Rossetti Archive Textual Transcription

Document Title: Poems. (Privately Printed.): A Proof (partial), Princeton/Troxell (copy 1)
Author: Dante Gabriel Rossetti
Date of publication: 1869 September 13
Printer: Strangeways and Walden
Edition: proof

The full Rossetti Archive record for this transcribed document is available.

Image of page [unpaginated] page: [unpaginated]
Manuscript Addition: [DGR], 1828-1882/Poems. (Privately printed)./[London, Strangeways and Walden, 1869]/A Proofs/September 12, 1869/ Copy 1. Corrected throughout/by Dante G. Rossetti. Provenance:/ Dante G. Rossetti (annotations); William/M. Rossetti (signature); Jerome Kern.
Editorial Description: A cover page carrying the library's description of the materials, hand printed.
Note: Pages i-iv not in this proof.
Image of page [1] page: [1]
Note: Page numbering is at upper center, though this first page is unpaginated. This page is actually the first of the volume's three sections. The section would eventually be headed “POEMS” on a separate half-title.
POEMS.

THE BLESSED DAMOZEL.
  • The blessed damozel leaned out
  • From the gold bar of Heaven;
  • Her eyes were deeper than the depth
  • Of waters stilled at even;
  • She had three lilies in her hand,
  • And the stars in her hair were seven.
  • Her robe, ungirt from clasp to hem,
  • No wrought flowers did adorn,
  • But a white rose of Mary's gift,
  • 10 For service meetly worn;
  • And her hair lying down her back
  • Was yellow like ripe corn.
  • Herseemed she scarce had been a day
  • One of God's choristers;
    Sig. B
    Image of page 2 page: 2
  • The wonder was not yet quite gone
  • From that still look of hers;
  • Albeit, to them she left, her day
  • Had counted as ten years.
  • (To one, it is ten years of years.
  • 20 . . . Yet now, and in this place,
  • Surely she lean'd o'er me—her hair
  • Fell all about my face. . . .
  • Nothing: the autumn fall of leaves.
  • The whole year sets apace.)
  • It was the rampart of God's house
  • That she was standing on;
  • By God built over the sheer depth
  • The which is Space begun;
  • So high, that looking downward thence
  • 30 She scarce could see the sun.
  • It lies in Heaven, across the flood
  • Of ether, as a bridge.
  • Beneath, the tides of day and night
  • With flame and darkness ridge
  • The void, as low as where this earth
  • Spins like a fretful midge.
  • She scarcely heard her sweet new friends;
    Added TextHeard hardly, some of her new friends
  • Amid their loving games
  • Softly they spake Spake evermore among themselves
  • 40 Their virginal chaste names;
    Image of page 3 page: 3
  • And the souls mounting up to God
  • Went by her like thin flames.
  • And still she bowed above the vast
  • Waste sea of worlds that swarm;
  • Until her bosom must have made
  • The bar she leaned on warm,
  • And the lilies lay as if asleep
  • Along her bended arm.
  • From the fixed place of Heaven she saw
  • 50 Time like a pulse shake fierce
  • Through all the worlds. Her gaze still strove
  • Within the gulf to pierce
  • Its path; and now she spoke as when
  • The stars sang in their spheres.
  • The sun was gone now; the curled moon
  • Was like a little feather
  • Fluttering far down the gulf; and now
  • She spoke through the still weather.
  • Her voice was like the voice the stars
  • 60 Had when they sang together.
  • ‘I wish that he were come to me,
  • For he will come,’ she said.
  • ‘Have I not prayed in Heaven?—on earth,
  • Lord, Lord, has he not pray'd?
  • Are not two prayers a perfect strength?
  • And shall I feel afraid?
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  • ‘When round his head the aureole clings,
  • And he is clothed in white,
  • I'll take his hand and go with him
  • 70 To the deep wells of light;
  • We will step down as to a stream,
  • And bathe there in God's sight.
  • ‘We two will stand beside that shrine,
  • Occult, withheld, untrod,
  • Whose lamps are stirred continually
  • With prayer sent up to God;
  • And see our old prayers, granted, melt
  • Each like a little cloud.
  • ‘We two will lie i' the shadow of
  • 80 That living mystic tree
  • Within whose secret growth the Dove
  • Is sometimes felt to be,
  • While every leaf that h His plumes touch
  • Saith h His n Name audibly.
  • ‘And I myself will teach to him,
  • I myself, lying so,
  • The songs I sing here; which his voice
  • Shall pause in, hushed and slow,
  • And find some knowledge at each pause,
  • 90 Or some new thing to know.’
  • ( Ah Sweet! Just now, in that bird's song,
  • Strove not her accents there,
Note: Pages 5 and 6, apparently containing the remainder of the poem, are missing from this set of proofs.
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NOCTURN.
  • Master of the murmuring courts
  • Where the shapes of sleep convene!—
  • When among thy dim resorts
    Added TextLo! my spirit here exhorts
  • This my soul in dreams hath been,
    Added TextAll the powers of thy demesne
  • What of her whom it hath seen?
    Added TextFor their aid to woo my queen.
  • No reports
    Added TextWhat reports
  • From those jealous courts I glean.
    Added TextYield thy jealous courts unseen?
  • Vapo urous, unaccountable,
  • Low they stand, Dreamland lies unknown to light,
  • 10Hollow like a breathing shell.
  • Ah! that in those halls I might
    Added TextAh! that from all dreams I might
  • Choose a dream for my delight!
    Added TextChoose one dream and guide its flight!
  • I know well
  • What her sleep should tell to-night.
  • There the dreams are multitudes:
  • Some whose bouyance waits not sleep,
  • Deep within the August woods;
  • Some that hum while rest may steep
  • Weary labour laid a-heap;
  • 20 Interludes,
  • Some, of grievous moods that weep.
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  • Thence are youth's warm fancies: there
  • Women thrill with whisperings
  • Valleys full of plaintive air;
  • There breathe perfumes; there in rings
  • Whirl the foam-bewildered springs;
  • Siren there
  • Winds her dizzy hair and sings.
  • Thence the one dream mutually
  • 30 Dreamed in bridal unison,
  • Less than waking ecstasy;
  • Half-formed visions that make moan
  • In the house of birth alone;
  • And what we
  • At death's wicket see, unknown.
  • But Lo! for mine own sleep, it lies
  • In one gracious form's queen's control,
  • Fair with honorable eyes,
  • Lamps of an auspicious soul:
  • 40 O their glance is loftiest dole,
  • Sweet and wise,
  • Wherein Love descries his goal.
  • Reft of her, my dreams are all
  • Clammy trance that fears the sky:
  • Changing footpaths shift and fall;
  • From polluted coverts nigh,
  • Miserable phantoms sigh;
  • Quakes the pall,
  • And the funeral goes by.
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Deleted Text
  • 50As, since man waxed deathly wise,
  • Secret somewhere on this earth
  • Unpermitted Eden lies,—
  • Thus within the world's wide girth
  • Hides she from my spirit's dearth,—
  • Paradise
  • Of a love that cries for birth.
  • Master, it is soothly said
  • That, as echoes of man's speech
  • Far in secret clefts are made,
  • 60 So do all men's bodies reach
  • Shadows o'er thy sunken beach,—
  • Shape or shade
  • In those halls pourtrayed of each?
  • Ah! might I, by thy good grace
  • Groping in the windy stair,
  • (Darkness and the breath of space
  • Like loud waters everywhere,)
  • Meeting mine own image there
  • Face to face,
  • 70 Send it from that place to her!
  • Nay, not I; but oh! do thou,
  • Master, from thy shadowkind
  • Call my body's phantom now:
  • Bid it bear its face declin'd
  • Till its flight her slumbers find,
  • And her brow
  • Feel its presence bow like wind.
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  • Where in groves the gracile Spring
  • Trembles, with mute orison
  • 80Confidently strengthening,
  • Water's voice and wind's as one
  • Shed an echo in the sun,
  • Soft as Spring,
  • Master, bid it sing and moan.
  • Song shall tell how glad and strong
  • Is the night she soothes alway;
  • Moan shall grieve with that parched tongue
  • Of the brazen hours of day:
  • Sounds as of the springtide they,
  • 90 Moan and song,
  • While the chill months long for May.
  • Not the prayers which with all leave
  • The world's fluent woes prefer,—
  • Not the praise the world doth give,
  • Dulcet fulsome whisperer;—
  • Let it yield man's love to her,
  • And achieve
  • Strength that shall not grieve or err.
  • Wheresoe'er my sleep befall,
  • 100 Both at night-watch, (let it say,)
  • And where round the sundial
  • The reluctant hours of day,
  • Heartless, hopeless of their way,
  • Rest and call;—
  • There her glance doth fall and stay.
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  • Suddenly her face is there:
  • So do mounting vapours wreathe
  • Subtle-scented transports where
  • The black firwood sets its teeth.
  • 110 Part the boughs and look beneath,—
  • Lilies share
  • Secret waters there, and breathe.
  • Master, bid my shadow bend
  • Whispering thus till birth of light,
  • Lest new shapes that sleep may send
  • Scatter all its work to flight;—
  • Master, master of the night,
  • Bid it spend
  • Speech, song, prayer, and end aright.
  • 120Yet, ah me! if at her head
  • There another phantom lean
  • Murmuring o'er the fragrant bed,—
  • Ah! and if my spirit's queen
  • Smile those alien words between,—
  • Ah! poor shade!
  • Shall it strive, or fade unseen?
  • Like a vapour wan and mute,
  • Like a flame, so let it pass;
  • One low sigh across her lute,
  • 130 One dull breath against her glass;
  • And to my sad soul, alas!
  • One salute
  • Cold as when death's foot shall pass.
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  • How should love's own messenger
  • Strive with love and be love's foe?
  • Master, nay! If thus in her ,
  • Sleep a wedded heart should show,—
  • Silent let mine image go,
  • Its old share
  • 140 Of thy sunken air to know.
  • Then, too, let all hopes of mine,
  • All vain hopes by night and day,
  • Master, at thy summoning sign
  • Rise up pallid and obey.
  • Dreams, if this is thus, were they:—
  • Be they thine,
  • And to dreamland pine away.
  • (So, when some lost legion lies
    Added Text(So a chief, who all night lies
  • Ambushed where no help appears,—
  • 150 All night long their 'Mid his comrades' unseen eyes
  • Watching for the growth of spears,—
  • Like their ghosts, when as morning nears,
  • Dumb they See them rise,
  • Ready without sighs or tears.)
  • Yet from old time, life, not death,
  • Master, in thy rule is rife:
  • Lo! through thee, with mingling breath,
  • Adam woke beside his wife.
  • O Love bring me so, for strife,
  • 160 Force and faith,
  • Bring me so not death but life!
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  • Yea, to Love himself is pour'd
  • This frail song of hope and fear.
  • Thou art Love, of one accord
  • With kind Sleep to bring her here, near,
  • Still-eyed, deep-eyed, ah how dear!
  • Master, Lord,
  • In her name implor'd, O hear!
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Note: blank page
Note: Pages 15-16 not in this proof.
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Printer's Direction: Further out
Editorial Description: Lines 48-49 and 51-52 are marked for being moved “Further out” toward the left text margin.
Note: Lines 1-47 are missing from the text; the passage was printed on the missing pages 15-16 of this proof.
  • From their dead Past thou liv e 'st alone;
  • And still thy shadow is thine own
  • 50Even as of yore in Nineveh.
  • That day whereof we keep record,
  • When near thy city-gates the Lord
  • Sheltered his Jonah with a gourd,
  • This sun, (I said) here present, pour'd
  • Even thus this shadow that I see.
  • This shadow has been shed the same
  • From sun and moon,—from lamps which came
  • For prayer,—from fifteen days of flame,
  • The last, while smouldered to a name
  • 60 Sardanapalus' Nineveh.
  • Within thy shadow, haply, once
  • Sennacherib has knelt, whose sons
  • Smote him between the altar-stones:
  • Or pale Semiramis her zones
  • Of gold, her incense brought to thee,
  • In love for grace, in war for aid: . . . .
  • Ay, and who else? . . . . till 'neath thy shade
  • Within his trenches newly made
  • Last year the Christian knelt and pray'd—
  • 70 Not to thy strength—in Nineveh.*
Transcribed Footnote (page 17):

