said they soothed her woe so!
At length the curtain rose upon
'Bombastes Furioso. '

In vain we roared; in vain we tried
To rouse her into laughter:
Her pensive glances wandered wide
From orchestra to rafter--
"_Tier upon tier_! " she said, and sighed;
And silence followed after.

[Picture: Sighing at the table]




A VALENTINE


[Sent to a friend who had complained that I was glad enough to see him
when he came, but didn't seem to miss him if he stayed away. ]

And cannot pleasures, while they last,
Be actual unless, when past,
They leave us shuddering and aghast,
With anguish smarting?
And cannot friends be firm and fast,
And yet bear parting?

And must I then, at Friendship's call,
Calmly resign the little all
(Trifling, I grant, it is and small)
I have of gladness,
And lend my being to the thrall
Of gloom and sadness?

And think you that I should be dumb,
And full _dolorum omnium_,
Excepting when _you_ choose to come
And share my dinner?
At other times be sour and glum
And daily thinner?

Must he then only live to weep,
Who'd prove his friendship true and deep
By day a lonely shadow creep,
At night-time languish,
Oft raising in his broken sleep
The moan of anguish?

The lover, if for certain days
His fair one be denied his gaze,
Sinks not in grief and wild amaze,
But, wiser wooer,
He spends the time in writing lays,
And posts them to her.

And if the verse flow free and fast,
Till even the poet is aghast,
A touching Valentine at last
The post shall carry,
When thirteen days are gone and past
Of February.

Farewell, dear friend, and when we meet,
In desert waste or crowded street,
Perhaps before this week shall fleet,
Perhaps to-morrow.
I trust to find _your_ heart the seat
Of wasting sorrow.




THE THREE VOICES


The First Voice


HE trilled a carol fresh and free,
He laughed aloud for very glee:
There came a breeze from off the sea:

[Picture: There came a breeze from off the sea]

It passed athwart the glooming flat--
It fanned his forehead as he sat--
It lightly bore away his hat,

All to the feet of one who stood
Like maid enchanted in a wood,
Frowning as darkly as she could.

With huge umbrella, lank and brown,
Unerringly she pinned it down,
Right through the centre of the crown.

Then, with an aspect cold and grim,
Regardless of its battered rim,
She took it up and gave it him.

A while like one in dreams he stood,
Then faltered forth his gratitude
In words just short of being rude:

For it had lost its shape and shine,
And it had cost him four-and-nine,
And he was going out to dine.

[Picture: Unerringly she pinned it down]

"To dine! " she sneered in acid tone.
"To bend thy being to a bone
Clothed in a radiance not its own! "

The tear-drop trickled to his chin:
There was a meaning in her grin
That made him feel on fire within.

"Term it not 'radiance,'" said he:
"'Tis solid nutriment to me.
Dinner is Dinner: Tea is Tea. "

And she "Yea so? Yet wherefore cease?
Let thy scant knowledge find increase.
Say 'Men are Men, and Geese are Geese. '"

He moaned: he knew not what to say.
The thought "That I could get away! "
Strove with the thought "But I must stay.

"To dine! " she shrieked in dragon-wrath.
"To swallow wines all foam and froth!
To simper at a table-cloth!

"Say, can thy noble spirit stoop
To join the gormandising troup
Who find a solace in the soup?

"Canst thou desire or pie or puff?
Thy well-bred manners were enough,
Without such gross material stuff. "

"Yet well-bred men," he faintly said,
"Are not willing to be fed:
Nor are they well without the bread. "

Her visage scorched him ere she spoke:
"There are," she said, "a kind of folk
Who have no horror of a joke.

"Such wretches live: they take their share
Of common earth and common air:
We come across them here and there:

"We grant them--there is no escape--
A sort of semi-human shape
Suggestive of the man-like Ape. "

"In all such theories," said he,
"One fixed exception there must be.
That is, the Present Company. "

Baffled, she gave a wolfish bark:
He, aiming blindly in the dark,
With random shaft had pierced the mark.

She felt that her defeat was plain,
Yet madly strove with might and main
To get the upper hand again.

Fixing her eyes upon the beach,
As though unconscious of his speech,
She said "Each gives to more than each. "

He could not answer yea or nay:
He faltered "Gifts may pass away. "
Yet knew not what he meant to say.

