No More Learning

Perhaps you're not aware
That, if you don't behave, you'll soon
Be chuckling to another tune--
And so you'd best take care! '

"That's the right way to cure a Sprite
Of such-like goings-on--
But gracious me! It's getting light!
Good-night, old Turnip-top, good-night! "
A nod, and he was gone.

[Illustration]


CANTO VII.

Sad Souvenaunce.

[Illustration]

"What's this? " I pondered. "Have I slept?
Or can I have been drinking? "
But soon a gentler feeling crept
Upon me, and I sat and wept
An hour or so, like winking.

"No need for Bones to hurry so! "
I sobbed. "In fact, I doubt
If it was worth his while to go--
And who is Tibbs, I'd like to know,
To make such work about?

"If Tibbs is anything like me,
It's _possible_," I said,
"He won't be over-pleased to be
Dropped in upon at half-past three,
After he's snug in bed.

"And if Bones plagues him anyhow--
Squeaking and all the rest of it,
As he was doing here just now--
_I_ prophesy there'll be a row,
And Tibbs will have the best of it! "

Then, as my tears could never bring
The friendly Phantom back,
It seemed to me the proper thing
To mix another glass, and sing
The following Coronach.

[Illustration: "AND TIBBS WILL HAVE THE BEST OF IT"]

'_And art thou gone, beloved Ghost?
Best of Familiars!
Nay then, farewell, my duckling roast,
Farewell, farewell, my tea and toast,
My meerschaum and cigars! _

'_The hues of life are dull and gray,
The sweets of life insipid,
When thou, my charmer, art away--
Old Brick, or rather, let me say,
Old Parallelepiped! _'

Instead of singing Verse the Third,
I ceased--abruptly, rather:
But, after such a splendid word,
I felt that it would be absurd
To try it any farther.

So with a yawn I went my way
To seek the welcome downy,
And slept, and dreamed till break of day
Of Poltergeist and Fetch and Fay
And Leprechaun and Brownie!

For years I've not been visited
By any kind of Sprite;
Yet still they echo in my head,
Those parting words, so kindly said,
"Old Turnip-top, good-night! "

[Illustration]




ECHOES.


Lady Clara Vere de Vere
Was eight years old, she said:
Every ringlet, lightly shaken, ran itself in golden thread.

She took her little porringer:
Of me she shall not win renown:
For the baseness of its nature shall have strength to drag her down.

"Sisters and brothers, little Maid?
There stands the Inspector at thy door:
Like a dog, he hunts for boys who know not two and two are four. "

"Kind words are more than coronets,"
She said, and wondering looked at me:
"It is the dead unhappy night, and I must hurry home to tea. "




A SEA DIRGE.

[Illustration]


There are certain things--as, a spider, a ghost,
The income-tax, gout, an umbrella for three--
That I hate, but the thing that I hate the most
Is a thing they call the Sea.

Pour some salt water over the floor--
Ugly I'm sure you'll allow it to be:
Suppose it extended a mile or more,
_That's_ very like the Sea.

Beat a dog till it howls outright--
Cruel, but all very well for a spree:
Suppose that he did so day and night,
_That_ would be like the Sea.

I had a vision of nursery-maids;
Tens of thousands passed by me--
All leading children with wooden spades,
And this was by the Sea.

Who invented those spades of wood?
Who was it cut them out of the tree?
None, I think, but an idiot could--
Or one that loved the Sea.

It is pleasant and dreamy, no doubt, to float
With 'thoughts as boundless, and souls as free':
But, suppose you are very unwell in the boat,
How do you like the Sea?

[Illustration: "AND THIS WAS BY THE SEA"]

There is an insect that people avoid
(Whence is derived the verb 'to flee').
Where have you been by it most annoyed?
In lodgings by the Sea.

If you like your coffee with sand for dregs,
A decided hint of salt in your tea,
And a fishy taste in the very eggs--
By all means choose the Sea.

And if, with these dainties to drink and eat,
You prefer not a vestige of grass or tree,
And a chronic state of wet in your feet,
Then--I recommend the Sea.

For _I_ have friends who dwell by the coast--
Pleasant friends they are to me!
It is when I am with them I wonder most
That any one likes the Sea.