* During the excavations, the Tiyari workmen held their ser-

vices in the shadow of the great bulls . (Layard's Nineveh) ( Layard's “Nineveh.”) This

poem was written when the sculptures were first brought to

England.

Sig. C
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  • Now, thou poor god, within this hall
  • Where the blank windows blind the wall
  • From pedestal to pedestal,
  • The kind of light shall on thee fall
  • Which London takes the day to be:
  • While school-foundations in the act
  • Of holiday, three files compact,
  • Shall learn to view thee as a fact
  • Connected with that zealous tract:
  • 80 ‘Rome,—Babylon and Nineveh.’
  • Deemed they of this, those worshippers,
  • When, in some mythic chain of verse,
  • Which man shall not again rehearse,
  • The faces of thy ministers
  • Yearned pale with bitter ecstasy?
  • Greece, Egypt, Rome,—did any god
  • Before whose feet men knelt unshod
  • Deem that in this unblest abode
  • Another scarce more unknown god
  • 90 Should house with him from Nineveh?
  • Ah! in what quarries lay the stone
  • From which this pigmy pile has grown,
  • Unto man's need how long unknown,
  • Since thy vast temples, court and cone,
  • Rose far in desert history?
  • Ah! what is here that does not lie
  • All strange to thine awakened eye?
Note: The last three lines of this stanza appear on page 19, which is bound in after the next two duplicate proof pages of 17-18.
Image of page 17[a] page: 17[a]
Note: This is a duplicate proof of page 17 with a hand correction by DGR to the page note.
Note: Of the first stanza, only the last three lines of the original appear on the page.
  • From their dead Past thou livest alone;
  • And still thy shadow is thine own
  • Even as of yore in Nineveh.
  • That day whereof we keep record,
  • When near thy city-gates the Lord
  • Sheltered his Jonah with a gourd,
  • This sun, (I said) here present, pour'd
  • Even thus this shadow that I see.
  • This shadow has been shed the same
  • 10From sun and moon,—from lamps which came
  • For prayer,—from fifteen days of flame,
  • The last, while smouldered to a name
  • Sardanapalus' Nineveh.
  • Within thy shadow, haply, once
  • Sennacherib has knelt, whose sons
  • Smote him between the altar-stones:
  • Or pale Semiramis her zones
  • Of gold, her incense brought to thee,
  • In love for grace, in war for aid: . . . .
  • 20Ay, and who else? . . . . till 'neath thy shade
  • Within his trenches newly made
  • Last year the Christian knelt and pray'd—
  • Not to thy strength—in Nineveh.*
Transcribed Footnote (page 17[a]):

* During the excavations, the Tiyari workmen held their ser-

vices in the shadow of the great bulls (Layard's Nineveh Ch. IX). This

poem was written when the sculptures were first brought to

England.

Sig. C
Image of page 18[a] page: 18[a]
  • Now, thou poor god, within this hall
  • Where the blank windows blind the wall
  • From pedestal to pedestal,
  • The kind of light shall on thee fall
  • Which London takes the day to be:
  • While school-foundations in the act
  • 30Of holiday, three files compact,
  • Shall learn to view thee as a fact
  • Connected with that zealous tract:
  • ‘Rome,—Babylon and Nineveh.’
  • Deemed they of this, those worshippers,
  • When in some mythic chain of verse,
  • Which man shall not again rehearse,
  • The faces of thy ministers
  • Yearned pale with bitter ecstasy?
  • Greece, Egypt, Rome,—did any god
  • 40Before whose feet men knelt unshod
  • Deem that in this unblest abode
  • Another scarce more unknown god
  • Should house with him from Nineveh?
  • Ah! in what quarries lay the stone
  • From which this pigmy pile has grown,
  • Unto man's need how long unknown,
  • Since thy vast temples, court and cone,
  • Rose far in desert history?
  • Ah! what is here that does not lie
  • 50All strange to thine awakened eye?
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Editorial Description: Printer's notation for locating position of the text.
  • Ah! what is here can testify
  • (Save that dumb presence of the sky)
  • 100 Unto thy day and Nineveh?
  • Why, of those mummies in the room
  • Above, there might indeed have come
  • One out of Egypt to thy home,
  • An alien. Nay, but were not some
  • Of these thine own ‘antiquity?’
  • And now,—they and their gods and thou
  • All relics here together,—now
  • Whose profit? whether bull or cow,
  • Isis or Ibis, who or how,
  • 110 Whether of Thebes or Nineveh?
  • The consecrated metals found,
  • And ivory tablets, underground,
  • Winged teraphim and creatures crown'd,
  • When air and daylight filled the mound,
  • Fell into dust immediately.
  • And even as these, the images
  • Of awe and worship,—even as these,—
  • So, smitten with the sun's increase,
  • Her glory mouldered and did cease
  • 120 From immemorial Nineveh.
  • The day her builders made their halt,
  • Those cities of the lake of salt
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Editorial Description: Lines 131-132 are marked for being moved “Further out” toward the left text margin.
  • Stood firmly 'stablished without fault,
  • Made proud with pillars of basalt,
  • With sardonyx and porphyry.
  • The day that Jonah bore abroad
  • To Nineveh the voice of God,
  • A brackish lake lay in his road,
  • Where erst Pride fixed her sure abode,
  • 130 As then in royal Nineveh.
  • The day when he, Pride's lord and Man's,
  • Showed all the kingdoms at a glance
  • To Him before whose countenance
  • The years recede, the years advance,
  • And said, Fall down and worship me:—
  • 'Mid all the pomp beneath that look,
  • Then stirred there, haply, some rebuke,
  • Where to the wind the salt pools shook,
  • And in those tracts, of life forsook,
  • 140That knew thee not, O Nineveh!
  • Delicate harlot! On thy throne
  • Thou with a world beneath thee prone
  • In state for ages sat'st alone;
  • And needs were years and lustres flown
  • Ere strength of man could vanquish thee:
  • Whom even thy victor foes must bring,
  • Still royal, among maids that sing
  • As with doves' voices, taboring
  • Upon their breasts, unto the King,—
  • 150 A kingly conquest, Nineveh!
Note: Pages 21 and 22, apparently containing the remainder of the poem, are missing from this set of proofs.
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Note: These are duplicate proofs of pages 23-24.
AVE.*
  • Mother of the Fair Delight,
  • Thou handmaid perfect in God's sight,
  • Now sitting fourth beside the Three,
  • Thyself a woman-Trinity,—
  • Being a daughter borne to God,
  • Mother of Christ from stall to rood,
  • And wife unto the Holy Ghost:—
  • Oh when our need is uttermost,
  • Think that to such as death may strike
  • 10Thou once wert wast once sister sisterlike!
  • Thou headstone of humanity,
  • Groundstone of the great Mystery,
  • Fashioned like us, yet more than we!
  • Mind'st thou not (when June's heavy breath
  • Warmed the long days in Nazareth,)
  • That eve thou didst go forth to give
  • Thy flowers some drink that they might live
Transcribed Footnote (page 23[a]):

* This hymn was written as a prologue to a series of designs.

Art still identifies herself with all faiths for her own purposes:

and the emotional influence here employed demands above all an

inner standing-point.

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  • One faint night more amid the sands?
  • Far off the trees were as pale wands
  • 20Against the fervid sky: the sea
  • Sighed further off eternally
  • As human sorrow sighs in sleep.
  • Then gloried thy deep eyes, and deep
  • Within thine heart the song waxed loud:
  • It was to thee as though the cloud
  • Which shuts the inner shrine from view
  • Were molten, and thy God burned through:
  • Until a folding sense, like prayer,
  • Which is, as God is, everywhere,
  • 30Gathered about thee; and a voice
  • Spake to thee without any noise,
  • Being of the silence:—‘Hail,’ it said,
  • ‘Thou that art highly favourèd;
  • The Lord is with thee here and now;
  • Blessed among all women thou.’
  • Ah! knew'st thou of the end, when first
  • That Babe was on thy bosom nurs'd?—
  • Or when He tottered round thy knee
  • Did thy great sorrow dawn on thee?—
  • 40And through His boyhood, year by year
  • Eating with Him the Passover,
  • Didst thou discern confusedly
  • That holier sacrament, when He,
  • The bitter cup about to quaff,
  • Should break the bread and eat thereof?—
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Printer's Direction: Begin lower down, as explained at page 27.
Editorial Description: The note is cancelled. The reference is to page 27.
AVE.*
  • Mother of the Fair Delight,
  • Thou handmaid perfect in God's sight,
  • Now sitting fourth beside the Three,
  • Thyself a woman-Trinity,—
  • Being a daughter borne to God,
  • Mother of Christ from stall to rood,
  • And wife unto the Holy Ghost:—
  • Oh when our need is uttermost,
  • Think that to such as death may strike
  • 10Thou once wert sister sisterlike!
  • Thou headstone of humanity,
  • Groundstone of the great Mystery,
  • Fashioned like us, yet more than we!
  • Mind'st thou not (when June's heavy breath
  • Warmed the long days in Nazareth,)
  • That eve thou didst go forth to give
  • Thy flowers some drink that they might live
Transcribed Footnote (page 23):

* This hymn was written as a prologue to a series of designs.

Art still identifies herself with all faiths for her own purposes:

and the emotional influence here employed demands above all an

inner standing-point.

