It is not difficult to understand the title which has been bestowed upon Mr. Rosetti of the “Poets' Poet.” His volume is full of delicate rhythmical experiments—winding bouts of melody with subtle catches of silence interspersed—which alternately pique and satisfy. No brother of the craft could fail to obtain valuable hints from these studies. But Mr. Rosetti is no mere word-poiser; he is an artist in the highest sense of the word, whose canvas teems with a thousand nameless lights, which as they cross and disappear make all the difference between the real and the unreal.
During the two years or more that Mr. Rosetti's volume has been before the English-reading public on both sides of the Atlantic, it has been frequently reviewed. Perhaps the best justification of the present review is that, over and above purely literary merits, Mr. Rosetti has peculiar claims upon the interest of Catholic readers, to which we would draw attention.
We gather from the brief notice at the beginning of the volume that many of these poems were composed twenty years ago, yet, if we except the occasional appearance of a single poem in the pages of a magazine, Mr. Rosetti has published nothing before. We can hardly believe that even the barbarians of twenty years ago can have combined against his publishing, like Mr. Bazzard's friends in Edwin Drood, and so we must suppose that he was fain to wait for the severest of all criticisms—that passed by a middle-aged man upon the productions of his youth. And now, having altered something and burnt more—had he waited, he would have found old age more indulgent—he publishes the remnant, all of which, he tells us justly enough, is mature, for which his mature age is sponsor.
It would be far easier to estimate Mr. Rosetti's position as a poet had he written more. Nor is this precisely a truism; for one feels at once that what he has given us is most precisely and emphatically a selection. Every one of his poems, whatever else it may be, is at least a cunning piece of artist's work in this or that particular style, with a distinct flavor of its own and true to itself throughout. If you know, and care for, the old Scots ballad, you will at once appreciate the specimen he gives you. If you object to the coarseness which shades the tenderness of “Stratton Water,” your criticism is unlearned. As well complain of the peat flavor of a “Finnan haddie.”
Poets who sing because they must sing, who pour into trembling ears great heterogeneous floods of song, the reflection of their many moods, things beautiful and rather beautiful, and plain and very plain; all the thousand-and-one scraps which have something clever in them, or illustrate something, or with the composition of which something interesting, whether pleasant or painful, is associated—take, for instance, any chance volume of Wordsworth or Browning—may be in the long run our benefactors, but they have no claim upon the ready-money of thanks; they charm, perhaps, [pg 264] but they often also bore. If a man whose imagination has not been left out is bored by Mr. Rosetti's volume, it is time for him, according to the Turkish proverb, to put his trust in God—his wine is running to the lees, his roses wither. And this is true although the generations of poetic taste are so short-lived that almost before a man has reached the mezzo camino, and certainly before he has lost his sense of life's enjoyments, he is apt to find himself somewhat out of harmony with the poetry of the day. Mr. Rosetti is no prophet of a new theory of art or master of a new phrase-mint, but rather a merchant whose cargo tells a tale of every port at which he has touched.
It is natural to compare, even if only to contrast, any new poet with Mr. Tennyson, as the poet who has had more immediate, sensible influence than any other upon the taste of his day; and although there is a prejudice against comparisons, it is difficult to see how they can be avoided if one is to do something more than point and ejaculate. In the present case, there is at least sufficient resemblance to suggest comparison. Amongst living poets these two are pre-eminently artist-poets, who finish their work and hide well away all their literary shavings. They are almost the only living poets who never go on talking till they can find the right word, and who never stammer.
There is not a scrap of either of these poets that, for the refined work there is in it, it would not be a shame to burn. Again, they are like in this, that they have an intense sensuous appreciation of the medium which they use, which seems to belong rather to the art of the painter or the musician than to that of the poet. It would not be difficult to make a color-box of Mr. Tennyson's favorite words, literary formulas for cool grays and bits of scarlet. On the other hand, Mr. Rosetti's art is rather that of the musician than the painter; he produces his effects rather by subtle changes of manner than by the color of single words, although his choice in these too is exquisite. His modulations remind one of Crashaw's lines in “Music's Duel”:
And so, having drifted into points of difference, we will continue. They are unlike because, although both affect the quaintnesses of mediæval art, the laureate has done little more than utilize, for poetic purposes, the antiquarian and art knowledge of a gentleman of the period with a turn that way. But Mr. Rosetti is a mediæval artist heart and soul; and, though it may not be literally true that he has no end beyond his art, he would certainly feel that he was doing evil that good might come of it if he sacrificed a point of art to any object whatsoever.