They take me a walk: though tired and stiff,
To climb the heights I madly agree;
And, after a tumble or so from the cliff,
They kindly suggest the Sea.

I try the rocks, and I think it cool
That they laugh with such an excess of glee,
As I heavily slip into every pool
That skirts the cold cold Sea.

[Illustration]




Y{e} Carpette Knyghte.


I have a horse--a ryghte goode horse--
Ne doe I envye those
Who scoure y{e} playne yn headye course
Tyll soddayne on theyre nose
They lyghte wyth unexpected force--
Yt ys--a horse of clothes.

I have a saddel--"Say'st thou soe?
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 y{e} fleecye brute.

I have a bytte--a ryghte good bytte--
As shall bee seene yn tyme.
Y{e} 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.

[Illustration: "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.

[Illustration]

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 in tempests.
Grand, heroic was the notion:
Yet the picture failed entirely:
Failed, because he moved a little,
Moved, because he couldn't help it.
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.

[Illustration: "FIRST THE GOVERNOR, THE FATHER"]

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 come into the picture? "
And the picture failed completely.
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.

[Illustration: "NEXT THE SON, THE STUNNING-CANTAB"]

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.

[Illustration: "NEXT TO HIM THE ELDEST DAUGHTER"]

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.

[Illustration: "LAST, THE YOUNGEST SON WAS TAKEN"]

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.

[Illustration]




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!

[Illustration: "AT NIGHT SHE SIGHED"]

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! "
A while 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.

[Illustration]




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.

[Illustration]

He trilled a carol fresh and free:
He laughed aloud for very glee:
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.

[Illustration: "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 troop
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 unwilling 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. "

[Illustration: "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. "

[Illustration: "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 tone 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.

[Illustration]


The Second Voice.

[Illustration]

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.

[Illustration: "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,

[Illustration: "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,
Harped 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.

[Illustration: "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. "

[Illustration]


The Third Voice.

[Illustration]

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. "

[Illustration: "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? "

[Illustration: "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:

[Illustration: "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.

[Illustration]


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!

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

[Illustration: "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.

[Illustration]


"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.

"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!

[Illustration: "THE WILD MAN WENT HIS WEARY WAY"]

"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.

[Illustration]




THE HUNTING OF THE SNARK,

An Agony in Eight Fits.


PREFACE.

If--and the thing is wildly possible--the charge of writing nonsense were
ever brought against the author of this brief but instructive poem, it
would be based, I feel convinced, on the line (in p. 144)

"Then the bowsprit got mixed with the rudder sometimes:"

In view of this painful possibility, I will not (as I might) appeal
indignantly to my other writings as a proof that I am incapable of such a
deed: I will not (as I might) point to the strong moral purpose of this
poem itself, to the arithmetical principles so cautiously inculcated in
it, or to its noble teachings in Natural History--I will take the more
prosaic course of simply explaining how it happened.

The Bellman, who was almost morbidly sensitive about appearances, used to
have the bowsprit unshipped once or twice a week to be revarnished; and it
more than once happened, when the time came for replacing it, that no one
on board could remember which end of the ship it belonged to. They knew it
was not of the slightest use to appeal to the Bellman about it--he would
only refer to his Naval Code, and read out in pathetic tones Admiralty
Instructions which none of them had ever been able to understand--so it
generally ended in its being fastened on, anyhow, across the rudder. The
helmsman[1] used to stand by with tears in his eyes: _he_ knew it was all
wrong, but alas! Rule 42 of the Code, "_No one shall speak to the Man at
the Helm_," had been completed by the Bellman himself with the words "_and
the Man at the Helm shall speak to no one_. " So remonstrance was
impossible, and no steering could be done till the next varnishing day.
During these bewildering intervals the ship usually sailed backwards.

As this poem is to some extent connected with the lay of the Jabberwock,
let me take this opportunity of answering a question that has often been
asked me, how to pronounce "slithy toves. " The "i" in "slithy" is long, as
in "writhe"; and "toves" is pronounced so as to rhyme with "groves. "
Again, the first "o" in "borogoves" is pronounced like the "o" in
"borrow. " I have heard people try to give it the sound of the "o" in
"worry. " Such is Human Perversity.