Image of page 24 page: 24
  • One faint night more amid the sands?
  • Far off the trees were as pale wands
  • 20Against the fervid sky: the sea
  • Sighed further off eternally
  • As human sorrow sighs in sleep.
  • Then gloried thy deep eyes, and deep
  • Within thine heart the song waxed loud:
  • It was to thee as though the cloud
  • Which shuts the inner shrine from view
  • Were molten, and thy God burned through:
  • Added TextThen suddenly the awe grew deep,
  • Added TextAs of a day to which all days
  • Added TextWere footsteps in God's secret ways:
  • Until a folding sense, like prayer,
  • Which is, as God is, everywhere,
  • Gathered about thee; and a voice
  • Spake to thee without any noise,
  • 30Being of the silence:—‘Hail,’ it said,
  • ‘Thou that art highly favourèd;
  • The Lord is with thee here and now;
  • Blessed among all women thou.’
  • Ah! knew'st thou of the end, when first
  • That Babe was on thy bosom nurs'd?—
  • Or when He tottered round thy knee
  • Did thy great sorrow dawn on thee?—
  • And through His boyhood, year by year
  • Eating with Him the Passover,
  • 40Didst thou discern confusedly
  • That holier sacrament, when He,
  • The bitter cup about to quaff,
  • Should break the bread and eat thereof?—
    Image of page 25 page: 25
  • Or came not yet the knowledge, even
  • Till on some day forecast in Heaven
  • His feet passed through thy door to press
  • Upon His Father's business?—
  • Or still was God's high secret kept?
  • Nay, but I think the whisper crept
  • 50Like growth through childhood. Work and play,
  • Things common to the course of day,
  • Awed thee with meanings unfulfill'd;
  • And all through girlhood, something still'd
  • Thy senses like the birth of light,
  • When thou hast trimmed thy lamp at night
  • Or washed thy garments in the stream;
  • To whose white bed had come the dream
  • That He was thine and thou wast His
  • Who feeds among the field-lilies.
  • 60O solemn shadow of the end
  • In that wise spirit long contain'd!
  • O awful end! and those unsaid
  • Long years when It was Finishèd!
  • Mind'st thou not (when the twilight gone
  • Left darkness in the house of John,)
  • Between the naked window-bars
  • That spacious vigil of the stars?—
  • For thou, a watcher even as they,
  • Wouldst rise from where throughout the day
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Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A” in the upper left corner, presumably to indicate this set of proofs.
  • 70Thou wroughtest raiment for His poor;
  • And, finding the fixed terms endure
  • Of day and night which never brought
  • Sounds of His coming chariot,
  • Wouldst lift through cloud-waste unexplor'd
  • Those eyes which said, ‘How long, O Lord?’
  • Then that disciple whom He loved,
  • Well heeding, haply would be moved
  • To ask thy blessing in His name;
  • And that one thought in both, the same
  • 80Though silent, then would clasp ye round
  • To weep together,—tears long bound,
  • Sick tears of patience, dumb and slow.
  • Yet, ‘Surely I come quickly,’—so
  • He said, from life and death gone home.
  • Amen; even so, Lord Jesus, come!’
  • But oh! what human tongue can speak
  • That day when death was sent to break
  • From the tir'd spirit, like a veil,
  • Its covenant with Gabriel
  • 90Endured at length unto the end?
  • What human thought can apprehend
  • That mystery of motherhood
  • When thy Beloved at length renew'd
  • The sweet communion severèd,—
  • His left hand underneath thine head
  • And His right hand embracing thee?—
  • Lo! He was thine, and this is He!
Image of page 27 page: 27
Printer's Direction: In resetting this poem (2 lines being omitted now at page 24) take care that the division between 2 paragraphs also does not come, as now, at the top of the present page. It will be necessary to begin this poem (page 23) two lines lower down, in order that the division between two paragraphs may not pass unperceived at the top of the present page.
Editorial Description: DGR's directions to the printer.
  • Soul, is it Faith, or Love, or Hope,
  • That lets me see her standing up
  • 100Where the light of the Throne is bright?
  • Unto the left, unto the right,
  • The cherubim, arrayed, conjoint,
  • Float inward to a golden point,
  • And from between the seraphim
  • The glory issues like a hymn.
  • O Mary Mother, be not loth
  • To listen,—thou whom the stars clothe,
  • Who seest and mayst not be seen!
  • Hear us at last, O Mary Queen!
  • 110Into our shadow bend thy face,
  • Bowing thee from the secret place,
  • O Mary Virgin, full of grace!
Image of page [28] page: [28]
Note: blank page
Image of page 29 page: 29
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A” in the upper left corner, presumably to indicate this set of proofs.
THE STAFF AND SCRIP.
  • ‘Who rules owns these lands?’ the Pilgrim said.
  • ‘Stranger, Queen Blanchelys.’
  • ‘And who has thus harried them?’ he said.
  • ‘It was Duke Luke did this:
  • God's ban be his!’
  • The Pilgrim said: ‘Where is your house?
  • I'll rest there, with your will.’
  • ‘Ye've but to climb these blackened boughs
  • And ye'll see it over the hill,
  • 10 For it burns still.’
  • ‘Which road, to seek your Queen?’ said he.
  • ‘Nay, nay, but with some wound
  • Thou'lt fly back hither, it may be,
  • And by thy blood i'the ground
  • My place be found.’
  • ‘Friend, stay in peace. God keep thy head,
  • And mine, where I will go;
  • For He is here and there,’ he said.
  • He passed the hill-side, slow,
  • 20 And stood below.
Image of page 30 page: 30
  • The Queen sat idle by her loom:
  • She heard the arras stir,
  • And looked up sadly: through the room
  • The sweetness sickened her
  • Of musk and myrrh.
  • Her women, standing two and two,
  • In silence combed the fleece.
  • The pilgrim said, ‘Peace be with you,
  • Lady;’ and bent his knees.
  • 30 She answered, ‘Peace.’
  • Her eyes were like the wave within;
  • Like water-reeds the poise
  • Of her soft body, dainty thin;
  • And like the water's noise
  • Her plaintive voice.
  • For him, the stream had never well'd
  • In desert tracts malign
  • So sweet; nor had he ever felt
  • So faint in the sunshine
  • 40 Of Palestine.
  • Right so, he knew that he saw weep
  • Each night through every dream
  • The Queen's own face, confused in sleep
  • With visages supreme
  • Not known to him.
Note: Pages 31-38, apparently containing the remainder of the poem, are missing from this set of proofs.
Image of page 39 page: 39
Note: The epigraph, added by DGR by hand at the top of the page, was never published with the poem.
  • Voudrais-tu Veux-tu bien prendre la vie
  • D'un homme ton ennemi?
  • Fair un cire son image
  • Et mets devant un feu en cage.
  • Pendant que diras son nom
    Added TextPour trois jours son nom diras,—
  • Added Text Pour trois jours diras son nom
  • Added Text En Faire jours ou [?]
  • Chair et cire se fondra is.”
La Souricière aux Sorcières. (1580.)
SISTER HELEN.
  • ‘Why did you melt your waxen man,
  • Sister Helen?
  • To-night is the third since you began.’
  • ‘The days were long, yet the days ran,
  • Little brother.’
  • ( O Mother, Mary Mother,
  • Three days to-day, between Hell and Heaven!)
  • ‘But if you have done your work aright,
  • Sister Helen,
  • 10 You'll let me play, for you said I might.’
  • ‘Be very still in your play to-night,
  • Little brother.’
  • ( O Mother, Mary Mother,
  • Third night, to-night, between Hell and Heaven!)
  • ‘You said it must melt ere vesper-bell,
  • Sister Helen;
  • If now it be molten, all is well.’
  • ‘Even so,—nay, peace! you cannot tell,
  • Little brother.’
  • 20 ( O Mother, Mary Mother,
  • O what is this, between Hell and Heaven?)
Image of page 40 page: 40
  • ‘Oh the waxen knave was plump to-day,
  • Sister Helen;
  • How like dead folk he has dropped away!’
  • ‘Nay now, of the dead what can you say,
  • Little brother?’
  • ( O Mother, Mary Mother,
  • What of the dead, between Hell and Heaven?)
  • ‘See, see, the sunken pile of wood,
  • 30 Sister Helen,
  • Shines through the thinned wax red as blood!’
  • ‘Nay now, when looked you yet on blood,
  • Little brother?’
  • ( O Mother, Mary Mother,
  • How pale she is, between Hell and Heaven!)
  • ‘Now close your eyes, for they're sick and sore,
  • Sister Helen,
  • And I'll play without the gallery door.’
  • ‘Aye, let me rest,—I'll lie on the floor,
  • 40 Little brother,’
  • ( O Mother, Mary Mother,
  • What rest to-night, between Hell and Heaven?)
  • ‘Here high up in the balcony,
  • Sister Helen,
  • The moon flies face to face with me.’
  • ‘Aye, look and say whatever you see,
  • Little brother.’
  • ( O Mother, Mary Mother,
  • What sight to-night, between Hell and Heaven?)
Image of page 39[a] page: 39[a]
Note: These are duplicate proofs of pages 39-40.
SISTER HELEN.
  • ‘Why did you melt your waxen man,
  • Sister Helen?
  • To-night To-day is the third since you began.’
  • ‘The days were/days time was long, yet the time ran,
  • Little brother.’
  • ( O Mother, Mary Mother,
  • Three days to-day, between Hell and Heaven!)
  • ‘But if you have done your work aright,
  • Sister Helen,
  • 10 You'll let me play, for you said I might.’
  • ‘Be very still in your play to-night,
  • Little brother.’
  • ( O Mother, Mary Mother,
  • Third night, to-night, between Hell and Heaven!)
  • ‘You said it must melt ere vesper-bell,
  • Sister Helen;
  • If now it be molten, all is well.’
  • ‘Even so,—nay, peace! you cannot tell,
  • Little brother.’
  • 20 ( O Mother, Mary Mother,
  • O what is this, between Hell and Heaven?)
Image of page 40[a] page: 40[a]
  • ‘Oh the waxen knave was plump to-day,
  • Sister Helen;
  • How like dead folk he has dropped away!’
  • ‘Nay now, of the dead what can you say,
  • Little brother?’
  • ( O Mother, Mary Mother,
  • What of the dead, between Hell and Heaven?)
  • ‘See, see, the sunken pile of wood,
  • 30 Sister Helen,
  • Shines through the thinned wax red as blood!’
  • ‘Nay now, when looked you yet on blood,
  • Little brother?’
  • ( O Mother, Mary Mother,
  • How pale she is, between Hell and Heaven!)
  • ‘Now close your eyes, for they're sick and sore,
  • Sister Helen,
  • And I'll play without the gallery door.’
  • ‘Aye, let me rest,—I'll lie on the floor,
  • 40 Little brother,’
  • ( O Mother, Mary Mother,
  • What rest to-night, between Hell and Heaven?)
  • ‘Here high up in the balcony,
  • Sister Helen,
  • The moon flies face to face with me.’
  • ‘Aye, look and say whatever you see,
  • Little brother.’
  • ( O Mother, Mary Mother,
  • What sight to-night, between Hell and Heaven?)
Note: Pages 41-42 not in this proof.
Image of page 43 page: 43
  • ‘But he says, till you take back your ban,
  • Sister Helen,
  • His soul would pass, yet never can.’
  • ‘Nay then, shall I slay a living man,
  • 110 Little brother?’
  • ( O Mother, Mary Mother,
  • A living soul, between Hell and Heaven!)
  • ‘But he calls for ever on your name,
  • Sister Helen,
  • And says that his body melts with he melts before a flame.’
  • ‘My heart was there till his body came, for his pleasure fared the same,
  • Little brother.’
  • ( O Mother, Mary Mother,
  • Fire at the heart, between Hell and Heaven!)
  • 120‘Here's Holm of West Holm riding fast,
  • Sister Helen,
  • For I know the white plume on the blast.’
  • ‘The hour, the sweet hour I forecast,
  • Little brother!’
  • ( O Mother, Mary Mother,
  • Is the hour sweet, between Hell and Heaven?)
  • ‘He stops to speak, and he stills his horse,
  • Sister Helen;
  • But his words are drowned in the wind's course.’
  • 130‘Nay hear, nay hear, you must hear perforce,
  • Little brother!’
  • ( O Mother, Mary Mother,
  • A word ill heard, between Hell and Heaven!)
Image of page 44 page: 44
  • ‘Oh he says that Holm of Ewern's cry,
  • Sister Helen,
  • Is ever to see you ere he die.’
  • ‘He sees me in earth, in moon and sky,
  • Little brother!’
  • ( O Mother, Mary Mother,
  • 140 Earth, moon and sky, between Hell and Heaven!)
  • ‘He sends a ring and a broken coin,
  • Sister Helen,
  • And bids you mind the banks of Boyne.’
  • ‘What else he broke will he ever join,
  • Little brother?’
  • ( O Mother, Mary Mother,
  • Oh, never more, between Hell and Heaven!)
  • ‘He yields you these and craves full fain,
  • Sister Helen,
  • 150 You pardon him in his mortal pain.’
  • ‘What else he took will he give again,
  • Little brother?’
  • ( O Mother, Mary Mother,
  • No more again, between Hell and Heaven!)
  • ‘He calls your name in an agony,
  • Sister Helen,
  • That even dead Love must weep to see.’
  • ‘Hate, born of Love, is blind as he,
  • Little brother!’
  • 160 ( O Mother, Mary Mother,
  • Love turned to hate, between Hell and Heaven!)
Note: Pages 45-48, apparently containing the remainder of the poem, are missing from this set of proofs.
Image of page 49 page: 49
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A” in the upper left corner, presumably to indicate this set of proofs.
STRATTON WATER.
  • ‘O have you seen the Stratton flood
  • That's great with rain to-day?
  • It runs beneath your wall, Lord Sands,
  • Full of the new-mown hay.
  • ‘I led your hounds to Hutton bank
  • To bathe at early morn:
  • They got their bath by Borrowbrake
  • Above the standing corn.’
  • Out from the castle-stair Lord Sands
  • 10 Looked up the western lea;
  • The rook was grieving on her nest,
  • The flood was round her tree.
  • Over the castle-wall Lord Sands
  • Looked down the eastern hill:
  • The stakes swam free among the boats,
  • The flood was rising still.
  • ‘What's yonder far below that lies
  • So white against the slope?’
  • ‘O it's a sail o' your bonny barks
  • 20 The waters have washed up.
Sig. E
Image of page 50 page: 50
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A” in the upper left corner, presumably to indicate this set of proofs.
  • ‘But I have never a sail so white,
  • And the water's not yet there.’
  • ‘O it's the swans o' your bonny lake
  • The rising flood doth scare.’
  • ‘The swans they would not hold so still,
  • So high they would not win.’
  • ‘O it's Joyce my wife has spread her smock
  • And fears to fetch it in.’
  • ‘Nay, knave, it's neither sail nor swans,
  • 30 Nor aught that you can say;
  • For though your wife might leave her smock,
  • Herself she'd bring away.’
  • Lord Sands has passed the turret-stair,
  • The court, and yard, and all;
  • The kine were in the byre that day,
  • The nags were in the stall.
  • Lord Sands has won the weltering slope
  • Whereon the white shape lay:
  • The clouds were still above the hill,
  • 40 And the shape was still as they.
  • Oh pleasant is the gaze of life
  • And sad is death's sightless blind head;
  • But awful are the living eyes
  • In the face of one thought dead.
  • ‘O Jean! and is it me, thy love,
    Added Text“O Jean, O love! and is it me
  • Thy ghost has come to seek?’
Image of page 51 page: 51
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A” in the upper left corner, presumably to indicate this set of proofs.
  • ‘Nay, wait another hour, Lord Sands,
  • And then Be sure my ghost shall speak.’
  • A moment stood he as a stone,
  • 50 Then grovelled to his knee.
  • ‘O Jean, O Jean my love, O love,
  • Rise up and come with me!’
  • ‘O once before you bade me come,
  • And it's here you have brought me!’
  • ‘O many's the sweet word of love
  • You've spoken oft to me;
  • But all that I have from you to-day
  • Is the rain on my body.
  • ‘And many are the gifts of love
  • 60 You've promised oft to me;
  • But the gift of yours I keep to-day
  • Is the babe in my body.
  • ‘O it's not in any earthly bed
  • That first my babe I'll see;
  • For I have brought my body here
  • That the flood may cover me.’
  • His face was close against her face,
  • His hands of hers were fain:
  • O her wet cheeks were hot with tears,
  • 70 Her wet hands cold with rain.
  • ‘Now keep you well, my brother Hugh,—
  • You told me she was dead!
    Image of page 52 page: 52
  • As wan as your towers be to-day,
  • To-morrow they'll be red.
  • ‘Look down, look down, my false mother,
  • That bade me not to grieve:
  • You'll look up when our marriage fires
  • Are lit to-morrow eve.
  • ‘O more than one and more than two
  • 80 The sorrow of this shall see:
  • But it's to-morrow, love, for them,—
  • To-day's for thee and me.’
  • He's drawn her face between his hands
  • And her pale mouth to his:
  • No bird that was so still that day
  • Chirps sweeter than his kiss.
  • He's ta'en her by the short girdle
  • And by the dripping sleeve:
  • ‘Go fetch Sir Jock my mother's priest,—
  • 90 You'll ask of him no leave.
  • ‘O it's yet ten minutes to one half-hour to reach the kirk
  • And ten one for the marriage-rite;
  • And kirk and castle and castle-lands
  • Shall be our babe's to-night.’
  • ‘The flood's in the kirkyard, Lord Sands,
  • And round the belfry-stair.’
  • ‘I bade ye fetch the priest,’ he said,
  • ‘Myself shall bring him there.
Image of page 53 page: 53
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A” in the upper left corner, presumably to indicate this set of proofs.
  • ‘It's for the lilt of wedding bells
  • 100 We'll have the rain flood/sleet/hail to pour,
  • And for the clink of bridle-reins
  • The plashing of the oar.’
  • Beneath them on the nether hill
  • A boat was floating wide:
  • Lord Sands swam out and caught the oars
  • And backed to the hill-side.
  • He's wrapped her in a green mantle
  • And set her softly in , ;
  • Added TextHer hair was wet upon her face,
  • 110
    Added TextHer face was grey and thin;
  • And ‘Oh!’ she said, ‘lie still, my babe,
  • It's out you must not win!’
  • But woe was with the bonny priest
    Added TextBut woe's my heart for Father John!
  • When the water splashed his chin.
    Added TextAs hard as he might pray,
  • Added TextThere seemed no help but Noah's ark
  • Added TextOr Jonah's fish that day.
  • The first strokes that the oars struck
  • Were over the broad leas;
  • The next strokes that the oars struck
  • 120 They pushed beneath the trees;
  • The last stroke that the oars struck,
  • The good boat's head was met,
  • And there the door of the kirkyard
  • Stood like a ferry-gate.
  • He's set his hand upon the bar
  • And lightly leaped within:
  • He's lifted her to his left shoulder,
  • Her knees beside his chin.
Image of page 54 page: 54
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A” in the upper left corner, presumably to indicate this set of proofs.
Note: In line 130a, the word came is heavily underlined
Note: There is an extraneous insertion mark at the end of line 139.
  • The flood was on the graves knee-deep,
    Added TextThe graves stood deep beneath the flood
  • 130 As still the rain came down;
    Added TextUnder the rain alone;
  • And when the foot-stone made him slip,
  • He held by the head-stone.
  • The empty boat thrawed i' the wind,
  • Against the postern tied.
  • ‘Hold still, you've brought my love with me,
  • You shall take back my bride.’
  • And ‘Oh!’ she said, ‘on men's shoulders
  • I well had thought to wend,
  • And well to travel with a priest,
  • 140 But not to have cared or ken 'd.
  • ‘And oh!’ she said, ‘it's well this way
  • That I thought to have fared,—
  • Not to have lighted at the kirk
  • But stopped in the kirkyard.
  • ‘For it's oh and oh I prayed to God,
  • Whose rest I hoped to win,
  • That when to-night at your board-head
  • You'd bid the feast begin,
  • This water past your window-sill
  • 150 Might bear my body in.’
  • Now make the white bed warm and soft
  • And greet the merry morn.
  • The night the mother should have died
  • The young son shall be born.
Note: Pages 55-58 not in this proof.
Image of page 59 page: 59
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A” in the upper left corner, presumably to indicate this set of proofs.
Note: DGR marked the final e in line 5 for elision but cancelled the change.
THE CARD-DEALER.
  • Could you not drink her gaze like wine?
  • Yet though its splendour swoon
  • Into the silence languidly
  • As a tune into a tune,
  • Those eyes unravel the coiled night
  • And know the stars at noon.
  • The gold that's heaped beside her hand,
  • In truth rich prize it were;
  • And rich the dreams that wreathe her brows
  • 10 With magic stillness there;
  • And he were rich who should unwind
  • That woven golden hair.
  • Around her, where she sits, the dance
  • Now breathes its eager heat;
  • And not more lightly or more true
  • Fall there the dancer's feet ,
  • Than fall her cards on the bright board
  • As 'twere a an heart that beat.
Image of page 60 page: 60
  • Her fingers let them softly through,
  • 20 Smooth polished silent things;
  • And each one as it falls reflects
  • In swift light-shadowings,
  • Crimson and purple, green and blue,
  • The great eyes of her rings.
  • Whom plays she with? With thee, who lov'st
  • Those gems upon her hand;
  • With me, who search her secret brows;
  • With all men, bless e 'd or bann'd.
  • We play together, she and we,
  • 30 Within a vain strange land:
  • A land without any order,
  • Day even as night, (one saith,)—
  • Where who lieth down ariseth not
  • Nor the sleeper awakeneth;
  • A land of darkness as darkness itself
  • And of the shadow of death.
  • What be her cards, you ask? Even these:—
  • The heart, that doth but crave
  • Yet more, being fed; the diamond,
  • 40 Skilled to make base seem brave;
  • The club, for smiting in the dark;
  • The spade, to dig a grave.
  • And do you ask what game she plays?
  • With him, 'tis lost or won;
  • Image of page 61 page: 61
  • With thee it is playing still; with him him
  • It is not well begun;
  • But 'tis a game she plays with all
  • Beneath the sway o' the sun.
  • Thou seest the card that falls,—she knows
  • 50 The card that followeth:
  • Her game in thy tongue is called Life,
  • As ebbs thy daily breath:
  • When she shall speak, thou'lt learn her tongue
  • And know she calls it Death.
Image of page [62] page: [62]
Note: blank page
Image of page 63 page: 63
Printer's Direction: Before this print M. S. My Sister's Sleep
Editorial Description: DGR's note to the printer.
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A” in the upper left corner, presumably to indicate this set of proofs.
AN OLD SONG ENDED.
  • ‘How should I your true love know
  • From another one?’
  • ‘By his cockle-hat and staff
  • And his sandal-shoon.’
  • ‘And what signs have told you now
  • That he hastens home?’
  • ‘Lo! the spring is nearly gone,
  • He is nearly come.’
  • ‘For a token is there nought,
  • 10 Say, that he should bring?’
  • ‘He will bear a ring I gave
  • And another ring.’
  • ‘How may I, when he shall ask,
  • Tell him who lies there?’
  • ‘Nay, but leave my face unveiled
  • And unbound my hair.’
  • ‘Can you say to me some word
  • I shall say to him?’
  • ‘Say I'm looking in his eyes
  • 20 Though my eyes are dim.’
Image of page [64] page: [64]
Note: blank page
Image of page 65 page: 65
Printer's Direction: Before this print M. S. The Seed of David
Editorial Description: DGR's note to the printer.
Editorial Description: The number 180 has been added to the top of the page; that pagination corresponds to the A2 proofs.
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A” in the upper left corner, presumably to indicate this set of proofs.
THE BALLAD OF DEAD LADIES.