Mr. Tennyson's pictures of the middle-age, beautiful and lifelike as they are, are the less true for their somewhat formal flourish of antiquity, whereby they give themselves, as it were, a modern frame. Of course, Tennyson's knights are not modern gentlemen in the sense that Racine's Greeks are French courtiers, but anyhow they are the realized aspirations of modern gentlemen of culture and refinement, and measures of fashionable reaction against the spirit of the day.
I think the consciousness that he wants a loosely-fitting mediævalism, or, so to speak, the armor without [pg 265] any particular quality of man inside, makes Mr. Tennyson affect the hybrid mediævalism of the Round Table in preference to the genuine strain of the old chroniclers. His mail-clad knights always remind us somewhat of a common scene in a marine aquarium—a whelk-shell inspired with an energy not its own by the intrusion of a hermit-crab, who, having disposed of the original occupant, manipulates the shell at his pleasure.
It may be urged, with some justice, that a poet is no mere collector of old china and old lace. He gathers to himself of all precious things, to frame for his thought such vehicle as he wants; but he has no duties to his materials that they should be in keeping with one another or with themselves, provided they minister to his design. Yes, but it must be remembered that both these poets belong to a school which owes its success to the religious observance of such duties, even though self-imposed; and it must always remain true that the more a poet can afford to borrow wholes instead of parts or aspects, and these plead the poet's cause each in its own tongue, not his, the greater is his triumph. I am not indicating any failure on the part of Mr. Tennyson when I speak of his Arthurian poems as a splendid masque. He knows where his strength lies. He has chosen his legend as a man might choose an antique wine-cooler for his wine; but the liquor inside, though superlatively good, is not hippocras or metheglin, but port and sherry. On the other hand, if we turn to Mr. Rosetti's treatment of mediæval subjects, “Dante at Verona,” “Sister Helen,” “The Staff and Scrip,” we find that his mediæval figures live, indeed, with the intensest kind of life, but that that life, from its woof to its outermost fringe, is stained with the color of its own day and country. It is this union of purism and vitality which is Mr. Rosetti's distinguishing characteristic.
It is now time for us to examine some of Mr. Rosetti's poems in detail. “The Blessed Damozel,” the first poem in the volume, were it not for its title, would be perfect; but we confess that the ultra quaintness of the title is the one point in the mediæval dress which does not, to our mind, harmonize with the Catholicity of the subject.
The subject would be trite enough in many hands. A young man has lost his love, and dreams of her night and day, until at length the soul of his imagination pierces that heaven into which she has been received ten years ago:
With the calm, unhesitating realism of Fra Angelico, he paints his lady leaning out towards him “from the gold bar of heaven,” with stars in her hair and lilies in her hand; and the outline is so clear and firm, so free from the mist of modern sentimentalism, that the paroxysm of doubt which breaks in at the end of the fourth stanza, and which for a moment makes the radiant vision tremulous, is really wanted to remind us of the abyss which the imagination is spanning:
“The tides of day and night” alternate far down in the abyss beneath her feet, where the earth is spinning about the sun “like a fretful midge.” If any one is tempted to doubt if the heavens of modern science, with their [pg 266] vast distances and harmonious order, are more poetical than the star-spangled cope upon which the Chaldean shepherds gazed, let him read this poem. The simple imagery with which Mr. Rosetti clothes the abysses of heaven seems, without destroying their immensity, to render them visible:
Again:
He sees that she is looking for him, and then she speaks, not to him, for she sees him not, but of him, of what their life in heaven will be when he has come—for he must come, she says. And again, as she talks of the life in heaven, it is Fra Angelico in words; lush meadow-grass, so soft to road-worn feet, and golden-fruited trees, and tender intercourse from which all the acerbities and conventionalities of life are banished; an atmosphere in which the freshness of morning and the peace of evening are woven into one eternal day, which, as he says elsewhere, “hours no more offend.” How thoroughly Dantesque in its homely sublimity is the conception of Our Lady and her handmaids at their weaving:
We hardly think that this poem of Mr. Rosetti's strikes a single false chord even to Catholic ears. The utmost that can be said is that the blessed soul is too absorbed by her longing for her earthly love. But then the heaven of theology is an assemblage of paradoxes which faith alone can knit together; and, in its entirety, wholly without the realm of art. In this poem we have one aspect of the life of the blessed, “securus quidem sibi sed nostri solicitus,” as S. Bernard says, presented to us most vividly in the only colors an artist's pencil can command—those of earthly love. But this love is serene and pure, and, despite its intensity, free from all pain and impatience. The passion is supplied by the refrain in the earthly lover's heart, as in his touching commentary upon the confidence of her “we two” will do thus and thus when he comes:
Having ended her description of heaven's mysterious joys:
But soon the smile fades away as the angelic convoy glides past, for he is not there—
If it be objected that this is too gross a violation of the state in which all tears are wiped away, I answer, first, that there are tears and tears; secondly, that if anthropomorphism is allowable in our realizations of God, à fortiori is it allowable in our realizations of those who, although they are raised above the estate of humanity, are still human. Again, even the angels of Christian art have a prescriptive right to tears, and is it not written, Isai. xxxiii. 7, “Angeli pacis amarè flebunt?”
And now we will say what we have to say of perhaps the most wonderful of all Mr. Rosetti's poems, which somehow, for more reasons than one, suggests itself as a pendant [pg 267] to “The Blessed Damozel.” He has called it “Jenny,” and Jenny is the name—neither French nor Greek will mend the matter—of a young prostitute. We freely confess that there are two or three lines in this poem which we heartily wish Mr. Rosetti had never written; but, take it as it stands, few will be disposed to deny that it is a very real sermon against lust, all the more impressive because it is indirect. The story, such as it is, is this: A man, young but not in his first youth, who has been for some years settling down to a student's life, throws his work aside one evening, and goes off to one of his old haunts. Having spent half the night in dancing, and being smitten with Jenny's youthful beauty, he goes home with her. She, poor thing, utterly tired, falls dead asleep at supper, and he, watching her, falls to moralizing, half cynically, half tenderly, upon innocence and lust and destiny, until at last the pity of it all wholly possesses him and kills every other thought. And so musing till early dawn, till
he slips some gold pieces into her hair, and goes with the half-expressed hope that, as God has been merciful to him, so he will be merciful to her also.
What first touches him is her evident longing for rest:
The girl herself, beyond her youth and beauty, is nowise better than her fellows, and so she individualizes a larger pathos, and is in some sense a more touching representative of the victims of man's lust—
He is penetrated by the contrast between the fate of this poor girl and that of his cousin, just such another girl in natural disposition—
but in the guarded atmosphere of her home, with every point in her character blooming into good.
Many a man would be fain to listen to such a sermon who would reject any other. For the preacher is no missionary in disguise, but a fellow-sinner converted in the presence of his sin, if we may call it conversion; at least, beaten down and overwhelmed by the colossal horror and pity of it, as a wild beast is tamed by a prairie-fire.
Many beautiful things have been said by non-Catholic poets of Our Blessed Lady. Indeed, a very pretty book might be made of these Gentile testimonies, from Milton, Cowley, Crashaw (before his conversion), Wordsworth, Keble, and many others. It would seem that Parnassus is as one of the high places of Baal, where the Spirit of the Lord rushes upon the poet, whose eyes are opened and he must needs bless her whom he that blesseth “shall also himself be blessed, and he that curseth shall be reckoned accursed,” and he cries, [pg 268] “How beautiful are thy tabernacles,” O Mary, Mother of God, “as woody valleys, as watered gardens near the rivers, as tabernacles which the Lord has pitched as cedars by the water-side.” But with Mr. Rosetti it is something more than this. One is tempted to fancy that with his Italian name he must have really inherited an Italian's devotion to the Madonna. His poem “Ave” is neither more nor less than a meditation upon the joyful, sorrowful, and glorious mysteries of Our Lady's life, and it breathes a devotion as tender and sensitive—in a word, as Catholic—as though it had been written by F. Faber. We shall venture to transfer the whole of it to our pages, for we cannot otherwise justify what we have said, and part of its specific beauty is that it is in one breath:
Ave.
