\ ■0 h ./. ", r>u4 C^ /A /v / • "^ / ■ / zr ana 'J^ae-. t/A-u> UOttKU) Ai^ on urnoTn. uott CocrK: y/tut cJ<:/i.ea /Ac /nan /o (caA/c/na-ein, Ma/ none Cfyiriule /nc Otn>A nriah/ urirt. ,yA^riM^e./u^ / o/ ^arrciz/ ancUydr/taCo Jn& wvTUC/touA) ^oo^/ia e^wcurA/oraul t/f T-tmaAcy AmicvUntf /A.a> Oetoart/, o/lnd xnc/ -i/ in. iA) nAac^^ u/i/A cayy^ ^'m>^^»^ University of California • Berkeley Purchased as the gift of The Friends OF THE Bancroft Library ^ ^tJ'* ^ (.-'.^j ,y^j3. v^ Wtrthk^i^ j-^ili!n:n,ify^' y\^(Ajv&£^ mt^^^wz,;- To %/7arnc) crh. cl TSvc^ ^^ T^o:SSe&CSj UJreMim. n^cUa^ f>riu/r^ct y J\nTz^e^yVtA:^ /S^T p^^2/-j:yjrf g!^ C,-^ 5 ENDSLEIGH GARDENS. "^^ N.W. ^::^^^^,^^^^$^^,i^ ^ '^U^'^C^^^^ r^^>^<^^^ EACH VOLUME SOLD SEPARATELY. COLLECTION OF BRITISH AUTHORS TAICHNITZ EDITION. VOL. 2378. POEMS BY WILLIAM MORRIS IN ONE VOLUME. LEIPZIG: BEllNHARl) TAUCHNITZ. PARIS: C, REIKWALD, l5, RUE DES SAINTS PERES. PARIS : THE GALIGNANI LIBRARY, 224, RUE DE RIVOLI AKD AT NICE, 15, QUAI MASSENA. This Collection is published loith copyright fo)' Continental circulation, hut all purchasers are earnestly requested not to introduce the volumes into England or into any P,ritish Colony. Ai 9' 10 COLLECTION OF BRITISH AUTHOES TAUCHNITZ EDITION. VOL. 2378. POEMS BY WILLIAM MOKRIS. IN ONE VOLTIlfE. A SELECTION FROM THE POEMS OF WILLIAM MORRIS WITH A MEMOIR BY FRANCIS HUEFFER. \ COPYRIGHT EDITION. LEIPZIG BERNHARD TAUCHNITZ 1886. The Right cj Transiation is reserved. MEMOIR OF WILLIAM MORRIS. William Morris, poet, decorative designer and socialist, was born in 1834 at Clay Street, Waltham- stow, now almost a suburb of London, at that time a country village in Essex. He went to school at Marl- borough College and thence to Exeter College, Oxford, where he took his degree in 1857. During his stay in the University the subsequent mode of his life was prepared and foreshadowed in two important direc- tions. Like most poets Morris was not what is called very assiduous "at his book"; the routine of college training was no more an attraction to him than the ordinary amusements and dissipations of undergraduate existence. But he was studious all the same, reading the classics in his own somewhat spasmodic way and exploring with even greater zeal the mysteries of mediaeval lore. His fellow-worker in these studies and his most intimate friend was and is at the present day Mr. Burne Jones, the famous painter, at that time a student of divinity. Artistic and literary pursuits thus went hand in hand, and 6 MEMOIR OF WILLIAM MORRIS. received additional zest when the two young men be- came acquainted with Dante Gabriel Rossetti, Holman Hunt and other painters of the Pre-Raphaelite school who came to Oxford to execute the frescoes still dimly- visible on the ceiling of the Union Debating Hall. Of the aims and achievements of the Pre-Raphaelite Brotherhood, and of the revival of mediaeval feeling in art and literature originally advocated by its members ample account has been given in the memoir of Rossetti prefixed to his poems in the Tauchnitz edition. Its influence on Morris's early work, both in matter and form, will strike every observant reader of the opening ballads of the present collection. Later on the poet worked out for himself a distinct and individual phase of the mediaeval movement, as will be mentioned by and by. At one time little was wanting to make Morris follow his friend Burne Jones's example and leave the pen for the brush. There is indeed still extant from his hand an unfinished picture evincing a remarkable sense of colour. He also for a short time became a pupil of the late Mr. G. E. Street, the architect, to whose genius London owes its finest modern Gothic building — the Law Courts in the Strand. On second thoughts, however, Morris came to the conclusion that poetry was his true field of action. His first literary venture was a monthly periodical started under his auspices in 1856 and called The Oxford and Cambridge Magazine. It contained, amongst other contributions from Morris's pen, a prose tale of a highly romantic character, and was, as regards artistic tendencies, essentially a sequel of The Germ, the organ of the Pre-Raphaelite Brother- hood, begun and continued for three numbers only, six years before. Several of the contributors to the earlier MEMOIR OF WILLIAM MORRIS. 