[1] This office was usually undertaken by the Boots, who found in it
a refuge from the Baker's constant complaints about the insufficient
blacking of his three pair of boots.

This also seems a fitting occasion to notice the other hard words in that
poem. Humpty-Dumpty's theory, of two meanings packed into one word like a
portmanteau, seems to me the right explanation for all.

For instance, take the two words "fuming" and "furious. " Make up your mind
that you will say both words, but leave it unsettled which you will say
first. Now open your mouth and speak. If your thoughts incline ever so
little towards "fuming," you will say "fuming-furious"; if they turn, by
even a hair's breadth towards "furious," you will say "furious-fuming";
but if you have that rarest of gifts, a perfectly balanced mind, you will
say "frumious. "

Supposing that, when Pistol uttered the well-known words--

"Under which king, Bezonian? Speak or die! "

Justice Shallow had felt certain that it was either William or Richard,
but had not been able to settle which, so that he could not possibly say
either name before the other, can it be doubted that, rather than die, he
would have gasped out "Rilchiam! "


Fit the First.

_THE LANDING. _

"Just the place for a Snark! " the Bellman cried,
As he landed his crew with care;
Supporting each man on the top of the tide
By a finger entwined in his hair.

"Just the place for a Snark! I have said it twice:
That alone should encourage the crew.
Just the place for a Snark! I have said it thrice:
What I tell you three times is true. "

The crew was complete: it included a Boots--
A maker of Bonnets and Hoods--
A Barrister, brought to arrange their disputes--
And a Broker, to value their goods.

[Illustration: "SUPPORTING EACH MAN ON THE TOP OF THE TIDE"]

A Billiard-marker, whose skill was immense,
Might perhaps have won more than his share--
But a Banker, engaged at enormous expense,
Had the whole of their cash in his care.

There was also a Beaver, that paced on the deck,
Or would sit making lace in the bow:
And had often (the Bellman said) saved them from wreck,
Though none of the sailors knew how.

There was one who was famed for the number of things
He forgot when he entered the ship:
His umbrella, his watch, all his jewels and rings,
And the clothes he had bought for the trip.

He had forty-two boxes, all carefully packed,
With his name painted clearly on each:
But since he omitted to mention the fact,
They were all left behind on the beach.

The loss of his clothes hardly mattered, because
He had seven coats on when he came,
With three pair of boots--but the worst of it was
He had wholly forgotten his name.

[Illustration: "HE HAD WHOLLY FORGOTTEN HIS NAME"]

He would answer to "Hi! " or to any loud cry,
Such as "Fry me! " or "Fritter my wig! "
To "What-you-may-call-um! " or "What-was-his-name! "
But especially "Thing-um-a jig! "

While, for those who preferred a more forcible word,
He had different names from these:
His intimate friends called him "Candle-ends,"
And his enemies "Toasted-cheese. "

"His form is ungainly--his intellect small--"
(So the Bellman would often remark)--
"But his courage is perfect! And that, after all,
Is the thing that one needs with a Snark. "

He would joke with hyaenas, returning their stare
With an impudent wag of the head:
And he once went a walk, paw-in-paw, with a bear,
"Just to keep up its spirits," he said.

He came as a Baker: but owned, when too late--
And it drove the poor Bellman half-mad--
He could only bake Bride-cake--for which, I may state,
No materials were to be had.

The last of the crew needs especial remark,
Though he looked an incredible dunce:
He had just one idea--but, that one being "Snark,"
The good Bellman engaged him at once.

He came as a Butcher: but gravely declared,
When the ship had been sailing a week,
He could only kill Beavers. The Bellman looked scared,
And was almost too frightened to speak:

But at length he explained, in a tremulous tone,
There was only one Beaver on board;
And that was a tame one he had of his own,
Whose death would be deeply deplored.

The Beaver, who happened to hear the remark,
Protested, with tears in its eyes,
That not even the rapture of hunting the Snark
Could atone for that dismal surprise!

