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+Project Gutenberg's Poems of Gerard Manley Hopkins, by Gerard Manley Hopkins
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Poems of Gerard Manley Hopkins
+       Now First Published
+
+Author: Gerard Manley Hopkins
+
+Editor: Robert Bridges
+
+Release Date: August 26, 2007 [EBook #22403]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK POEMS OF GERARD MANLEY HOPKINS ***
+
+
+
+
+Produced by Lewis Jones
+
+
+
+
+
+Hopkins, Gerard Manley (1918) "Poems"
+
+
+
+_Poems_
+
+of
+
+Gerard Manley Hopkins
+
+now first published
+
+Edited with notes
+
+by
+
+ROBERT BRIDGES
+
+Poet Laureate
+
+
+LONDON
+
+HUMPHREY MILFORD
+
+
+
+_CATHARINAE_
+
+HVNC LIBRVM
+
+QVI FILA EIVS CARISSIMI
+
+POETAE DEBITAM INGENIO LAVDEM EXPECTANTIS
+
+SERVM TAMEN MONVMENTVM ESSET
+
+ANNVM AETATIS XCVIII AGENTI
+
+VETERIS AMICITIAE PIGNVS
+
+D D D
+
+_R B_
+
+
+
+Transcriber's notes: The poems of Gerard Manley Hopkins contain
+unconventional English, accents and horizontal lines. Facsimile
+images of the poems as originally published are freely available
+online from the Internet Archive. Please use these images to
+check for any errors or inadequacies in this electronic text.
+
+The editor's endnotes refer to the page numbers of the
+Author's _Preface_ and to the first page of the _Early Poems_.
+I have therefore inserted these page numbers in round brackets:
+(1), (2), etc. up to (7). For pages 1 to 7 the line numbers in
+this electronic version are the same as those referred to in the
+editor's endnotes.
+
+After page 7 this text mainly follows the editor's endnotes
+which, apart from the occasional page reference, refer to the
+poems by their numbers. For example:
+
+5. PENMAEN POOL.
+
+In poem _26_ I have retained the larger than normal spacing
+between the first and second words of the eighth line.
+
+In poem _36_ I have rendered the first word of line 28 as "One."
+In the original the accent falls on the second letter but I did
+not have a text character to record this accurately.
+
+The editor's notes contain one word and, later, one phrase from
+the ancient Greek; these are retained but the Greek letters have
+been Englished.
+
+
+
+CONTENTS
+
+Author's Preface
+Early Poems
+Poems 1876-1889
+Unfinished Poems & Fragments
+
+
+EDITORIAL
+
+Preface to Notes
+Notes
+
+
+OUR generation already is overpast,
+And thy lov'd legacy, Gerard, hath lain
+Coy in my home; as once thy heart was fain
+Of shelter, when God's terror held thee fast
+In life's wild wood at Beauty and Sorrow aghast;
+Thy sainted sense tramme'd in ghostly pain,
+Thy rare ill-broker'd talent in disdain:
+Yet love of Christ will win man's love at last.
+
+ Hell wars without; but, dear, the while my hands
+Gather'd thy book, I heard, this wintry day,
+Thy spirit thank me, in his young delight
+Stepping again upon the yellow sands.
+ Go forth: amidst our chaffinch flock display
+Thy plumage of far wonder and heavenward flight!
+
+Chilswell, Jan. 1918.
+
+
+(1) AUTHOR'S PREFACE
+
+THE poems in this book* (*That is, the MS.
+described in Editor's preface as B. This
+preface does not apply to the early poems.)
+are written some in Running Rhythm, the common
+rhythm in English use, some in Sprung Rhythm,
+and some in a mixture of the two. And those in
+the common rhythm are some counterpointed,
+some not.
+
+Common English rhythm, called Running Rhythm
+above, is measured by feet of either two or three
+syllables and (putting aside the imperfect feet at the
+beginning and end of lines and also some unusual
+measures, in which feet seem to be paired together and
+double or composite feet to arise) never more or less.
+
+Every foot has one principal stress or accent, and
+this or the syllable it falls on may be called the Stress
+of the foot and the other part, the one or two unaccented
+syllables, the Slack. Feet (and the rhythms made out
+of them) in which the stress comes first are called
+Falling Feet and Falling Rhythms, feet and rhythm
+in which the slack comes first are called Rising Feet
+and Rhythms, and if the stress is between two slacks
+there will be Rocking Feet and Rhythms. These
+distinctions are real and true to nature; but for purposes
+of scanning it is a great convenience to follow the
+(2) example of music and take the stress always first, as
+the accent or the chief accent always comes first in
+a musical bar. If this is done there will be in common
+English verse only two possible feet--the so-called
+accentual Trochee and Dactyl, and correspondingly
+only two possible uniform rhythms, the so-called
+Trochaic and Dactylic. But they may be mixed and then
+what the Greeks called a Logaoedic Rhythm arises.
+These are the facts and according to these the scanning
+of ordinary regularly-written English verse is very
+simple indeed and to bring in other principles is here
+unnecessary.
+
+But because verse written strictly in these feet and
+by these principles will become same and tame the
+poets have brought in licences and departures from
+rule to give variety, and especially when the natural
+rhythm is rising, as in the common ten-syllable or
+five-foot verse, rhymed or blank. These irregularities
+are chiefly Reversed Feet and Reversed or Counterpoint
+Rhythm, which two things are two steps or degrees
+of licence in the same kind. By a reversed foot
+I mean the putting the stress where, to judge by
+the rest of the measure, the slack should be and the
+slack where the stress, and this is done freely at the
+beginning of a line and, in the course of a line, after
+a pause; only scarcely ever in the second foot or
+place and never in the last, unless when the poet
+designs some extraordinary effect; for these places are
+characteristic and sensitive and cannot well be touched.
+But the reversal of the first foot and of some middle
+(3) foot after a strong pause is a thing so natural that
+our poets have generally done it, from Chaucer down,
+without remark and it commonly passes unnoticed and
+cannot be said to amount to a formal change of rhythm,
+but rather is that irregularity which all natural growth
+and motion shews. If however the reversal is repeated
+in two feet running, especially so as to include the
+sensitive second foot, it must be due either to great
+want of ear or else is a calculated effect, the super-
+inducing or mounting of a new rhythm upon the old;
+and since the new or mounted rhythm is actually heard
+and at the same time the mind naturally supplies the
+natural or standard foregoing rhythm, for we do not
+forget what the rhythm is that by rights we should be
+hearing, two rhythms are in some manner running at
+once and we have something answerable to counter-
+point in music, which is two or more strains of tune
+going on together, and this is Counterpoint Rhythm.
+Of this kind of verse Milton is the great master and
+the choruses of _Samson Agonistes_ are written throughout
+in it--but with the disadvantage that he does not let
+the reader clearly know what the ground-rhythm is
+meant to be and so they have struck most readers as
+merely irregular. And in fact if you counterpoint
+throughout, since one only of the counter rhythms is
+actually heard, the other is really destroyed or cannot
+come to exist, and what is written is one rhythm only
+and probably Sprung Rhythm, of which I now speak.
+
+Sprung Rhythm, as used in this book, is measured
+by feet of from one to four syllables, regularly, and for
+(4) particular effects any number of weak or slack syllables
+may be used. It has one stress, which falls on the
+only syllable, if there is only one, or, if there are more,
+then scanning as above, on the first, and so gives rise to
+four sorts of feet, a monosyllable and the so-called
+accentual Trochee, Dactyl, and the First Paeon. And
+there will be four corresponding natural rhythms; but
+nominally the feet are mixed and any one may follow
+any other. And hence Sprung Rhythm differs from
+Running Rhythm in having or being only one nominal
+rhythm, a mixed or 'logaoedic' one, instead of three,
+but on the other hand in having twice the flexibility of
+foot, so that any two stresses may either follow one
+another running or be divided by one, two, or three
+slack syllables. But strict Sprung Rhythm cannot be
+counterpointed. In Sprung Rhythm, as in logaoedic
+rhythm generally, the feet are assumed to be equally
+long or strong and their seeming inequality is made up
+by pause or stressing.
+
+Remark also that it is natural in Sprung Rhythm for
+the lines to be _rove over_, that is for the scanning of
+each line immediately to take up that of the one before,
+so that if the first has one or more syllables at its end
+the other must have so many the less at its beginning;
+and in fact the scanning runs on without break from
+the beginning, say, of a stanza to the end and all the
+stanza is one long strain, though written in lines asunder.
+
+Two licences are natural to Sprung Rhythm. The
+one is rests, as in music; but of this an example is
+scarcely to be found in this book, unless in the _Echos_,
+(5) second line. The other is _hangers_ or _outrides_ that
+is one, two, or three slack syllables added to a foot and
+not counting in the nominal scanning. They are so
+called because they seem to hang below the line or
+ride forward or backward from it in another dimension
+than the line itself, according to a principle needless to
+explain here. These outriding half feet or hangers are
+marked by a loop underneath them, and plenty of them
+will be found.
+
+The other marks are easily understood, namely
+accents, where the reader might be in doubt which
+syllable should have the stress; slurs, that is loops
+_over_ syllables, to tie them together into the time of
+one; little loops at the end of a line to shew that the
+rhyme goes on to the first letter of the next line;
+what in music are called pauses, to shew that the
+syllable should be dwelt on; and twirls, to mark
+reversed or counterpointed rhythm.
+
+Note on the nature and history of Sprung Rhythm--
+Sprung Rhythm is the most natural of things. For
+(1) it is the rhythm of common speech and of written
+prose, when rhythm is perceived in them. (2) It is the
+rhythm of all but the most monotonously regular music,
+so that in the words of choruses and refrains and in
+songs written closely to music it arises. (3) It is
+found in nursery rhymes, weather saws, and so on;
+because, however these may have been once made in
+running rhythm, the terminations having dropped off by
+the change of language, the stresses come together and
+so the rhythm is sprung. (4) It arises in common
+(6) verse when reversed or counterpointed, for the same
+reason.
+
+But nevertheless in spite of all this and though Greek
+and Latin lyric verse, which is well known, and the old
+English verse seen in _Pierce Ploughman_ are in sprung
+rhythm, it has in fact ceased to be used since the
+Elizabethan age, Greene being the last writer who can
+be said to have recognised it. For perhaps there was
+not, down to our days, a single, even short, poem in
+English in which sprung rhythm is employed not for
+single effects or in fixed places but as the governing
+principle of the scansion. I say this because the
+contrary has been asserted: if it is otherwise the poem
+should be cited.
+
+
+Some of the sonnets in this book* (*See previous note.)
+are in five-foot, some in six-foot or Alexandrine lines.
+
+Nos. 13 and 22 are Curtal-Sonnets, that is they are
+constructed in proportions resembling those of the
+sonnet proper, namely 6 + 4 instead of 8 + 6, with
+however a halfline tailpiece (so that the equation is
+rather 12/8 + 9/2 = 21/2 + 10 1/2).
+
+
+
+(7)
+_EARLY POEMS_
+
+
+_1
+For a Picture of
+St. Dorothea_
+
+I BEAR a basket lined with grass;
+I am so light, I am so fair,
+That men must wonder as I pass
+And at the basket that I bear,
+Where in a newly-drawn green litter
+Sweet flowers I carry,--sweets for bitter.
+
+Lilies I shew you, lilies none,
+None in Caesar's gardens blow,--
+And a quince in hand,--not one
+Is set upon your boughs below;
+Not set, because their buds not spring;
+Spring not, 'cause world is wintering.
+
+But these were found in the East and South
+Where Winter is the clime forgot.--
+The dewdrop on the larkspur's mouth
+O should it then be quenched not?
+In starry water-meads they drew
+These drops: which be they? stars or dew?
+
+Had she a quince in hand? Yet gaze:
+Rather it is the sizing moon.
+Lo, linked heavens with milky ways!
+That was her larkspur row.--So soon?
+Sphered so fast, sweet soul?--We see
+Nor fruit, nor flowers, nor Dorothy.
+
+
+_2
+Heaven--Haven
+A nun takes the veil_
+
+   I HAVE desired to go
+     Where springs not fail,
+To fields where flies no sharp and sided hail
+   And a few lilies blow.
+
+   And I have asked to be
+     Where no storms come,
+Where the green swell is in the havens dumb,
+   And out of the swing of the sea.
+
+_3
+The Habit of Perfection_
+
+ELECTED Silence, sing to me
+And beat upon my whorled ear,
+Pipe me to pastures still and be
+The music that I care to hear.
+
+Shape nothing, lips; be lovely-dumb:
+It is the shut, the curfew sent
+From there where all surrenders come
+Which only makes you eloquent.
+
+Be shelled, eyes, with double dark
+And find the uncreated light:
+This ruck and reel which you remark
+Coils, keeps, and teases simple sight.
+
+Palate, the hutch of tasty lust,
+Desire not to be rinsed with wine:
+The can must be so sweet, the crust
+So fresh that come in fasts divine!
+
+Nostrils, your careless breath that spend
+Upon the stir and keep of pride,
+What relish shall the censers send
+Along the sanctuary side!
+
+O feel-of-primrose hands, O feet
+That want the yield of plushy sward,
+But you shall walk the golden street
+And you unhouse and house the Lord.
+
+And, Poverty, be thou the bride
+And now the marriage feast begun,
+And lily-coloured clothes provide
+Your spouse not laboured-at nor spun.
+
+
+
+_POEMS 1876-1889_
+
+
+
+_4
+THE WRECK
+OF THE DEUTSCHLAND_
+
+          To the
+happy memory of five Franciscan Nuns
+   exiles by the Falk Laws
+drowned between midnight and morning of
+     Dec. 7th. 1875
+
+
+PART THE FIRST
+
+1
+               Thou mastering me
+          God! giver of breath and bread;
+     World's strand, sway of the sea;
+          Lord of living and dead;
+   Thou hast bound bones and veins in me, fastened me flesh,
+   And after it almost unmade, what with dread,
+     Thy doing: and dost thou touch me afresh?
+Over again I feel thy finger and find thee.
+
+2
+               I did say yes
+          O at lightning and lashed rod;
+     Thou heardst me truer than tongue confess
+          Thy terror, O Christ, O God;
+   Thou knowest the walls, altar and hour and night:
+   The swoon of a heart that the sweep and the hurl of thee trod
+     Hard down with a horror of height:
+And the midriff astrain with leaning of, laced with fire of stress.
+
+3
+               The frown of his face
+          Before me, the hurtle of hell
+     Behind, where, where was a, where was a place?
+          I whirled out wings that spell
+   And fled with a fling of the heart to the heart of the Host.
+   My heart, but you were dovewinged, I can tell,
+     Carrier-witted, I am bold to boast,
+To flash from the flame to the flame then, tower from the grace
+     to the grace.
+
+4
+               I am soft sift
+          In an hourglass--at the wall
+     Fast, but mined with a motion, a drift,
+          And it crowds and it combs to the fall;
+   I steady as a water in a well, to a poise, to a pane,
+   But roped with, always, all the way down from the tall
+     Fells or flanks of the voel, a vein
+Of the gospel proffer, a pressure, a principle, Christ's gift.
+
+5
+               I kiss my hand
+          To the stars, lovely-asunder
+     Starlight, wafting him out of it; and
+          Glow, glory in thunder;
+   Kiss my hand to the dappled-with-damson west:
+   Since, tho' he is under the world's splendour and wonder,
+     His mystery must be instressed, stressed;
+For I greet him the days I meet him, and bless when I understand.
+
+6
+               Not out of his bliss
+          Springs the stress felt
+     Nor first from heaven (and few know this)
+          Swings the stroke dealt--
+   Stroke and a stress that stars and storms deliver,
+   That guilt is hushed by, hearts are flushed by and melt--
+     But it rides time like riding a river
+(And here the faithful waver, the faithless fable and miss),
+
+7
+               It dates from day
+          Of his going in Galilee;
+     Warm-laid grave of a womb-life grey;
+          Manger, maiden's knee;
+   The dense and the driven Passion, and frightful sweat;
+   Thence the discharge of it, there its swelling to be,
+     Though felt before, though in high flood yet--
+What none would have known of it, only the heart, being hard at bay,
+
+8
+               Is out with it! Oh,
+          We lash with the best or worst
+     Word last! How a lush-kept plush-capped sloe
+          Will, mouthed to flesh-burst,
+   Gush!--flush the man, the being with it, sour or sweet,
+   Brim, in a flash, full!--Hither then, last or first,
+     To hero of Calvary, Christ,'s feet--
+Never ask if meaning it, wanting it, warned of it--men go.
+
+9
+               Be adored among men,
+          God, three-numbered form;
+     Wring thy rebel, dogged in den,
+          Man's malice, with wrecking and storm.
+   Beyond saying sweet, past telling of tongue,
+   Thou art lightning and love, I found it, a winter and warm;
+    Father and fondler of heart thou hast wrung:
+Hast thy dark descending and most art merciful then.
+
+10
+               With an anvil-ding
+          And with fire in him forge thy will
+     Or rather, rather then, stealing as Spring
+          Through him, melt him but master him still:
+   Whether at once, as once at a crash Paul,
+   Or as Austin, a lingering-out sweet skill,
+     Make mercy in all of us, out of us all
+Mastery, but be adored, but be adored King.
+
+
+_PART THE SECOND_
+
+11
+               'Some find me a sword; some
+          The flange and the rail; flame,
+     Fang, or flood' goes Death on drum,
+          And storms bugle his fame.
+   But we dream we are rooted in earth--Dust!
+   Flesh falls within sight of us, we, though our flower the same,
+     Wave with the meadow, forget that there must
+The sour scythe cringe, and the blear share come.
+
+12
+               On Saturday sailed from Bremen,
+          American-outward-bound,
+     Take settler and seamen, tell men with women,
+          Two hundred souls in the round--
+   O Father, not under thy feathers nor ever as guessing
+   The goal was a shoal, of a fourth the doom to be drowned;
+     Yet did the dark side of the bay of thy blessing
+Not vault them, the million of rounds of thy mercy not reeve
+     even them in?
+
+13
+               Into the snows she sweeps,
+          Hurling the haven behind,
+     The Deutschland, on Sunday; and so the sky keeps,
+          For the infinite air is unkind,
+   And the sea flint-flake, black-backed in the regular blow,
+   Sitting Eastnortheast, in cursed quarter, the wind;
+     Wiry and white-fiery and whirlwind-swivelled snow
+Spins to the widow-making unchilding unfathering deeps.
+
+14
+               She drove in the dark to leeward,
+          She struck--not a reef or a rock
+     But the combs of a smother of sand: night drew her
+          Dead to the Kentish Knock;
+   And she beat the bank down with her bows and the ride of
+     her keel:
+   The breakers rolled on her beam with ruinous shock;
+     And canvas and compass, the whorl and the wheel
+Idle for ever to waft her or wind her with, these she endured.
+
+15
+               Hope had grown grey hairs,
+          Hope had mourning on,
+     Trenched with tears, carved with cares,
+          Hope was twelve hours gone;
+   And frightful a nightfall folded rueful a day
+   Nor rescue, only rocket and lightship, shone,
+     And lives at last were washing away:
+To the shrouds they took,--they shook in the hurling and
+     horrible airs.
+
+16
+               One stirred from the rigging to save
+          The wild woman-kind below,
+     With a rope's end round the man, handy and brave--
+          He was pitched to his death at a blow,
+   For all his dreadnought breast and braids of thew:
+   They could tell him for hours, dandled the to and fro
+     Through the cobbled foam-fleece, what could he do
+With the burl of the fountains of air, buck and the flood of the wave?
+
+17
+               They fought with God's cold--
+          And they could not and fell to the deck
+     (Crushed them) or water (and drowned them) or rolled
+          With the sea-romp over the wreck.
+   Night roared, with the heart-break hearing a heart-broke rabble,
+   The woman's wailing, the crying of child without check--
+     Till a lioness arose breasting the babble,
+A prophetess towered in the tumult, a virginal tongue told.
+
+18
+               Ah, touched in your bower of bone
+          Are you! turned for an exquisite smart,
+     Have you! make words break from me here all alone,
+          Do you!--mother of being in me, heart.
+   O unteachably after evil, but uttering truth,
+   Why, tears! is it? tears; such a melting, a madrigal start!
+     Never-eldering revel and river of youth,
+What can it be, this glee? the good you have there of your own?
+
+19
+               Sister, a sister calling
+          A master, her master and mine!--
+     And the inboard seas run swirling and bawling;
+          The rash smart sloggering brine
+   Blinds her; but she that weather sees one thing, one;
+   Has one fetch in her: she rears herself to divine
+     Ears, and the call of the tall nun
+To the men in the tops and the tackle rode over the storm's brawling.
+
+20
+               She was first of a five and came
+          Of a coifed sisterhood.
+     (O Deutschland, double a desperate name!
+          O world wide of its good!
+   But Gertrude, lily, and Luther, are two of a town,
+   Christ's lily and beast of the waste wood:
+     From life's dawn it is drawn down,
+Abel is Cain's brother and breasts they have sucked the same.)