"If that be so," she straight replied,
"Each heart with each doth coincide.
What boots it? For the world is wide. "

[Picture: He faltered "Gifts may pass away"]

"The world is but a Thought," said he:
"The vast unfathomable sea
Is but a Notion--unto me. "

And darkly fell her answer dread
Upon his unresisting head,
Like half a hundredweight of lead.

"The Good and Great must ever shun
That reckless and abandoned one
Who stoops to perpetrate a pun.

"The man that smokes--that reads the _Times_--
That goes to Christmas Pantomimes--
Is capable of _any_ crimes! "

He felt it was his turn to speak,
And, with a shamed and crimson cheek,
Moaned "This is harder than Bezique! "

But when she asked him "Wherefore so? "
He felt his very whiskers glow,
And frankly owned "I do not know. "

[Picture: This is harder than Bezique! ]

While, like broad waves of golden grain,
Or sunlit hues on cloistered pane,
His colour came and went again.

Pitying his obvious distress,
Yet with a tinge of bitterness,
She said "The More exceeds the Less. "

"A truth of such undoubted weight,"
He urged, "and so extreme in date,
It were superfluous to state. "

Roused into sudden passion, she
In tone of cold malignity:
"To others, yea: but not to thee. "

But when she saw him quail and quake,
And when he urged "For pity's sake! "
Once more in gentle tones she spake.

"Thought in the mind doth still abide
That is by Intellect supplied,
And within that Idea doth hide:

"And he, that yearns the truth to know,
Still further inwardly may go,
And find Idea from Notion flow:

"And thus the chain, that sages sought,
Is to a glorious circle wrought,
For Notion hath its source in Thought. "

So passed they on with even pace:
Yet gradually one might trace
A shadow growing on his face.

[Picture: A shadow growing on his face]



The Second Voice


[Picture: They walked beside the wave-worn beach]

They walked beside the wave-worn beach;
Her tongue was very apt to teach,
And now and then he did beseech

She would abate her dulcet tone,
Because the talk was all her own,
And he was dull as any drone.

She urged "No cheese is made of chalk":
And ceaseless flowed her dreary talk,
Tuned to the footfall of a walk.

Her voice was very full and rich,
And, when at length she asked him "Which? "
It mounted to its highest pitch.

He a bewildered answer gave,
Drowned in the sullen moaning wave,
Lost in the echoes of the cave.

He answered her he knew not what:
Like shaft from bow at random shot,
He spoke, but she regarded not.

She waited not for his reply,
But with a downward leaden eye
Went on as if he were not by

Sound argument and grave defence,
Strange questions raised on "Why? " and "Whence? "
And wildly tangled evidence.

When he, with racked and whirling brain,
Feebly implored her to explain,
She simply said it all again.

Wrenched with an agony intense,
He spake, neglecting Sound and Sense,
And careless of all consequence:

"Mind--I believe--is Essence--Ent--
Abstract--that is--an Accident--
Which we--that is to say--I meant--"

When, with quick breath and cheeks all flushed,
At length his speech was somewhat hushed,
She looked at him, and he was crushed.

It needed not her calm reply:
She fixed him with a stony eye,
And he could neither fight nor fly.

While she dissected, word by word,
His speech, half guessed at and half heard,
As might a cat a little bird.

[Picture: He spake, neglecting Sound and Sense]

Then, having wholly overthrown
His views, and stripped them to the bone,
Proceeded to unfold her own.

"Shall Man be Man? And shall he miss
Of other thoughts no thought but this,
Harmonious dews of sober bliss?

"What boots it? Shall his fevered eye
Through towering nothingness descry
The grisly phantom hurry by?

"And hear dumb shrieks that fill the air;
See mouths that gape, and eyes that stare
And redden in the dusky glare?

"The meadows breathing amber light,
The darkness toppling from the height,
The feathery train of granite Night?

"Shall he, grown gray among his peers,
Through the thick curtain of his tears
Catch glimpses of his earlier years,

[Picture: Shall Man be Man? ]

"And hear the sounds he knew of yore,
Old shufflings on the sanded floor,
Old knuckles tapping at the door?