(François Villon, 1450.)
  • Tell me now in what hidden way is
  • Lady Flora the lovely Roman?
  • Where's Hipparchia, and where is Thais,
  • Neither of them the fairer woman?
  • Where is Echo, beheld of no man,
  • Only heard on river and mere,—
  • She whose beauty was more than human? . . .
  • But where are the snows of yester-year?
  • Where's Héloise, the learned nun,
  • 10 For whose sake Abeillard, I ween,
  • Lost manhood and put priesthood on?
  • (How dire, O Love, thy sway hath been!)
  • And where, I pray you, is the Queen
  • Who willed that Buridan should steer
  • Sewed in a sack's mouth down the Seine? . . .
  • But where are the snows of yester-year?
  • White Queen Blanche, like a queen of lilies,
  • With a voice like any mermaiden,—
  • Bertha Broadfoot, Beatrice, Alice,
  • 20 And Ermengarde the lady of Maine,—
Sig. F
Image of page 66 page: 66
  • And that good Joan whom Englishmen
  • At Rouen doomed and burned her there,—
  • Mother of God, where are they then? . . .
  • But where are the snows of yester-year?
  • Nay, never ask this week, fair lord,
  • Where they are gone, nor yet this year,
  • Except with this for an overword,—
  • But where are the snows of yester-year?
Image of page 65[a] page: 65[a]
Note: This is a duplicate proof page.
Printer's Direction: before this print M. S. The Seed of David
Editorial Description: DGR's note to the printer.
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A” in the upper left corner, presumably to indicate this set of proofs.
THE BALLAD OF DEAD LADIES.