+
+21
+               Loathed for a love men knew in them,
+          Banned by the land of their birth,
+     Rhine refused them. Thames would ruin them;
+          Surf, snow, river and earth
+   Gnashed: but thou art above, thou Orion of light;
+   Thy unchancelling poising palms were weighing the worth,
+     Thou martyr-master: in thy sight
+Storm flakes were scroll-leaved flowers, lily showers--sweet
+     heaven was astrew in them.
+
+22
+               Five! the finding and sake
+          And cipher of suffering Christ.
+     Mark, the mark is of man's make
+          And the word of it Sacrificed.
+   But he scores it in scarlet himself on his own bespoken,
+   Before-time-taken, dearest prized and priced--
+     Stigma, signal, cinquefoil token
+For lettering of the lamb's fleece, ruddying of the rose-flake.
+
+23
+               Joy fall to thee, father Francis,
+          Drawn to the Life that died;
+     With the gnarls of the nails in thee, niche of the lance, his
+          Lovescape crucified
+   And seal of his seraph-arrival! and these thy daughters
+   And five-lived and leaved favour and pride,
+     Are sisterly sealed in wild waters,
+To bathe in his fall-gold mercies, to breathe in his all-fire glances.
+
+24
+               Away in the loveable west,
+          On a pastoral forehead of Wales,
+     I was under a roof here, I was at rest,
+          And they the prey of the gales;
+   She to the black-about air, to the breaker, the thickly
+   Falling flakes, to the throng that catches and quails,
+     Was calling 'O Christ, Christ come quickly':
+The cross to her she calls Christ to her, christens her wild-worn Best.
+
+25
+               The majesty! what did she mean?
+          Breathe, arch and original Breath.
+     Is it love in her of the being as her lover had been?
+          Breathe, body of lovely Death.
+   They were else-minded then, altogether, the men
+   Woke thee with a _we are perishlng_ in the weather of Gennesareth.
+     Or is it that she cried for the crown then,
+The keener to come at the comfort for feeling the combating keen?
+
+26
+               For how to the heart's cheering
+          The down-dogged ground-hugged grey
+     Hovers off, the jay-blue heavens appearing
+          Of pied and peeled May!
+   Blue-beating and hoary-glow height; or night, still higher,
+   With belled fire and the moth-soft Milky Way,
+     What by your measure is the heaven of desire,
+The treasure never eyesight got, nor was ever guessed what for
+     the hearing?
+
+27
+               No, but it was not these.
+          The jading and jar of the cart,
+     Time's tasking, it is fathers that asking for ease
+          Of the sodden-with-its-sorrowing heart,
+   Not danger, electrical horror; then further it finds
+   The appealing of the Passion is tenderer in prayer apart:
+     Other, I gather, in measure her mind's
+Burden, in wind's burly and beat of endragoned seas.
+
+28
+               But how shall I ... make me room there;
+          Reach me a ... Fancy, come faster--
+     Strike you the sight of it? look at it loom there,
+          Thing that she ... there then! the Master,
+   _Ipse_, the only one, Christ, King, Head:
+   He was to cure the extremity where he had cast her;
+     Do, deal, lord it with living and dead;
+Let him ride, her pride, in his triumph, despatch and have done
+     with his doom there.
+
+29
+               Ah! there was a heart right!
+          There was single eye!
+     Read the unshapeable shock night
+          And knew the who and the why;
+   Wording it how but by him that present and past,
+   Heaven and earth are word of, worded by?--
+     The Simon Peter of a soul! to the blast
+Tarpeian-fast, but a blown beacon of light.
+
+30
+               Jesu, heart's light,
+          Jesu, maid's son,
+     What was the feast followed the night
+          Thou hadst glory of this nun?
+   Feast of the one woman without stain.
+   For so conceived, so to conceive thee is done;
+     But here was heart-throe, birth of a brain,
+Word, that heard and kept thee and uttered thee outright.
+
+31
+               Well, she has thee for the pain, for the
+          Patience; but pity of the rest of them!
+     Heart, go and bleed at a bitterer vein for the
+          Comfortless unconfessed of them--
+   No not uncomforted: lovely-felicitous Providence
+   Finger of a tender of, O of a feathery delicacy, the breast of the
+     Maiden could obey so, be a bell to, ring of it, and
+Startle the poor sheep back! is the shipwrack then a harvest; does
+     tempest carry the grain for thee?
+
+32
+               I admire thce, master of the tides,
+          Of the Yore-flood, of the year's fall;
+     The recurb and the recovery of the gulfs sides,
+          The girth of it and the wharf of it and the wall;
+   Stanching, quenching ocean of a motionable mind;
+   Ground of being, and granite of it: past all
+     Grasp God, throned behind
+Death with a sovereignty that heeds but hides, bodes but abides;
+
+33
+               With a mercy that outrides
+          The all of water, an ark
+     For the listener; for the lingerer with a love glides
+          Lower than death and the dark;
+   A vein for the visiting of the past-prayer, pent in prison,
+   The-last-breath penitent spirits--the uttermost mark
+     Our passion-plunged giant risen,
+The Christ of the Father compassionate, fetched in the storm of
+     his strides.
+
+34
+               Now burn, new born to the world,
+          Doubled-natured name,
+     The heaven-flung, heart-fleshed, maiden-furled
+          Miracle-in-Mary-of-flame,
+   Mid-numbered He in three of the thunder-throne!
+   Not a dooms-day dazzle in his coming nor dark as he came;
+     Kind, but royally reclaiming his own;
+A released shower, let flash to the shire, not a lightning of fire
+     hard-hurled.
+
+35
+               Dame, at our door
+          Drowned, and among our shoals,
+     Remember us in the roads, the heaven-haven of the
+                    Reward:
+          Our King back, oh, upon English souls!
+   Let him easter in us, be a dayspring to the dimness of us,
+     be a crimson-cresseted east,
+   More brightening her, rare-dear Britain, as his reign rolls,
+     Pride, rose, prince, hero of us, high-priest,
+Our hearts' charity's hearth's fire, our thoughts' chivalry's throng's
+     Lord.
+
+
+_5
+Penmaen Pool_
+
+_For the Visitors' Book at the Inn_
+
+WHO long for rest, who look for pleasure
+Away from counter, court, or school
+O where live well your lease of leisure
+But here at, here at Penmaen Pool?
+
+You'll dare the Alp? you'll dart the skiff?--
+Each sport has here its tackle and tool:
+Come, plant the staff by Cadair cliff;
+Come, swing the sculls on Penmaen Pool.
+
+What's yonder?--Grizzled Dyphwys dim:
+The triple-hummocked Giant's stool,
+Hoar messmate, hobs and nobs with him
+To halve the bowl of Penmaen Pool.
+
+And all the landscape under survey,
+At tranquil turns, by nature's rule,
+Rides repeated topsyturvy
+In frank, in fairy Penmaen Pool.
+
+And Charles's Wain, the wondrous seven,
+And sheep-flock clouds like worlds of wool.
+For all they shine so, high in heaven,
+Shew brighter shaken in Penmaen Pool.
+
+The Mawddach, how she trips! though throttled
+If floodtide teeming thrills her full,
+And mazy sands all water-wattled
+Waylay her at ebb, past Penmaen Pool.
+
+But what 's to see in stormy weather,
+When grey showers gather and gusts are cool?--
+Why, raindrop-roundels looped together
+That lace the face of Penmaen Pool.
+
+Then even in weariest wintry hour
+Of New Year's month or surly Yule
+Furred snows, charged tuft above tuft, tower
+From darksome darksome Penmaen Pool.
+
+And ever, if bound here hardest home,
+You've parlour-pastime left and (who'll
+Not honour it?) ale like goldy foam
+That frocks an oar in Penmaen Pool.
+
+Then come who pine for peace or pleasure
+Away from counter, court, or school,
+Spend here your measure of time and treasure
+And taste the treats of Penmaen Pool.
+
+_6
+The Silver Jubilee:
+To James First Bishop of Shrewsbury on the 25th Year
+of his Episcopate July 28. 1876_
+
+1
+THOUGH no high-hung bells or din
+Of braggart bugles cry it in--
+   What is sound? Nature's round
+Makes the Silver Jubilee.
+
+2
+Five and twenty years have run
+Since sacred fountains to the sun
+   Sprang, that but now were shut,
+Showering Silver Jubilee.
+
+3
+Feasts, when we shall fall asleep,
+Shrewsbury may see others keep;
+   None but you this her true,
+This her Silver Jubilee.
+
+4
+Not today we need lament
+Your wealth of life is some way spent:
+   Toil has shed round your head
+Silver but for Jubilee.
+
+5
+Then for her whose velvet vales
+Should have pealed with welcome, Wales,
+   Let the chime of a rhyme
+Utter Silver Jubilee.
+
+
+_7
+God's Grandeur_
+
+THE world is charged with the grandeur of God.
+   It will flame out, like shining from shook foil;
+   It gathers to a greatness, like the ooze of oil
+Crushed. Why do men then now not reck his rod?
+Generations have trod, have trod, have trod;
+   And all is seared with trade; bleared, smeared with
+     toil;
+   And wears man's smudge and shares man's smell:
+     the soil
+Is bare now, nor can foot feel, being shod.
+
+And for all this, nature is never spent;
+   There lives the dearest freshness deep down things;
+And though the last lights off the black West went
+   Oh, morning, at the brown brink eastward, springs--
+Because the Holy Ghost over the bent
+   World broods with warm breast and with ah!
+     bright wings.
+
+
+_8
+The Starlight Night_
+
+LOOK at the stars! look, look up at the skies!
+   O look at all the fire-folk sitting in the air!
+   The bright boroughs, the circle-citadels there!
+Down in dim woods the diamond delves! the elves'-eyes!
+The grey lawns cold where gold, where quickgold lies!
+   Wind-beat whitebeam! airy abeles set on a flare!
+   Flake-doves sent floating forth at a farmyard scare!--
+Ah well! it is all a purchase, all is a prize.
+
+Buy then! bid then!--What?--Prayer, patience, alms,
+     vows.
+Look, look: a May-mess, like on orchard boughs!
+   Look! March-bloom, like on mealed-with-yellow
+     sallows!
+These are indeed the barn; withindoors house
+The shocks. This piece-bright paling shuts the spouse
+   Christ home, Christ and his mother and all his hallows.
+
+
+_9
+Spring_
+
+NOTHING is so beautiful as spring--
+   When weeds, in wheels, shoot long and lovely and lush;
+   Thrush's eggs look little low heavens, and thrush
+Through the echoing timber does so rinse and wring
+The ear, it strikes like lightnings to hear him sing;
+   The glassy peartree leaves and blooms, they brush
+   The descending blue; that blue is all in a rush
+With richness; the racing lambs too have fair their fling.
+
+What is all this juice and all this joy?
+   A strain of the earth's sweet being in the beginning
+In Eden garden. Have, get, before it cloy,
+   Before it cloud, Christ, lord, and sour with sinning,
+Innocent mind and Mayday in girl and boy,
+   Most, O maid's child, thy choice and worthy the
+     winning.
+
+
+_10
+The Lantern out of Doors_
+
+SOMETIMES a lantern moves along the night,
+   That interests our eyes. And who goes there?
+   I think; where from and bound, I wonder, where,
+With, all down darkness wide, his wading light?
+
+Men go by me whom either beauty bright
+   In mould or mind or what not else makes rare:
+   They rain against our much-thick and marsh air
+Rich beams, till death or distance buys them quite.
+
+Death or distance soon consumes them: wind
+   What most I may eye after, be in at the end
+I cannot, and out of sight is out of mind.
+
+Christ minds: Christ's interest, what to avow or amend
+   There, eyes them, heart wants, care haunts, foot
+     follows kind,
+Their ransom, their rescue, and first, fast, last friend.
+
+
+_11
+The Sea and the Skylark_
+
+ON ear and ear two noises too old to end
+   Trench--right, the tide that ramps against the shore;
+   With a flood or a fall, low lull-off or all roar,
+Frequenting there while moon shall wear and wend.
+
+Left hand, off land, I hear the lark ascend,
+   His rash-fresh re-winded new-skeined score
+   In crisps of curl off wild winch whirl, and pour
+And pelt music, till none's to spill nor spend.
+
+How these two shame this shallow and frail town!
+   How ring right out our sordid turbid time,
+Being pure! We, life's pride and cared-for crown,
+
+   Have lost that cheer and charm of earth's past prime:
+Our make and making break, are breaking, down
+    To man's last dust, drain fast towards man's first slime.
+
+
+_12
+The Windhover:
+
+To Christ our Lord_
+
+I CAUGHT this morning morning's minion, king-
+     dom of daylight's dauphin, dapple-dawn-drawn Fal-
+          con, in his riding
+Of the rolling level underneath him steady air, and
+     striding
+High there, how he rung upon the rein of a wimpling wing
+In his ecstacy! then off, off forth on swing,
+     As a skate's heel sweeps smooth on a bow-bend:
+          the hurl and gliding
+     Rebuffed the big wind. My heart in hiding
+Stirred for a bird,--the achieve of, the mastery of the
+          thing!
+
+Brute beauty and valour and act, oh, air, pride, plume, here
+    Buckle! AND the fire that breaks from thee then, a
+          billion
+Times told lovelier, more dangerous, O my chevalier!
+
+     No wonder of it: sheer plod makes plough down
+          sillion
+Shine, and blue-bleak embers, ah my dear,
+   Fall, gall themselves, and gash gold-vermillion.
+
+
+_13
+Pied Beauty_
+
+GLORY be to God for dappled things--
+   For skies of couple-colour as a brinded cow;
+      For rose-moles all in stipple upon trout that swim:
+Fresh-firecoal chestnut-falls; finches' wings;
+   Landscape plotted and pieced--fold, fallow, and
+      plough;
+     And all trades, their gear and tackle and trim.
+
+All things counter, original, spare, strange;
+   Whatever is fickle, freckled (who knows how?)
+      With swift, slow; sweet, sour; adazzle, dim;
+He fathers-forth whose beauty is past change:
+                  Praise him.
+
+
+_14
+Hurrahing in Harvest_
+
+SUMMER ends now; now, barbarous in beauty, the
+     stooks rise
+   Around; up above, what wind-walks! what lovely
+     behaviour
+   Of silk-sack clouds! has wilder, wilful-wavier
+Meal-drift moulded ever and melted across skies?
+
+I walk, I lift up, I lift up heart, eyes,
+   Down all that glory in the heavens to glean our
+     Saviour;
+   And, eyes, heart, what looks, what lips yet gave you a
+Rapturous love's greeting of realer, of rounder replies?
+
+And the azurous hung hills are his world-wielding
+     shoulder
+   Majestic--as a stallion stalwart, very-violet-sweet!--
+These things, these things were here and but the
+     beholder
+   Wanting; which two when they once meet,
+The heart rears wings bold and bolder
+   And hurls for him, O half hurls earth for him off
+     under his feet.
+
+
+_15
+Caged Skylark_
+
+As a dare-gale skylark scanted in a dull cage
+   Man's mounting spirit in his bone-house, mean house,
+     dwells--
+   That bird beyond the remembering his free fells;
+This in drudgery, day-labouring-out life's age.
+
+Though aloft on turf or perch or poor low stage,
+   Both sing sometimes the sweetest, sweetest spells,
+   Yet both droop deadly sometimes in their cells
+Or wring their barriers in bursts of fear or rage.
+
+Not that the sweet-fowl, song-fowl, needs no rest--
+Why, hear him, hear him babble and drop down to his nest,
+   But his own nest, wild nest, no prison.
+
+Man's spirit will be flesh-bound when found at best,
+But uncumbered: meadow-down is not distressed
+   For a rainbow footing it nor he for his bones risen.
+
+
+_16
+In the Valley of the Elwy_
+
+I REMEMBER a house where all were good
+   To me, God knows, deserving no such thing:
+   Comforting smell breathed at very entering,
+Fetched fresh, as I suppose, off some sweet wood.
+That cordial air made those kind people a hood
+   All over, as a bevy of eggs the mothering wing
+   Will, or mild nights the new morsels of spring:
+Why, it seemed of course; seemed of right it should.
+
+Lovely the woods, waters, meadows, combes, vales,
+All the air things wear that build this world of Wales;
+   Only the inmate does not correspond:
+God, lover of souls, swaying considerate scales,
+Complete thy creature dear O where it fails,
+   Being mighty a master, being a father and fond.
+
+
+_17
+The Loss of the Eurydice
+
+Foundered March 24. 1878_
+
+1
+THE Eurydice--it concerned thee, O Lord:
+Three hundred souls, O alas! on board,
+     Some asleep unawakened, all un-
+warned, eleven fathoms fallen
+
+2
+Where she foundered! One stroke
+Felled and furled them, the hearts of oak!
+   And flockbells off the aerial
+Downs' forefalls beat to the burial.
+
+3
+For did she pride her, freighted fully, on
+Bounden bales or a hoard of bullion?--
+   Precious passing measure,
+Lads and men her lade and treasure.
+
+4
+She had come from a cruise, training seamen--
+Men, boldboys soon to be men:
+   Must it, worst weather,
+Blast bole and bloom together?
+
+5
+No Atlantic squall overwrought her
+Or rearing billow of the Biscay water:
+   Home was hard at hand
+And the blow bore from land.
+
+6
+And you were a liar, O blue March day.
+Bright sun lanced fire in the heavenly bay;
+   But what black Boreas wrecked her? he
+Came equipped, deadly-electric,
+
+7
+A beetling baldbright cloud thorough England
+Riding: there did storms not mingle? and
+   Hailropes hustle and grind their
+Heavengravel? wolfsnow, worlds of it, wind there?
+
+8
+Now Carisbrook keep goes under in gloom;
+Now it overvaults Appledurcombe;
+   Now near by Ventnor town
+It hurls, hurls off Boniface Down.
+
+9
+Too proud, too proud, what a press she bore!
+Royal, and all her royals wore.
+   Sharp with her, shorten sail!
+Too late; lost; gone with the gale.
+
+10
+This was that fell capsize,
+As half she had righted and hoped to rise
+   Death teeming in by her portholes
+Raced down decks, round messes of mortals.
+
+11
+Then a lurch forward, frigate and men;
+'All hands for themselves' the cry ran then;
+   But she who had housed them thither
+Was around them, bound them or wound them with her.
+
+12
+Marcus Hare, high her captain,
+Kept to her--care-drowned and wrapped in
+   Cheer's death, would follow
+His charge through the champ-white water-in-a-wallow.
+
+13
+All under Channel to bury in a beach her
+Cheeks: Right, rude of feature,
+   He thought he heard say
+'Her commander! and thou too, and thou this way.'
+
+14
+It is even seen, time's something server,
+In mankind's medley a duty-swerver,
+   At downright 'No or yes?'
+Doffs all, drives full for righteousness.
+
+15
+Sydney Fletcher, Bristol-bred,
+(Low lie his mates now on watery bed)
+   Takes to the seas and snows
+As sheer down the ship goes.
+
+16
+Now her afterdraught gullies him too down;
+Now he wrings for breath with the deathgush brown;
+   Till a lifebelt and God's will
+Lend him a lift from the sea-swill.
+
+17
+Now he shoots short up to the round air;
+Now he gasps, now he gazes everywhere;
+   But his eye no cliff, no coast or
+Mark makes in the rivelling snowstorm.
+
+18
+Him, after an hour of wintry waves,
+A schooner sights, with another, and saves,
+   And he boards her in Oh! such joy
+He has lost count what came next, poor boy.--
+
+19
+They say who saw one sea-corpse cold
+He was all of lovely manly mould,
+   Every inch a tar,
+Of the best we boast our sailors are.
+
+20
+Look, foot to forelock, how all things suit! he
+Is strung by duty, is strained to beauty,
+   And brown-as-dawning-skinned
+With brine and shine and whirling wind.
+
+21
+O his nimble finger, his gnarled grip!
+Leagues, leagues of seamanship
+   Slumber in these forsaken
+Bones, this sinew, and will not waken.
+
+22
+He was but one like thousands more,
+Day and night I deplore
+   My people and born own nation,
+Fast foundering own generation,
+
+23
+I might let bygones be--our curse
+Of ruinous shrine no hand or, worse,
+   Robbery's hand is busy to
+Dress, hoar-hallowed shrines unvisited;
+
+24
+Only the breathing temple and fleet
+Life, this wildworth blown so sweet,
+   These daredeaths, ay this crew, in
+Unchrist, all rolled in ruin--
+
+25
+Deeply surely I need to deplore it,
+Wondering why my master bore it,
+   The riving off that race
+So at home, time was, to his truth and grace
+
+26
+That a starlight-wender of ours would say
+The marvellous Milk was Walsingham Way
+   And one--but let be, let be:
+More, more than was will yet be.--
+
+27
+O well wept, mother have lost son;
+Wept, wife; wept, sweetheart would be one:
+   Though grief yield them no good
+Yet shed what tears sad truelove should.
+
+28
+But to Christ lord of thunder
+Crouch; lay knee by earth low under:
+   'Holiest, loveliest, bravest,
+Save my hero, O Hero savest.
+
+29
+And the prayer thou hearst me making
+Have, at the awful overtaking,
+   Heard; have heard and granted
+Grace that day grace was wanted.'