Mr. Rosetti certainly does not affect classical subjects. There is nothing in his curious Treasury at all corresponding to those most exquisite of all Mr. Tennyson's poems, “Ulysses” and “Tithonus.” In the few instances in which he does handle classical legend, it is always its quaint reflection in the mediæval mind that attracts him, as in “Troy Town,” but he is at home everywhere. “Eden Bower” and “Sister Helen” are like and unlike enough for comparison. They are both monologues of deadly sin; the first is spite, the second hate, set to music. The conception of Lilith in “Eden Bower” is a monstrous waif of rabbinical tradition. She is a sort of woman-snake, supposed to have been Adam's first wife before the creation of Eve, and in her jealousy of the wife who supplanted her is found the origin of her conspiracy with the king-snake of Eden which brings about the Fall. The poem is one prolonged musical but most diabolical chuckle of Lilith over the immortal mischief she is about to perpetrate. She is indeed all the while coaxing the serpent to help her, but her tone throughout is one of assured triumph. The woman and the fiend are interwoven with marvellous subtlety—a fiend's colossal blasphemy and a woman's petty spite. The fiend does not shrink from declaring open war against heaven.
The woman thus in anticipation stabs her rival with her husband's cowardice.
How she wriggles and gasps and hugs herself at the thought of the woe she is to bring upon her victims, gloating over every detail of their desolate exile, and forecasting the death of one son and the damnation of another. Lilith after all is a fiend, and, as a creation of art, a fiend is a creature that lives and revels in wickedness as a salamander was supposed to inhabit fire, with a keen sense of pleasure and without moral responsibility; but in “Sister Helen” we have something much more dreadful because more human—“Hate born of Love”—hate that has devoured all love, even love of self—the hatred that is despair. A ruined girl, dwelling in a lonely tower with her little brother, seeks vengeance upon her seducer after the mediæval manner, by consuming his waxen image before the fire. And now upon the third night she is nigh upon its achievement, for the wax is wasting fast. The child takes a child's interest in the little figure that was once so plump, but through which the flame is now shining red. He prattles about it, but understands nothing, nor yet that there is anything to understand. His sister coaxes him out into the balcony to look out and say what he sees, for she knows what must come. And one after the other the brothers and father of the dying man ride up in the wild night and implore her mercy, at first that she will save his life, and then that at least she will forgive and save him from his despair, that body and soul may not perish. There is something simply appalling in the way in which each entreaty, as it comes to her repeated by her little brother's voice, is slain by the calm, ruthless, sometimes ironical comment in which she conveys her refusal.