"Yet still before him as he flies
One pallid form shall ever rise,
And, bodying forth in glassy eyes

"The vision of a vanished good,
Low peering through the tangled wood,
Shall freeze the current of his blood. "

Still from each fact, with skill uncouth
And savage rapture, like a tooth
She wrenched some slow reluctant truth.

Till, like a silent water-mill,
When summer suns have dried the rill,
She reached a full stop, and was still.

Dead calm succeeded to the fuss,
As when the loaded omnibus
Has reached the railway terminus:

When, for the tumult of the street,
Is heard the engine's stifled beat,
The velvet tread of porters' feet.

With glance that ever sought the ground,
She moved her lips without a sound,
And every now and then she frowned.

He gazed upon the sleeping sea,
And joyed in its tranquillity,
And in that silence dead, but she

To muse a little space did seem,
Then, like the echo of a dream,
Harked back upon her threadbare theme.

Still an attentive ear he lent
But could not fathom what she meant:
She was not deep, nor eloquent.

He marked the ripple on the sand:
The even swaying of her hand
Was all that he could understand.

He saw in dreams a drawing-room,
Where thirteen wretches sat in gloom,
Waiting--he thought he knew for whom:

He saw them drooping here and there,
Each feebly huddled on a chair,
In attitudes of blank despair:

Oysters were not more mute than they,
For all their brains were pumped away,
And they had nothing more to say--

Save one, who groaned "Three hours are gone! "
Who shrieked "We'll wait no longer, John!
Tell them to set the dinner on! "

The vision passed: the ghosts were fled:
He saw once more that woman dread:
He heard once more the words she said.

He left her, and he turned aside:
He sat and watched the coming tide
Across the shores so newly dried.

[Picture: He sat and watched the coming tide]

He wondered at the waters clear,
The breeze that whispered in his ear,
The billows heaving far and near,

And why he had so long preferred
To hang upon her every word:
"In truth," he said, "it was absurd. "

[Picture: He sits]



The Third Voice


[Picture: Quick tears were raining down his face]

Not long this transport held its place:
Within a little moment's space
Quick tears were raining down his face

His heart stood still, aghast with fear;
A wordless voice, nor far nor near,
He seemed to hear and not to hear.

"Tears kindle not the doubtful spark.
If so, why not? Of this remark
The bearings are profoundly dark. "

"Her speech," he said, "hath caused this pain.
Easier I count it to explain
The jargon of the howling main,

"Or, stretched beside some babbling brook,
To con, with inexpressive look,
An unintelligible book. "

Low spake the voice within his head,
In words imagined more than said,
Soundless as ghost's intended tread:

"If thou art duller than before,
Why quittedst thou the voice of lore?
Why not endure, expecting more? "

"Rather than that," he groaned aghast,
"I'd writhe in depths of cavern vast,
Some loathly vampire's rich repast. "

[Picture: He groaned aghast]

"'Twere hard," it answered, "themes immense
To coop within the narrow fence
That rings _thy_ scant intelligence. "

"Not so," he urged, "nor once alone:
But there was something in her tone
That chilled me to the very bone.

"Her style was anything but clear,
And most unpleasantly severe;
Her epithets were very queer.

"And yet, so grand were her replies,
I could not choose but deem her wise;
I did not dare to criticise;

"Nor did I leave her, till she went
So deep in tangled argument
That all my powers of thought were spent. "

A little whisper inly slid,
"Yet truth is truth: you know you did. "
A little wink beneath the lid.

And, sickened with excess of dread,
Prone to the dust he bent his head,
And lay like one three-quarters dead

The whisper left him--like a breeze
Lost in the depths of leafy trees--
Left him by no means at his ease.

Once more he weltered in despair,
With hands, through denser-matted hair,
More tightly clenched than then they were.

When, bathed in Dawn of living red,
Majestic frowned the mountain head,
"Tell me my fault," was all he said.

When, at high Noon, the blazing sky
Scorched in his head each haggard eye,
Then keenest rose his weary cry.

And when at Eve the unpitying sun
Smiled grimly on the solemn fun,
"Alack," he sighed, "what _have_ I done? "

[Picture: Tortured, unaided, and alone]

But saddest, darkest was the sight,
When the cold grasp of leaden Night
Dashed him to earth, and held him tight.