7 venture, including Rossetti, also supported its offshoot. Neither, however, gained popular favour, and after a year's struggling existence The Oxford and Cambridge Magazine also came to an untimely end. At present both are eagerly sought for by collectors and fetch high prices at antiquarian sales. So changeable is the fate of books. In 1859 Morris married, after having the year be- fore brought out his first volume of verse entitled The Defence of Guenevere and Other Poems. The book fell dead from the press, and it was not till it was repub- lished 2 5 years later that the world recognised in it some of the freshest and most individual efforts of its author, whose literary position was by that time established beyond cavil. That position the poet owed in the first instance to two works published in rapid succession, The Life and Death of fas on, and The Earthly Paradise, the latter a collection of tales in verse filling«four stout volumes. His remaining original works are Love is enough, a "morality" in the mediaeval sense of the word, and The Story of Sigurd the Volsung, his longest and, in the opinion of some, his most perfect epic. In addi- tion to these should be mentioned the translations from the old Norse undertaken in conjunction with Mr. Magnusson the well-known Icelandic scholar, and com- prising The Story of Grettir the Strong (1869), The Volsunga Saga, with certain songs from the Elder Edda (1870), and Three Northern Love Stories (1875); and finally a metrical rendering of The ^neids of Virgil. For a critical discussion or a detailed analysis of Morris's work this is not the place. It must be suf- ficient to indicate briefly the ideas which underlie that 8 MEMOIR OF WILLIAM MORRIS. work and give it its literary cachet. Two main cur- rents, derivable perhaps from a common source • but running in different directions can be easily discerned. The subjects of his tales are almost without exception derived either from Greek myth or from mediaeval folk- lore. After all that has been said and written of the gulf that divides the classic from the romantic feeling — '■^ Barharen und Hellenen"^ as Heine puts it, such a conjunction might appear incongruous. But the con- necting link has here been found in the poet's mind. He looks upon his classical subject-matter through a me- diaeval atmosphere, in other words he writes about Venus and Cupid and Psyche and Medea as a poet of Chaucer's age might have done, barring of course the differences of language, although in this respect also it may be noted that the archaisms of expression affected by the modern poet appear indifferently in the Greek and the mediaeval tales. The phenomenon is by no means unique in literature. Let the reader compare Chapman's Homer with Pope's, or let him open Morris's Jason where the bells of Colchis "melo- diously begin to ring", and the meaning of the afore- mentioned "mediaeval atmosphere" will at once be as palpable to him as it was to Keats when, reading Chapman's rude verse, after Pope's polished stanzas, he felt like some watcher of the skies When a new planet swims into his ken. It was the romantic chord of Keats's nature, that chord which vibrates in La belle Dame sans Merci, which was harmoniously struck and made the great master of form overlook the formal imperfection of MEMOIR OF WILLIAM MORRIS. <) the earlier poet. To the same element such stories as Jason , or The Love of Alcestis and the Bellerophon in The Earthly Paradise owe their charm. Morris's position towards mediaeval subjects did not at first essentially differ from that of other poets of similar tendency. In his first volume English and French knights and damsels figure prominently, and the beautiful and frail wife of King Arthur is the heroine of the chief poem and has given her name to the book. But in the interval which elapsed be- tween that volume and the Earthly Paradise a con- siderable change had come over the poet's dream. By the aid of Mr. Magnusson he had become acquainted with the treasure of northern folklore hidden in the Icelandic sagas, the two Eddas, the story of the Volsungs (of which a masterly translation is due to the two friends), the Laxdsela saga and other tales of more or less remote antiquity. In the Earthly Paradise the double current of the poet's fancy above alluded to is most strikingly