+
+30
+Not that hell knows redeeming,
+But for souls sunk in seeming
+   Fresh, till doomfire burn all,
+Prayer shall fetch pity eternal.
+
+
+_18
+The May Magnificat_
+
+MAY is Mary's month, and I
+Muse at that and wonder why:
+     Her feasts follow reason,
+     Dated due to season--
+
+Candlemas, Lady Day;
+But the Lady Month, May,
+     Why fasten that upon her,
+     With a feasting in her honour?
+
+Is it only its being brighter
+Than the most are must delight her?
+     Is it opportunest
+     And flowers finds soonest?
+
+Ask of her, the mighty mother:
+Her reply puts this other
+     Question: What is Spring?--
+     Growth in every thing--
+
+Flesh and fleece, fur and feather,
+Grass and green world all together;
+     Star-eyed strawberry-breasted
+     Throstle above her nested
+
+Cluster of bugle blue eggs thin
+Forms and warms the life within;
+     And bird and blossom swell
+     In sod or sheath or shell.
+
+All things rising, all things sizing
+Mary sees, sympathising
+     With that world of good,
+     Nature's motherhood.
+
+Their magnifying of each its kind
+With delight calls to mind
+     How she did in her stored
+     Magnify the Lord.
+
+Well but there was more than this:
+Spring's universal bliss
+     Much, had much to say
+     To offering Mary May.
+
+When drop-of-blood-and-foam-dapple
+Bloom lights the orchard-apple
+     And thicket and thorp are merry
+     With silver-surfed cherry
+
+And azuring-over greybell makes
+Wood banks and brakes wash wet like lakes
+     And magic cuckoocall
+     Caps, clears, and clinches all--
+
+This ecstacy all through mothering earth
+Tells Mary her mirth till Christ's birth
+     To remember and exultation
+     In God who was her salvation.
+
+
+_19
+Binsey Poplars
+
+felled 1879_
+
+MY aspens dear, whose airy cages quelled,
+Quelled or quenched in leaves the leaping sun,
+All felled, felled, are all felled;
+   Of a fresh and following folded rank
+               Not spared, not one
+               That dandled a sandalled
+          Shadow that swam or sank
+On meadow and river and wind-wandering weed-winding
+   bank.
+
+O if we but knew what we do
+      When we delve or hew--
+Hack and rack the growing green!
+      Since country is so tender
+To touch, her being so slender,
+That, like this sleek and seeing ball
+But a prick will make no eye at all,
+Where we, even where we mean
+          To mend her we end her,
+      When we hew or delve:
+After-comers cannot guess the beauty been.
+   Ten or twelve, only ten or twelve
+      Strokes of havoc unselve
+          The sweet especial scene,
+      Rural scene, a rural scene,
+      Sweet especial rural scene.
+
+
+_20
+Duns Scotus's Oxford_
+
+TOWERY city and branchy between towers;
+Cuckoo-echoing, bell-swarmed, lark-charmed, rook-
+     racked, river-rounded;
+The dapple-eared lily below thee; that country and
+     town did
+Once encounter in, here coped and poised powers;
+
+Thou hast a base and brickish skirt there, sours
+That neighbour-nature thy grey beauty is grounded
+Best in; graceless growth, thou hast confounded
+Rural rural keeping--folk, flocks, and flowers.
+
+Yet ah! this air I gather and I release
+He lived on; these weeds and waters, these walls are what
+He haunted who of all men most sways my spirits to peace;
+
+Of realty the rarest-veined unraveller; a not
+Rivalled insight, be rival Italy or Greece;
+Who fired France for Mary without spot.
+
+
+_21
+Henry Purcell_
+
+_The poet wishes well to the divine genius of Purcell
+and praises him that, whereas other musicians have given
+utterance to the moods of man's mind, he has, beyond
+that, uttered in notes the very make and species of man as
+created both in him and in all men generally._
+
+HAVE fair fallen, O fair, fair have fallen, so dear
+To me, so arch-especial a spirit as heaves in Henry Purcell,
+An age is now since passed, since parted; with the reversal
+Of the outward sentence low lays him, listed to a heresy,
+     here.
+
+Not mood in him nor meaning, proud fire or sacred fear,
+Or love or pity or all that sweet notes not his might nursle:
+It is the forged feature finds me; it is the rehearsal
+Of own, of abrupt self there so thrusts on, so throngs
+     the ear.
+
+Let him Oh! with his air of angels then lift me, lay me!
+     only I'll
+Have an eye to the sakes of him, quaint moonmarks, to
+     his pelted plumage under
+Wings: so some great stormfowl, whenever he has walked
+     his while
+
+The thunder-purple seabeach plume purple-of-thunder,
+If a wuthering of his palmy snow-pinions scatter a
+     colossal smile
+Off him, but meaning motion fans fresh our wits with
+     wonder.
+
+
+_22
+Peace_
+
+WHEN will you ever, Peace, wild wooddove, shy wings shut,
+Your round me roaming end, and under be my boughs?
+When, when, Peace, will you, Peace? I'll not play
+     hypocrite
+To own my heart: I yield you do come sometimes; but
+That piecemeal peace is poor peace. What pure peace
+     allows
+Alarms of wars, the daunting wars, the death of it?
+
+O surely, reaving Peace, my Lord should leave in lieu
+Some good! And so he does leave Patience exquisite,
+That plumes to Peace thereafter. And when Peace here
+     does house
+He comes with work to do, he does not come to coo,
+He comes to brood and sit.
+
+
+_23
+The Bugler's First Communion
+
+A BUGLER boy from barrack (it is over the hill
+There)--boy bugler, born, he tells me, of Irish
+          Mother to an English sire (he
+Shares their best gifts surely, fall how things will),
+
+This very very day came down to us after a boon he on
+My late being there begged of me, overflowing
+          Boon in my bestowing,
+Came, I say, this day to it--to a First Communion.
+
+Here he knelt then in regimental red.
+Forth Christ from cupboard fetched, how fain I of feet
+          To his youngster take his treat!
+Low-latched in leaf-light housel his too huge godhead.
+
+There! and your sweetest sendings, ah divine,
+By it, heavens, befall him! as a heart Christ's darling,
+     dauntless;
+          Tongue true, vaunt- and tauntless;
+Breathing bloom of a chastity in mansex fine.
+
+Frowning and forefending angel-warder
+Squander the hell-rook ranks sally to molest him;
+          March, kind comrade, abreast him;
+Dress his days to a dexterous and starlight order.
+
+How it does my heart good, visiting at that bleak hill,
+When limber liquid youth, that to all I teach
+          Yields tender as a pushed peach,
+Hies headstrong to its wellbeing of a self-wise self-will!
+
+Then though I should tread tufts of consolation
+Days after, so I in a sort deserve to
+          And do serve God to serve to
+Just such slips of soldiery Christ's royal ration.
+
+Nothing else is like it, no, not all so strains
+Us: fresh youth fretted in a bloomfall all portending
+          That sweet's sweeter ending;
+Realm both Christ is heir to and there reigns.
+
+O now well work that sealing sacred ointment!
+O for now charms, arms, what bans off bad
+          And locks love ever in a lad!
+Let me though see no more of him, and not disappointment
+
+Those sweet hopes quell whose least me quickenings lift.
+In scarlet or somewhere of some day seeing
+          That brow and bead of being,
+An our day's God's own Galahad. Though this child's
+     drift
+
+Seems by a divine doom channelled, nor do I cry
+Disaster there; but may he not rankle and roam
+          In backwheels though bound home?--
+That left to the Lord of the Eucharist, I here lie by;
+
+Recorded only, I have put my lips on pleas
+Would brandle adamantine heaven with ride and jar, did
+          Prayer go disregarded:
+Forward-like, but however, and like favourable heaven
+   heard these.
+
+
+_24
+Morning Midday and Evening Sacrifice_
+
+THE dappled die-away
+Cheek and wimpled lip,
+The gold-wisp, the airy-grey
+Eye, all in fellowship--
+This, all this beauty blooming,
+This, all this freshness fuming,
+Give God while worth consuming.
+
+Both thought and thew now bolder
+And told by Nature: Tower;
+Head, heart, hand, heel, and shoulder
+That beat and breathe in power--
+This pride of prime's enjoyment
+Take as for tool, not toy meant
+And hold at Christ's employment.
+
+The vault and scope and schooling
+And mastery in the mind,
+In silk-ash kept from cooling,
+And ripest under rind--
+What life half lifts the latch of,
+What hell stalks towards the snatch of,
+Your offering, with despatch, of!
+
+_25
+Andromeda_
+
+Now Time's Andromeda on this rock rude,
+With not her either beauty's equal or
+Her injury's, looks off by both horns of shore,
+Her flower, her piece of being, doomed dragon's food.
+   Time past she has been attempted and pursued
+By many blows and banes; but now hears roar
+A wilder beast from West than all were, more
+Rife in her wrongs, more lawless, and more lewd.
+
+   Her Perseus linger and leave her to her extremes?--
+Pillowy air he treads a time and hangs
+His thoughts on her, forsaken that she seems,
+   All while her patience, morselled into pangs,
+Mounts; then to alight disarming, no one dreams,
+With Gorgon's gear and barebill, thongs and fangs.
+
+
+_26
+The Candle Indoors_
+
+SOME candle clear burns somewhere I come by.
+I muse at how its being puts blissful back
+With yellowy moisture mild night's blear-all black,
+Or to-fro tender trambeams truckle at the eye.
+By that window what task what fingers ply,
+I plod wondering, a-wanting, just for lack
+Of answer the eagerer a-wanting Jessy or Jack
+There   God to aggrandise, God to glorify.--
+
+Come you indoors, come home; your fading fire
+Mend first and vital candle in close heart's vault:
+You there are master, do your own desire;
+What hinders? Are you beam-blind, yet to a fault
+In a neighbour deft-handed? Are you that liar
+And cast by conscience out, spendsavour salt?
+
+
+_27
+The Handsome Heart:
+
+at a Gracious Answer_
+
+'BUT tell me, child, your choice; what shall I buy
+You?'--'Father, what you buy me I like best.'
+With the sweetest air that said, still plied and pressed,
+He swung to his first poised purport of reply.
+
+What the heart is! which, like carriers let fly--
+Doff darkness, homing nature knows the rest--
+To its own fine function, wild and self-instressed,
+Falls light as ten years long taught how to and why.
+
+Mannerly-hearted! more than handsome face--
+Beauty's bearing or muse of mounting vein,
+All, in this case, bathed in high hallowing grace . . .
+
+Of heaven what boon to buy you, boy, or gain
+Not granted?--Only ... O on that path you pace
+Run all your race, O brace sterner that strain!
+
+
+_28
+
+At the Wedding March_
+
+GOD with honour hang your head,
+Groom, and grace you, bride, your bed
+With lissome scions, sweet scions,
+Out of hallowed bodies bred.
+
+Each be other's comfort kind:
+Deep, deeper than divined,
+Divine charity, dear charity,
+Fast you ever, fast bind.
+
+Then let the March tread our ears:
+I to him turn with tears
+Who to wedlock, his wonder wedlock,
+Deals triumph and immortal years.
+
+
+_29
+Felix Randal_
+
+FELIX RANDAL the farrier, O he is dead then? my duty all ended,
+Who have watched his mould of man, big-boned and hardy-
+     handsome
+Pining, pining, till time when reason rambled in it and some
+Fatal four disorders, fleshed there, all contended?
+
+Sickness broke him. Impatient he cursed at first, but mended
+Being anointed and all; though a heavenlier heart began some
+Months earlier, since I had our sweet reprieve and ransom
+Tendered to him. Ah well, God rest him all road ever he
+     offended!
+
+This seeing the sick endears them to us, us too it endears.
+My tongue had taught thee comfort, touch had quenched thy tears,
+Thy tears that touched my heart, child, Felix, poor Felix Randal;
+
+How far from then forethought of, all thy more boisterous years,
+When thou at the random grim forge, powerful amidst peers,
+Didst fettle for the great grey drayhorse his bright and battering
+     sandal!
+
+
+_30
+Brothers_
+
+How lovely the elder brother's
+Life all laced in the other's,
+Love-laced! what once I well
+Witnessed; so fortune fell.
+When Shrovetide, two years gone,      5
+Our boys' plays brought on
+Part was picked for John,
+Young John: then fear, then joy
+Ran revel in the elder boy.
+Their night was come now; all        10
+Our company thronged the hall;
+Henry, by the wall,
+Beckoned me beside him:
+I came where called, and eyed him
+By meanwhiles; making my play        15
+Turn most on tender byplay.
+For, wrung all on love's rack,
+My lad, and lost in Jack,
+Smiled, blushed, and bit his lip;
+Or drove, with a diver's dip,        20
+Clutched hands down through clasped knees--
+Truth's tokens tricks like these,
+Old telltales, with what stress
+He hung on the imp's success.
+Now the other was brass-bold:        25
+He had no work to hold
+His heart up at the strain;
+Nay, roguish ran the vein.
+Two tedious acts were past;
+Jack's call and cue at last;         30
+When Henry, heart-forsook,
+Dropped eyes and dared not look.
+Eh, how all rung!
+Young dog, he did give tongue!
+But Harry--in his hands he has flung 35
+His tear-tricked cheeks of flame
+For fond love and for shame.
+   Ah Nature, framed in fault,
+There 's comfort then, there 's salt;
+Nature, bad, base, and blind,        40
+Dearly thou canst be kind;
+There dearly then, dearly,
+I'll cry thou canst be kind.
+
+
+_31
+Spring and Fall:
+
+to a young child_
+
+MARGARET, are you grieving
+Over Goldengrove unleaving?
+Leaves, like the things of man, you
+With your fresh thoughts care for, can you?
+Ah! as the heart grows older
+It will come to such sights colder
+By and by, nor spare a sigh
+Though worlds of wanwood leafmeal lie;
+And yet you will weep and know why.
+Now no matter, child, the name:
+Sorrow's springs are the same.
+Nor mouth had, no nor mind, expressed
+What heart heard of, ghost guessed:
+It is the blight man was born for,
+It is Margaret you mourn for.
+
+
+_32
+Spelt from Sibyl's Leaves_
+
+EARNEST, earthless, equal, attuneable, | vaulty, voluminous, . .
+     stupendous
+Evening strains to be time's vast, | womb-of-all, home-of-all,
+     hearse-of-all night.
+Her fond yellow hornlight wound to the west, | her wild hollow
+     hoarlight hung to the height
+Waste; her earliest stars, earl-stars, | stars principal, overbend us,
+Fire-featuring heaven. For earth | her being has unbound, her
+     dapple is at an end, as-
+tray or aswarm, all throughther, in throngs; | self in self steeped
+     and pashed--quite
+Disremembering, dismembering | all now. Heart, you round me
+     right
+With: Our evening is over us; our night | whelms, whelms, and
+     will end us.
+Only the beak-leaved boughs dragonish | damask the tool-smooth
+     bleak light; black,
+Ever so black on it. Our tale, our oracle! | Let life, waned,
+     ah let life wind
+Off her once skeined stained veined variety | upon, all on two
+     spools; part, pen, pack
+Now her all in two flocks, two folds--black, white; | right,
+     wrong; reckon but, reck but, mind
+But these two; ware of a world where but these | two tell, each
+     off the other; of a rack
+Where, selfwrung, selfstrung, sheathe- and shelterless, | thoughts
+     against thoughts in groans grind.
+
+
+_33
+Inversnaid_
+
+THIS darksome burn, horseback brown,
+His rollrock highroad roaring down,
+In coop and in comb the fleece of his foam
+Flutes and low to the lake falls home.
+
+A windpuff-bonnet of faawn-froth
+Turns and twindles over the broth
+Of a pool so pitchblack, fell-frowning,
+It rounds and rounds Despair to drowning.
+
+Degged with dew, dappled with dew
+Are the groins of the braes that the brook treads through,
+Wiry heathpacks, flitches of fern,
+And the beadbonny ash that sits over the burn.
+
+What would the world be, once bereft
+Of wet and of wildness? Let them be left,
+O let them be left, wildness and wet;
+Long live the weeds and the wilderness yet.
+
+
+_34
+
+As kingfishers catch fire, dragonflies draw flame;
+As tumbled over rim in roundy wells
+Stones ring; like each tucked string tells, each hung bell's
+Bow swung finds tongue to fling out broad its name;
+Each mortal thing does one thing and the same:
+Deals out that being indoors each one dwells;
+Selves--goes itself; _myself_ it speaks and spells,
+Crying _What I do is me: for that I came._
+
+I say more: the just man justices;
+Keeps grace: that keeps all his goings graces;
+Acts in God's eye what in God's eye he is--
+Christ--for Christ plays in ten thousand places,
+Lovely in limbs, and lovely in eyes not his
+To the Father through the features of men's faces.
+
+
+_35
+Ribblesdale_
+
+EARTH, sweet Earth, sweet landscape, with leaves throng
+And louched low grass, heaven that dost appeal
+To, with no tongue to plead, no heart to feel;
+That canst but only be, but dost that long--
+
+Thou canst but be, but that thou well dost; strong
+Thy plea with him who dealt, nay does now deal,
+Thy lovely dale down thus and thus bids reel
+Thy river, and o'er gives all to rack or wrong.
+
+   And what is Earth's eye, tongue, or heart else, where
+Else, but in dear and dogged man?--Ah, the heir
+To his own selfbent so bound, so tied to his turn,
+To thriftless reave both our rich round world bare
+And none reck of world after, this bids wear
+Earth brows of such care, care and dear concern.
+
+
+_36
+The Leaden Echo and the Golden Echo
+
+(Maidens' song from St. Winefred's Well)_
+
+THE LEADEN ECHO
+
+How to keep--is there any any, is there none such, nowhere
+     known some, bow or brooch or braid or brace, lace, latch
+     or catch or key to keep
+Back beauty, keep it, beauty, beauty, beauty, . . . from vanishing
+     away?
+
+ O is there no frowning of these wrinkles, ranked wrinkles deep,
+Down? no waving off of these most mournful messengers, still
+     messengers, sad and stealing messengers of grey?
+No there's none, there's none, O no there's none,
+Nor can you long be, what you now are, called fair,
+Do what you may do, what, do what you may,
+And wisdom is early to despair:
+Be beginning; since, no, nothing can be done
+To keep at bay
+Age and age's evils, hoar hair,
+Ruck and wrinkle, drooping, dying, death's worst, winding
+     sheets, tombs and worms and tumbling to decay;
+So be beginning, be beginning to despair.
+O there's none; no no no there's none:
+Be beginning to despair, to despair,
+Despair, despair, despair, despair.
+
+
+THE GOLDEN ECHO
+
+         Spare!
+There is one, yes I have one (Hush there!);
+Only not within seeing of the sun,
+Not within the singeing of the strong sun,
+Tall sun's tingeing, or treacherous the tainting of the earth's air.
+Somewhere elsewhere there is ah well where! one,
+One. Yes I can tell such a key, I do know such a place,
+Where whatever's prized and passes of us, everything that's
+     fresh and fast flying of us, seems to us sweet of us and
+     swiftly away with, done away with, undone,
+Undone, done with, soon done with, and yet dearly and
+     dangerously sweet
+Of us, the wimpled-water-dimpled, not-by-morning-matched face,
+The flower of beauty, fleece of beauty, too too apt to, ah! to fleet,
+Never fleets more, fastened with the tenderest truth
+To its own best being and its loveliness of youth: it is an ever-
+     lastingness of, O it is an all youth!
+Come then, your ways and airs and looks, locks, maiden gear,
+     gallantry and gaiety and grace,
+Winning ways, airs innocent, maiden manners, sweet looks,
+     loose locks, long locks, lovelocks, gaygear, going gallant,
+     girlgrace--
+Resign them, sign them, seal them, send them, motion them
+     with breath,
+And with sighs soaring, soaring sighs deliver
+Them; beauty-in-the-ghost, deliver it, early now, long before
+     death
+Give beauty back, beauty, beauty, beauty, back to God, beauty's
+     self and beauty's giver.
+See; not a hair is, not an eyelash, not the least lash lost; every hair
+Is, hair of the head, numbered.
+Nay, what we had lighthanded left in surly the mere mould
+Will have waked and have waxed and have walked with the wind
+     what while we slept,
+This side, that side hurling a heavyheaded hundredfold
+What while we, while we slumbered.
+O then, weary then why should we tread? O why are we so
+     haggard at the heart, so care-coiled, care-killed, so fagged,
+     so fashed, so cogged, so cumbered,
+When the thing we freely forfeit is kept with fonder a care,
+Fonder a care kept than we could have kept it, kept
+Far with fonder a care (and we, we should have lost it) finer, fonder
+A care kept. Where kept? Do but tell us where kept, where.--
+Yonder.--What high as that! We follow, now we follow.--
+     Yonder, yes yonder, yonder,
+Yonder.