(François Villon, 1450.)
  • Tell me now in what hidden way is
  • Lady Flora the lovely Roman?
  • Where's Hipparchia, and where is Thais,
  • Neither of them the fairer woman?
  • Where is Echo, beheld of no man,
  • Only heard on river and mere,—
  • She whose beauty was more than human? . . .
  • But where are the snows of yester-year?
  • Where's Héloise, the learned nun,
  • 10 For whose sake Abeillard, I ween,
  • Lost manhood and put priesthood on?
  • (How dire, O Love, thy sway hath been!)
  • And where, I pray you, is the Queen
  • Who willed that Buridan should steer
  • Sewed in a sack's mouth down the Seine? . . .
  • But where are the snows of yester-year?
  • White Queen Blanche, like a queen of lilies,
  • With a voice like any mermaiden,—
  • Bertha Broadfoot, Beatrice, Alice,
  • 20 And Ermengarde the lady of Maine,—
Sig. F
Image of page 66[a] page: 66[a]
  • And that good Joan whom Englishmen
  • At Rouen doomed and burned her there,—
  • Mother of God, where are they then? . . .
  • But where are the snows of yester-year?
  • Nay, never ask this week, fair lord,
  • Where they are gone, nor yet this year,
  • Except with this for an overword,—
  • But where are the snows of yester-year?
Note: Pages 67-72 not in this proof.
Image of page 73 page: 73
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A” in the upper left corner, presumably to indicate this set of proofs.
ONE GIRL.

( Adaptation A Combination from Sappho.
  • I.
  • Like the sweet apple which reddens upon the topmost
  • bough,
  • A-top on the topmost twig,—which the pluckers forgot,
  • somehow,—
  • Forgot it not, nay, but got it not, for none could get it
  • till now.
  • II.
  • Like the wild hyacinth flower which on the hills is found,
  • Which the passing feet of the shepherds for ever tear and
  • wound,
  • Until the purple blossom is trodden into the ground.
Image of page [74] page: [74]
Note: blank page
Image of page [75] page: [75]
Note: From this point the blank verso pages of each leaf are no longer paginated.
Printer's Direction: All this one size smaller
Editorial Description: DGR's not to the printer.
SONNETS AND SONGS,

