More fair the work, more strong,
Stamped in resistance long,--
Enamel, marble, song.
Poet, no shackles bear,
Yet bid thy Muse to wear
The buskin bound with care.
A fashion loose forsake,--
A shoe of sloven make,
That any foot may take.
Sculptor, the clay withstand,
That yieldeth to the hand,
Though listless heart command.
Contend till thou have wrought,
Till the hard stone have caught
The beauty of thy thought.
With Paros match thy might,
And with Carrara bright,
That guard the line of light.
Borrow from Syracuse
The bronze's stubborn use,
Wherein thy form to choose.
And with a delicate grace
In the veined onyx trace
Apollo's perfect face.
Painter, put thou aside
The transient. Be thy pride
The colour furnace-tried.
Limn thou, fantastic, free
Blue sirens of the sea,
And beasts of heraldry.
Before a nimbus gold
Transcendently uphold
The Child, the Cross foretold.
Things perish. Gods have passed.
But song sublimely cast
Shall citadels outlast.
And the forgotten seal
Turned by the plowman's steel
An emperor may reveal.
For Art alone is great:
The bust survives the state,
The crown the potentate.
Carve, burnish, build thy theme,--
But fix thy wavering dream
In the stern rock supreme.
---
[Transcribers notes: I have created this online text from two
sources: _E?maux et came?es_ by The?ophile Gautier (Paris:
Charpentier, 1872), and Agnes Lee's English translation entitled
_Enamels and Cameos_, published in Volume XXIV of _The
Complete Works of The?ophile Gautier_ (Cambridge, MA:
University Press, John Wilson and Son, 1903). Lee added line
indentations for most of the poems which were not present in
Gautier's original text, so I have not included them here. Apart from
this, the online text follows Lee's translation, including her
dedicatory sonnet.]