+
+
+_37
+The Blessed Virgin compared to the Air we
+Breathe_
+
+WILD air, world-mothering air,
+Nestling me everywhere,
+That each eyelash or hair
+Girdles; goes home betwixt
+The fleeciest, frailest-flixed
+Snowflake; that's fairly mixed
+With, riddles, and is rife
+In every least thing's life;
+This needful, never spent,
+And nursing element;             10
+My more than meat and drink,
+My meal at every wink;
+This air, which, by life's law,
+My lung must draw and draw
+Now but to breathe its praise,
+Minds me in many ways
+Of her who not only
+Gave God's infinity
+Dwindled to infancy
+Welcome in womb and breast,      20
+Birth, milk, and all the rest
+But mothers each new grace
+That does now reach our race--
+Mary Immaculate,
+Merely a woman, yet
+Whose presence, power is
+Great as no goddess's
+Was deemed, dreamed; who
+This one work has to do--
+Let all God's glory through,     30
+God's glory which would go
+Through her and from her flow
+Off, and no way but so.
+
+     I say that we are wound
+With mercy round and round
+As if with air: the same
+Is Mary, more by name.
+She, wild web, wondrous robe,
+Mantles the guilty globe,
+Since God has let dispense       40
+Her prayers his providence:
+Nay, more than almoner,
+The sweet alms' self is her
+And men are meant to share
+Her life as life does air.
+     If I have understood,
+She holds high motherhood
+Towards all our ghostly good
+And plays in grace her part
+About man's beating heart,       50
+Laying, like air's fine flood,
+The deathdance in his blood;
+Yet no part but what will
+Be Christ our Saviour still.
+Of her flesh he took flesh:
+He does take fresh and fresh,
+Though much the mystery how,
+Not flesh but spirit now
+And makes, O marvellous!
+New Nazareths in us,             60
+Where she shall yet conceive
+Him, morning, noon, and eve;
+New Bethlems, and he born
+There, evening, noon, and morn
+Bethlem or Nazareth,
+Men here may draw like breath
+More Christ and baffle death;
+Who, born so, comes to be
+New self and nobler me
+In each one and each one         70
+More makes, when all is done,
+Both God's and Mary's Son.
+     Again, look overhead
+How air is azured;
+O how! nay do but stand
+Where you can lift your hand
+Skywards: rich, rich it laps
+Round the four fingergaps.
+Yet such a sapphire-shot,
+Charged, steeped sky will not    80
+Stain light. Yea, mark you this:
+It does no prejudice.
+The glass-blue days are those
+When every colour glows,
+Each shape and shadow shows.
+Blue be it: this blue heaven
+The seven or seven times seven
+Hued sunbeam will transmit
+Perfect, not alter it.
+Or if there does some soft,      90
+On things aloof, aloft,
+Bloom breathe, that one breath more
+Earth is the fairer for.
+Whereas did air not make
+This bath of blue and slake
+His fire, the sun would shake,
+A blear and blinding ball
+With blackness bound, and all
+The thick stars round him roll
+Flashing like flecks of coal,   100
+Quartz-fret, or sparks of salt,
+In grimy vasty vault.
+     So God was god of old:
+A mother came to mould
+Those limbs like ours which are
+What must make our daystar
+Much dearer to mankind;
+Whose glory bare would blind
+Or less would win man's mind.
+Through her we may see him      110
+Made sweeter, not made dim,
+And her hand leaves his light
+Sifted to suit our sight.
+     Be thou then, thou dear
+Mother, my atmosphere;
+My happier world, wherein
+To wend and meet no sin;
+Above me, round me lie
+Fronting my froward eye
+With sweet and scarless sky;    120
+Stir in my ears, speak there
+Of God's love, O live air,
+Of patience, penance, prayer:
+World-mothering air, air wild,
+Wound with thee, in thee isled,
+Fold home, fast fold thy child.
+
+
+_38
+To what serves Mortal Beauty?_
+
+To what serves mortal beauty | dangerous; does set danc-
+ing blood the O-seal-that-so | feature, flung prouder form
+Than Purcell tune lets tread to? | See: it does this: keeps warm
+Men's wits to the things that are; | what good means--where a glance
+Master more may than gaze, | gaze out of countenance.
+Those lovely lads once, wet-fresh | windfalls of war's storm,
+How then should Gregory, a father, | have gleaned else from swarm-
+ed Rome? But God to a nation | dealt that day's dear chance.
+   To man, that needs would worship | block or barren stone,
+Our law says: Love what are | love's worthiest, were all known;
+World's loveliest--men's selves. Self | flashes off frame and face.
+What do then? how meet beauty? | Merely meet it; own,
+Home at heart, heaven's sweet gift; | then leave, let that alone.
+Yea, wish that though, wish all, | God's better beauty, grace.
+
+
+_39
+(The Soldier)_
+
+YES. Why do we all, seeing of a soldier, bless him? bless
+Our redcoats, our tars? Both these being, the greater part,
+But frail clay, nay but foul clay. Here it is: the heart,
+Since, proud, it calls the calling manly, gives a guess
+That, hopes that, makesbelieve, the men must be no less;
+It fancies, feigns, deems, dears the artist after his art;
+And fain will find as sterling all as all is smart,
+And scarlet wear the spirit of war there express.
+
+Mark Christ our King. He knows war, served this soldiering
+     through;
+He of all can handle a rope best. There he bides in bliss
+Now, and seeing somewhere some man do all that man can do,
+For love he leans forth, needs his neck must fall on, kiss,
+And cry 'O Christ-done deed! So God-made-flesh does too:
+Were I come o'er again' cries Christ 'it should be this'.
+
+
+_40
+(Carrion Comfort)_
+
+NOT, I'll not, carrion comfort, Despair, not feast on thee;
+Not untwist--slack they may be--these last strands of man
+In me or, most weary, cry _I can no more_. I can;
+Can something, hope, wish day come, not choose not to be.
+But ah, but O thou terrible, why wouldst thou rude on me
+Thy wring-world right foot rock? lay a lionlimb against
+     me? scan
+With darksome devouring eyes my bruised bones? and fan,
+O in turns of tempest, me heaped there; me frantic to
+     avoid thee and flee?
+
+Why? That my chaff might fly; my grain lie, sheer
+     and clear.
+Nay in all that toil, that coil, since (seems) I kissed the rod,
+Hand rather, my heart lo! lapped strength, stole joy,
+     would laugh, cheer.
+Cheer whom though? the hero whose heaven-handling
+     flung me, foot trod
+Me? or me that fought him? O which one? is it each
+     one? That night, that year
+Of now done darkness I wretch lay wrestling with (my
+     God!) my God.
+
+
+_41_
+
+No worst, there is none. Pitched past pitch of grief,
+More pangs will, schooled at forepangs, wilder wring.
+Comforter, where, where is your comforting?
+Mary, mother of us, where is your relief?
+My cries heave, herds-long; huddle in a main, a chief
+Woe, world-sorrow; on an age-old anvil wince and sing--
+Then lull, then leave off. Fury had shrieked 'No ling-
+ering! Let me be fell: force I must be brief'.
+
+   O the mind, mind has mountains; cliffs of fall
+Frightful, sheer, no-man-fathomed. Hold them cheap
+May who ne'er hung there. Nor does long our small
+Durance deal with that steep or deep. Here! creep,
+Wretch, under a comfort serves in a whirlwind: all
+Life death does end and each day dies with sleep.
+
+
+_42
+Tom's Garland;
+
+upon the Unemployed_
+
+TOM--garlanded with squat and surly steel
+Tom; then Tom's fallowbootfellow piles pick
+By him and rips out rockfire homeforth--sturdy Dick;
+Tom Heart-at-ease, Tom Navvy: he is all for his meal
+Sure, 's bed now. Low be it: lustily he his low lot (feel
+That ne'er need hunger, Tom; Tom seldom sick,
+Seldomer heartsore; that treads through, prickproof,
+     thick
+Thousands of thorns, thoughts) swings though. Common-
+     weal
+Little I reck ho! lacklevel in, if all had bread:
+What! Country is honour enough in all us--lordly head,
+With heaven's lights high hung round, or, mother-ground
+That mammocks, mighty foot. But no way sped,
+Nor mind nor mainstrength; gold go garlanded
+With, perilous, O no; nor yet plod safe shod sound;
+               Undenizened, beyond bound
+Of earth's glory, earth's ease, all; no one, nowhere,
+In wide the world's weal; rare gold, bold steel, bare
+               In both; care, but share care--
+This, by Despair, bred Hangdog dull; by Rage,
+Manwolf, worse; and their packs infest the age.
+
+
+_43
+Harry Ploughman_
+
+HARD as hurdle arms, with a broth of goldish flue
+Breathed round; the rack of ribs; the scooped flank; lank
+Rope-over thigh; knee-nave; and barrelled shank--
+          Head and foot, shoulder and shank--
+By a grey eye's heed steered well, one crew, fall to;
+Stand at stress. Each limb's barrowy brawn, his thew
+That onewhere curded, onewhere sucked or sank--
+               Soared or sank--,
+Though as a beechbole firm, finds his, as at a roll-
+     call, rank
+And features, in flesh, what deed he each must do--
+          His sinew-service where do.
+
+He leans to it, Harry bends, look. Back, elbow, and
+     liquid waist
+In him, all quail to the wallowing o' the plough:
+     's cheek crimsons; curls
+Wag or crossbridle, in a wind lifted, windlaced--
+          See his wind- lilylocks -laced;
+Churlsgrace, too, child of Amansstrength, how it hangs
+     or hurls
+Them--broad in bluff hide his frowning feet lashed! raced
+With, along them, cragiron under and cold furls--
+          With-a-fountain's shining-shot furls.
+
+
+_44_
+
+To seem the stranger lies my lot, my life
+Among strangers. Father and mother dear,
+Brothers and sisters are in Christ not near
+And he my peace my parting, sword and strife.
+   England, whose honour O all my heart woos, wife
+To my creating thought, would neither hear
+Me, were I pleading, plead nor do I: I wear-
+y of idle a being but by where wars are rife.
+
+   I am in Ireland now; now I am at a third
+Remove. Not but in all removes I can
+Kind love both give and get. Only what word
+Wisest my heart breeds dark heaven's baffling ban
+Bars or hell's spell thwarts. This to hoard unheard,
+Heard unheeded, leaves me a lonely began.
+
+
+_45_
+
+I WAKE and feel the fell of dark, not day.
+What hours, O what black houers we have spent
+This night! what sights you, heart, saw; ways you went!
+And more must, in yet longer light's delay.
+     With witness I speak this. But where I say
+Hours I mean years, mean life. And my lament
+Is cries countless, cries like dead letters sent
+To dearest him that lives alas! away.
+
+I am gall, I am heartburn. God's most deep decree
+Bitter would have me taste: my taste was me;
+Bones built in me, flesh filled, blood brimmed the curse.
+     Selfyeast of spirit a dull dough sours. I see
+The lost are like this, and their scourge to be
+As I am mine, their sweating selves; but worse.
+
+
+_46_
+
+PATIENCE, hard thing! the hard thing but to pray,
+But bid for, Patience is! Patience who asks
+Wants war, wants wounds; weary his times, his tasks;
+To do without, take tosses, and obey.
+   Rare patience roots in these, and, these away,
+Nowhere. Natural heart's ivy, Patience masks
+Our ruins of wrecked past purpose. There she basks
+Purple eyes and seas of liquid leaves all day.
+
+   We hear our hearts grate on themselves: it kills
+To bruise them dearer. Yet the rebellious wills
+Of us we do bid God bend to him even so.
+   And where is he who more and more distils
+Delicious kindness?--He is patient. Patience fills
+His crisp combs, and that comes those ways we know.
+
+
+_47_
+
+MY own heart let me have more pity on; let
+Me live to my sad self hereafter kind,
+Charitable; not live this tormented mind
+With this tormented mind tormenting yet.
+   I cast for comfort I can no more get
+By groping round my comfortless, than blind
+Eyes in their dark can day or thirst can find
+Thirst's all-in-all in all a world of wet.
+
+Soul, self; come, poor Jackself, I do advise
+You, jaded, let be; call off thoughts awhile
+Elsewhere; leave comfort root-room; let joy size
+At God knows when to God knows what; whose smile
+'s not wrung, see you; unforeseen times rather--as skies
+Betweenpie mountains--lights a lovely mile.
+
+
+_48
+That Nature is a Heraclitean Fire and of
+the comfort of the Resurrection_
+
+CLOUD-PUFFBALL, torn tufts, tossed pillows | flaunt forth, then
+     chevy on an air-
+built thoroughfare: heaven-roysterers, in gay-gangs | they throng;
+     they glitter in marches.
+Down roughcast, down dazzling whitewash, | wherever an elm
+   arches,
+Shivelights and shadowtackle in long | lashes lace, lance, and pair.
+Delightfully the bright wind boisterous | ropes, wrestles, beats
+   earth bare
+Of yestertempest's creases; in pool and rut peel parches
+Squandering ooze to squeezed | dough, crust, dust; stanches,
+   starches
+Squadroned masks and manmarks | treadmire toil there
+Footfretted in it. Million-fueled, | nature's bonfire burns on.
+But quench her bonniest, dearest | to her, her clearest-selved spark
+Man, how fast his firedint, | his mark on mind, is gone!
+Both are in an unfathomable, all is in an enormous dark
+Drowned. O pity and indig | nation! Manshape, that shone
+Sheer off, disseveral, a star, | death blots black out; nor mark
+          Is any of him at all so stark
+But vastness blurs and time | beats level. Enough! the Resur-
+     rection,
+A heart's-clarion! Away grief's gasping, | joyless days, dejection.
+          Across my foundering deck shone
+A beacon, an eternal beam. | Flesh fade, and mortal trash
+Fall to the residuary worm; | world's wildfire, leave but ash:
+          In a flash, at a trumpet crash,
+I am all at once what Christ is, | since he was what I am, and
+This Jack, joke, poor potsherd, | patch, matchwood, immortal
+     diamond,
+          Is immortal diamond.
+
+
+_49
+In honour of
+St. Alphonsus Rodriguez
+Laybrother of the Society of Jesus_
+
+HONOUR is flashed off exploit, so we say;
+And those strokes once that gashed flesh or galled shield
+Should tongue that time now, trumpet now that field,
+And, on the fighter, forge his glorious day.
+On Christ they do and on the martyr may;
+But be the war within, the brand we wield
+Unseen, the heroic breast not outward-steeled,
+Earth hears no hurtle then from fiercest fray.
+
+   Yet God (that hews mountain and continent,
+Earth, all, out; who, with trickling increment,
+Veins violets and tall trees makes more and more)
+Could crowd career with conquest while there went
+Those years and years by of world without event
+That in Majorca Alfonso watched the door.
+
+
+_50_
+
+_Justus quidem tu es, Domine, si disputem tecum: verum-
+tamen justa loquar ad te: Quare via impiorum prospera-
+tur? &c._
+
+THOU art indeed just, Lord, if I contend
+With thee; but, sir, so what I plead is just.
+Why do sinners' ways prosper? and why must
+Disappointment all I endeavour end?
+
+   Wert thou my enemy, O thou my friend,
+How wouldst thou worse, I wonder, than thou dost
+Defeat, thwart me? Oh, the sots and thralls of lust
+Do in spare hours more thrive than I that spend,
+Sir, life upon thy cause. See, banks and brakes
+Now, leaved how thick! laced they are again
+With fretty chervil, look, and fresh wind shakes
+Them; birds build--but not I build; no, but strain,
+Time's eunuch, and not breed one work that wakes.
+Mine, O thou lord of life, send my roots rain.
+
+
+_51
+To R. B._
+
+THE fine delight that fathers thought; the strong
+Spur, live and lancing like the blowpipe flame,
+Breathes once and, quenched faster than it came,
+Leaves yet the mind a mother of immortal song.
+Nine months she then, nay years, nine years she long
+Within her wears, bears, cares and moulds the same:
+The widow of an insight lost she lives, with aim
+Now known and hand at work now never wrong.
+   Sweet fire the sire of muse, my soul needs this;
+I want the one rapture of an inspiration.
+O then if in my lagging lines you miss
+The roll, the rise, the carol, the creation,
+My winter world, that scarcely breathes that bliss
+Now, yields you, with some sighs, our explanation.
+
+
+
+UNFINISHED POEMS
+& FRAGMENTS
+
+
+_52
+Summa_
+
+THE best ideal is the true
+   And other truth is none.
+All glory be ascribed to
+   The holy Three in One.
+
+
+_53_
+
+WHAT being in rank-old nature should earlier have that
+   breath been
+That here personal tells off these heart-song powerful
+peals?--
+A bush-browed, beetle-browed billow is it?
+With a south-westerly wind blustering, with a tide rolls
+   reels
+Of crumbling, fore-foundering, thundering all-surfy seas
+   in; seen
+Underneath, their glassy barrel, of a fairy green.
+     .     .     .     .     .     .     .     .
+Or a jaunting vaunting vaulting assaulting trumpet telling
+
+
+_54
+On the Portrait of Two Beautiful
+Young People
+
+A Brother and Sister_
+
+O I admire and sorrow! The heart's eye grieves
+Discovering you, dark tramplers, tyrant years.
+A juice rides rich through bluebells, in vine leaves,
+And beauty's dearest veriest vein is tears.
+
+
+
+Happy the father, mother of these! Too fast:
+Not that, but thus far, all with frailty, blest
+In one fair fall; but, for time's aftercast,
+Creatures all heft, hope, hazard, interest.
+
+And are they thus? The fine, the fingering beams
+Their young delightful hour do feature down
+That fleeted else like day-dissolved dreams
+Or ringlet-race on burling Barrow brown.
+
+She leans on him with such contentment fond
+As well the sister sits, would well the wife;
+His looks, the soul's own letters, see beyond,
+Gaze on, and fall directly forth on life.
+
+But ah, bright forelock, cluster that you are
+Of favoured make and mind and health and youth,
+Where lies your landmark, seamark, or soul's star?
+There's none but truth can stead you. Christ is truth.
+
+There's none but good can be good, both for you
+And what sways with you, maybe this sweet maid;
+None good but God--a warning waved to
+One once that was found wanting when Good weighed.
+
+Man lives that list, that leaning in the will
+No wisdom can forecast by gauge or guess,
+The selfless self of self, most strange, most still,
+Fast furled and all foredrawn to No or Yes.
+
+Your feast of; that most in you earnest eye
+May but call on your banes to more carouse.
+Worst will the best. What worm was here, we cry,
+To have havoc-pocked so, see, the hung-heavenward
+     boughs?
+
+Enough: corruption was the world's first woe.
+What need I strain my heart beyond my ken?
+O but I bear my burning witness though
+Against the wild and wanton work of men.
+     .     .     .     .     .     .     .
+
+
+_55_
+
+THE sea took pity: it interposed with doom:
+'I have tall daughters dear that heed my hand:
+Let Winter wed one, sow them in her womb,
+And she shall child them on the New-world strand.'
+     .     .     .     .     .     .     .     .
+
+
+_56
+(Ash-boughs)_
+
+a.
+
+NOT of all my eyes see, wandering on the world,
+Is anything a milk to the mind so, so sighs deep
+Poetry to it, as a tree whose boughs break in the sky.
+Say it is ashboughs: whether on a December day and
+     furled
+Fast or they in clammyish lashtender combs creep
+Apart wide and new-nestle at heaven most high.
+They touch heaven, tabour on it; how their talons sweep
+The smouldering enormous winter welkin! May
+Mells blue and snowwhite through them, a fringe and fray
+Of greenery: it is old earth's groping towards the steep
+          Heaven whom she childs us by.
+
+(Variant from line 7.) b.
+
+They touch, they tabour on it, hover on it[; here, there
+     hurled],
+          With talons sweep
+The smouldering enormous winter welkin. [Eye,
+          But more cheer is when] May
+Mells blue with snowwhite through their fringe and fray
+Of greenery and old earth gropes for, grasps at steep
+          Heaven with it whom she childs things by.
+
+
+_57_
+
+     .     .     .     .     .     .     .     .
+HOPE holds to Christ the mind's own mirror out
+To take His lovely likeness more and more.
+It will not well, so she would bring about
+An ever brighter burnish than before
+And turns to wash it from her welling eyes
+And breathes the blots off all with sighs on sighs.
+Her glass is blest but she as good as blind
+Holds till hand aches and wonders what is there;
+Her glass drinks light, she darkles down behind,
+All of her glorious gainings unaware.
+     .     .     .     .     .     .     .     .
+I told you that she turned her mirror dim
+Betweenwhiles, but she sees herself not Him.
+     .     .     .     .     .     .     .     .
+
+
+_53
+St. Winefred's Well
+
+ACT I. Sc. I
+
+_Enter Teryth from riding, Winefred following._
+
+T. WHAT is it, Gwen, my girl? why do you hover and haunt me?
+
+W. You came by Caerwys, sir?
+
+T.           I came by Caerwys.
+
+W.                There
+   Some messenger there might have met you from my uncle.
+
+T. Your uncle met the messenger--met me; and this the
+     message:
+   Lord Beuno comes to-night.
+
+W.           To-night, sir!
+
+T.                Soon, now: therefore
+   Have all things ready in his room.
+
+W.           There needs but little doing.
+
+T. Let what there needs be done. Stay! with him one com-
+     panion,
+   His deacon, Dirvan Warm: twice over must the welcome be,
+   But both will share one cell. This was good news,
+     Gwenvrewi.