ap- parent. The ver)'- framework in which the various tales are set seems to have been designed with that view. Guided probably by a vague tradition of a pre-Columbian discovery of America by the Vikings, the prologue relates how during a terrible pestilence certain mariners leave their northern home in search of the land where old age and death are not and where life is rounded by unbroken pleasure. Sailing west they come to a fair country. They gaze on southern sunshine and virgin forest and fertile cham- paign, but death meets them at every step, and hap- piness is farthest from their grasp when the people worship them as gods and sacrifice at their shrine. 10 MEMOIR OF WILLIAM MORRIS. Escaping from this golden thraldom they regain their ship, and after many dangers and privations are driven by the wind to an island inhabited by descen- dants of the ancient Greeks, who have preserved their old worship and their old freedom. Here the weary wanderers of the main are hospitably received, and here they resolve to dwell in peace, forgetful of their vain search for the earthly paradise. At the beginning and the middle of every month the elders of the people and their guests meet together to while away the time with song and friendly converse. The islanders relate the traditions of their Grecian home, the mariners relate the sagas of the North, and Laur- ence, a Swabian priest who had joined the Norsemen in their quest, contributes the legends of Tannhauser and of the ring given to Venus by the Roman youth. Here then there is full scope for the quaint beauty of romantic classicism and for the weird glamour of northern myth. Without encroaching upon the field of criticism proper the writer may state that, in his opinion, amongst the classic tales none is more grace- ful and finished than "The Golden Apples", and amongst the northern none more grandly developed and more epical in the strict sense of the word than The Lovers of Gudrun based upon the Icelandic Lax- daela saga. The latter, unfortunately, cannot find a place in this volume for reasons of space. Every student of old northern literature is aware that amongst its remains none are more interesting as literary monuments, none more characteristic of the people from which they sprang than the two Eddas and the Volsunga Saga. Next to the Siege of Troy and the Arthurian legends perhaps no story or agglo- MEMOIR OF WILLIAM MORRIS. I 1 meration of stories has left so many and so important traces in international fiction as the tale of Sigurd or Siegfried and his race, the heroic god-born Volsungs. Considering indeed the political insignificance and remoteness in which that story took its earliest sur- viving form this enormous success — if the modern term may be applied — seems at first singularly out of pro- portion. But it must be remembered that Iceland was little more than the storehouse of these old traditions which were the common property of the Teuto-Scan- dinavian race long before the Norsemen set foot on the northern isle. Of the two modern versions of the tale which are most thoroughly inspired by the ancient myth one, that of Wagner in his tetralogy Der Ring des Nibelungen^ is dramatic in form, the other, Morris's The Story of Sigurd the Volsung, bears all the charac- teristics of the epic. To this difference of artistic aim, the difference of shape which the tale takes in the hands of the two poets may be traced. In one point however they agree. Both Wagner and Morris go back to the old Icelandic sources in preference to the mediaeval German version of the tale embodied in the Nibelungenlied. From this the German poet borrows little more than the localization of his drama on the banks of the river Rhine, the English poet scarcely anything but his metre — the Langzeile or long-line with six hightoned, and any number of un- accentuated syllables. The ordinary modern reader taking up the Vol- sunga Saga or either of the Eddas without preparation would probably see in them little more than a confused accumulation of impossible adventures and deeds of prowess with an admixture of incest, fratricide and 12 MEMOIR OF WILLIAM MORRIS. Other horrors. But on looking closer one discovers a certain plan in this entanglement, a plan much ob- scured by the unbridled fancy of the old narrators, and hardly realised by themselves, but