Tortured, unaided, and alone,
Thunders were silence to his groan,
Bagpipes sweet music to its tone:

"What? Ever thus, in dismal round,
Shall Pain and Mystery profound
Pursue me like a sleepless hound,

"With crimson-dashed and eager jaws,
Me, still in ignorance of the cause,
Unknowing what I broke of laws? "

The whisper to his ear did seem
Like echoed flow of silent stream,
Or shadow of forgotten dream,

The whisper trembling in the wind:
"Her fate with thine was intertwined,"
So spake it in his inner mind:

[Picture: a scared dullard, gibbering low]

"Each orbed on each a baleful star:
Each proved the other's blight and bar:
Each unto each were best, most far:

"Yea, each to each was worse than foe:
Thou, a scared dullard, gibbering low,
AND SHE, AN AVALANCHE OF WOE! "




TEMA CON VARIAZIONI


[Why is it that Poetry has never yet been subjected to that process of
Dilution which has proved so advantageous to her sister-art Music? The
Diluter gives us first a few notes of some well-known Air, then a dozen
bars of his own, then a few more notes of the Air, and so on alternately:
thus saving the listener, if not from all risk of recognising the melody
at all, at least from the too-exciting transports which it might produce
in a more concentrated form. The process is termed "setting" by
Composers, and any one, that has ever experienced the emotion of being
unexpectedly set down in a heap of mortar, will recognise the
truthfulness of this happy phrase.

For truly, just as the genuine Epicure lingers lovingly over a morsel of
supreme Venison--whose every fibre seems to murmur "Excelsior!
"--yet
swallows, ere returning to the toothsome dainty, great mouthfuls of
oatmeal-porridge and winkles: and just as the perfect Connoisseur in
Claret permits himself but one delicate sip, and then tosses off a pint
or more of boarding-school beer: so also--

I NEVER loved a dear Gazelle--
_Nor anything that cost me much_:
_High prices profit those who sell_,
_But why should I be fond of such_?

To glad me with his soft black eye
_My son comes trotting home from school_;
_He's had a fight but can't tell why_--
_He always was a little fool_!

But, when he came to know me well,
_He kicked me out_, _her testy Sire_:
_And when I stained my hair_, _that Belle_
_Might note the change_, _and thus admire_

And love me, it was sure to dye
_A muddy green or staring blue_:
_Whilst one might trace_, _with half an eye_,
_The still triumphant carrot through_.




A GAME OF FIVES


[Picture: Five little girls]

FIVE little girls, of Five, Four, Three, Two, One:
Rolling on the hearthrug, full of tricks and fun.

Five rosy girls, in years from Ten to Six:
Sitting down to lessons--no more time for tricks.

Five growing girls, from Fifteen to Eleven:
Music, Drawing, Languages, and food enough for seven!

[Picture: Now tell me which you mean]

Five winsome girls, from Twenty to Sixteen:
Each young man that calls, I say "Now tell me which you _mean_! "

Five dashing girls, the youngest Twenty-one:
But, if nobody proposes, what is there to be done?

Five showy girls--but Thirty is an age
When girls may be _engaging_, but they somehow don't _engage_.

Five dressy girls, of Thirty-one or more:
So gracious to the shy young men they snubbed so much before!

* * * *

Five _passe_ girls--Their age? Well, never mind!
We jog along together, like the rest of human kind:
But the quondam "careless bachelor" begins to think he knows
The answer to that ancient problem "how the money goes"!




POETA FIT, NON NASCITUR


[Picture: Child on old man's knee]

"How shall I be a poet?
How shall I write in rhyme?
You told me once 'the very wish
Partook of the sublime. '
Then tell me how! Don't put me off
With your 'another time'! "

The old man smiled to see him,
To hear his sudden sally;
He liked the lad to speak his mind
Enthusiastically;
And thought "There's no hum-drum in him,
Nor any shilly-shally. "

"And would you be a poet
Before you've been to school?
Ah, well! I hardly thought you
So absolute a fool.
First learn to be spasmodic--
A very simple rule.

"For first you write a sentence,
And then you chop it small;
Then mix the bits, and sort them out
Just as they chance to fall:
The order of the phrases makes
No difference at all.