+
+W. Ah yes!
+
+T. Why, get thee gone then; tell thy mother I want her.
+                         _Exit Winefred._
+   No man has such a daughter. The fathers of the world
+   Call no such maiden 'mine'. The deeper grows her
+     dearness
+   And more and more times laces round and round my heart,
+   The more some monstrous hand gropes with clammy fingers
+     there,
+   Tampering with those sweet bines, draws them out, strains
+     them, strains them;
+   Meantime some tongue cries 'What, Teryth! what, thou
+     poor fond father!
+   How when this bloom, this honeysuckle, that rides the air
+     so rich about thee,
+   Is all, all sheared away, thus!' Then I sweat for fear.
+   Or else a funeral, and yet 'tis not a funeral,
+   Some pageant which takes tears and I must foot with
+     feeling that
+   Alive or dead my girl is carried in it, endlessly
+   Goes marching thro' my mind. What sense is this? It
+     has none.
+   This is too much the father; nay the mother. Fanciful!
+   I here forbid my thoughts to fool themselves with fears.
+
+               _Enter Gwenlo._
+
+     .    .    .    .    .    .    .    .    .    .    .
+
+
+Act II.--_Scene, a wood ending in a steep bank over a dry dene,
+     Winefred having been murdered within. Re-enter Caradoc
+     with a bloody sword._
+
+C. My heart, where have we been? What have we seen, my
+     mind?
+   What stroke has Caradoc's right arm dealt? what done?
+     Head of a rebel
+   Struck off it has; written upon lovely limbs,
+   In bloody letters, lessons of earnest, of revenge;
+   Monuments of my earnest, records of my revenge,
+   On one that went against me whereas I had warned her--
+   Warned her! well she knew. I warned her of this work.
+   What work? what harm 's done? There is no harm done,
+     none yet;
+   Perhaps we struck no blow, Gwenvrewi lives perhaps;
+   To makebelieve my mood was--mock. I might think so
+   But here, here is a workman from his day's task sweats.
+   Wiped I am sure this was; it seems not well; for still,
+   Still the scarlet swings and dances on the blade.
+   So be it. Thou steel, thou butcher,
+   I can scour thee, fresh burnish thee, sheathe thee in thy
+     dark lair; these drops
+   Never, never, never in their blue banks again.
+   The woeful, Cradock, the woeful word! Then what,
+   What have we seen? Her head, sheared from her shoulders,
+     fall,
+   And lapped in shining hair, roll to the bank's edge; then
+   Down the beetling banks, like water in waterfalls,
+   It stooped and flashed and fell and ran like water away.
+   Her eyes, oh and her eyes!
+   In all her beauty, and sunlight to it is a pit, den, darkness,
+   Foam-falling is not fresh to it, rainbow by it not beaming,
+   In all her body, I say, no place was like her eyes,
+   No piece matched those eyes kept most part much cast down
+   But, being lifted, immortal, of immortal brightness.
+   Several times I saw them, thrice or four times turning;
+   Round and round they came and flashed towards heaven:
+     O there,
+   There they did appeal. Therefore airy vengeances
+   Are afoot; heaven-vault fast purpling portends, and what
+     first lightning
+   Any instant falls means me. And I do not repent;
+   I do not and I will not repent, not repent.
+   The blame bear who aroused me. What I have done violent
+   I have like a lion done, lionlike done,
+   Honouring an uncontrolled royal wrathful nature,
+   Mantling passion in a grandeur, crimson grandeur.
+   Now be my pride then perfect, all one piece. Henceforth
+   In a wide world of defiance Caradoc lives alone,
+   Loyal to his own soul, laying his own law down, no law nor
+   Lord now curb him for ever. O daring! O deep insight!
+   What is virtue? Valour; only the heart valiant.
+   And right? Only resolution; will, his will unwavering
+   Who, like me, knowing his nature to the heart home,
+     nature's business,
+   Despatches with no flinching. But will flesh, O can flesh
+   Second this fiery strain? Not always; O no no!
+   We cannot live this life out; sometimes we must weary
+   And in this darksome world what comfort can I find?
+   Down this darksome world comfort where can I find
+   When 'ts light I quenched; its rose, time's one rich rose,
+     my hand,
+   By her bloom, fast by her fresh, her fleeced bloom,
+   Hideous dashed down, leaving earth a winter withering
+   With no now, no Gwenvrewi. I must miss her most
+   That might have spared her were it but for passion-sake. Yes,
+   To hunger and not have, yet hope on for, to storm and
+     strive and
+   Be at every assault fresh foiled, worse flung, deeper dis-
+     appointed,
+   The turmoil and the torment, it has, I swear, a sweetness,
+   Keeps a kind of joy in it, a zest, an edge, an ecstasy,
+   Next after sweet success. I am not left even this;
+   I all my being have hacked in half with her neck: one part,
+   Reason, selfdisposal, choice of better or worse way,
+   Is corpse now, cannot change; my other self, this soul,
+   Life's quick, this kind, this keen self-feeling,
+   With dreadful distillation of thoughts sour as blood,
+   Must all day long taste murder. What do now then?
+     Do? Nay,
+   Deed-bound I am; one deed treads all down here cramps
+        all doing. What do? Not yield,
+   Not hope, not pray; despair; ay, that: brazen despair out,
+   Brave all, and take what comes--as here this rabble is come,
+   Whose bloods I reck no more of, no more rank with hers
+   Than sewers with sacred oils. Mankind, that mobs, comes.
+     Come!
+
+_Enter a crowd, among them Teryth, Gwenlo, Beuno._
+
+     .    .    .    .    .    .    .    .    .    .    .
+
+_After Winefred's raising from the dead and the breaking
+               out of the fountain._
+
+BEUNO. O now while skies are blue, now while seas are salt,
+   While rushy rains shall fall or brooks shall fleet from
+     fountains,
+   While sick men shall cast sighs, of sweet health all despairing.
+   While blind men's eyes shall thirst after daylight, draughts
+     of daylight,
+   Or deaf ears shall desire that lipmusic that's lost upon them,
+   While cripples are, while lepers, dancers in dismal limb-
+     dance,
+   Fallers in dreadful frothpits, waterfearers wild,
+   Stone, palsy, cancer, cough, lung wasting, womb not bearing,
+   Rupture, running sores, what more? in brief, in burden,
+   As long as men are mortal and God merciful,
+   So long to this sweet spot, this leafy lean-over,
+   This Dry Dene, now no longer dry nor dumb, but moist
+     and musical
+   With the uproll and the downcarol of day and night
+     delivering
+   Water, which keeps thy name, (for not in rock written,
+   But in pale water, frail water, wild rash and reeling water,
+   That will not wear a print, that will not stain a pen,
+   Thy venerable record, virgin, is recorded).
+   Here to this holy well shall pilgrimages be,
+   And not from purple Wales only nor from elmy England,
+   But from beyond seas, Erin, France and Flanders, every-
+     where,
+   Pilgrims, still pilgrims, more pilgrims, still more poor pilgrims.
+   .    .    .    .    .    .    .    .    .    .    .
+   What sights shall be when some that swung, wretches, on
+     crutches
+   Their crutches shall cast from them, on heels of air departing,
+   Or they go rich as roseleaves hence that loathsome came
+     hither!
+   Not now to name even
+   Those dearer, more divine boons whose haven the heart is.
+   .    .    .    .    .    .    .    .    .    .    .
+   As sure as what is most sure, sure as that spring primroses
+   Shall new-dapple next year, sure as to-morrow morning,
+   Amongst come-back-again things, things with a revival,
+     things with a recovery,
+   Thy name . . .
+
+   .    .    .    .    .    .    .    .    .    .    .
+
+
+_59_
+
+WHAT shall I do for the land that bred me,
+Her homes and fields that folded and fed me?--
+Be under her banner and live for her honour:
+Under her banner I'll live for her honour.
+   CHORUS. Under her banner live for her honour.
+
+Not the pleasure, the pay, the plunder,
+But country and flag, the flag I am under--
+There is the shilling that finds me willing
+To follow a banner and fight for honour.
+   CH. We follow her banner, we fight for her honour.
+
+Call me England's fame's fond lover,
+Her fame to keep, her fame to recover.
+Spend me or end me what God shall send me,
+But under her banner I live for her honour.
+   CH. Under her banner we march for her honour.
+
+Where is the field I must play the man on?
+O welcome there their steel or cannon.
+Immortal beauty is death with duty,
+If under her banner I fall for her honour.
+   CH. Under her banner we fall for her honour.
+
+
+_60_
+
+THE times are nightfall, look, their light grows less;
+The times are winter, watch, a world undone:
+They waste, they wither worse; they as they run
+Or bring more or more blazon man's distress.
+And I not help. Nor word now of success:
+All is from wreck, here, there, to rescue one--
+Work which to see scarce so much as begun
+Makes welcome death, does dear forgetfulness.
+
+Or what is else? There is your world within.
+There rid the dragons, root out there the sin.
+Your will is law in that small commonweal . . .
+
+
+_61
+Cheery Beggar_
+
+BEYOND Magdalen and by the Bridge, on a place called
+      there the Plain,
+   In Summer, in a burst of summertime
+   Following falls and falls of rain,
+When the air was sweet-and-sour of the flown fineflower of
+Those goldnails and their gaylinks that hang along a lime;
+     .     .     .     .     .     .     .     .
+
+   The motion of that man's heart is fine
+   Whom want could not make pine, pine
+That struggling should not sear him, a gift should cheer
+      him
+Like that poor pocket of pence, poor pence of mine.
+     .     .     .     .     .     .     .     .
+
+
+_62_
+
+DENIS, whose motionable, alert, most vaulting wit
+Caps occasion with an intellectual fit.
+Yet Arthur is a Bowman: his three-heeled timber'll hit
+The bald and bold blinking gold when all's done
+Right rooting in the bare butt's wincing navel in the sight
+     of the sun.
+     .     .     .     .     .     .     .     .
+
+
+_63_
+
+THE furl of fresh-leaved dogrose down
+His cheeks the forth-and-flaunting sun
+Had swarthed about with lion-brown
+     Before the Spring was done.
+
+His locks like all a ravel-rope's-end,
+   With hempen strands in spray--
+Fallow, foam-fallow, hanks--fall'n off their ranks,
+   Swung down at a disarray.
+
+Or like a juicy and jostling shock
+   Of bluebells sheaved in May
+Or wind-long fleeces on the flock
+   A day off shearing day.
+
+Then over his turned temples--here--
+   Was a rose, or, failing that,
+Rough-Robin or five-lipped campion clear
+   For a beauty-bow to his hat,
+And the sunlight sidled, like dewdrops, like dandled
+     diamonds
+Through the sieve of the straw of the plait.
+     .     .     .     .     .     .     .     .
+
+
+_64
+
+The Woodlark_
+
+_TEEVO cheetio cheevio chee:_
+O where, what can that be?
+_Weedio-weedio:_ there again!
+So tiny a trickle of song-strain;
+And all round not to be found
+For brier, bough, furrow, or green ground
+Before or behind or far or at hand
+Either left either right
+Anywhere in the sunlight.
+Well, after all! Ah but hark--
+'I am the little woodlark.
+     .     .     .     .     .     .     .
+To-day the sky is two and two
+With white strokes and strains of the blue
+     .     .     .     .     .     .     .
+Round a ring, around a ring
+And while I sail (must listen) I sing
+     .     .     .     .     .     .     .
+The skylark is my cousin and he
+Is known to men more than me
+     .     .     .     .     .     .     .
+               . . . when the cry within
+Says Go on then I go on
+Till the longing is less and the good gone
+
+But down drop, if it says Stop,
+To the all-a-leaf of the treetop
+And after that off the bough
+     .     .     .     .     .     .     .
+I am so very, O so very glad
+That I do think there is not to be had . . .
+     .     .     .     .     .     .     .
+The blue wheat-acre is underneath
+And the braided ear breaks out of the sheath,
+The ear in milk, lush the sash,
+And crush-silk poppies aflash,
+The blood-gush blade-gash
+Flame-rash rudred
+Bud shelling or broad-shed
+Tatter-tassel-tangled and dingle-a-dangled
+Dandy-hung dainty head.
+     .     .     .     .     .     .     .
+And down ... the furrow dry
+Sunspurge and oxeye
+And laced-leaved lovely
+Foam-tuft fumitory
+     .     .     .     .     .     .     .
+Through the velvety wind V-winged
+To the nest's nook I balance and buoy
+With a sweet joy of a sweet joy,
+Sweet, of a sweet, of a sweet joy
+Of a sweet--a sweet--sweet--joy.'
+
+
+_65
+Moonrise_
+
+I AWOKE in the Midsummer not to call night, |in the
+     white and the walk of the morning:
+The moon, dwindled and thinned to the fringe | of a
+     finger-nail held to the candle,
+Or paring of paradisaical fruit, | lovely in waning but
+     lustreless,
+Stepped from the stool, drew back from the barrow, | of
+     dark Maenefa the mountain;
+A cusp still clasped him, a fluke yet fanged him, | en-
+     tangled him, not quit utterly.
+This was the prized, the desirable sight, | unsought, pre-
+     sented so easily,
+Parted me leaf and leaf, divided me, | eyelid and eyelid of
+     slumber.
+
+
+_66_
+
+REPEAT that, repeat,
+Cuckoo, bird, and open ear wells, heart-springs, delight-
+     fully sweet,
+With a ballad, with a ballad, a rebound
+Off trundled timber and scoops of the hillside ground,
+     hollow hollow hollow ground:
+The whole landscape flushes on a sudden at a sound.
+
+
+_67
+On a piece of music_
+
+How all's to one thing wrought!
+
+_See facsimile, after p. 92_.
+
+(Transcriber's note: The facsimile of the handwritten poem
+is omitted from this text version. It is freely available
+online from the Internet Archive.)
+
+
+_68_
+
+'The child is father to the man.'
+How can he be? The words are wild.
+Suck any sense from that who can:
+'The child is father to the man.'
+No; what the poet did write ran,
+'The man is father to the child.'
+'The child is father to the man!'
+How _can_ he be? The words are wild.
+
+
+_69_
+
+THE shepherd's brow fronting forked lightning, owns
+The horror and the havoc and the glory
+Of it. Angels fall, they are towers, from heaven--a story
+Of just, majestical, and giant groans.
+But man--we, scaffold of score brittle bones;
+Who breathe, from groundlong babyhood to hoary
+Age gasp; whose breath is our _memento mori_--
+What bass is _our_ viol for tragic tones?
+He! Hand to mouth he lives, and voids with shame;
+And, blazoned in however bold the name,
+Man Jack the man is, just; his mate a hussy.
+And I that die these deaths, that feed this flame,
+That ... in smooth spoons spy life's masque mirrored:
+     tame
+My tempests there, my fire and fever fussy.
+
+
+_70
+To his Watch_
+
+MORTAL my mate, bearing my rock-a-heart
+Warm beat with cold beat company, shall I
+Earlier or you fail at our force, and lie
+The ruins of, rifled, once a world of art?
+The telling time our task is; time's some part,
+Not all, but we were framed to fail and die--
+One spell and well that one. There, ah thereby
+Is comfort's carol of all or woe's worst smart.
+
+Field-flown the departed day no morning brings
+Saying 'This was yours' with her, but new one, worse.
+And then that last and shortest . . .
+
+
+_71_
+
+STRIKE, churl; hurl, cheerless wind, then; heltering hail
+May's beauty massacre and wisped wild clouds grow
+Out on the giant air; tell Summer No,
+Bid joy back, have at the harvest, keep Hope pale.
+
+
+_72
+Epithalamion_
+
+HARK, hearer, hear what I do; lend a thought now, make believe
+We are leafwhelmed somewhere with the hood
+Of some branchy bunchy bushybowered wood,
+Southern dene or Lancashire clough or Devon cleave,
+That leans along the loins of hills, where a candycoloured, where
+     a gluegold-brown
+Marbled river, boisterously beautiful, between
+Roots and rocks is danced and dandled, all in froth and water-
+     blowballs, down.
+We are there, when we hear a shout
+That the hanging honeysuck, the dogeared hazels in the cover
+Makes dither, makes hover
+And the riot of a rout
+Of, it must be, boys from the town
+Bathing: it is summer's sovereign good.
+
+By there comes a listless stranger: beckoned by the noise
+He drops towards the river: unseen
+Sees the bevy of them, how the boys
+With dare and with downdolphinry and bellbright bodies hud-
+     dling out,
+Are earthworld, airworld, waterworld thorough hurled, all by
+     turn and turn about.
+
+This garland of their gambols flashes in his breast
+Into such a sudden zest
+Of summertime joys
+That he hies to a pool neighbouring; sees it is the best
+There; sweetest, freshest, shadowiest;
+Fairyland; silk-beech, scrolled ash, packed sycamore, wild
+     wychelm, hornbeam fretty overstood
+By. Rafts and rafts of flake-leaves light, dealt so, painted on the air,
+Hang as still as hawk or hawkmoth, as the stars or as the angels
+     there,
+Like the thing that never knew the earth, never off roots
+Rose. Here he feasts: lovely all is! No more: off with--
+     down he dings
+His bleached both and woolwoven wear:
+Careless these in coloured wisp
+All lie tumbled-to; then with loop-locks
+Forward falling, forehead frowning, lips crisp
+Over finger-teasing task, his twiny boots
+Fast he opens, last he offwrings
+Till walk the world he can with bare his feet
+And come where lies a coffer, burly all of blocks
+Built of chancequarried, selfquained rocks
+And the water warbles over into, filleted with glassy grassy
+     quicksilvery shives and shoots
+And with heavenfallen freshness down from moorland still brims,
+Dark or daylight on and on. Here he will then, here he will
+     the fleet
+Flinty kindcold element let break across his limbs
+Long. Where we leave him, froliclavish while he looks about
+     him, laughs, swims.
+
+Enough now; since the sacred matter that I mean
+I should be wronging longer leaving it to float
+Upon this only gambolling and echoing-of-earth note--
+What is ... the delightful dene?
+Wedlock. What the water? Spousal love.
+     .    .    .    .    .    .    .    .    .    .
+     .    .    .    .    .    .    .    .    .    .
+Father, mother, brothers, sisters, friends
+Into fairy trees, wild flowers, wood ferns
+Ranked round the bower
+     .    .    .    .    .    .    .    .    .    .
+
+
+
+EDITOR'S NOTES
+
+
+PREFACE TO NOTES
+
+AN editor of posthumous work is bounden to give some account
+of the authority for his text; and it is the purpose of the follow-
+ing notes to satisfy inquiry concerning matters whereof the
+present editor has the advantage of first-hand or particular
+knowledge.
+
+_Sources_ The sources are four, and will be distinguished as
+A, B, D, and H, as here described.
+
+     _A_ is my own collection, a MS. book made up of
+Autographs--by which word I denote poems in the author's hand-
+Writing--pasted into it as they were received from him, and also
+of contemporary copies of other poems. These autographs and
+copies date from '67 to '89, the year of his death. Additions
+made by copying after that date are not reckoned or used. The
+first two items of the facsimiles at page 70 are cuttings from A.
+
+_B_ is a MS. book, into which, in '83, I copied from _A_ certain
+poems of which the author had kept no copy. He was remiss in
+making fair copies of his work, and his autograph of The Deutsch-
+land having been (seemingly) lost, I copied that poem and others
+from _A_ at his request. After that date he entered more poems
+in this book as he completed them, and he also made both
+corrections of copy and emendations of the poems which had
+been copied into it by me. Thus, if a poem occur in both _A_ and
+_B_, then _B_ is the later and, except for overlooked errors of
+copyist, the better authority. The last entry written by G. M. H.
+into this book is of the date 1887.
+
+_D_ is a collection of the author's letters to Canon Dixon, the
+only other friend who ever read his poems, with but few exceptions
+whether of persons or of poems. These letters are in my keep-
+ing; they contain autographs of a few poems with late corrections.
+
+_H_ is the bundle of posthumous papers that came into my
+hands at the author's death. These were at the time examined,
+sorted, and indexed; and the more important pieces of which
+copies were taken were inserted into a scrap-book. That col-
+lection is the source of a series of his most mature sonnets, and
+of almost all the unfinished poems and fragments. Among these
+papers were also some early drafts. The facsimile after p. 92 is
+from _H_.
+
+_Method_ The latest autographs and autographic corrections have
+Been preferred. In the very few instances in which this
+principle was overruled, as in Nos. _1_ and _27_, the justi-
+fication will be found in the note to the poem. The finished
+poems from _1_ to _51_ are ranged chronologically by the years, but
+in the section _52_-_74_ a fanciful grouping of the fragments was
+preferred to the inevitable misrepresentations of conjectural
+dating. G. M. H. dated his poems from their inception, and
+however much he revised a poem he would date his recast as his
+first draft. Thus _Handsome Heart_ was written and sent to me
+in '79; and the recast, which I reject, was not made before '83,
+while the final corrections may be some years later; and yet his
+last autograph is dated as the first 'Oxford '79'.