Towards a Work to be called

‘THE HOUSE OF LIFE.’
Image of page [75 verso] page: [75 verso]
Note: blank page
Note: Pages 76-79 not in this proof.
Image of page 80 page: 80
Printer's Direction: before this print M. S. Tree & Stream
Editorial Description: DGR's note to the printer. The sonnet so named is received sonnet “ Hoarded Joy.”
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A2?” in the upper left corner, presumably to indicate this set of proofs. Also, the printed page number is crossed out and the number 87 hand written in; that pagination corresponds to the A2 proofs.
VAIN VIRTUES.
  • What is the sorriest thing that enters Hell?
  • None of the sins,—but this and that fair deed
  • Which a soul's sin at length could supersede.
  • These yet are virgins, whom death's timely knell
  • Might once have sainted; whom the fiends compel
  • Together now, in snake-bound shuddering sheaves
  • Of anguish, while the scorching bridegroom leaves
  • Their refuse maidenhood abominable.
  • Night sucks them down, the garbage of the pit,
  • 10 Whose names, half entered in the book of Life,
  • Were God's desire at noon. And as their hair
  • And eyes sink last, the Torturer deigns no whit
  • To gaze, but, yearning, waits his worthier wife,
  • The Sin still blithe on earth that sent them there.
Image of page [80 verso] page: [80 verso]
Note: blank page
Note: Page 81 not in this proof.
Image of page 82 page: 82
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A2?” in the upper left corner, presumably to indicate this set of proofs. Also, the printed page number is crossed out and the number 90 hand written in; that pagination corresponds to the A2 proofs.
Printer's Direction: Before this print M. S. Death's Songsters
Editorial Description: DGR's directions to the printer.
RETRO ME, SATHANA.’
  • Get thee behind me. Even as, heavy-curled,
  • Stooping against the wind, a charioteer
  • Is caught from out his chariot by the hair,
  • So shall Time be; and as the void car, hurled
  • Abroad by reinless steeds, even so the world:
  • Yea, even as chariot-dust upon the air,
  • It shall be sought and not found anywhere.
  • Get thee behind me, Satan. Oft unfurled,
  • Thy perilous wings can beat and break like lath
  • 10 Much mightiness of men to win thee praise.
  • Leave these weak feet to tread in narrow ways.
  • Thou still, upon the broad vine-sheltered path,
  • May'st wait the turning of the phials of wrath
  • For certain years, for certain months and days.
Image of page [82 verso] page: [82 verso]
Note: blank page
Image of page 83 page: 83
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A2?” in the upper left corner, presumably to indicate this set of proofs. Also, the printed page number is crossed out and the number 91 hand written in; that pagination corresponds to the A2 proofs.
Printer's Direction: Before this print M. S. Death's Songsters
Editorial Description: DGR's directions to the printer, which he cancelled.
LOST ON BOTH SIDES.
  • As when two men have loved a woman well,
  • Each hating each, through Love's and Death's deceit;
  • Since not for either this strait marriage-sheet
  • And the long pauses of this wedding-bell;
  • Yet o'er her grave the night and day dispel
  • At last their feud forlorn, with cold and heat;
  • Nor other than dear friends to death may fleet
  • The two lives left that most of her can tell:—
  • So separate hopes, which in a soul had wooed
  • 10 The one same Peace, strove with each other long,
  • And Peace before their faces perished since:
  • So through that soul, in restless brotherhood,
  • They roam together now, and wind among
  • Its bye-streets, knocking at the dusty inns.
Image of page [83 verso] page: [83 verso]
Note: blank page
Note: Pages 84-88 not in this proof.
Image of page 89 page: 89
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A” in the upper left corner, presumably to indicate this set of proofs. Also, the printed page number is crossed out and the number 97 hand written in; that pagination corresponds to the A2 proofs.
Note: In line 2, DGR made a marginal correction to the printed text; he then restored the original reading.
THE SEA-LIMIT.
  • Give ear to Consider the sea's listless chime:
  • Time's self it is is here/it is , made audible,—
  • The murmur of the earth's own shell.
  • Secret continuance sublime
  • Ends it to sight; the coast Is the sea's end: our sight may pass
  • No furlong further. Since time was,
  • This sound hath told the lapse of time.
  • No stagnance that death wins: it hath
  • The mournfulness of ancient life,
  • 10 Enduring always at dull strife.
  • As the world's heart of rest and wrath,
  • Its painful pulse is in the sands.
  • Last utterly, the whole sky stands,
  • Grey and not known, along its path.
Image of page [89 verso] page: [89 verso]
Note: blank page
Note: Pages 90-94 not in this proof.
Image of page 95 page: 95
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A2?” in the upper left corner, presumably to indicate this set of proofs. Also, the printed page number is crossed out and the number 103 hand written in; that pagination corresponds to the A2 proofs.
THE MOON-STAR.
  • In a soft-complexioned sky,
  • Fleeting rose and kindling grey,
  • Have you seen Aurora fly
  • At the break of day?
  • So my maiden, so my modest may
  • Blushing cheek and gleaming eye
  • Lifts to look my way.
  • Where the inmost leaf is stirred
  • With the heart-beat of the grove,
  • 10 Have you heard a hidden bird
  • Cast her note above?
  • So my lady, so my lovely love,
  • Echoing Cupid's prompted word,
  • Makes a tune thereof.
  • Have you seen, at heaven's mid-height,
  • In the moon-wrack's ebb and tide,
  • Venus leap forth burning white,
  • Luna Dian pale and hide?
  • So my bright breast-jewel, so my bride,
  • 20 One sweet night, when fear takes flight,
  • Shall leap against my side.
Sig. I
Note: The signature is cancelled by the printer
Image of page [95 verso] page: [95 verso]
Note: blank page
Note: Pages 96-99 not in this proof.
Image of page 100 page: 100
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A” in the upper left corner, presumably to indicate this set of proofs. Also, the printed page number is crossed out and the number 7 hand written in (indicating page 107). The 7 is then changed to an 8, and that pagination corresponds to the A2 proofs.
PENUMBRA.
  • I did not look upon her eyes,
  • (Though scarcely seen, with no surprise,
  • 'Mid many eyes a single look,)
  • Because they should not gaze rebuke,
  • Thenceforth, from stars in sky and brook.
  • I did not take her by the hand,
  • (Though little was to understand
  • From touch of hand all friends might take,)
  • Because it should not prove a flake
  • 10Burnt in my palm to boil and ache.
  • I did not listen to her voice,
  • (Though none had noted, where at choice
  • All might rejoice in listening,)
  • Because no such a thing should cling
  • In the sea-wind at evening.
  • I did not cross her shadow once,
  • (Though from the hollow west the sun's
  • Last shadow runs along so far,)
  • Because in June it should not bar
  • 20My ways, at noon when fevers are.
Image of page 101 page: 101
Editorial Description: The printed page number is crossed out and the number 9 is hand written in (indicating page 109). That pagination corresponds to the A2 proofs.
  • They told me she was there: but I,
  • Who saw her not, did fear and fly
  • The means brought nigh of seeing her.
  • Thus must this day be bitterer,
  • I felt; yet did not speak nor stir.
  • So nightly shall the crows troop home
  • One less; one less the wailings come
  • From tongues of foam that rasp chafe the sand;
  • One less, from sleep's dumb quaking land,
  • 30The dreams shall at my bed's foot stand.
Note: Pages 102-105 not in this proof.
Image of page 106 page: 106
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A” in the upper left corner, presumably to indicate this set of proofs. Also, the printed page number is crossed out and the number 114 hand written in; that pagination corresponds to the A2 proofs.
LOVESIGHT.
  • When do I see thee most, beloved one?
  • When in the light the spirits of mine eyes
  • Before thy face, their altar, solemnize
  • The worship of that Love through thee made known?
  • Or when in the dusk hours, (we two alone,)
  • Close-kissed and eloquent of still replies
  • Thy twilight-hidden glimmering visage lies,
  • And my soul only sees thy soul its own?
  • O Love, my love! when if I no more may should see
  • 10Thyself, nor on the earth the shadow of thee,
  • Nor image of thine eyes in any spring,—
  • How then shall should sound upon Life's darkening slope
  • The ground-whirl of the perished leaves of Hope,
  • The wind of Death's imperishable wing?
Image of page [106 verso] page: [106 verso]
Note: blank page
Note: Pages 107-108 not in this proof.
Image of page 109 page: 109
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A” in the upper left corner, presumably to indicate this set of proofs.
Printer's Direction: Before this print M. S. Supreme Surrender.
Editorial Description: DGR's directions for the printer. Also, the printed page number is crossed out and the number 118 hand written in; that pagination corresponds to the A2 proofs.
LOVE'S LOVERS.
  • Some ladies love the jewels in Love's zone,
  • And gold-tipped darts he hath for painless play
  • In idle scornful hours he flings away;
  • And some that listen to his lute's soft tone
  • Do love to deem the silver praise their own;
  • Some prize his blindfold sight; and there be they
  • Who kissed his wings which brought him yesterday
  • And thank his wings to-day that he is flown.
  • My lady only loves the heart of Love:
  • 10 Therefore Love's heart, my lady, hath for thee
  • His bower of unimagined flower and tree:
  • There kneels he now, and all-anhungered of
  • Thine eyes grey-lit in shadowing hair above,
  • Seals with thy mouth his immortality.
Image of page [109 verso] page: [109 verso]
Note: blank page
Image of page 110 page: 110
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A?” in the upper left corner, presumably to indicate this set of proofs.
Printer's Direction: before this print M. S. The Portrait.
Editorial Description: DGR's directions for the printer. Also, the printed page number is crossed out and the number 120 hand written in; that pagination corresponds to the A2 proofs.
NEAREST KINDRED.
  • Have you not noted, in some family
  • Where two were born of a first marriage-bed,
  • How still they own their fragrant bond, though fed
  • And nursed on the forgotten breast and knee?—
  • How to their father's children they shall be
  • In act and thought of one goodwill; but each
  • Shall for the other have, in silence speech,
  • And in a word complete community?
  • Even so, when first I saw you, seemed it, love,
  • 10 That among souls allied to mine was yet
  • One nearer kindred than birth hinted of.
  • O born with me somewhere that men forget,
  • And though in years of sight and sound unmet,
  • Known for my life's own sister well enough!
Image of page [110 verso] page: [110 verso]
Note: blank page
Note: Pages 111-114 not in this proof.
Image of page 115 page: 115
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “B” in the upper left corner.
SECRET PARTING.
  • Because our talk was of the cloud-control
  • And moon-track of the journeying face of Fate,
  • Her kisses faltered at their rose-bower gate
    Added TextHer tremulous kisses faltered at love's gate
  • And her eyes dreamed against a distant goal:
  • But soon, remembering her how brief the whole
  • Of joy, which its own hours annihilate,
  • Her set gaze gathered, thirstier than of late,
  • And as she kissed, her mouth became her soul.
  • Thence in what ways we wandered, and how strove
  • 10 To build with fire-tried vows the piteous home
  • Which memory haunts and whither sleep may roam,—
  • They only know for whom the roof of Love
  • Is the still-seated secret of the grove,
  • Nor spire may rise nor bell be heard therefrom.
Image of page [115 verso] page: [115 verso]
Note: blank page
Image of page 116 page: 116
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A” in the upper left corner, presumably to indicate this set of proofs.
Editorial Description: DGR notes for the printer where the two stanzas should break. Also, the printed page number is crossed out and the number 126 hand written in; that pagination corresponds to the A2 proofs; and DGR has marked the sonnet to be divided into octave and sestet.
PARTED LOVE.
  • What shall be said of this embattled day
  • And armed occupation of this night
  • By all thy foes beleaguered,—now when sight
  • Nor sound denotes the loved one far away?
  • Of the live hours of death what shalt thou say,—
  • As every sense to which she dealt delight
  • Now labours lonely o'er the stark noon-height
  • To reach the sunset's desolate disarray?
  • Stand still, fond fettered wretch! while Memory's art
  • 10 Parades the Past before thy face, and lures
  • Thy spirit to her passionate portraitures:
  • Till the tempestuous tide-gates flung apart
  • Flood with wild will the hollows of thy heart,
  • And thy heart rends thee, and thy body endures.
Image of page [116 verso] page: [116 verso]
Note: blank page
Note: Pages 117-118 not in this proof.
Image of page 119 page: 119
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A” in the upper left corner, presumably to indicate this set of proofs.
Printer's Direction: before this print M. S. A Superscription page 123.
Editorial Description: DGR's directions for the printer. Also, the printed page number is crossed out and the number 130 hand written in; that pagination corresponds to the A2 proofs.
WILLOWWOOD.

( Four Sonnets.)
I.
  • I sat with Love upon a woodside well,
  • Leaning across the water, I and he;
  • Nor ever did he speak nor looked at me,
  • But touched his lute wherein was audible
  • The certain secret thing he had to tell:
  • Only our mirrored eyes met silently
  • In the low wave; and that sound came to be
  • The passionate voice I knew; and my tears fell.
  • And at their fall, his eyes beneath grew hers;
  • 10And with his foot and with his wing-feathers
  • He swept the spring that watered my heart's drouth;
  • Then the dark ripples spread to waving hair,
  • And as I stooped, her own lips rising there
  • Bubbled with brimming kisses at my mouth.
Image of page 120 page: 120
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A” in the upper left corner, presumably to indicate this set of proofs.
Editorial Description: The printed page number is crossed out and the number 131 hand written in; that pagination corresponds to the A2 proofs.
II.
  • And now Love sang: but his was such a song,
  • So meshed with half-remembrance hard to free,
  • As souls disused in death's sterility
  • May sing when the new birthday tarries long.
  • And I was made aware of a dumb throng
  • That stood aloof, one form by every tree,
  • All mournful forms, for each was I or she,
  • The shades of those our days that had no tongue.
  • They looked on us, and knew us and were known;
  • 10 While fast together, alive from the abyss,
  • Clung the soul-wrung implacable close kiss;
  • And pity of self through all made broken moan
  • Which said, ‘For once, for once, for once alone!’
  • And still Love sang, and what he sang was this:—
Image of page 121 page: 121
Editorial Description: The printed page number is crossed out and the number 132 hand written in; that pagination corresponds to the A2 proofs.
III.
  • ‘O ye, all ye that walk in Willowwood,
  • That walk with hollow faces burning white;
  • What fathom-depth of soul-struck widowhood,
  • What long, what longer hours, one lifelong night,
  • Ere ye again, who so in vain have wooed
  • Your last hope lost, who so in vain invite
  • Your lips to that their unforgotten food,
  • Ere ye, ere ye again shall see the light!
  • Alas! the bitter banks in Willowwood,
  • 10 With tear-spurge wan, with blood-wort burning red:
  • Alas! if ever such a pillow could
  • Steep deep the soul in sleep till she were dead,—
  • Better all life forget her than this thing,
  • That Willowwood should hold her wandering!’
Image of page 122 page: 122
Printer's Direction: After this print M. S. Stillborn Love
Editorial Description: DGR's directions for the printer. Also, the printed page number is crossed out and the number 133 hand written in; that pagination corresponds to the A2 proofs.
IV.
  • So sang he: and as meeting rose and rose
  • Together cling through the wind's wellaway
  • Nor change at once, yet near the end of day
  • The leaves drop loosened where the heart-stain glows,—
  • So when the song died did the kiss unclose;
  • And her face fell back drowned, and was as grey
  • As its grey eyes; and if it ever may
  • Meet mine again I know not if Love knows.
  • Only I know that I leaned low and drank
  • 10A long draught from the water where she sank,
  • Her breath and all her tears and all her soul:
  • And as I drank I know I felt Love's face
  • Pressed on my neck with moan of pity and grace,
  • Till both our heads were in his aureole.
Image of page 123 page: 123
Printer's Direction: Put this before Willowwood page 119
Editorial Description: DGR's directions for the printer. Also, the printed page number is crossed out and the number 129 hand written in; that pagination corresponds to the A2 proofs.
Printer's Direction: Insert Stillborn Love
Editorial Description: DGR's printer's directions
A SUPERSCRIPTION.
  • Look in my face; my name is Might-have-been;
  • I am also called No-more, Too-late, Farewell:
  • Unto thine ear I hold the dead-sea shell
  • Cast up thy Life's foam-fretted feet between;
  • Unto thine eyes the glass where that is seen
  • Which had Life's form and Love's, but by my spell
  • Is now a shaken shadow intolerable,
  • Of ultimate things unuttered the frail screen.
  • Mark me, how still I am! But should there dart
  • 10 One moment through thy soul the soft surprise
  • Of that winged Peace which lulls the breath of sighs,—
  • Then shalt thou see me smile, and turn apart
  • Thy visage to mine ambush at thy heart
  • Sleepless with cold commemorative eyes.
Sig. M
Image of page [123 verso] page: [123 verso]
Note: blank page
Note: Pages 124-127 not in this proof.
Image of page 128 page: 128
Note: The missing pages 124-127 of this proof contained the half title for this new section of the volume as well as the first three of the sonnets.
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A” in the upper left corner, presumably to indicate this set of proofs.
FOR

RUGGIERO AND ANGELICA

By Ingres.

( Two Sonnets.)
I.
  • A remote sky, prolonged to the sea's brim:
  • One rock-point standing buffeted alone,
  • Vexed at its base with a foul beast unknown,
  • Hell- spurge birth of geomaunt and teraphim:
  • A knight, and a winged creature bearing him,
  • Reared at the rock: a woman fettered there,
  • Leaning into the hollow with loose hair
  • And throat let back and heartsick trail of limb.
  • The sky is harsh, and the sea shrewd and salt:
  • 10 Under his lord the griffin-horse ramps blind
  • With rigid wings and tail. The spear's lithe stem
  • Thrills in the roaring of those jaws: behind,
  • That evil length of body chafes at fault.
  • She doth not hear nor see—she knows of them.
Image of page 129 page: 129
II.
  • Clench thine eyes now,—'tis the last instant, girl:
  • Draw in thy senses, set thy knees, and take
  • One breath for all: thy life is keen awake,—
  • Thou mayst not swoon. Was that the scattered whirl
  • Of its foam drenched thee?—or the waves that curl
  • And split, bleak spray wherein thy temples ache?
  • Or was it his the champion's blood to flake
  • Thy flesh?—or thine own blood's anointing, girl?
  • Now, silence: for the sea's is such a sound
  • 10 As irks not silence; and except the sea,
  • All now is still. Now the dead thing doth cease
  • To writhe, and drifts. He turns to her: and she,
  • Cast from the jaws of Death, remains there, bound,
  • Again a woman in her nakedness.
Image of page 130 page: 130
Editorial Description: The printed page number is crossed out and the number 136 hand written in.
MARY'S GIRLHOOD.

( For a Picture. * )
  • This is that blessed Mary, pre-elect
  • God's Virgin. Gone is a great while, and she
  • Dwelt young in Nazareth of Galilee.
  • Unto God's will she brought devout respect,
  • Profound simplicity of intellect,
  • And supreme patience. From her mother's knee
  • Faithful and hopeful; wise in charity;
  • Strong in grave peace; in pity circumspect.
  • So held she through her girlhood; as it were
  • 10 An angel-watered lily, that near God
  • Grows and is quiet. Till, one dawn at home,
  • She woke in her white bed, and had no fear
  • At all,—yet wept till sunshine, and felt awed:
  • Because the fulness of the time was come.
Transcribed Footnote (page 130):

Deleted Text* The picture symbolizes her purification

before she becomes the mother of Christ.

She sits by her mother and copies in

embroidery a lily which an angel

is watering.

Note: This page note is hand written on the proof by DGR, and then cancelled.
Image of page [130 verso] page: [130 verso]
Note: blank page
Image of page 131 page: 131
Printer's Direction: Before this print Before this print put Pandora page 134
Editorial Description: DGR's directions for the printer. Also, the printed page number is crossed out and the number 137 hand written in.
VENUS.

( For a Picture.)
  • She hath the apple in her hand for thee,
  • Yet almost in her heart would hold it back;
  • She muses, with her eyes upon the track
  • Of that which in thy spirit they can see.
  • Haply, ‘Behold, he is at peace,’ saith she;
  • ‘Alas! the apple for his lips,—the dart
  • That follows its brief sweetness to his heart,—
  • The wandering of his feet perpetually!’
  • A little space her glance is still and coy;
  • 10 But if she give the fruit that works her spell,
  • Those eyes shall flame as for her Phrygian boy.
  • Then shall her bird's strained throat the woe foretell,
  • And her far seas moan as a single shell,
  • And through her dark grove strike the light of Troy.
Image of page [131 verso] page: [131 verso]
Note: blank page
Note: Page 132 not in this proof.
Image of page 133 page: 133
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A?” in the upper left corner, presumably to indicate this set of proofs.
SIBYLLA PALMIFERA.

( For a Picture.)
  • Under the arch of Life, where love and death,
  • Terror and mystery, guard her shrine, I saw
  • Beauty enthroned; and though her gaze struck awe,
  • I drew it in as simply as my breath.
  • Hers are the eyes which, over and beneath,
  • The sky and sea bend on thee,—which can draw,
  • By sea or sky or woman, to one law,
  • The allotted bondman of her palm and wreath.
  • This is that Lady Beauty, in whose praise
  • 10 Thy voice and hand shake still,—long known to thee
  • By flying hair and fluttering hem,—the beat
  • Following her daily of thy heart and feet ,
  • How passionately and irretrievably,
  • In what fond flight, how many ways and days!
Image of page [133 verso] page: [133 verso]
Note: blank page
Image of page 134 page: 134
Printer's Direction: After this print M.S.S 1 Mary Magdalene 2 The Passover 3-4 Cassandra. Put this before Venus page 131
Editorial Description: DGR's directions for the printer. Also, the printed page number is crossed out and the number 140 hand written in.
PANDORA.

( For a Picture.)
  • What of the end, Pandora? Was it thine,
  • The deed that set these fiery pinions free?
  • Ah! wherefore did the Olympian consistory
  • In its own likeness make thee half divine?
  • Was it that Juno's brow might stand a sign
  • For ever? and the mien of Pallas be
  • A deadly thing? and that all men might see
  • In Venus' eyes the gaze of Proserpine?
  • What of the end? These beat their wings at will,
  • 10The ill-born things, the good things turned to ill,—
  • Powers of the impassioned hours prohibited.
  • Aye, hug the casket now! Whither they go
  • Thou mayst not dare to think: nor canst thou know
  • If Hope still pent there be alive or dead.
Image of page [134 verso] page: [134 verso]
Note: blank page
Image of page 135 page: 135
Printer's Direction: Put this after A Match with the Moon page 143
Editorial Description: DGR's directions for the printer. Also, the printed page number is crossed out and the number 155 hand written in.
BEAUTY AND THE BIRD.
  • She fluted with her mouth as when one sips,
  • And gently waved her golden head, inclin'd
  • Outside his cage close to the window-blind;
  • Till her fond bird, with little turns and dips,
  • Piped low to her of sweet companionships.
  • And when he stopped, she took some seed, I vow,
  • And fed him from her rosy tongue, which now
  • Peeped as a piercing bud between her lips.
  • And like a child in Chaucer, on whose tongue
  • 10 The Blessed Mary laid, when he was dead,
  • A grain,—who straightway praised her name in song:
  • Even so, when she, a little lightly red,
  • Now turned on me and laughed, I heard the throng
  • Of inner voices praise her golden head.
Image of page [135 verso] page: [135 verso]
Note: blank page
Note: Pages 136-140 not in this proof.
Image of page 141 page: 141
Editorial Description: Someone, perhaps Janet Camp Troxell, has written a small “A” in the upper left corner, presumably to indicate this set of proofs.
Editorial Description: The printed page number is crossed out and the number 152/7 hand written in; the signature is also deleted.
THE HILL SUMMIT.
  • This feast-day of the sun, his altar there
  • In the broad west has blazed for vesper-song;
  • And I have loitered in the vale too long
  • And gaze now a belated worshipper.
  • Yet may I not forget that I was 'ware,
  • So journeying, of his face at intervals
  • Transfigured where the fringed horizon falls ,—
  • A fiery bush with coruscating hair.
  • And now that I have climbed and tread won this height,
  • 10
    Added TextI must tread downward through the sloping shade
  • I may lie down where all the slope is shade,
  • And cover up my face and have till night
    Added TextAnd travel the bewildered tracks till night.
  • With silence darkness; or Yet for this hour I still may here be stayed
  • And see the gold air and the silver fade
  • And the last bird fly into the last light.
Sig. O
Image of page [141 verso] page: [141 verso]
Note: blank page
Image of page 142 page: 142
AUTUMN IDLENESS.
  • This sunlight shames November where he grieves
  • In dead red leaves, and will not let him shun
  • The day, though bough with bough be over-run:
  • But with a blessing every glade receives
  • High salutation; while from hillock-eaves
  • The deer gaze calling, dappled white and dun,
  • As if, being foresters of old, the sun
  • Had marked them with the shade of forest-leaves.
  • Here dawn to-day unveiled her magic glass ; ,
  • 10 Here noon, now gives the thirst and takes the dew ; ,
  • Till eve bring rest when other good things pass.
  • And here the lost hours the lost hours renew
  • While I still lead my shadow o'er the grass,
  • Nor know, for longing, that which I should do.
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AUTUMN IDLENESS.
  • This sunlight shames November where he grieves
  • In dead red leaves, and will not let him shun
  • The day, though bough with bough be over-run:
  • But with a blessing every glade receives
  • High salutation; while from hillock-eaves
  • The deer gaze calling, dappled white and dun,
  • As if, being foresters of old, the sun
  • Had marked them with the shade of forest-leaves.
  • Here dawn to-day unveiled her magic glass;
  • 10 Here noon , now gives the thirst and takes the dew;
  • Till eve bring rest when other good things pass.
  • And here the lost hours the lost hours renew
  • While I still lead my shadow o'er the grass,
  • Nor know, for longing, that which I should do.
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ON THE SITE OF A MULBERRY-TREE;