"Then, if you'd be impressive,
Remember what I say,
That abstract qualities begin
With capitals alway:
The True, the Good, the Beautiful--
Those are the things that pay!

"Next, when you are describing
A shape, or sound, or tint;
Don't state the matter plainly,
But put it in a hint;
And learn to look at all things
With a sort of mental squint. "

"For instance, if I wished, Sir,
Of mutton-pies to tell,
Should I say 'dreams of fleecy flocks
Pent in a wheaten cell'? "
"Why, yes," the old man said: "that phrase
Would answer very well.

"Then fourthly, there are epithets
That suit with any word--
As well as Harvey's Reading Sauce
With fish, or flesh, or bird--
Of these, 'wild,' 'lonely,' 'weary,' 'strange,'
Are much to be preferred. "

"And will it do, O will it do
To take them in a lump--
As 'the wild man went his weary way
To a strange and lonely pump'? "
"Nay, nay! You must not hastily
To such conclusions jump.

[Picture: The wild man went his weary way]

"Such epithets, like pepper,
Give zest to what you write;
And, if you strew them sparely,
They whet the appetite:
But if you lay them on too thick,
You spoil the matter quite!

"Last, as to the arrangement:
Your reader, you should show him,
Must take what information he
Can get, and look for no im-
mature disclosure of the drift
And purpose of your poem.

"Therefore, to test his patience--
How much he can endure--
Mention no places, names, or dates,
And evermore be sure
Throughout the poem to be found
Consistently obscure.

"First fix upon the limit
To which it shall extend:
Then fill it up with 'Padding'
(Beg some of any friend):
Your great SENSATION-STANZA
You place towards the end. "

"And what is a Sensation,
Grandfather, tell me, pray?
I think I never heard the word
So used before to-day:
Be kind enough to mention one
'_Exempli gratia_. '"

And the old man, looking sadly
Across the garden-lawn,
Where here and there a dew-drop
Yet glittered in the dawn,
Said "Go to the Adelphi,
And see the 'Colleen Bawn. '

"The word is due to Boucicault--
The theory is his,
Where Life becomes a Spasm,
And History a Whiz:
If that is not Sensation,
I don't know what it is.

"Now try your hand, ere Fancy
Have lost its present glow--"
"And then," his grandson added,
"We'll publish it, you know:
Green cloth--gold-lettered at the back--
In duodecimo! "

Then proudly smiled that old man
To see the eager lad
Rush madly for his pen and ink
And for his blotting-pad--
But, when he thought of _publishing_,
His face grew stern and sad.

[Picture: His face grew stern and sad]




SIZE AND TEARS


[Picture: When on the sandy shore I sit]

WHEN on the sandy shore I sit,
Beside the salt sea-wave,
And fall into a weeping fit
Because I dare not shave--
A little whisper at my ear
Enquires the reason of my fear.

I answer "If that ruffian Jones
Should recognise me here,
He'd bellow out my name in tones
Offensive to the ear:
He chaffs me so on being stout
(A thing that always puts me out). "

Ah me! I see him on the cliff!
Farewell, farewell to hope,
If he should look this way, and if
He's got his telescope!
To whatsoever place I flee,
My odious rival follows me!

For every night, and everywhere,
I meet him out at dinner;
And when I've found some charming fair,
And vowed to die or win her,
The wretch (he's thin and I am stout)
Is sure to come and cut me out!

[Picture: He's thin and I am stout]

The girls (just like them! ) all agree
To praise J. Jones, Esquire:
I ask them what on earth they see
About him to admire?
They cry "He is so sleek and slim,
It's quite a treat to look at him! "

They vanish in tobacco smoke,
Those visionary maids--
I feel a sharp and sudden poke
Between the shoulder-blades--
"Why, Brown, my boy! Your growing stout! "
(I told you he would find me out! )

"My growth is not _your_ business, Sir! "
"No more it is, my boy!
But if it's _yours_, as I infer,
Why, Brown, I give you joy!
A man, whose business prospers so,
Is just the sort of man to know!

"It's hardly safe, though, talking here--
I'd best get out of reach:
For such a weight as yours, I fear,
Must shortly sink the beach! "--
Insult me thus because I'm stout!
I vow I'll go and call him out!