+
+_Selection_ This edition purports to convey all the author's serious
+Mature poems; and he would probably not have wished any
+of his earlier poems nor so many or his fragments to
+have been included. Of the former class three specimens only
+are admitted--and these, which may be considered of exceptional
+merit or interest, had already been given to the public--but of
+the latter almost everything; because these scraps being of mature
+date, generally contain some special beauty of thought or diction,
+and are invariably of metrical or rhythmical interest: some of
+them are in this respect as remarkable as anything in the volume.
+As for exclusion, no translations of any kind are published here,
+whether into Greek or Latin from the English of which there
+are autographs and copies in _A_ or the Englishing of Latin
+hymns occurring in _H_: these last are not in my opinion of
+special merit; and with them I class a few religious pieces which
+will be noticed later.
+
+_Author's Prosody_ Of the peculiar scheme of prosody invented and
+developed by the author a full account is out of the question. His
+own preface together with his description of the metrical scheme of
+each poem--which is always, wherever it exists, transcribed in the
+notes--may be a sufficient guide for practical purposes. Moreover,
+the intention of the rhythm, in places where it might seem doubtful,
+has been indicated by accents printed over the determining
+syllables: in the later poems these accents correspond generally
+with the author's own marks: in the earlier poems they do not, but
+are trustworthy translations.
+
+_Marks_ It was at one time the author's practice to use a very
+elaborate system of marks, all indicating the speech-movement: the
+autograph (in _A_) of _Harry Ploughman_ carries seven different
+marks, each one defined at the foot. When reading through his
+letters for the purpose of determining dates, I noted a few
+sentences on this subject which will justify the method that I
+have followed in the text. In 1883 he wrote: 'You were right to
+leave out the marks: they were not consistent for one thing, and
+are always offensive. Stilt there must be some. Either I must
+invent a notation applied throughout as in music or else I must
+only mark where the reader is likely to mistake, and for the
+present this is what I shall do.' And again in '85: 'This is my
+difficulty, what marks to use and when to use them: they are so
+much needed and yet so objectionable. (_Punctuation_) About
+punctuation my mind is clear: I can give a rule for everything I
+write myself, and even for other people, though they might
+not agree with me perhaps.' In this last matter the autographs
+are rigidly respected, the rare intentional aberration being
+scrupulously noted. And so I have respected his indentation of
+the verse; but in the sonnets, while my indentation corresponds,
+as a rule, with some autograph, I have felt free to consider
+conveniences, following, however, his growing practice to eschew
+it altogether.
+
+Apart from questions of taste--and if these poems were to be
+arraigned for errors of what may be called taste,
+they might be convicted of occasional affectation in
+metaphor, as where the hills are 'as a stallion stal-
+wart, very-violet-sweet', or of some perversion of human feeling,
+as, for instance, the 'nostrils' relish of incense along the sanctuary
+side ', or 'the Holy Ghost with warm breast and with ah! bright
+wings', these and a few such examples are mostly efforts to force
+emotion into theological or sectarian channels, as in 'the com-
+fortless unconfessed' and the unpoetic line 'His mystery must be
+instressed stressed', or, again, the exaggerated Marianism of
+some pieces, or the naked encounter of sensualism and asceticism
+which hurts the 'Golden Echo'.--
+
+_Style_ Apart, I say, from such faults of taste, which few as they
+numerically are yet affect my liking and more repel my sympathy
+than do all the rude shocks of his purely artistic wantonness--
+apart from these there are definite faults of style which a reader
+must have courage to face, and must in some measure condone before
+he can discover the great beauties. For these blemishes in the
+poet's style are of such quality and magnitude as to deny him even
+a hearing from those who love a continuous literary decorum and
+are grown to be intolerant of its absence. And it is well to be
+clear that there is no pretence to reverse the condemnation of
+those faults, for which the poet has duly suffered. The extravagances
+are and will remain what they were. Nor can credit be gained from
+pointing them out: yet, to put readers at their ease, I will here
+define them: they may be called Oddity and Obscurity; (_Oddity_)
+and since the first may provoke laughter when a writer serious (and
+this poet is always serious), while the latter must prevent him from
+being understood (and this poet has always something to say), it
+may be assumed that they were not a part of his intention. Something
+of what he thought on this subject may be seen in the following
+extracts from his letters. In Feb. 1879, he wrote: 'All therefore
+that I think of doing is to keep my verses together in one place--
+at present I have not even correct copies--, that, if anyone should
+like, they might be published after my death. And that again is
+unlikely, as well as remote. . . . No doubt my poetry errs on the
+side of oddness. I hope in time to have a more balanced and Miltonic
+style. But as air, melody, is what strikes me most of all in music
+and design in painting, so design, pattern, or what I am in the
+habit of calling inscape is what I above all aim at in poetry. Now
+it is the virtue of design, pattern, or inscape to be distinctive
+and it is the vice of distinctiveness to become queer. This vice I
+cannot have escaped.' And again two months later: 'Moreover
+the oddness may make them repulsive at first and yet Lang
+might have liked them on a second reading. Indeed when, on
+somebody returning me the _Eurydice_, I opened and read some
+lines, as one commonly reads whether prose or verse, with the
+eyes, so to say, only, it struck me aghast with a kind of raw
+nakedness and unmitigated violence I was unprepared for: but
+take breath and read it with the ears, as I always wish to be
+read, and my verse becomes all right.'
+
+_Obscurity_ As regards Oddity then, it is plain that the poet was
+Himself fully alive to it, but he was not sufficiently aware of
+obscurity, and he could not understand why his friends found his
+sentences so difficult: he would never have believed that, among
+all the ellipses and liberties of his grammar, the one chief cause
+is his habitual omission of the relative pronoun; and yet this is
+so, and the examination of a simple example or two may serve a
+general purpose:
+
+_Omission of relative pronoun_ This grammatical liberty, though it
+is a common convenience in conversation and has therefore its
+proper place in good writing, is apt to confuse the parts of speech,
+and to reduce a normal sequence of words to mere jargon. Writers
+who carelessly rely on their elliptical speech-forms to govern the
+elaborate sentences of their literary composition little know what
+a conscious effort of interpretation they often impose on their
+readers. But it was not carelessness in Gerard Hopkins: he had full
+skill and practice and scholarship in conventional forms, and it is
+easy to see that he banished these purely constructional syllables
+from his verse because they took up room which he thought he could
+not afford them: he needed in his scheme all his space for his
+poetical words, and he wished those to crowd out every merely gram-
+matical colourless or toneless element; and so when he had got
+into the habit of doing without these relative pronouns--though
+he must, I suppose, have supplied them in his thought,--he
+abuses the licence beyond precedent, as when he writes (no. _17_)
+'O Hero savest!' for 'O Hero that savest!'.
+
+_Identical Forms_ Another example of this (from the 5th stanza of
+no. _23_) will discover another cause of obscurity; the line
+
+     'Squander the hell-rook ranks sally to molest him'
+
+means 'Scatter the ranks that sally to molest him':
+but since the words _squander_ and _sally_ occupy similar positions
+in the two sections of the verse, and are enforced by a similar
+accentuation, the second verb deprived of its pronoun will follow
+the first and appear as an imperative; and there is nothing to
+prevent its being so taken but the contradiction that it makes in
+the meaning; whereas the grammar should expose and enforce
+the meaning, not have to be determined by the meaning. More-
+over, there is no way of enunciating this line which will avoid the
+confusion; because if, knowing that _sally_ should not have
+the same intonation as _squander_, the reader mitigates the accent,
+and in doing so lessens or obliterates the caesural pause which
+exposes its accent, then _ranks_ becomes a genitive and _sally_
+a substantive.
+
+Here, then, is another source of the poet's obscurity; that in
+aiming at condensation he neglects the need that there is for care
+in the placing of words that are grammatically ambiguous.
+English swarms with words that have one identical form for
+substantive, adjective, and verb; and such a word should never
+be so placed as to allow of any doubt as to what part of speech
+it is used for; because such ambiguity or momentary uncertainty
+destroys the force of the sentence. Now our author not only
+neglects this essential propriety but he would seem even to
+welcome and seek artistic effect in the consequent confusion;
+and he will sometimes so arrange such words that a reader
+looking for a verb may find that he has two or three ambiguous
+monosyllables from which to select, and must be in doubt as to
+which promises best to give any meaning that he can welcome;
+and then, after his choice is made, he may be left
+with some homeless monosyllable still on his hands. (_Homophones_)
+Nor is our author apparently sensitive to the irrelevant
+suggestions that our numerous homophones cause; and he
+will provoke further ambiguities or obscurities by straining the
+meaning of these unfortunate words.
+
+_Rhymes_ Finally, the rhymes where they are peculiar are often
+repellent, and so far from adding charm to the verse that they
+appear as obstacles. This must not blind one from recognizing
+that Gerard Hopkins, where he is simple and straightforward
+in his rhyme is a master of it--there are many instances,--but
+when he indulges in freaks, his childishness is incredible. His
+intention in such places is that the verses should be recited
+as running on without pause, and the rhyme occurring in their
+midst should be like a phonetic accident, merely satisfying the
+prescribed form. But his phonetic rhymes are often indefensible
+on his own principle. The rhyme to _communion_ in 'The Bugler'
+is hideous, and the suspicion that the poet thought it ingenious is
+appalling: _eternal_, in 'The Eurydice', does not correspond with
+_burn all_, and in 'Felix Randal' _and some_ and _handsome_ is as
+truly an eye-rhyme as the _love_ and _prove_ which he despised and
+abjured; and it is more distressing, because the old-fashioned
+conventional eye-rhymes are accepted as such without speech-
+adaptation, and to many ears are a pleasant relief from the fixed
+jingle of the perfect rhyme; whereas his false ear-rhymes ask to
+have their slight but indispensable differences obliterated in the
+reading, and thus they expose their defect, which is of a disagree-
+able and vulgar or even comic quality. He did not escape full
+criticism and ample ridicule for such things in his lifetime; and
+in '83 he wrote: 'Some of my rhymes I regret, but they are past
+changing, grubs in amber: there are only a few of these; others
+are unassailable; some others again there are which malignity
+may munch at but the Muses love.'
+
+_Euphony and emphasis_ Now these are bad faults, and, as I said, a
+reader, if he is to get any enjoyment from the author's genius,
+must be somewhat tolerant of them; and they have a real relation
+to the means whereby the very forcible and original effects of
+beauty are produced. There is nothing stranger in these poems than
+the mixture of passages of extreme delicacy and exquisite diction
+with passages where, in a jungle of rough root-words, emphasis
+seems to oust euphony; and both these qualities, emphasis and
+euphony, appear in their extreme forms. It was an idiosyncrasy
+of this student's mind to push everything to its logical extreme,
+and take pleasure in a paradoxical result; as may be seen in his
+prosody where a simple theory seems to be used only as a basis for
+unexampled liberty. He was flattered when I called him
+_perittutatos_, and saw the humour of it--and one would expect
+to find in his work the force of emphatic condensation and the
+magic of melodious expression, both in their extreme forms. Now
+since those who study style in itself must allow a proper place
+to the emphatic expression, this experiment, which supplies as
+novel examples of success as of failure, should be full of
+interest; and such interest will promote tolerance.
+
+The fragment, of which a facsimile is given after page 92, is
+the draft of what appears to be an attempt to explain how an
+artist has not free-will in his creation. He works out his own
+nature instinctively as he happens to be made, and is irresponsible
+for the result. It is lamentable that Gerard Hopkins died when,
+to judge by his latest work, he was beginning to concentrate the
+force of all his luxuriant experiments in rhythm and diction, and
+castigate his art into a more reserved style. Few will read the
+terrible posthumous sonnets without such high admiration and
+respect for his poetical power as must lead them to search out the
+rare masterly beauties that distinguish his work.
+
+
+
+NOTES
+
+
+PAGE 1. AUTHOR'S PREFACE. This is from B, and must have
+been written in '83 or not much later. The punctuation
+has been exactly followed, except that I have added
+a comma after the word _language_ in the last line but one
+of page 5, where the omission seemed an oversight.
+
+p.4, l. 21. _rove over_. This expression is used here to denote
+the running on of the sense and sound of the end of
+a verse into the beginning of the next; but this meaning
+is not easily to be found in the word.
+
+The two words _reeve_ (pf. _rove_, which is also a pf. of
+_rive_) and _reave_ (pf. _reft_) are both used several times by
+G.M.H., but they are both spelt _reave_. In the present
+context _rove_ and _reaving_ occur in his letters, and the
+spelling _reeve_ in 'The Deutschland', xii. 8, is probably due
+to the copyists.
+
+There is no doubt that G. M. H. had a wrong notion of
+the meaning of the nautical term _reeve_. No. 39 line 10 (the
+third passage where _reeve_, spelt _reave_, occurs, and a
+nautical meaning is required--see the note there--) would
+be satisfied by _splice_ (nautical); and if this notion were
+influenced by _weave_, _wove_, that would describe the inter-
+weaving of the verses. In the passage referred to in 'The
+Deutschland' _reeve_ is probably intended in its dialectal or
+common speech significance: see Wright's 'English Dialect
+Dictionary', where the first sense of the verb given is to
+bring together the 'gathers' of a dress: and in this sense
+_reeve_ is in common use.
+
+p. 7. EARLY POEMS. Two school prize-poems exist; the date of
+the first, 'The Escorial', is Easter '60, which is before
+Poems G.M.H. was sixteen years old. It is in Spenserian
+stanza: the imperfect copy in another hand has the first
+15 stanzas omitting the 9th, and the author has written
+on it his motto, _Batraxos de pot akridas os tis erisda_,
+with an accompanying gloss to explain his allusions.
+Though wholly lacking the Byronic flush it looks as if in-
+fluenced by the historical descriptions in 'Childe Harold',
+and might provide a quotation for a tourist's guide to
+Spain. The history seems competent, and the artistic
+knowledge precocious.
+
+Here for a sample is the seventh stanza:
+
+This was no classic temple order'd round
+With massy pillars of the Doric mood
+Broad-fluted, nor with shafts acanthus-crown'd,
+Pourtray'd along the frieze with Titan's brood
+That battled Gods for heaven; brilliant-hued,
+With golden fillets and rich blazonry,
+Wherein beneath the cornice, horsemen rode
+With form divine, a fiery chivalry--
+Triumph of airy grace and perfect harmony.
+
+The second prize-poem, 'A Vision of Mermaids', is dated
+Xmas '62. The autograph of this, which is preserved, is
+headed by a very elaborate circular pen-and-ink drawing,
+6 inches in diameter,--a sunset sea-piece with rocks and
+formal groups of mermaidens, five or six together, singing
+as they stand (apparently) half-immersed in the shallows
+as described
+
+'But most in a half-circle watch'd the sun,' &c.
+
+This poem is in 143 lines of heroics. It betrays the in-
+fluence of Keats, and when I introduced the author to the
+public in Miles's book, I quoted from it, thinking it useful
+to show that his difficult later style was not due to in-
+ability to excel in established forms. The poem is alto-
+gether above the standard of school-prizes. I reprint the
+extract here:
+
+Soon--as when Summer of his sister Spring
+Crushes and tears the rare enjewelling,
+And boasting 'I have fairer thing's than these'
+Plashes amidst the billowy apple-trees
+His lusty hands, in gusts of scented wind
+Swirling out bloom till all the air is blind
+With rosy foam and pelting blossom and mists
+Of driving vermeil-rain; and, as he lists,
+The dainty onyx-coronals deflowers,
+A glorious wanton;--all the wrecks in showers
+Crowd down upon a stream, and jostling thick
+With bubbles bugle-eyed, struggle and stick
+On.tangled shoals that bar the brook a crowd
+Of filmy globes and rosy floating cloud:
+So those Mermaidens crowded to my rock.
+
+* * * * *
+
+But most in a half-circle watch'd the sun;
+And a sweet sadness dwelt on every one;
+I knew not why,--but know that sadness dwells
+On Mermaids--whether that they ring the knells
+Of seamen whelm'd in chasms of the mid-main,
+As poets sing; or that it is a pain
+To know the dusk depths of the ponderous sea,
+The miles profound of solid green, and be
+With loath'd cold fishes, far from man--or what;--
+I know the sadness but the cause know not.
+Then they, thus ranged, gan make full plaintively
+A piteous Siren sweetness on the sea,
+Withouten instrument, or conch, or bell,
+Or stretch'd chords tuneable on turtle's shell;
+Only with utterance of sweet breath they sung
+An antique chaunt and in an unknown tongue.
+Now melting upward through the sloping scale
+Swell'd the sweet strain to a melodious wail;
+Now ringing clarion-clear to whence it rose
+Slumber'd at last in one sweet, deep, heart-broken close.
+
+_1862-1868_ After the relics of his school-poems follow the
+poems written when an undergraduate at Oxford, of which
+there are four in this book--Nos. 1, 2, 3, and 52, all
+dating about 1866. Of this period some ten or twelve
+autograph poems exist, the most successful being religious
+verses worked in Geo. Herbert's manner, and these, I think,
+have been printed: there are two sonnets in Italian form and
+Shakespearian mood (refused by 'Cornhill Magazine'); the
+rest are attempts at lyrical poems, mostly sentimental
+aspects of death: one of them 'Winter with the Gulf-stream'
+was published in 'Once a Week', and reprinted at least in
+part in some magazine: the autograph copy is dated Aug. 1871,
+but G. M. H. told me that he wrote it when he was at school;
+whence I guess that he altered it too much to allow of its
+early dating. The following is a specimen of his signature
+at this date.
+
+Gerard M. Hopkins.
+July 24, 1866.
+
+Transcriber's note: This signature and date is displayed as a
+handwritten image in the original.
+
+_1868-1875_ After these last-mentioned poems there is a gap of
+Silence which may be accounted for in his own words from a
+letter to R. W. D. Oct. 5, '78: 'What (verses) I had written
+I burnt before I became a Jesuit (i.e. 1868) and re-
+solved to write no more, as not belonging to my profession,
+unless it were by the wish of my superiors; so for seven
+years I wrote nothing but two or three little presentation
+pieces which occasion called for. But when in the winter
+of '75 the Deutschland was wrecked in the mouth of the
+Thames and five Franciscan nuns, exiles from Germany
+by the Falck Laws, aboard of her were drowned I was
+affected by the account and happening to say so to my
+rector he said that he wished some one would write a poem
+on the subject. On this hint I set to work and, though
+my hand was out at first, produced one. I had long had
+haunting my ear the echo of a new rhythm which now
+I realised on paper. ... I do not say the idea is altogether
+new . . . but no one has professedly used it and made it
+the principle throughout, that I know of. ... However
+I had to mark the stresses . . . and a great many more
+oddnesses could not but dismay an editor's eye, so that
+when I offered it to our magazine _The Month_ . . . they
+dared not print it.'
+
+Of the _two or three presentation pieces_ here mentioned
+one is certainly the Marian verses 'Rosa mystica', published
+in the 'The Irish Monthly', May '98, and again in Orby
+Shipley's 'Carmina Mariana', 2nd series, p. 183: the
+autograph exists.
+
+Another is supposed to be the 'Ad Mariam', printed in
+the 'Stonyhurst Magazine', Feb. '94. This is in five
+stanzas of eight lines, in direct and competent imitation of
+Swinburne: no autograph has been found; and, unless
+Fr. Hopkins's views of poetic form had been provisionally
+deranged or suspended, the verses can hardly be attributed
+to him without some impeachment of his sincerity; and
+that being altogether above suspicion, I would not yield to
+the rather strong presumption which their technical skill
+supplies in favour of his authorship. It is true that the
+'Rosa mystica' is somewhat in the same light lilting man-
+ner; but that was probably common to most of these
+festal verses, and 'Rosa mystica' is not open to the
+positive objections of verbal criticism which would reject
+the 'Ad Mariam'. He never sent me any copy of either
+of these pieces, as he did of his severer Marian poems
+(Nos. 18 and 37), nor mentioned them as productions of
+his serious Muse. I do not find that in either class of
+these attempts he met with any appreciation at the time;
+it was after the publication of Miles's book in 1894 that
+his co-religionists began to recognize his possible merits,
+and their enthusiasm has not perhaps been always wise.
+It is natural that they should, as some of them openly
+state they do, prefer the poems that I am rejecting to
+those which I print; but this edition was undertaken in
+response to a demand that, both in England and America,
+has gradually grown up from the genuinely poetic interest
+felt in the poems which I have gradually introduced to the
+public:--that interest has been no doubt welcomed and
+accompanied by the applause of his particular religious
+associates, but since their purpose is alien to mine I regret
+that I am unable to indulge it; nor can I put aside the
+overruling objection that G. M. H. would not have wished
+these 'little presentation pieces' to be set among his more
+serious artistic work. I do not think that they would
+please any one who is likely to be pleased with this book.
+
+1. ST. DOROTHEA. Written when an exhibitioner at Balliol
+College. Contemporary autograph in A, and another
+almost identical in H, both undated. Text from A. This
+poem was afterwards expanded, shedding its relative pro-
+nouns, to 48 lines divided among three speakers, 'an
+Angel, the protonotary Theophilus, (and) a Catechumen':
+the grace and charm of original lost:--there is an auto-
+graph in A and other copies exist. This was the first of
+the poems that I saw, and G. M. H. wrote it out for me
+(in 1866?).