Planted by Wm. Shakspeare; felled by the Rev. F. Gastrell.
  • This tree, here fall'n, no common birth or death
  • Shared with its kind. The world's enfranchised son,
  • Who found the trees of Life and Knowledge one,
  • Here set it, frailer than his laurel-wreath.
  • Shall not the wretch whose hand it fell beneath
  • Rank also singly—the supreme unhung?
  • Lo! murdered Turpin pleading, with black tongue,
  • This viler thief's unsuffocated breath!
  • We'll search thy glossary, Shakspeare! whence almost,
  • 10 And whence alone, some name shall be reveal'd
  • For this deaf drudge, to whom no length of ears
  • Sufficed to catch the music of the spheres;
  • Whose soul is carrion now,—too mean to yield
  • Some tailor's ninth allotment of a ghost.
Stratford-on-Avon.
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HAND AND SOUL.
  • ‘Rivolsimi in quel lato
  • Là onde ven i ìa la voce,
  • E parvemi una luce
  • Che lucea quanto stella:
  • La mia mente era quella.’
Bonaggiunta Urbiciani, (1250.)
Before any knowledge of painting was brought to

Florence, there were already painters in Lucca, and Pisa,

and Arezzo, who feared God and loved the art. The

workmen from Greece, whose trade it was to sell their own

works in Italy and teach Italians to imitate them, had

already found , in rivals of the soil , a skill that could forestall

their lessons and cheapen their labours, crucifixes and addolorate,

more years than is supposed before the art came at all into

Florence. The pre-eminence to which Cimabue was raised

at once by his contemporaries, and which he still retains to

a wide extent even in the modern mind, is to be accounted

for, partly by the circumstances under which he arose, and

partly by that extraordinary purpose of fortune born with the

lives of some few, and through which it is not a little thing

for any who went before, if they are even remembered as

the shadows of the coming of such an one, and the voices

which prepared his way in the wilderness. It is thus, almost
Sig. Q
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exclusively, that the painters of whom I speak are now

known. They have left little, and but little heed is taken of

that which men hold to have been surpassed; it is gone like

time gone,—a track of dust and dead leaves that merely led

to the fountain.
Nevertheless, of very late years and in very rare in-

stances, some signs of a better understanding have become

manifest. A case in point is that of the triptych and two

cruciform pictures at Dresden, by Chiaro di Messer Bello

dell' Erma, to which the eloquent pamphlet of Dr. Aemmster

has at length succeeded in attracting the students. There

is another still more solemn and beautiful work, now proved

to be by the same hand, in the Pitti gallery at Florence.

It is the one to which my narrative will relate.

This Chiaro dell' Erma was a young man of very

honorable family in Arezzo; where, conceiving art almost,

for himself, and loving it deeply, he endeavoured from

early boyhood towards the imitation of any objects offered

in nature. The extreme longing after a visible embodiment

of his thoughts strengthened as his years increased, more

even than his sinews or the blood of his life; until he would

feel faint in sunsets and at the sight of stately persons.

When he had lived nineteen years, he heard of the famous

Giunta Pisano; and, feeling much of admiration, with per-

haps a little of that envy which youth always feels until it

has learned to measure success by time and opportunity, he
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looked upon gardens fast by the Church of San Petronio. It

was here, and at this time, that he painted the Dresden

pictures; as also, in all likelihood, the one—inferior in

merit, but certainly his—which is now at Munich. For the

most part he was calm and regular in his manner of study;

though often he would remain at work through the whole of

a day, not resting once so long as the light lasted; flushed,

and with the hair from his face. Or, at times, when he

could not paint, he would sit for hours in thought of all

the greatness the world had known from of old; until he was

weak with yearning, like one who gazes upon a path of

stars.
He continued in this patient endeavour for about three

years, at the end of which his name was spoken throughout

all Tuscany. As his fame waxed, he began to be employed,

besides easel-pictures, upon wall-paintings; but I believe

that no traces remain to us of any of these latter. He

is said to have painted in the Duomo; and D'Agincourt

mentions having seen some portions of a picture by him

which originally had its place above the high altar in the

Church of the Certosa; but which, at the time he saw it,

being very dilapidated, had been hewn out of the wall, and

was preserved in the stores of the convent. Before the

period of Dr. Aemmster's researches, however, it had been

entirely destroyed.
Chiaro was now famous. It was for the race of fame

that he had girded up his loins; and he had not paused

until fame was reached; yet now, in taking breath, he found

that the weight was still at his heart. The years of his
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labour had fallen from him, and his life was still in its first

painful desire.
With all that Chiaro had done during these three years,

and even before with the studies of his early youth, there

had always been a feeling of worship and service. It was

the peace-offering that he made to God and to his own soul

for the eager selfishness of his aim. There was earth, indeed,

upon the hem of his raiment; but this was of the heaven,

heavenly. He had seasons when he could endure to think

of no other feature of his hope than this. Sometimes it had

even seemed to him to behold that day when his mistress

—his mystical lady (now hardly in her ninth year, but whose

smile at meeting had already lighted on his soul,)—even

she, his own gracious Italian Art—should pass, through the

sun that never sets, into the circle of the shadow of the tree

of life, and be seen of God and found good: and then it had

seemed to him that he, with many who, since his coming,

had joined the band of whom he was one (for, in his dream,

the body he had worn on earth had been dead an hundred

years), were permitted to gather round the blessed maiden,

and to worship with her through all ages and ages of ages,

saying, Holy, holy, holy. This thing he had seen with the

eyes of his spirit; and in this thing had trusted, believing

that it would surely come to pass.
But now, (being at length led to inquire closely into

himself,) even as, in the pursuit of fame, the unrest abiding

after attainment had proved to him that he had misinterpreted

the craving of his own spirit—so also, now that he would

willingly have fallen back on devotion, he became aware
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round and round him, seeking a point for attack. He now

rose, therefore, and went to the window. It was within a

short space of noon; and underneath him a throng of people

was coming out through the porch of San Petronio.
The two greatest houses of the feud in Pisa had filled

the church for that mass. The first to leave had been the

Gherghiotti; who, stopping on the threshold, had fallen

back in ranks along each side of the archway: so that now,

in passing outward, the Marotoli had to walk between two

files of men whom they hated, and whose fathers had hated

theirs. All the chiefs were there and their whole adherence;

and each knew the name of each. Every man of the Maro-

toli, as he came forth and saw his foes, laid back his hood

and gazed about him, to show the badge upon the close cap

that held his hair. And of the Gherghiotti there were some

who tightened their girdles; and some shrilled and threw

up their wrists scornfully, as who flies a falcon; for that was

the crest of their house.
On the walls within the entry were a number of tall ,

narrow pictures, presenting a moral allegory of Peace, which

Chiaro had painted that year for the Church. The Gher-

ghiotti stood with their backs to these frescoes; and among

them Golzo Ninuccio, the youngest noble of the faction,

called by the people Golaghiotta, for his debased life. This

youth had remained for some while talking listlessly to his

fellows, though with his sleepy sunken eyes fixed on them

who passed: but now, seeing that no man jostled another,

he drew the long silver shoe off his foot and struck the dust

out of it on the cloak of him who was going by, asking him
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how far the tides rose at Viderza. And he said so because

it was three months since, at that place, the Gherghiotti had

beaten the Marotoli to the sands, and held them there while

the sea came in; whereby many had been drowned. And,

when he had spoken, at once the whole archway was daz-

zling with the light of confused swords; and they who had

left turned back; and they who were still behind made

haste to come forth: and there was so much blood cast up

the walls on a sudden, that it ran in long streams down

Chiaro's paintings.
Chiaro turned himself from the window; for the light

felt dry between his lids, and he could not look. He sat

down, and heard the noise of contention driven out of the

church-porch and a great way through the streets; and soon

there was a deep murmur that heaved and waxed from the

other side of the city, where those of both parties were

gathering to join in the tumult.
Chiaro sat with his face in his open hands. Once again

he had wished to set his foot on a place that looked green

and fertile; and once again it seemed to him that the thin

rank mask was about to spread away, and that this time the

chill of the water must leave leprosy in his flesh. The light

still swam in his head, and bewildered him at first; but

when he knew his thoughts, they were these:—
‘Fame failed me: faith failed me: and now this also,—

the hope that I nourished in this my generation of men,—

shall pass from me, and leave my feet and my hands

groping. Yet because of this are my feet become slow and

my hands thin. I am as one who, through the whole night,
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I contrived, however, to find a place whence I could see my

picture, and where I seemed to be in nobody's way. For

some minutes I remained undisturbed; and then I heard,

in an English voice: ‘Might I beg of you, sir, to stand a

little more to this side, as you interrupt my view.’
I felt vexed, for, standing where he asked me, a glare

struck on the picture from the windows, and I could not see

it. However, the request was reasonably made, and from a

countryman; so I complied, and turning away, stood by

his easel. I knew it was not worth while; yet I referred in

some way to the work underneath the one he was copying.

He did not laugh, but he smiled as we do in England:

Very odd, is it not?’ said he.
The other students near us were all continental; and

seeing an Englishman select an Englishman to speak with,

conceived, I suppose, that he could understand no language

but his own. They had evidently been noticing the interest

which the little picture appeared to excite in me.
One of them, an Italian, said something to another who

stood next to him. He spoke with a Genoese accent, and

I lost the sense in the villanous dialect. ‘Che so?’ re-

plied the other, lifting his eyebrows towards the figure;

‘roba mistica: 'st' Inglesi son matti sul misticismo: somiglia

alle nebbie di là. Li fa pensare alla patria,
  • “e intenerisce il core
  • Lo dì ch' han detto ai dolci amici adio.”’
‘La notte, vuoi dire,’ said a third.
There was a general laugh. My compatriot was evi-
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dently a novice in the language, and did not take in what

was said. I remained silent, being amused.
‘Et toi donc?’ said he who had quoted Dante, turning

to a student, whose birthplace was unmistakable, even had

he been addressed in any other language: ‘que dis-tu de ce

genre-là?’
‘Moi?’ returned the Frenchman, standing back from his

easel, and looking at me and at the figure, quite politely,

though with an evident reservation: ‘Je dis, mon cher, que

c'est une spécialité dont je me fiche pas mal. Je tiens que

quand on ne comprend pas une chose, c'est qu' elle ne

signifie rien.’
My reader thinks possibly that the French student was

right.
THE END.
London: Strangeways and Walden, Printers, 28 Castle St., Leicester Sq.
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Manuscript Addition:

This is the privately / printed vol. of 1869—Each / leaf contains some / correction by Gabriel.

I have put it in order of / numbered pages as far as I / found possible: but there are / so many repetitions of the / same page printed with some / different form that I c d not / succeed in doing anything / beyond a mere approximation.

The flowered paper used in the binding / appears to have been brought by my father / in 1824 from Malta—perhaps from Naples. / W. M. Rossetti.

Editorial Note: The page contains WMR's handwritten notes on the proof and its relation to the production of Poems 1870.
Electronic Archive Edition: 1
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