[Picture: For such a weight as yours . . . ]




ATALANTA IN CAMDEN-TOWN


Ay, 'twas here, on this spot,
In that summer of yore,
Atalanta did not
Vote my presence a bore,
Nor reply to my tenderest talk "She had
heard all that nonsense before. "

She'd the brooch I had bought
And the necklace and sash on,
And her heart, as I thought,
Was alive to my passion;
And she'd done up her hair in the style that
the Empress had brought into fashion.

I had been to the play
With my pearl of a Peri--
But, for all I could say,
She declared she was weary,
That "the place was so crowded and hot, and
she couldn't abide that Dundreary. "

[Picture: On this spot . . . ]

Then I thought "Lucky boy!
'Tis for _you_ that she whimpers! "
And I noted with joy
Those sensational simpers:
And I said "This is scrumptious! "--a
phrase I had learned from the Devonshire shrimpers.

And I vowed "'Twill be said
I'm a fortunate fellow,
When the breakfast is spread,
When the topers are mellow,
When the foam of the bride-cake is white,
and the fierce orange-blossoms are yellow! "

O that languishing yawn!
O those eloquent eyes!
I was drunk with the dawn
Of a splendid surmise--
I was stung by a look, I was slain by a tear,
by a tempest of sighs.

Then I whispered "I see
The sweet secret thou keepest.
And the yearning for _ME_
That thou wistfully weepest!
And the question is 'License or Banns? ',
though undoubtedly Banns are the cheapest. "

"Be my Hero," said I,
"And let _me_ be Leander! "
But I lost her reply--
Something ending with "gander"--
For the omnibus rattled so loud that no
mortal could quite understand her.




THE LANG COORTIN'


The ladye she stood at her lattice high,
Wi' her doggie at her feet;
Thorough the lattice she can spy
The passers in the street,

"There's one that standeth at the door,
And tirleth at the pin:
Now speak and say, my popinjay,
If I sall let him in. "

Then up and spake the popinjay
That flew abune her head:
"Gae let him in that tirls the pin:
He cometh thee to wed. "

O when he cam' the parlour in,
A woeful man was he!
"And dinna ye ken your lover agen,
Sae well that loveth thee? "

[Picture: The popinjay]

"And how wad I ken ye loved me, Sir,
That have been sae lang away?
And how wad I ken ye loved me, Sir?
Ye never telled me sae. "

Said--"Ladye dear," and the salt, salt tear
Cam' rinnin' doon his cheek,
"I have sent the tokens of my love
This many and many a week.

"O didna ye get the rings, Ladye,
The rings o' the gowd sae fine?
I wot that I have sent to thee
Four score, four score and nine. "

"They cam' to me," said that fair ladye.
"Wow, they were flimsie things! "
Said--"that chain o' gowd, my doggie to howd,
It is made o' thae self-same rings. "

"And didna ye get the locks, the locks,
The locks o' my ain black hair,
Whilk I sent by post, whilk I sent by box,
Whilk I sent by the carrier? "

"They cam' to me," said that fair ladye;
"And I prithee send nae mair! "
Said--"that cushion sae red, for my doggie's head,
It is stuffed wi' thae locks o' hair. "

"And didna ye get the letter, Ladye,
Tied wi' a silken string,
Whilk I sent to thee frae the far countrie,
A message of love to bring? "

"It cam' to me frae the far countrie
Wi' its silken string and a';
But it wasna prepaid," said that high-born maid,
"Sae I gar'd them tak' it awa'. "

"O ever alack that ye sent it back,
It was written sae clerkly and well!
Now the message it brought, and the boon that it sought,
I must even say it mysel'. "

Then up and spake the popinjay,
Sae wisely counselled he.
"Now say it in the proper way:
Gae doon upon thy knee! "

The lover he turned baith red and pale,
Went doon upon his knee:
"O Ladye, hear the waesome tale
That must be told to thee!

"For five lang years, and five lang years,
I coorted thee by looks;
By nods and winks, by smiles and tears,
As I had read in books.

"For ten lang years, O weary hours!
I coorted thee by signs;
By sending game, by sending flowers,
By sending Valentines.

"For five lang years, and five lang years,
I have dwelt in the far countrie,
Till that thy mind should be inclined
Mair tenderly to me.