+
+2. HEAVEN HAVEN. Contemporary autograph, on same page
+with last, in H. Text is from a slightly later autograph
+undated in A. The different copies vary.
+
+3. HABIT OF PERFECTION. Two autographs in A; the earlier
+dated Jan. 18, 19, 1866. The second, which is a good
+deal altered, is apparently of same date as text of No. 2.
+Text follows this later version. Published in Miles.
+
+4. WRECK OF THE DEUTSCHLAND. Text from B, title from A
+(see description of B on p. 94). In 'The Spirit of Man'
+the original first stanza is given from A, and varies;
+otherwise B was not much corrected. Another transcript,
+now at St. Aloysius' College, Glasgow, was made by
+Rev. F. Bacon after A but before the correction of B.
+This was collated for me by the Rev. Father Geoffrey Bliss,
+S.J., and gave one true reading. Its variants are distin-
+guished by G in the notes to the poem.
+
+The labour spent on this great metrical experiment must
+have served to establish the poet's prosody and perhaps
+his diction: therefore the poem stands logically as well as
+chronologically in the front of his book, like a great dragon
+folded in the gate to forbid all entrance, and confident in
+his strength from past success. This editor advises the
+reader to circumvent him and attack him later in the rear;
+for he was himself shamefully worsted in a brave frontal
+assault, the more easily perhaps because both subject and
+treatment were distasteful to him. A good method of
+approach is to read stanza 16 aloud to a chance company.
+To the metrist and rhythmist the poem will be of interest
+from the first, and throughout.
+
+Stanza iv. 1. 7. Father Bliss tells me that the Voel is a
+mountain not far from St. Beuno's College in N. Wales,
+where the poem was written: and Dr. Henry Bradley that
+_moel_ is primarily an adj. meaning _bald_: it becomes
+a fem, subst. meaning _bare hill_, and preceded by the
+article _y_ becomes _voel_, in modern Welsh spelt _foel_. This
+accounts for its being written without initial capital, the
+word being used genetically; and the meaning, obscured
+by _roped_, is that the well is fed by the trickles of water
+within the flanks of the mountains.--Both A and B read
+_planks_ for _flanks_; G gives the correction.
+
+St. xi. 5. Two of the required stresses are on _we dream_.
+
+St. xii. 8. _reeve_, see note on Author's Preface, p. 101.
+
+St. xiv. 8. _these_. G has _there_; but the words between
+_shock_ and _these_ are probably parenthetical.
+
+St. xvi. 3. Landsmen may not observe the wrongness: see
+again No. 17, st. ix, and 39, line 10. I would have cor-
+rected this if the euphony had not accidentally forbidden
+the simplest correction.
+
+St. xvi. 7. _foam-fleece_ followed by full stop in A and B,
+by a comma in G.
+
+St. xix. 3. _hawling_ thus spelt in all three.
+
+St. xxi. 2. G omits _the_.
+
+St. xxvi. 5 and 6. The semicolon is autographic correction in
+B; the stop at _Way_ is uncertain in A and B, is a comma
+in G.
+
+St. xxix. 3. _night_ (sic).
+          8. Two of the required stresses are on _Tarpeian_.
+
+St. xxxiv. 8. _shire_. G has _shore_; but _shire_ is doubtless
+right; it is the special favoured landscape visited by the
+shower.
+
+5. PENMAEN POOL. Early copy in A. Text, title, and punctu-
+ation from autograph in B, dated 'Barmouth, Merioneth-
+shire. Aug. 1876'. But that autograph writes _leisure_
+for _pleasure_ in first line; _skulls_ in stanza 2; and in
+stanza 8, _month_ has a capital initial. Several copies exist,
+and vary.
+
+St. iii. 2. _Cadair Idris_ is written as a note to _Giant's stool_.
+
+St. viii. 4. Several variants. Two good copies read _dark-
+some danksome_; but the early copy in A has _darksome
+darksome_, which B returns to.
+
+St. ix. 3. A has _But praise it_, and two good copies _But
+honour it_.
+
+6. 'THE SILVER JUBILEE: in honour of the Most Reverend James
+first Bishop of Shrewsbury. St. Beuno's, Vale of Clwyd.
+1876, I think.' A.--Text and title from autograph in B.
+It was published with somebody's sermon on the same
+occasion. Another copy in H.
+
+7. 'GOD'S GRANDEUR. Standard rhythm counterpoised.' Two
+autographs, Feb. 23, 1877; and March 1877; in A.--
+Text is from corrections in B. The second version in A
+has _lightning_ for _shining_ in line 2, explained in a letter
+of Jan. 4, '83. B returns to original word.
+
+8. 'THE STARLIGHT NIGHT. Feb. 24, '77.' Autograph in A.--
+'Standard rhythm opened and counterpointed. March
+'77.' A.--Later corrected version 'St. Beuno's, Feb. 77'
+in B.--Text follows B. The second version in A was
+published in Miles's book 'Poets and Poetry of the Century'.
+
+9. 'SPRING. (Standard rhythm, opening with sprung leadings),
+May 1877.' Autograph in A.--Text from corrections in B,
+but punctuation from A. Was published in Miles's book
+from incomplete correction of A.
+
+10. 'THE LANTERN. (Standard rhythm, with one sprung lead-
+ing and one line counterpomted.)' Autograph in A.--
+Text, title, and accents in lines 13 and 14, from corrections in
+B, where it is called 'companion to No. 26, St. Beuno's '77'.
+
+11. 'WALKING BY THE SEA. Standard rhythm, in parts
+sprung and in others counterpomted, Rhyl, May '77.'
+A. This version deleted in B, and the revision given in
+text written in with new title.--G. M. H. was not pleased
+with this sonnet, and wrote the following explanation of it
+in a letter '82: '_Rash fresh more_ (it is dreadful to
+explain these things in cold blood) means a headlong and
+exciting new snatch of singing, resumption by the lark of
+his song, which by turns he gives over and takes up again
+all day long, and this goes on, the sonnet says, through
+all time, without ever losing its first freshness, being
+a thing both new and old. _Repair_ means the same thing,
+renewal, resumption. The _skein_ and _coil_ are the lark's
+song, which from his height gives the impression of some-
+thing falling to the earth and not vertically quite but
+tricklingly or wavingly, something as a skein of silk ribbed
+by having been tightly wound on a narrow card or
+a notched holder or as twine or fishing-tackle unwinding
+from a _reel_ or _winch_ or as pearls strung on a horsehair:
+the laps or folds are the notes or short measures and bars
+of them. The same is called a _score_ in the musical sense
+of score and this score is "writ upon a liquid sky
+trembling to welcome it", only not horizontally. The lark
+in wild glee _races the reel round_, paying or dealing out
+and down the turns of the skein or _coil_ right to the earth
+_floor_, the ground, where it lies in a heap, as it were, or
+rather is all wound off on to another winch, reel, bobbin
+or spool in Fancy's eye, by the moment the bird touches
+earth and so is ready for a fresh unwinding at the next
+flight. _Crisp_ means almost _crisped_, namely with notes.'
+
+12 'THE WINDHOVER. (Falling paeonic rhythm, sprung and
+outriding.)' Two contemporary autographs in A.--Text
+and dedication from corrected B, dated St. Beuno's, May
+30, 1877. In a letter June 22, '79: 'I shall shortly send
+you an amended copy of The Windhover: the amendment
+only touches a single line, I think, but as that is the best
+thing I ever wrote I should like you to have it in its
+best form.'
+
+13 'PIED BEAUTY. Curtal Sonnet: sprung paeonic rhythm.
+St. Beuno's, Tremeirchion. Summer '77.' Autograph in
+A.--B agrees.
+
+14 'HURRAHING IN HARVEST: Sonnet (sprung and outriding
+rhythm. Take notice that the outriding feet are not to be
+confused with dactyls or paeons, though sometimes the
+line might be scanned either way. The strong syllable in
+an outriding foot has always a great stress and after the
+outrider follows a short pause. The paeon is easier and
+more flowing). Vale of Clwyd, Sept. 1, 1877.' Auto-
+graph in A. Text is from corrected B, punctuation of
+original A. In a letter '78 he wrote: 'The Hurrahing
+sonnet was the outcome of half an hour of extreme en-
+thusiasm as I walked home alone one day from fishing in
+the Elwy.' A also notes 'no counterpoint'.
+
+15 'THE CAGED SKYLARK. (Falling paeonic rhythm, sprung
+and outriding.)' Autograph in A. Text from corrected
+B which dates St. Beuno's, 1877. In line 13 B writes
+_uncumbered_.
+
+16. 'IN THE VALLEY OF THE ELWY. (Standard rhythm, sprung
+and counterpointed.)' Autograph in A. Text is from
+corrected B, which dates as contemporary with No. 15,
+adding 'for the companion to this see No.' 35.
+
+17. THE LOSS OF THE EURYDICE. A contemporary copy in A
+has this note: 'Written in sprung rhythm, the third line
+has 3 beats, the rest 4. The scanning runs on without
+break to the end of the stanza, so that each stanza is
+rather one long line rhymed in passage than four lines
+with rhymes at the ends.'--B has an autograph of the
+poem as it came to be corrected ('83 or after), without
+the above note and dated 'Mount St. Mary, Derbyshire,
+Apr. '78'.--Text follows B.--The injurious rhymes are
+partly explained in the old note.
+
+St. 9. _Shorten sail_. The seamanship at fault: but this ex-
+pression may be glossed by supposing the boatswain to
+have sounded that call on his whistle.
+
+St. 12. _Cheer's death_, i.e. despair.
+
+St, 14. _It is even seen_. In a letter May 30, '78, he ex-
+plains: 'You mistake the sense of this as I feared it would
+be mistaken. I believed Hare to be a brave and con-
+scientious man, what I say is that _even_ those who seem
+unconscientious will act the right part at a great push. . . .
+About _mortholes_ I wince a little.'
+
+St. 26. _A starlight-wender_, i.e. The island was so Marian
+that the folk supposed the Milky Way was a fingerpost to
+guide pilgrims to the shrine of the Virgin at Walsingham.
+_And one_, that is Duns Scotus the champion of the Im-
+maculate Conception. See Sonnet No. 20.
+
+St. 27. _Well wept_. Grammar is as in 'Well hit! well run!'
+&c. The meaning 'You do well to weep'.
+
+St. 28. _O Hero savest_. Omission of relative pronoun at its
+worst. = _O Hero that savest_. The prayer is in a mourner's
+mouth, who prays that Christ will have saved her hero,
+and in stanza 29 the grammar triumphs.
+
+18. 'THE MAY MAGNIFICAT. (Sprung rhythm, four stresses
+in each line of the first couplet, three in each of the second.
+Stonyhurst, May '78.') Autograph in A.--Text from
+later autograph in B. He wrote to me: 'A Maypiece in
+which I see little good but the freedom of the rhythm.'
+In penult stanza _cuckoo-call_ has its hyphen deleted in B,
+leaving the words separate.
+
+19. 'BINSEY POPLARS, felled 1879. Oxford, March 1879.' Auto-
+graph in A. Text from B, which alters four places.
+l. 8 _weed-winding_: an early draft has _weed-wounden_.
+
+20. 'DUNS SCOTUS'S OXFORD. Oxford, March 1879.' Auto-
+graph in A. Copy in B agrees but dates 1878.
+
+21. 'HENRY PURCELL. (Alexandrine: six stresses to the line.
+Oxford, April 1879.)' Autograph in A with argument as
+printed. Copy in B is uncorrected except that it adds the
+word _fresh_ in last line.
+
+'"Have fair fallen." _Have_ is the sing, imperative (or
+optative if you like) of the past, a thing possible and
+actual both in logic and grammar, but naturally a rare
+one. As in the 2nd pers. we say "Have done" or in mak-
+ing appointments "Have had your dinner beforehand",
+so one can say in the 3rd pers. not only "Fair fall" of
+what is present or future but also "Have fair fallen"
+of what is past. The same thought (which plays a great
+part in my own mind and action) is more clearly expressed
+in the last stanza but one of the _Eurydice_, where you
+remarked it.' Letter to R. B., Feb. 3, '83.
+
+'The sestet of the Purcell sonnet is not so clearly worked
+out as I could wish. The thought is that as the seabird
+opening his wings with a whiff of wind in your face means
+the whirr of the motion, but also unaware gives you
+a whiff of knowledge about his plumage, the marking of
+which stamps his species, that he does not mean, so
+Purcell, seemingly intent only on the thought or feeling he
+is to express or call out, incidentally lets you remark the
+individualising marks of his own genius.
+
+'_Sake_ is a word I find it convenient to use ... it is the
+_sake_ of "for the sake of ", _forsake_, _namesake_, _keepsake_.
+I mean by it the being a thing has outside itself, as a voice
+by its echo, a face by its reflection, a body by its shadow,
+a man by his name, fame, or memory, _and also_ that in
+the thing by virtue of which especially it has this being
+abroad, and that is something distinctive, marked, speci-
+fically or individually speaking, as for a voice and echo
+clearness; for a reflected image light, brightness; for
+a shadow-casting body bulk; for a man genius, great
+achievements, amiability, and so on. In this case it is, as
+the sonnet says, distinctive quality in genius. ... By
+_moonmarks_ I mean crescent-shaped markings on the quill-
+feathers, either in the colouring of the feather or made by
+the overlapping of one on another.' Letter to R. B.,
+May 26, '79.
+
+22. 'PEACE: Oxford, 1879.' Autograph in B, where a comma
+after _daunting_ is due to following a deletion. _To own
+my heart_ =  _to my own heart_. _Reaving Peace_, i.e. when
+he reaves or takes Peace away, as No. 35, l. 12. An early
+draft dated Oct. 2, '79, has _taking_ for _reaving_.
+
+23. 'THE BUGLER'S FIRST COMMUNION. (Sprung rhythm,
+overrove, an outride between the 3rd and 4th foot of the
+4th line in each stanza.) Oxford, July 27,(?) 1879.' A.--
+My copy of this in B shows three emendations. First
+draft exists in H. Text is A with the corrections from B.
+At nine lines from end, _Though this_, A has _Now this_,
+and _Now_ is deliberately preferred in H.--B has some un-
+corrected miscopyings of A. _O for, now, charms of_ A is
+already a correction in H. I should like a comma at end
+of first line of 5th stanza and an interjection-mark at
+end of that stanza.
+
+24. 'MORNING MIDDAY AND EVENING SACRIFICE. Oxford,
+Aug. '79.' Autograph in A. The first stanza reproduced
+after p. 70. Copied by me into B, where it received cor-
+rection. Text follows B except in lines 19 and 20, where
+the correction reads _What Death half lifts the latch of,
+What hell hopes soon the snatch of_. And punctuation is
+not all followed: original has comma after the second _this_
+in lines 5 and 6. On June 30, '86, G. M. H. wrote to
+Canon Dixon, who wished to print the first stanza alone
+in some anthology, and made _ad hoc_ alterations which
+I do not follow. The original 17th line was _Silk-ashed
+but core not cooling_, and was altered because of its
+obscurity. 'I meant (he wrote) to compare grey hairs to
+the flakes of silky ash which may be seen round wood
+embers . . . and covering a core of heat. . . .' _Your offer-
+ing, with despatch, of_ is said like 'your ticket', 'your
+reasons', 'your money or your life . . .' It is: 'Come, your
+offer of all this (the matured mind), and without delay
+either!'
+
+25. 'ANDROMEDA. Oxford, Aug. 12, '79.' A--which B cor-
+rects in two places only. Text rejects the first, in line 4
+_dragon_ for _dragon's_: but follows B in line 10, where A
+had _Air, pillowy air_. There is no comma at _barebill_ in
+any MS., but a gap and sort of caesural mark in A. In
+a letter Aug. 14, '79, G. M. H. writes: 'I enclose a sonnet
+on which I invite minute criticism. I endeavoured in it at
+a more Miltonic plainness and severity than I have any-
+where else. I cannot say it has turned out severe, still
+less plain, but it seems almost free from quaintness and in
+aiming at one excellence I may have hit another.'
+
+26. 'THE CANDLE INDOORS. (Common rhythm, counter-
+pointed.) Oxford, '79.' A. Text takes corrections of
+B, which adds 'companion to No.' 10. A has in line 2
+_With a yellowy_, and 5 _At that_.
+
+27. 'THE HANDSOME HEART. (Common rhythm counter-
+pointed.) Oxford, '79.' A1.--In Aug. of the same year
+he wrote that he was surprised at my liking it, and in
+deference to my criticism sent a revise, A2.--Subsequently
+he recast the sonnet mostly in the longer 6-stress lines,
+and wrote that into B.--In that final version the charm
+and freshness have disappeared: and his emendation in
+evading the clash of _ply_ and _reply_ is awkward; also the
+fourteen lines now contain seven _whats_. I have therefore
+taken A1 for the text, and have ventured, in line 8, to
+restore _how to_, in the place of _what_, from the original
+version which exists in H. In 'The Spirit of Man' I gave
+a mixture of A1 and A2. In line 5 the word _soul_ is in
+H and A1: but A2 and B have _heart_. _Father_ in second
+line was the Rev. Father Gerard himself. He tells the
+whole story in a letter to me.
+
+28. 'AT A WEDDING. (Sprung rhythm.) Bedford, Lancashire,
+Oct. 21, '79.' A. Autograph uncorrected in B, but title
+changed to that in text.
+
+29. 'FELIX RANDAL. (Sonnet: sprung and outriding rhythm;
+six-foot lines.) Liverpool, Apr. 28, '80.' A. Text from
+A with the two corrections of B. The comma in line 5
+after _impatient_ is omitted in copy in B.
+
+30. 'BROTHERS. (Sprung rhythm; three feet to the line; lines
+free-ended and not overrove; and reversed or counter-
+pointed rhythm allowed in the first foot.) Hampstead,
+Aug. 1880.' Five various drafts exist. A1 and A2 both of
+Aug. '80. B was copied by me from A1, and author's
+emendations of it overlook those in A2. Text therefore is
+from A 2 except that the first seven lines, being rewritten
+in margin afresh (and confirmed in letter of Ap. '81 to
+Canon Dixon), as also corrections in lines 15-18, these are
+taken. But the B corrections of lines 22, 23, almost
+certainly imply forgetfulness of A^. In last line B has
+correction _Dearly thou canst be kind_; but the intention
+of _I'll cry_ was original, and has four MSS. in its favour.
+
+31. 'SPRING AND FALL. (Sprung rhythm.) Lydiate, Lan-
+cashire, Sept. 7, 1880.' A. Text and title from B,
+which corrects four lines, and misdates '81. There is also
+a copy in D, Jan. '81, and see again Apr. 6, '81. In line 2
+the last word is _unleafing_ in most of the MSS. An
+attempt to amend the second rhyme was unsuccessful.
+
+32. 'SPELT FROM SIBYL'S LEAVES. (Sonnet: sprung rhythm:
+a rest of one stress in the first line.)' Autograph in A--
+another later in B, which is taken for text. Date unre-
+corded, lines 5, 6, _astray_ thus divided to show the
+rhyme.--6. _throughther_, an adj., now confined to dialect.
+It is the speech form of _through-other_, in which shape it
+eludes pursuit in the Oxford dictionary. Dr. Murray
+compares Ger. _durch einander_. Mr. Craigie tells me that
+the classical quotation for it is from Burns's 'Halloween',
+st. 5, _They roar an cry a' throughther_.--line 8. _With_,
+i.e. I suppose, _with your warning that_, &c.: the heart
+is speaking. 9. _beak-leaved_ is not hyphened in MS.--
+11. _part, pen, pack_, imperatives of the verbs, in the
+sense of sorting 'the sheep from the goats'.--12. A has
+_wrong right_, but the correction to _right wrong_ in B is
+intentional. 14.--_sheathe-_ in both MSS., but I can only
+make sense of _sheath-_, i.e. 'sheathless and shelterless'.
+The accents in this poem are a selection from A and B.
+
+33. 'INVERSNAID. Sept. 28, 1881.' Autograph in H. I have
+found no other trace of this poem.
+
+34. _As kingfishers_. Text from undated autograph in H, a draft
+with corrections and variants. In lines 3 and 4 _hung_ and
+_to fling out broad_ are corrections in same later pencilling
+as line 5, which occurs only thus with them. In sestet
+the first three lines have alternatives of regular rhythm,
+thus:
+
+     Then I say more: the just man justices;
+     Keeps grace and that keeps all his goings graces;
+     In God's eye acts, &c.
+
+Of these lines, in 9 and 10 the version given in text is
+later than the regular lines just quoted, and probably pre-
+ferred: in l. 11 the alternatives apparently of same date.
+
+35. 'RIBBLESDALE. Stonyhurst, 1882.' Autograph in A. Text
+from later autograph in B, which adds 'companion to
+No. 10' (= 16). There is a third autograph in D, June
+'83 with different punctuation which gives the comma
+between _to_ and _with_ in line 3. The dash after _man_ is
+from A and D, both of which quote 'Nam expectatio
+creaturae ', &c. from Romans viii. 19. In the letter to
+R. W. D. he writes: '_Louched_ is a coinage of mine, and is
+to mean much the same as slouched, slouching, and I mean
+_throng_ for an adjective as we use it in Lancashire'.
