I own no lesser law, no narrower claim.
A freeman's Reason well might think it scorn
To toil for those who may be never born,
But for some Cause not wholly out of ken,
Some all-directing Will that works with men,
Some Universal under which may fall
The minor premiss of our effort small;
In Whose unending purpose, though we cease,
We find our impulse and our only peace."
So passed our greeting, till we turned once more,
I to my desk and you to rule Indore.
To meet again--ah! when? Yet once we met,
And to one dawn our faces still are set.
EXETER,
_September_ 10, 1904.
* In the school quadrangle at Clifton, the site from which, upon
occasion, the grand stand used to overlook the Close, is now occupied
by the Memorial to those Cliftonians who fell in the South African War.
{220}
_An Essay on Criticism_
'Tis hard to say if greater waste of time
Is seen in writing or in reading rhyme;
But, of the two, less dangerous it appears
To tire our own than poison others' ears.
Time was, the owner of a peevish tongue,
The pebble of his wrath unheeding flung,
Saw the faint ripples touch the shore and cease,
And in the duckpond all again was peace.
But since that Science on our eyes hath laid
The wondrous clay from her own spittle made,
We see the widening ripples pass beyond,
The pond becomes the world, the world a pond,
All ether trembles when the pebble falls,
And a light word may ring in starry halls.
When first on earth the swift iambic ran
Men here and there were found but nowhere Man.
From whencesoe'er their origin they drew,
Each on its separate soil the species grew,
And by selection, natural or not,
Evolved a fond belief in one small spot.
The Greek himself, with all his wisdom, took
For the wide world his bright Aegean nook,
{221}
For fatherland, a town, for public, all
Who at one time could hear the herald bawl:
For him barbarians beyond his gate
Were lower beings, of a different date;
He never thought on such to spend his rhymes,
And if he did, they never read the _Times_.
Now all is changed, on this side and on that,
The Herald's learned to print and pass the hat;
His tone is so much raised that, far or near,
All with a sou to spend his news may hear,--
And who but, far or near, the sou affords
To learn the worst of foreigners and lords!
So comes the Pressman's heaven on earth, wherein
One touch of hatred proves the whole world kin--
"Our rulers are the best, and theirs the worst,
Our cause is always just and theirs accurst,
Our troops are heroes, hirelings theirs or slaves,
Our diplomats but children, theirs but knaves,
Our Press for independence justly prized,
Theirs bought or blind, inspired or subsidized.
For the world's progress what was ever made
Like to our tongue, our Empire and our trade?"
So chant the nations, till at last you'd think
Men could no nearer howl to folly's brink;
Yet some in England lately won renown
By howling word for word, but upside down.
But where, you cry, could poets find a place
(If poets we possessed) in this disgrace?
{222}
Mails will be mails, Reviews must be reviews,
But why the Critic with the Bard confuse?
Alas! Apollo, it must be confessed
Has lately gone the way of all the rest.
No more alone upon the far-off hills
With song serene the wilderness he fills,
But in the forum now his art employs
And what he lacks in knowledge gives in noise.
At first, ere he began to feel his feet,
He begged a corner in the hindmost sheet,
Concealed with Answers and Acrostics lay,
And held aloof from Questions of the Day.
But now, grown bold, he dashes to the front,
Among the leaders bears the battle's brunt,
Takes steel in hand, and cheaply unafraid
Spurs a lame Pegasus on Jameson's Raid,
Or pipes the fleet in melodrama's tones
To ram the Damned on their Infernal Thrones.
Sure, Scriblerus himself could scarce have guessed
The Art of Sinking might be further pressed:
But while these errors almost tragic loom
The Indian Drummer has but raised a boom.
"So well I love my country that the man
Who serves her can but serve her on my plan;
Be slim, be stalky, leave your Public Schools
To muffs like Bobs and other flannelled fools;
The lordliest life (since Buller made such hay)
Is killing men two thousand yards away;
{223}
You shoot the pheasant, but it costs too much
And does not tend to decimate the Dutch;
Your duty plainly then before you stands,
Conscription is the law for seagirt lands;
Prate not of freedom! Since I learned to shoot
I itch to use my ammunition boot."
An odd way this, we thought, to criticize--
This barrackyard "Attention! d---- your eyes!"
But England smiled and lightly pardoned him,
For was he not her Mowgli and her Kim?
But now the neighbourhood remonstrance roars,
He's naughty still, and naughty out of doors.
'Tis well enough that he should tell Mamma
Her sons are tired of being what they are,
But to give friendly bears, expecting buns,
A paper full of stale unwholesome Huns--
One might be led to think, from all this work,
That little master's growing quite a Turk.
O Rudyard, Rudyard, in our hours of ease
(Before the war) you were not hard to please:
You loved a regiment whether fore or aft,
You loved a subaltern, however daft,
You loved the very dregs of barrack life,
The amorous colonel and the sergeant's wife.
You sang the land where dawn across the Bay
Comes up to waken queens in Mandalay,
The land where comrades sleep by Cabul ford,
And Valour, brown or white, is Borderlord,
{224}
The secret Jungle-life of child and beast,
And all the magic of the dreaming East.
These, these we loved with you, and loved still more
The Seven Seas that break on Britain's shore,
The winds that know her labour and her pride,
And the Long Trail whereon our fathers died.
In that Day's Work be sure you gained, my friend,
If not the critic's name, at least his end;
Your song and story might have roused a slave
To see life bodily and see it brave.
With voice so genial and so long of reach
To your Own People you the Law could preach,
And even now and then without offence
To Lesser Breeds expose their lack of sense.
Return, return! and let us hear again
The ringing engines and the deep-sea rain,
The roaring chanty of the shore-wind's verse,
Too bluff to bicker and too strong to curse.
Let us again with hearts serene behold
The coastwise beacons that we knew of old;
So shall you guide us when the stars are veiled,
And stand among the Lights that never Failed.
{225}
_Le Byron de Nos Jours; or, The
English Bar and Cross Reviewers._
Still must I hear?--while Austin prints his verse
And Satan's sorrows fill Corelli's purse,
Must I not write lest haply some K.C.
To flatter Tennyson should sneer at me?
Or must the Angels of the Darker Ink
No longer tell the public what to think--
Must lectures and reviewing all be stayed
Until they're licensed by the Board of Trade?
Prepare for rhyme--I'll risk it--bite or bark
I'll stop the press for neither Gosse nor Clarke.
O sport most noble, when two cocks engage
With equal blindness and with equal rage!
When each, intent to pick the other's eye,
Sees not the feathers from himself that fly,
And, fired to scorch his rival's every bone,
Ignores the inward heat that grills his own;
Until self-plucked, self-spitted and self-roast,
Each to the other serves himself on toast.
But stay, but stay, you've pitched the key, my Muse,
A semi-tone too low for great Reviews;
{226}
Such penny whistling suits the cockpit's hum,
But here's a scene deserves the biggest drum.
Behold where high above the clamorous town
The vast Cathedral-towers in peace look down:
Hark to the entering crowd's incessant tread--
They bring their homage to the mighty dead.
Who in silk gown and fullest-bottomed wig
Approaches yonder, with emotion big?
Room for Sir Edward! now we shall be told
Which shrines are tin, which silver and which gold.
'Tis done! and now by life-long habit bound
He turns to prosecute the crowd around;
Indicts and pleads, sums up the _pro_ and _con_,
The verdict finds and puts the black cap on.
"Prisoners, attend! of Queen Victoria's day
I am the Glory, you are the Decay.
You cannot think like Tennyson deceased,
You do not sing like Browning in the least.
Of Tennyson I sanction every word,
Browning I cut to something like one-third:
Though, mind you this, immoral he is not,
Still quite two-thirds I hope will be forgot.
He was to poetry a Tom Carlyle--
And that reminds me, Thomas too was vile.
He wrote a life or two, but parts, I'm sure,
Compared with other parts are very poor.
{227}
Now Dickens--most extraordinary--dealt
In fiction with what people really felt.
That proves his genius. Thackeray again
Is so unequal as to cause me pain.
And last of all, with History to conclude,
I've read Macaulay and I've heard of Froude.
That list, with all deductions, Gentlemen,
Will show that 'now' is not the same as 'then'.
If you believe the plaintiff you'll declare
That English writers are not what they were."
Down sits Sir Edward with a glowing breast,
And some applause is instantly suppressed.
Now up the nave of that majestic church
A quick uncertain step is heard to lurch.
Who is it? no one knows; but by his mien
He's the head verger, if he's not the Dean.
"What fellow's this that dares to treat us so?
This is no place for lawyers, out you go!
He is a brawler, Sir, who here presumes
To move our laurels and arrange our tombs.
Suppose that Meredith or Stephen said
(Or do you think those gentlemen are dead?)
This age has borne no advocates of rank,
Would not your face in turn be rather blank?
Come now, I beg you, go without a fuss,
And leave these high and heavenly things to us;
You may perhaps be some one, at the Bar,
But you are not in Orders, and we are."
{228}
Sir Edward turns to go, but as he wends,
One swift irrelevant retort he sends.
"Your logic and your taste I both disdain,
You've quoted wrong from Jonson and Montaigne."
The shaft goes home, and somewhere in the rear
Birrell in smallest print is heard to cheer.
And yet--and yet--conviction's not complete:
There was a time when Milton walked the street,
And Shakespeare singing in a tavern dark
Would not have much impressed Sir Edward Clarke.
To be alive--ay! there's the damning thing,
For who will buy a bird that's on the wing?
Catch, kill and stuff the creature, once for all,
And he may yet adorn Sir Edward's hall;
But while he's free to go his own wild way
He's not so safe as birds of yesterday.
In fine, if I must choose--although I see
That both are wrong--Great Gosse! I'd rather be
A critic suckled in an age outworn
Than a blind horse that starves knee-deep in corn.
NOTE.--The foregoing parody, which first appeared in _The Monthly
Review_ some years ago, was an attempt to sum up and commemorate a
literary discussion of the day. On Saturday night, November 15, 1902,
at the Working Men's College, Great Ormond Street, Sir Edward Clarke,
K.C., delivered an address on "The Glory and Decay of English
Literature in the Reign of Victoria." 'Sir Edward Clarke, who mentioned
incidentally that he lectured at the college forty years ago, said that
there was a rise from the {229} beginning of that reign to the period
1850-60, and that from the latter date there had been a very strange
and lamentable decline to the end of the reign, would he thought, be
amply demonstrated. A glorious galaxy of talent adorned the years
1850-60. There were two great poets, two great novelists, and two
great historians. The two great poets were Alfred Tennyson and Robert
Browning. The first named would always stand at the head of the
literature of the Victorian period. There was no poet in the whole
course of our history whose works were more likely to live as a
complete whole than he, and there was not a line which his friends
would wish to see blotted out. Robert Browning was a poet of strange
inequality and of extraordinary and fantastic methods in his
composition. However much one could enjoy some of his works, one could
only hope that two-thirds of them would be as promptly as possible
forgotten--not, however, from any moral objection to what he wrote. He
was the Carlyle of poetry. By his Lives of Schiller and Sterling,
Carlyle showed that he _could_ write beautiful and pure English, but
that he should descend to the style of some of his later works was a
melancholy example of misdirected energy. . . . Charles Dickens was
perhaps the most extraordinary genius of those who had endeavoured to
deal with fiction as illustrative of the actual experiences of life.
With Dickens there stood the great figure of Thackeray, who had left a
great collection of books, very unequal in their quality, but
containing amongst them some of the finest things ever written in the
English tongue. The two great historians were Macaulay and Froude.
To-day we had no great novelist. Would anyone suggest we had a poet?
(Laughter.) After the year 1860 there were two great names in
poetry--the two Rossettis. There had been no book produced in the last
ten years which could compete with any one of the books produced from
1850 to 1860.'
To this Mr. Edmund Gosse replied a week later at the Dinner of the
Encyclopaedia Britannica. He reminded his audience that even the most
perspicuous people in past times had made the grossest blunders when
they judged their own age. Let them remember the insensibility of
Montaigne to the merits of all his contemporaries. In the next age,
and in their own country, Ben Jonson took occasion at the very moment
when Shakespeare was producing his masterpieces, to lament the total
decay of poetry in England. We could not see the trees for the wood
behind them, but we ought to be confident they were growing all the
time.
{230}
Mr. Gosse also wrote to the _Times_ on behalf of "the Profession" of
Letters, reminding Sir Edward of the names of Swinburne and William
Morris, Hardy and Stevenson, Creighton and Gardiner, and asking what
would be the feelings of the learned gentleman if Meredith or Leslie
Stephen (of whose existence he was perhaps unaware) should put the
question in public, "Would anyone suggest we have an Advocate?"
Sir Edward, in his rejoinder, had no difficulty in showing that Mr.
Gosse's citation of Montaigne and Jonson was not verbally exact. Mr.
Birrell added some comments which were distinguished by being printed
in type of a markedly different size.
To the author of these lines, the controversy appears so typical and so
likely to arise again, that he desires to record, in however slight a
form, his recollection of it, and his own personal bias, which is in no
degree lessened by reconsideration after ten years.
{231}
NOTES
_Drake's Drum_.--A State drum, painted with the arms of Sir Francis
Drake, is preserved among other relics at Buckland Abbey, the seat of
the Drake family in Devon.
_The fighting Téméraire_.--The last two stanzas have been
misunderstood. It seems, therefore, necessary to state that they are
intended to refer to Turner's picture in the National Gallery of "The
Fighting _Téméraire_ tugged to her Last Berth."
_San Stefano_.--Sir Peter Parker was the son of Admiral Christopher
Parker, grandson of Admiral Sir Peter Parker (the life-long friend and
chief mourner of Nelson), and great-grandson of Admiral Sir William
Parker. On his mother's side he was grandson of Admiral Byron, and
first cousin of Lord Byron, the poet. He was killed in action near
Baltimore in 1814, and buried in St. Margaret's, Westminster, where may
be seen the monument erected to his memory by the officers of the
_Menelaus_.
_The Quarter-Gunner's Yarn_.--This ballad is founded on fragmentary
lines communicated to the author by Admiral Sir Windham Hornby, K.C.B.,
who served under Sir Thomas Hardy in 1827. For an account of Cheeks
the Marine see Marryat's _Peter Simple_.
_Vae Victis_.--See _Livy_, xxx., 43; _Diodorus Siculus_, xix., 106.
_Seringapatam_.--In 1780, while attempting to relieve Arcot, a British
force of three thousand men was cut to pieces by Hyder Ali. Baird,
then a young captain in the 73rd, was left for dead on the field. He
was afterwards, with forty-nine other officers, kept in prison at
Seringapatam, and treated with Oriental barbarity and treachery by
Hyder Ali and his son Tippoo Sahib, Sultans of Mysore. Twenty-three of
the prisoners died by poison, torture, and fever; the rest were
surrendered in 1784. In 1799, at the Siege of Seringapatam,
Major-General Baird commanded the first European brigade, and
volunteered to lead the storming column. {232} Tippoo Sahib, with
eight thousand of his men, fell in the assault, but the victor spared
the lives of his sons, and forbade a general sack of the city.
_Clifton Chapel_.--Thirty-five Old Cliftonian officers served in the
campaign of 1897 on the Indian Frontier, of whom twenty-two were
mentioned in despatches, and six recommended for the Distinguished
Service Order. Of the three hundred Cliftonians who served in the war
in South Africa, thirty were killed in action and fourteen died of
wounds or fever.
"Clifton, remember these thy sons who fell
Fighting far over sea;
For they in a dark hour remembered well
Their warfare learned of thee."
_The Echo_.--The ballad was "The Twa Sisters of Binnorie," as set by
Arthur Somervell.
_Sráhmandázi_.--This ballad is founded on materials given to the author
by the late Miss Mary Kingsley on her return from her last visit to the
Bantu peoples of West Africa. The song-net, as described by her,
resembles a long piece of fishing-net folded, and is carried by the
Songman over his shoulder. When opened and laid before an audience, it
is seen to contain "tokens"--such as a leopard's paw, a child's hair, a
necklet, or a dried fish--sewn firmly to the meshes of the net. These
form a kind of symbolical index to the Songman's repertory: the
audience make their choice by laying a hand upon any token which
appears desirable. The last of the tokens is that which represents the
Song of Dying or Song of Sráhmandázi. It is a shapeless piece of any
substance, and is recognized only by its position in the net. The
song, being unintelligible to the living, is never asked for until the
moment of death.