"Now thirty years are gane and past,
I am come frae a foreign land:
I am come to tell thee my love at last--
O Ladye, gie me thy hand! "

The ladye she turned not pale nor red,
But she smiled a pitiful smile:
"Sic' a coortin' as yours, my man," she said
"Takes a lang and a weary while! "

[Picture: And out and laughed the popinjay]

And out and laughed the popinjay,
A laugh of bitter scorn:
"A coortin' done in sic' a way,
It ought not to be borne! "

Wi' that the doggie barked aloud,
And up and doon he ran,
And tugged and strained his chain o' gowd,
All for to bite the man.

"O hush thee, gentle popinjay!
O hush thee, doggie dear!
There is a word I fain wad say,
It needeth he should hear! "

Aye louder screamed that ladye fair
To drown her doggie's bark:
Ever the lover shouted mair
To make that ladye hark:

Shrill and more shrill the popinjay
Upraised his angry squall:
I trow the doggie's voice that day
Was louder than them all!

[Picture: O hush thee, gentle gentle popinjay! ]

The serving-men and serving-maids
Sat by the kitchen fire:
They heard sic' a din the parlour within
As made them much admire.

Out spake the boy in buttons
(I ween he wasna thin),
"Now wha will tae the parlour gae,
And stay this deadlie din? "

And they have taen a kerchief,
Casted their kevils in,
For wha will tae the parlour gae,
And stay that deadlie din.

When on that boy the kevil fell
To stay the fearsome noise,
"Gae in," they cried, "whate'er betide,
Thou prince of button-boys! "

Syne, he has taen a supple cane
To swinge that dog sae fat:
The doggie yowled, the doggie howled
The louder aye for that.

[Picture: The doggie ceased his noise]

Syne, he has taen a mutton-bane--
The doggie ceased his noise,
And followed doon the kitchen stair
That prince of button-boys!

Then sadly spake that ladye fair,
Wi' a frown upon her brow:
"O dearer to me is my sma' doggie
Than a dozen sic' as thou!

"Nae use, nae use for sighs and tears:
Nae use at all to fret:
Sin' ye've bided sae well for thirty years,
Ye may bide a wee langer yet! "

Sadly, sadly he crossed the floor
And tirled at the pin:
Sadly went he through the door
Where sadly he cam' in.

"O gin I had a popinjay
To fly abune my head,
To tell me what I ought to say,
I had by this been wed.

"O gin I find anither ladye,"
He said wi' sighs and tears,
"I wot my coortin' sall not be
Anither thirty years

"For gin I find a ladye gay,
Exactly to my taste,
I'll pop the question, aye or nay,
In twenty years at maist. "

[Picture: Sadly went he through the door]




FOUR RIDDLES


[THESE consist of two Double Acrostics and two Charades.

No. I. was written at the request of some young friends, who had gone to
a ball at an Oxford Commemoration--and also as a specimen of what might be
done by making the Double Acrostic _a connected poem_ instead of what it
has hitherto been, a string of disjointed stanzas, on every conceivable
subject, and about as interesting to read straight through as a page of a
Cyclopaedia. The first two stanzas describe the two main words, and each
subsequent stanza one of the cross "lights. "

No. II. was written after seeing Miss Ellen Terry perform in the play of
"Hamlet. " In this case the first stanza describes the two main words.

No. III. was written after seeing Miss Marion Terry perform in Mr.
Gilbert's play of "Pygmalion and Galatea. " The three stanzas
respectively describe "My First," "My Second," and "My Whole. "]

I

THERE was an ancient City, stricken down
With a strange frenzy, and for many a day
They paced from morn to eve the crowded town,
And danced the night away.

I asked the cause: the aged man grew sad:
They pointed to a building gray and tall,
And hoarsely answered "Step inside, my lad,
And then you'll see it all. "

* * * * *

Yet what are all such gaieties to me
Whose thoughts are full of indices and surds?

_x_2 + 7_x_ + 53 = 11/3

But something whispered "It will soon be done:
Bands cannot always play, nor ladies smile:
Endure with patience the distasteful fun
For just a little while! "

A change came o'er my Vision--it was night:
We clove a pathway through a frantic throng:
The steeds, wild-plunging, filled us with affright:
The chariots whirled along.