It strongly advised that the Butcher should be
Conveyed in a separate ship:
But the Bellman declared that would never agree
With the plans he had made for the trip:

[Illustration: "THE BEAVER KEPT LOOKING THE OPPOSITE WAY"]

Navigation was always a difficult art,
Though with only one ship and one bell:
And he feared he must really decline, for his part,
Undertaking another as well.

The Beaver's best course was, no doubt, to procure
A second-hand dagger-proof coat--
So the Baker advised it--and next, to insure
Its life in some Office of note:

This the Banker suggested, and offered for hire
(On moderate terms), or for sale,
Two excellent Policies, one Against Fire,
And one Against Damage From Hail.

Yet still, ever after that sorrowful day,
Whenever the Butcher was by,
The Beaver kept looking the opposite way,
And appeared unaccountably shy.


Fit the Second.

_THE BELLMAN'S SPEECH. _

The Bellman himself they all praised to the skies--
Such a carriage, such ease and such grace!
Such solemnity, too! One could see he was wise,
The moment one looked in his face!

He had bought a large map representing the sea,
Without the least vestige of land:
And the crew were much pleased when they found it to be
A map they could all understand.

"What's the good of Mercator's North Poles and Equators,
Tropics, Zones, and Meridian Lines? "
So the Bellman would cry: and the crew would reply
"They are merely conventional signs!

[Illustration: OCEAN-CHART. ]

"Other maps are such shapes, with their islands and capes!
But we've got our brave Captain to thank"
(So the crew would protest) "that he's bought _us_ the best--
A perfect and absolute blank! "

This was charming, no doubt: but they shortly found out
That the Captain they trusted so well
Had only one notion for crossing the ocean,
And that was to tingle his bell.

He was thoughtful and grave--but the orders he gave
Were enough to bewilder a crew.
When he cried "Steer to starboard, but keep her head larboard! "
What on earth was the helmsman to do?

Then the bowsprit got mixed with the rudder sometimes:
A thing, as the Bellman remarked,
That frequently happens in tropical climes,
When a vessel is, so to speak, "snarked. "

But the principal failing occurred in the sailing,
And the Bellman, perplexed and distressed,
Said he _had_ hoped, at least, when the wind blew due East,
That the ship would _not_ travel due West!

But the danger was past--they had landed at last,
With their boxes, portmanteaus, and bags:
Yet at first sight the crew were not pleased with the view
Which consisted of chasms and crags.

The Bellman perceived that their spirits were low,
And repeated in musical tone
Some jokes he had kept for a season of woe--
But the crew would do nothing but groan.

He served out some grog with a liberal hand,
And bade them sit down on the beach:
And they could not but own that their Captain looked grand,
As he stood and delivered his speech.

"Friends, Romans, and countrymen, lend me your ears!
(They were all of them fond of quotations:
So they drank to his health, and they gave him three cheers
While he served out additional rations).

"We have sailed many months, we have sailed many weeks,
(Four weeks to the month you may mark),
But never as yet ('tis your Captain who speaks)
Have we caught the least glimpse of a Snark!

"We have sailed many weeks, we have sailed many days,
(Seven days to the week I allow),
But a Snark, on the which we might lovingly gaze,
We have never beheld till now!

"Come, listen, my men, while I tell you again
The five unmistakable marks
By which you may know, wheresoever you go,
The warranted genuine Snarks.

"Let us take them in order. The first is the taste,
Which is meagre and hollow, but crisp:
Like a coat that is rather too tight in the waist,
With a flavour of Will-o-the wisp.

"Its habit of getting up late you'll agree
That it carries too far, when I say
That it frequently breakfasts at five o'clock tea,
And dines on the following day.

"The third is its slowness in taking a jest.
Should you happen to venture on one,
It will sigh like a thing that is deeply distressed:
And it always looks grave at a pun.

"The fourth is its fondness for bathing-machines,
Which it constantly carries about,
And believes that they add to the beauty of scenes--
A sentiment open to doubt.

"The fifth is ambition. It next will be right
To describe each particular batch:
Distinguishing those that have feathers, and bite,
From those that have whiskers, and scratch.

"For, although common Snarks do no manner of harm,
Yet I feel it my duty to say
Some are Boojums--" The Bellman broke off in alarm,
For the Baker had fainted away.


Fit the Third.