+But _louch_ has ample authority, see the 'English Dialect
+Dictionary'.
+
+36. 'THE LEADEN ECHO AND THE GOLDEN ECHO. Stony-
+hurst, Oct. 13, '82.' Autograph in A. Copy of this
+with autograph corrections dated Hampstead '81 (_sic_) in
+B.--Text takes all B's corrections, but respects punctuation
+of A, except that I have added the comma after _God_ in
+last line of p. 56. For the drama of Winefred, see among
+posthumous fragments, No. 58. In Nov. 1882 he wrote
+to me: 'I am somewhat dismayed about that piece and
+have laid it aside for a while. I cannot satisfy myself
+about the first line. You must know that words like
+_charm_ and _enchantment_ will not do: the thought is of
+beauty as of something that can be physically kept and
+lost and by physical things only, like keys; then the
+things must come from the _mundus muliebris_; and
+thirdly they must not be markedly oldfashioned. You
+will sec that this limits the choice of words very much
+indeed. However I shall make some changes. _Back_ is
+not pretty, but it gives that feeling of physical constraint
+which I want.' And in Oct. '86 to R. W. D., 'I never did
+anything more musical'.
+
+37. 'MARY MOTHER OF DIVINE GRACE COMPARED TO THE
+AIR WE BREATHE. Stonyhurst, May '83.' Autograph
+in A.--Text and title from later autograph in B. Taken
+by Dean Beeching into 'A Book of Christmas Verse' 1895
+and thence, incorrectly, by Orby Shipley in 'Carmina
+Mariana'. Stated in a letter to R. W. D. June 25, '83,
+to have been written to 'hang up among the verse com-
+positions in the tongues. ... I did a piece in the same
+metre as _Blue in the mists all day_.' Note Chaucer's
+account of the physical properties of the air, 'House of
+Fame', ii. 256, seq.
+
+38. 'To WHAT SERVES MORTAL BEAUTY? (Common rhythm
+highly stressed: sonnet.) Aug. 23, '85.' Autograph in
+A.--Another autograph in B with a few variants from
+which A was chosen, the deletion of alternatives incom-
+plete. Thirdly a copy sent to R. W. D., apparently later
+than A, but with errors of copy. The text given is guided
+by this version in D, and _needs_ in line 9 is substituted
+there for the _once_ in A and B, probably because of _once_
+in line 6.--Original draft exists in H, on same page with
+39 and 40. The following is his signature at this date:
+
+Your affectionate friend
+Gerard M. Hopkins S.J.
+May 29 1885
+
+Transcriber's note: This signature and date is displayed as a
+handwritten image in the original.
+
+39. SOLDIER. 'Clongower, Aug. 1885.' Autograph in H,
+with a few corrections which I have taken for lines 6 and
+7, of which the first draft runs:
+
+     It fancies; it deems; dears the artist after his art;
+     So feigns it finds as, &c.
+
+The MS. marks the caesural place in ten of the lines
+in line 2, between _Both_ and _these_. l 3, at the full stop.
+l. 6, _fancies_, _feigns_, _deems_, take three stresses. l. 11,
+after _man_. In line 7 I have added a comma at _smart_.
+In l. 10 I have substituted _handle_ for _reave_ of MS.: see
+note on _reave_, p. 101; and in l. 13, have hyphened _God
+made flesh_. No title in MS.
+
+40. CARRION COMFORT. Autograph in H, in three versions.
+1st, deleted draft. 2nd, a complete version, both on same
+page with 38 and 39. 3rd, with 41 on another sheet,
+final (?) revision carried only to end of 1. 12 (two detached
+lines on reverse). Text is this last with last two lines
+from the 2nd version. Date must be 1885, and this is
+probably the sonnet 'written in blood', of which he wrote
+in May of that year.--I have added the title and the
+hyphen in _heaven-handling_.
+
+41. _No worst_. Autograph in H, on same page as third draft of
+40. One undated draft with corrections embodied in the
+text here.--l. 5, at end are some marks which look like
+a hyphen and a comma: no title.
+
+42. 'TOM'S GARLAND. Sonnet: common rhythm, but with
+hurried feet: two codas. Dromore, Sept. '87.' With
+full title, A.--Another autograph in B is identical. In
+line 9 there is a strong accent on _I_.--l. 10, the capital
+initial of _country_ is doubtful.--Rhythmical marks omitted.
+The author's own explanation of this poem may be read
+in a letter written to me from 'Dublin, Feb. 10, '88: ...
+I laughed outright and often, but very sardonically, to
+think you and the Canon could not construe my last son-
+net; that he had to write to you for a crib. It is plain
+I must go no further on this road: if you and he cannot
+understand me who will? Yet, declaimed, the strange
+constructions would be dramatic and effective. Must
+I interpret it? It means then that, as St. Paul and Plato
+and Hobbes and everybody says, the commonwealth or
+well-ordered human society is like one man; a body with
+many members and each its function; some higher, some
+lower, but all honourable, from the honour which belongs
+to the whole. The head is the sovereign, who has no
+superior but God and from heaven receives his or her
+authority: we must then imagine this head as bare (see
+St. Paul much on this) and covered, so to say, only with
+the sun and stars, of which the crown is a symbol, which
+is an ornament but not a covering; it has an enormous
+hat or skullcap, the vault of heaven. The foot is the day-
+labourer, and this is armed with hobnail boots, because it
+has to wear and be worn by the ground; which again is
+symbolical; for it is navvies or day-labourers who, on the
+great scale or in gangs and millions, mainly trench, tunnel,
+blast, and in other ways disfigure, "mammock" the earth
+and, on a small scale, singly, and superficially stamp it
+with their footprints. And the "garlands" of nails they
+wear are therefore the visible badge of the place they fill,
+the lowest in the commonwealth. But this place still
+shares the common honour, and if it wants one advantage,
+glory or public fame, makes up for it by another, ease of
+mind, absence of care; and these things are symbolised
+by the gold and the iron garlands. (O, once explained,
+how clear it all is!) Therefore the scene of the poem is
+laid at evening, when they are giving over work and one
+after another pile their picks, with which they earn their
+living, and swing off home, knocking sparks out of mother
+earth not now by labour and of choice but by the mere
+footing, being strong-shod and making no hardship of hard-
+ness, taking all easy. And so to supper and bed. Here
+comes a violent but effective hyperbaton or suspension, in
+which the action of the mind mimics that of the labourer--
+surveys his lot, low but free from care; then by a sudden
+strong act throws it over the shoulder or tosses it away as
+a light matter. The witnessing of which lightheartedness
+makes me indignant with the fools of Radical Levellers.
+But presently I remember that this is all very well for
+those who are in, however low in, the Commonwealth and
+share in any way the common weal; but that the curse of
+our times is that many do not share it, that they are out-
+casts from it and have neither security nor splendour;
+that they share care with the high and obscurity with the
+low, but wealth or comfort with neither. And this state
+of things, I say, is the origin of Loafers, Tramps, Corner-
+boys, Roughs, Socialists and other pests of society. And
+I think that it is a very pregnant sonnet, and in point
+of execution very highly wrought, too much so, I am
+afraid. ... G.M.H.'
+
+43. 'HARRY PLOUGHMAN. Dromore, Sept. 1887.' Autograph
+in A.--Autograph in B has several emendations written
+over without deletion of original. Text is B with these
+corrections, which are all good.--line 10, _features_ is the
+verb.--13, _'s_ is _his_. I have put a colon at _plough_, in
+place of author's full stop, for the convenience of reader.--
+15 = _his lilylocks windlaced_. 'Saxo cere- comminuit
+-brum.'--17, _Them. These_, A.--In the last three lines
+the grammar intends, 'How his churl's grace governs the
+movement of his booted (in bluff hide) feet, as they are
+matched in a race with the wet shining furrow overturned
+by the share'. G. M. H. thought well of this sonnet and
+wrote on Sept. 28, 1887: 'I have been touching up some
+old sonnets you have never seen and have within a few
+days done the whole of one, I hope, very good one and
+most of another; the one finished is a direct picture of
+a ploughman, without afterthought. But when you read
+it let me know if there is anything like it in Walt Whit-
+man; as perhaps there may be, and I should be sorry for
+that.' And again on Oct. 11, '87: 'I will enclose the
+sonnet on Harry Ploughman, in which burden-lines (they
+might be recited by a chorus) are freely used: there is in
+this very heavily loaded sprung rhythm a call for their
+employment. The rhythm of this sonnet, which is alto-
+gether for recital, and not for perusal (as by nature verse
+should be), is very highly studied. From much consider-
+ing it I can no longer gather any impression of it: perhaps
+it will strike you as intolerably violent and artificial.' And
+again on Nov. 6, '87: 'I want Harry Ploughman to be
+a vivid figure before the mind's eye; if he is not that the
+sonnet fails. The difficulties are of syntax no doubt.
+Dividing a compound word by a clause sandwiched into it
+was a desperate deed, I feel, and I do not feel that it was
+an unquestionable success.'
+
+44, 45, 46, 47. These four sonnets (together with No. 56) are
+all written undated in a small hand on the two sides of
+a half-sheet of common sermon-paper, in the order in which
+they are here printed. They probably date back as early
+as 1885, and may be all, or some of them, those referred to
+in a letter of Sept. 1, 1885: 'I shall shortly have some
+sonnets to send you, five or more. Four of these came
+like inspirations unbidden and against my will. And in
+the life I lead now, which is one of a continually jaded
+and harassed mind, if in any leisure I try to do anything
+I make no way--nor with my work, alas! but so it must
+be.' I have no certain nor single identification of date.
+
+44. _To seem the stranger_. H, with corrections which my text
+embodies.--l. 14, _began_. I have no other explanation
+than to suppose an omitted relative pronoun, like _Hero
+savest_ in No. 17. The sentence would then stand for
+'leaves me a lonely (one who only) began'. No title.
+
+45. _I wake and feel_. H, with corrections which text embodies:
+no title.
+
+46. PATIENCE. As 45. l. 2, _Patience is_. The initial capital is
+mine, and the comma after _ivy_ in line 6. No title.
+
+47 _My own heart_. As 45.--1. 6, I have added the comma after
+_comfortless_; that word has the same grammatical value as
+_dark_ in the following line. 'I cast for comfort, (which)
+I can no more find in my comfortless (world) than a blind
+man in his dark world. . . .'--l. 10, MS. accents _let_.--
+13 and 14, the text here from a good correction separately
+written (as far as _mountains_) on the top margin of No. 56.
+There are therefore two writings of _betweenpie_, a strange
+word, in which _pie_ apparently makes a compound verb
+with _between_, meaning 'as the sky seen between dark
+mountains is brightly dappled', the grammar such as
+_intervariegates_ would make. This word might have
+delighted William Barnes, if the verb 'to pie' existed.
+It seems not to exist, and to be forbidden by homophonic
+absurdities.
+
+48. 'HERACLITEAN FIRE. (Sprung rhythm, with many out-
+rides and hurried feet: sonnet with two [_sic_] codas.)
+July 26, 1888. Co. Dublin. The last sonnet [this] pro-
+visional only.' Autograph in A.--I have found no other
+copy nor trace of draft. The title is from A.--line 6, con-
+struction obscure, _rutpeel_ may be a compound word,
+MS. uncertain. 8, ? omitted relative pronoun. If so =
+'the manmarks that treadmire toil foot-fretted in it'. MS.
+does not hyphen nor quite join up _foot_ with _fretted_.--
+12. MS. has no caesural mark.--On Aug. 18, '88, he
+wrote: 'I will now go to bed, the more so as I am going to
+preach tomorrow and put plainly to a Highland congrega-
+tion of MacDonalds, Mackintoshes, Mackillops, and the
+rest what I am putting not at all so plainly to the rest of
+the world, or rather to you and Canon Dixon, in a sonnet
+in sprung rhythm with two codas.' And again on Sept.
+25, '88: 'Lately I sent you a sonnet on the Heraclitean
+Fire, in which a great deal of early Greek philosophical
+thought was distilled; but the liquor of the distillation
+did not taste very greek, did it? The effect of studying
+masterpieces is to make me admire and do otherwise. So
+it must be on every original artist to some degree, on me
+to a marked degree. Perhaps then more reading would
+only _refine my singularity_, which is not what you want.'
+Note, that the sonnet has three codas, not two.
+
+49. ALFONSUS. Text from autograph with title and 'upon the
+first falling of his feast after his canonisation' in B. An
+autograph in A, sent Oct. 3 from Dublin asking for im-
+mediate criticism, because the sonnet had to go to Majorca.
+'I ask your opinion of a sonnet written to order on the
+occasion of the first feast since his canonisation proper of
+St. Alphonsus Rodriguez, a laybrother of our Order, who
+for 40 years acted as hall porter to the College of Palma
+in Majorca; he was, it is believed, much favoured by God
+with heavenly light and much persecuted by evil spirits.
+The sonnet (I say it snorting) aims at being intelligible.'
+And on Oct. 9, '88, 'I am obliged for your criticisms, "con-
+tents of which noted", indeed acted on. I have improved
+the sestet. . . . (He defends 'hew') ... at any rate
+whatever is markedly featured in stone or what is like
+stone is most naturally said to be hewn, and to _shape_,
+itself, means in old English to hew and the Hebrew _bara_
+to create, even, properly means to hew. But life and
+living things are not naturally said to be hewn: they grow,
+and their growth is by trickling increment. . . . The (first)
+line now stands "Glory is a flame off exploit, so we say ".'
+
+50. 'JUSTUS ES, &c. Jer. xii. 1 (for title), March 17,'89.'
+Autograph in A.--Similar autograph in B, which reads
+line 9, _Sir, life on thy great cause_. Text from A, which
+seems the later, being written in the peculiar faint ink of
+the corrections in B, and embodying them.--Early drafts
+in H.
+
+51. 'To R. B. April 22, '89.' Autograph in A. This, the last
+poem sent to me, came on April 29.--No other copy, but
+the working drafts in H.--In line 6 the word _moulds_ was
+substituted by me for _combs_ of original, when the sonnet
+was published by Miles; and I leave it, having no doubt
+that G. M. H. would have made some such alteration.
+
+52. 'SUMMA.' This poem had, I believe, the ambitious design
+which its title suggests. What was done of it was destroyed,
+with other things, when he joined the Jesuits. My copy
+is a contemporary autograph of 16 lines, written when he
+was still an undergraduate; I give the first four. A.
+
+53. _What being_. Two scraps in H. I take the apparently later
+one, and have inserted the comma in line 3.
+
+54. 'ON THE PORTRAIT, &c. Monastereven, Co. Kildare,
+Christmas, '86.' Autograph with full title, no corrections,
+in A. Early drafts in H.
+
+55. _The sea took pity_. Undated pencil scrap in H.
+
+56. ASHBOUGHS (my title). In H in two versions; first as
+a curtal sonnet (like 13 and 22) on same sheet with the
+four sonnets 44-47, and preceding them: second, an
+apparently later version in the same metre on a page by
+itself; with expanded variation from seventh line, making
+thirteen lines for eleven. I print the whole of this second
+MS., and have put brackets to show what I think would
+make the best version of the poem: for if the bracketed
+words were omitted the original curtal sonnet form would
+be preserved and carry the good corrections. The uncom-
+fortable _eye_ in the added portion was perhaps to be worked
+as a vocative referring to first line (?).
+
+57. _Hope holds_. In H, a torn undated scrap which carries
+a vivid splotch of local colour.--line 4, a variant has
+_A growing burnish brighter than_.
+
+58. ST. WINEFRED. G. M. H. began a tragedy on St. Winefred
+Oct. '79, for which he subsequently wrote the chorus,
+No. 36, above. He was at it again in 1881, and had
+mentioned the play in his letters, and when, some years
+later, I determined to write my _Feast of Bacchus_ in six-
+stressed verse, I sent him a sample of it, and asked him to
+let me see what he had made of the measure. The MS.
+which he sent me, April 1, 1885, was copied, and that
+copy is the text in this book, from A, the original not
+being discoverable. It may therefore contain copyist's
+errors. Twenty years later, when I was writing my
+_Demeter_ for the lady-students at Somerville College, I re-
+membered the first line of Caradoc's soliloquy, and made
+some use of it. On the other hand the broken line _I have
+read her eyes_ in my 1st part of _Nero_ is proved by date to
+be a coincidence, and not a reminiscence.--Caradoc was
+to 'die impenitent, struck by the finger of God'.
+
+59. _What shall I do_. Sent me in a letter with his own melody
+and a note on the poem. 'This is not final of course.
+Perhaps the name of England is too exclusive.' Date
+Clongower, Aug. 1885. A.
+
+60. _The times are nightfall_. Revised and corrected draft in H.
+The first two lines are corrected from the original opening
+in old syllabic verse:
+
+     The times are nightfall and the light grows less;
+     The times are winter and a world undone;
+
+61. 'CHEERY BEGGAR.' Undated draft with much correction,
+in H. Text is the outcome.
+
+62 and 63. These are my interpretation of the intention of some
+unfinished disordered verses on a sheet of paper in H. In
+63, line 1, _furl_ is I think unmistakable: an apparently
+rejected earlier version had _Soft childhood's carmine
+dew-drift down_.
+
+64. 'THE WOODLARK.' Draft on one sheet of small notepaper
+in H. Fragments in some disorder: the arrangement of
+them in the text satisfies me. The word _sheath_ is
+printed for _sheaf_ of MS., and _sheaf_ recurs in correc-
+tions. Dating of July 5, '76.
+
+65. 'MOONRISE. June 19, 1876.' H. Note at foot shows
+intention to rewrite with one stress more in the second
+half of each line, and the first is thus rewritten 'in the
+white of the dusk, in the walk of the morning'.
+
+66. CUCKOO. From a scrap in H without date or title.
+
+67. It being impossible to satisfy myself I give this MS. in
+facsimile as an example, after p. 92.
+
+68. _The child is father_. From a newspaper cutting with another
+very poor comic triolet sent me by G. M. H. They are
+signed _BRAN_. His comic attempts were not generally so
+successful as this is.
+
+69. _The shepherd's brow_. In H. Various consecutive full
+drafts on the same sheet as 51, and date April 3, '89.
+The text is what seems to be the latest draft: it has no
+corrections. Thus its date is between 50 and 51. It
+might be argued that this sonnet has the same right to be
+recognised as a finished poem with the sonnets 44-47, but
+those had several years recognition whereas this must have
+been thrown off one day in a cynical mood, which he
+could not have wished permanently to intrude among his
+last serious poems.
+
+70. 'TO HIS WATCH.' H. On a sheet by itself; apparently
+a fair copy with corrections embodied in this text, except
+that the original 8th line, which is not deleted, is preferred
+to the alternative suggestion, _Is sweetest comfort's carol
+or worst woe's smart_.
+
+71. _Strike, churl_. H, on same page with a draft of part of
+No. 45.--l. 4, _Have at_ is a correction for _aim at_.--This
+scrap is some evidence for the earlier dating of the four
+sonnets.
+
+72. 'EPITHALAMION.' Four sides of pencilled rough sketches,
+and five sides of quarto first draft, on 'Royal University
+of Ireland' candidates paper, as if G. M. H. had written
+it while supervising an examination. Fragments in disorder
+with erasures and corrections; undated. H.--The text,
+which omits only two disconnected lines, is my arrange-
+ment of the fragments, and embodies the latest corrections.
+It was to have been an Ode on the occasion of his brother's
+marriage, which fixes the date as 1888. It is mentioned
+in a letter of May 25, whence the title comes.--I have
+printed _dene_ for _dean_ (in two places). In l. 9 of poem
+cover = covert, which should be in text, as G. M. H. never
+spelt phonetically.--l. 11, _of_ may be _at_, MS. uncertain.--
+page 90, line 16, _shoots_ is, I think, a noun.
+
+73. _Thee, God, I come from_. Unfinished draft in H. Undated,
+probably '85, on same sheet with first draft of No. 38.--
+l. 2, _day long_. MS. as two words with accent on _day_.--
+l. 17, above the words _before me_ the words _left with me_
+are written as alternative, but text is not deleted. All the
+rest of this hymn is without question. In l. 19, _Yea_ is
+right. After the verses printed in text there is some
+versified _credo_ intended to form part of the complete
+poem; thus:
+
+     Jesus Christ sacrificed
+     On the cross. . . .
+     Moulded, he, in maiden's womb,
+     Lived and died and from the tomb
+     Rose in power and is our
+     Judge that comes to deal our doom.
+
+74. _To him who_. Text is an underlined version among working
+drafts in H.--line 6, _freed_ = got rid of, banished. This sense
+of the word is obsolete; it occurs twice in Shakespeare,
+cp. Cymb. III. vi. 79, 'He wrings at some distress . . .
+would I could free 't!'.
+
+
+
+FINIS
+
+
+
+
+
+End of the Project Gutenberg EBook of Poems of Gerard Manley Hopkins, by
+Gerard Manley Hopkins
+
+*** END OF THIS PROJECT GUTENBERG EBOOK POEMS OF GERARD MANLEY HOPKINS ***
+
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