All entreaties are useless, the death-knell sounds, and the riders turn their horses—
One is tempted to say of Mr. Rosetti as was said of his patron Dante, “Lo, he that strolls to hell and back at will.” We speak advisedly of his “patron Dante,” for his devotion to his great namesake is of the intensest kind. Almost the longest poem in the volume is “Dante at Verona,” in which every conceivable detail in the poet's painful exile at that court is dwelt upon with a solicitude that reminds one of an early Christian sponging up a martyr's blood. To appreciate the poem thoroughly, one ought to share with Mr. Rosetti in the intimacy of the great Florentine. There are, however, many exquisite bits of description in it that must come home to every one. Surely the Gran Cane's jester will live for ever:
We cannot of course pretend to catalogue all Mr. Rosetti's beauties. But for the sake of quoting one stanza, we must say a word of the “Staff and Scrip.” A knight vowed to defend wronged innocence, finds himself, whilst returning from Palestine, in the land of a fair lady, which her triumphant foemen are ravaging, and where all hope of resistance is dead. He goes out on her behalf, and conquers and dies. This is the description of his return on the night of his victory:
Nearly a third of Mr. Rosetti's volume consists of sonnets. Now, a sonnet should be grave but not heavy. It must have a severity tempered by sweetness like the breviary character of the Venerable Bede. It must linger meditatively; it must not loiter, or fumble with its meaning. It must be sinuous, never headlong; feeling its rhymes delicately, not falling upon them; for these are less rhymes than the most prominent of many assonances, upon all of which the rhythm hangs. Indeed, the texture of the sonnet resembles more that of blank-verse than that of any other metre we possess. Without denying the perfection of some two or three of Milton's sonnets, and perhaps in a lesser degree of about as many of Wordsworth's, we may be permitted to say that among our sonnet-writers Milton, as a general rule, is too fierce and headlong, as Wordsworth says of him, in words of praise which to our ears suggest blame. In his hands, “the thing became a trumpet”; whilst [pg 271] Wordsworth has too poor a vocabulary for a composition in which every word ought to tell. Shakespeare's sonnets are only sonnets in name. They do not fall into two, or rather one and a half, like an acorn and its cup, but are simply short poems of three independent stanzas of alternate rhymes, the whole concluding with a rhyming couplet. The Elizabethan writers who used the genuine sonnet—Sidney, Spenser, Drummond, especially the last—attained, we cannot help thinking, to a more exquisite use of the sonnet than either Milton or Wordsworth, although the beauty of their sonnets is somewhat marred by the twanging effect of the concluding rhyming couplet to which they persistently cling. Many of Mr. Rosetti's sonnets strike us not only as beautiful poems, but as very finished specimens of the sonnet. He seems to have attained to the Italian delicacy of the best of the Elizabethan sonneteers, without loss of originality and force. He is, however, perhaps rather too fond of fretting the melody of his lines by a harsh emphasis, which, effective enough in a liquid medium like Italian, is rather trying to the naturally broken music of the English tongue. An example of this may be noted in the sixth line of the following very beautiful sonnet. He has called it “Inclusiveness”—a title with which we venture to quarrel, for the phenomenon described is not a quality of anything, but a fact or law; we would substitute, in spite of its technical flavor, “Introsusception.”
Here is an exquisite vindication of one of the least popular of the condemnations in the Syllabus—that of non-intervention.
It is called “On the Refusal of Aid between Nations”:
Mr. Rosetti has adopted, as we have already indicated, more fully than a Catholic could approve, a principle which is obtaining a very dangerous prominence amongst the rising generation of English poets, that art is justified of her children—that to the artist all things are chaste. Thus inevitably there are some lines one could wish unwritten, and more that one would not have every one read. Yet for all this the ethos of the book is chaste and noble, nor do we know any poet by whom purity is more honestly appreciated and worshipped. The volume is a remarkable example of the extent to which a love of the Madonna and the ascetic inspiration of Dante can counteract and restrain the growing sensuousness of English poetry.
If Mr. Rosetti is sometimes obscure, it is not that his touch is ever otherwise than delicate and precise, but because his art is rather the art of the musician than of the painter. His changes of key, so to speak, are so [pg 272] swift and subtle, and the harmonies with which the theme is clothed are so manifold and so quaint, that his compositions have sometimes the difficulty of a sonata of Beethoven, and require considerable familiarity before their proportions can be grasped. Indeed, we must confess that there are passages the meaning of which we despair of ever grasping with any precision; we must be content to accept them as a sort of hieroglyphic, for splendor or purity, like the scroll and lily-work of a mediæval goldsmith. This is the more provoking, as obscurity is not here, as often in Mr. Browning's poems, covered by an oracular use of certain crabbed expressions, which at least indicate the nut that is to be cracked, but coexists with a diction consistently pure and flowing.
Although we have compared Mr. Rosetti's art to that of the musician rather than to that of the painter, we have been told that he is a painter of a high order. Anyhow, his fondness for painting is proved by the number of sonnets which he has made upon pictures, ancient and modern. We cannot more fitly conclude our review than with his sonnet, “For our Lady of the Rocks, by Leonardo da Vinci”: