Now very quietly, and rather mournfully,
In clouds of hyacinth the sun retires,
And all the stubble-fields that were so warm to him
Keep but in memory their borrowed fires.
And I, the traveller, break, still unsatisfied,
From that faint exquisite celestial strand,
And turn and see again the only dwelling-place
In this wide wilderness of darkening land.
The house, that house, O now what change has come to it.
Its crude red-brick facade, its roof of slate;
What imperceptible swift hand has given it
A new, a wonderful, a queenly state?
No hand has altered it, that parallelogram,
So inharmonious, so ill-arranged;
That hard blue roof in shape and colour's what it was;
No, it is not that any line has changed.
Only that loneliness is now accentuate
And, as the dusk unveils the heaven's deep cave,
This small world's feebleness fills me with awe again,
And all man's energies seem very brave.
And this mean edifice, which some dull architect
Built for an ignorant earth-turning hind,
Takes on the quality of that magnificent
Unshakable dauntlessness of human kind.
Darkness and stars will come, and long the night will be,
Yet imperturbable that house will rest,
Avoiding gallantly the stars' chill scrutiny,
Ignoring secrets in the midnight's breast.
Thunders may shudder it, and winds demoniac
May howl their menaces, and hail descend:
Yet it will bear with them, serenely, steadfastly,
Not even scornfully, and wait the end.
And all a universe of nameless messengers
From unknown distances may whisper fear,
And it will imitate immortal permanence,
And stare and stare ahead and scarcely hear.
It stood there yesterday; it will to-morrow, too,
When there is none to watch, no alien eyes
To watch its ugliness assume a majesty
From this great solitude of evening skies.
So lone, so very small, with worlds and worlds around,
While life remains to it prepared to outface
Whatever awful unconjectured mysteries
May hide and wait for it in time and space.
_Lascelles Abercrombie_
Lascelles Abercrombie was born in 1884. Like Masefield, he gained his
reputation rapidly; totally unknown until 1909, upon the publication
of _Interludes and Poems_, he was recognized as one of the greatest
metaphysical poets of his period. _Emblems of Love_ (1912), the ripest
collection of his blank verse dialogues, justified the enthusiasm of
his admirers.
Many of Abercrombie's poems, the best of which are too long to quote,
are founded on scriptural themes, but his blank verse is not biblical
either in mood or manner. It is the undercurrent rather than the
surface of his verse which moves with a strong religious conviction.
Abercrombie's images are daring and brilliant; his lines, sometimes
too closely packed, glow with a dazzling intensity that is warmly
spiritual and fervently human.