Within a marble hall a river ran--
A living tide, half muslin and half cloth:
And here one mourned a broken wreath or fan,
Yet swallowed down her wrath;

And here one offered to a thirsty fair
(His words half-drowned amid those thunders tuneful)
Some frozen viand (there were many there),
A tooth-ache in each spoonful.

There comes a happy pause, for human strength
Will not endure to dance without cessation;
And every one must reach the point at length
Of absolute prostration.

At such a moment ladies learn to give,
To partners who would urge them over-much,
A flat and yet decided negative--
Photographers love such.

There comes a welcome summons--hope revives,
And fading eyes grow bright, and pulses quicken:
Incessant pop the corks, and busy knives
Dispense the tongue and chicken.

Flushed with new life, the crowd flows back again:
And all is tangled talk and mazy motion--
Much like a waving field of golden grain,
Or a tempestuous ocean.

And thus they give the time, that Nature meant
For peaceful sleep and meditative snores,
To ceaseless din and mindless merriment
And waste of shoes and floors.

And One (we name him not) that flies the flowers,
That dreads the dances, and that shuns the salads,
They doom to pass in solitude the hours,
Writing acrostic-ballads.

How late it grows! The hour is surely past
That should have warned us with its double knock?
The twilight wanes, and morning comes at last--
"Oh, Uncle, what's o'clock? "

The Uncle gravely nods, and wisely winks.
It _may_ mean much, but how is one to know?
He opens his mouth--yet out of it, methinks,
No words of wisdom flow.



II


EMPRESS of Art, for thee I twine
This wreath with all too slender skill.
Forgive my Muse each halting line,
And for the deed accept the will!

* * * * *

O day of tears! Whence comes this spectre grim,
Parting, like Death's cold river, souls that love?
Is not he bound to thee, as thou to him,
By vows, unwhispered here, yet heard above?

And still it lives, that keen and heavenward flame,
Lives in his eye, and trembles in his tone:
And these wild words of fury but proclaim
A heart that beats for thee, for thee alone!

But all is lost: that mighty mind o'erthrown,
Like sweet bells jangled, piteous sight to see!
"Doubt that the stars are fire," so runs his moan,
"Doubt Truth herself, but not my love for thee! "

A sadder vision yet: thine aged sire
Shaming his hoary locks with treacherous wile!
And dost thou now doubt Truth to be a liar?
And wilt thou die, that hast forgot to smile?

Nay, get thee hence! Leave all thy winsome ways
And the faint fragrance of thy scattered flowers:
In holy silence wait the appointed days,
And weep away the leaden-footed hours.



III.


THE air is bright with hues of light
And rich with laughter and with singing:
Young hearts beat high in ecstasy,
And banners wave, and bells are ringing:
But silence falls with fading day,
And there's an end to mirth and play.
Ah, well-a-day

Rest your old bones, ye wrinkled crones!
The kettle sings, the firelight dances.
Deep be it quaffed, the magic draught
That fills the soul with golden fancies!
For Youth and Pleasance will not stay,
And ye are withered, worn, and gray.
Ah, well-a-day!

O fair cold face! O form of grace,
For human passion madly yearning!
O weary air of dumb despair,
From marble won, to marble turning!
"Leave us not thus! " we fondly pray.
"We cannot let thee pass away! "
Ah, well-a-day!



IV.


MY First is singular at best:
More plural is my Second:
My Third is far the pluralest--
So plural-plural, I protest
It scarcely can be reckoned!

My First is followed by a bird:
My Second by believers
In magic art: my simple Third
Follows, too often, hopes absurd
And plausible deceivers.

My First to get at wisdom tries--
A failure melancholy!
My Second men revered as wise:
My Third from heights of wisdom flies
To depths of frantic folly.

My First is ageing day by day:
My Second's age is ended:
My Third enjoys an age, they say,
That never seems to fade away,
Through centuries extended.

My Whole? I need a poet's pen
To paint her myriad phases:
The monarch, and the slave, of men--
A mountain-summit, and a den
Of dark and deadly mazes--

A flashing light--a fleeting shade--
Beginning, end, and middle
Of all that human art hath made
Or wit devised! Go, seek _her_ aid,
If you would read my riddle!