which, if pro- perly sifted, amounts to what we should call a moral or idea. To "point this moral," to consistently develop this idea, is the task of the modern poet courageous enough to grapple with such a subject. Two ways are open to him. Either he may wholly abandon the sequence of the old tale, and group its disjecta membra round a leading idea as a centre, or else he may adhere to the order and essence of the legend as originally told, only emphasising such points as are essential to the significance of the story, and omitting or throwing into comparative shade those in- cidents which by their nature betray themselves to be arbitrary additions of later date. Wagner has chosen the former way, Morris the latter. This fact, and the divergent requirements of the drama and the epic, sufficiently account for their difference of treatment. The leading idea in both cases remains the same; it is the fatal curse which attaches to the gold or, which is the same in a moral sense, to the desire for gold — auri sacra fames. At first sight the tale of Sigurd, Fafnir's bane, seems to have little connection with this idea. It is briefly this. Sigurd, the son of Sigmund the Volsung, is brought up at the court of King Elf, the second hus- band of his mother, after Sigmund has been slain in battle. With a sword, fashioned from the shards of his father's weapon, he slays Fafnir, a huge worm or dragon, and possesses himself of the treasure watched by the monster, including a ring and the MEMOIR OF WILLIAM MORRIS. 13 "helm of aweing," the latter in the Nibelungenlied, converted into the "Tarnkappe", a magic cap which makes the bearer invisible and endows him with super- natural strength. Tasting of the blood of the dragon, he understands the language of birds, and an eagle tells him of a beautiful maiden lying asleep on a rock called Hindfell, surrounded by a wall of wavering fire. Through it Sigurd rides and awakes Brynhild the sword maiden, or Valkyrie, from her magic slumber. Love naturally follows. The pair live together on Hindfell for a season and Brynhild teaches the youth the runes of her wisdom, a conception of woman's re- fining and civilising mission frequently met with in old Germanic tales. When Sigurd leaves her to seek new adventures they plight the troth of eternal love, and Then he set the ring on her finger, and once if ne'er again They kissed and clung together, and their hearts were full and fain. From Brynhild's rock Sigurd journeys to a realm "south of the Rhine" where dwell the kingly brothers, Gunnar, Hogni, and Guttorm, the Niblungs, together with their sister Gudrun, "the fairest of maidens", and their mother Grimhild, "a wise wife" and a fierce- hearted woman, as the Volsunga Saga alternately de- scribes her. It is through a love-philter brewed by her that Sigurd forgets the vows exchanged with Bryn- hild, and becomes enamoured of Gudrun, whom he soon after weds. So powerful is the charm that the very name of his former love has been wuped from Sigurd's memory, and he willingly undertakes the task to woo and win Brynhild for his brother Gunnar. For that purpose he, by means of his magic cap, assumes Gunnar's semblance, and after having once more 14 MEMOIR OF WILLIAM MORRIS. crossed the wall of wavering flame compels Brynhild to become his bride. But, faithful to his promise, he places a drawn sword between himself and the maid "as they lie on one bed together." On parting from her he receives back from Brynhild his own ring given to her at Hind fell in the days of their bliss. Sigurd then returns to Gunnar and resumes his own form, and all return home, the King leading his unwilling bride in triumph. The subsequent events are the outgrowth of the tragic guilt thus incurred. Sigurd reveals the secret of Brynhild's wooing to his wife, and allows her to take possession of the fatal ring, which she during a quarrel shows to Gunnar's wife. Brynhild thus in- formed of the fraud practised on her, thinks of vengeance, and incites her husband and his brothers to kill Sigurd. The deed is done while Sigurd lies asleep in his chamber with Gudrun, or, according to the more poetic version of the German epic, while he bends over a brook in the forest to quench his thirst after a day's hunting. But as soon as her beloved foe is killed the old passion never quenched rises up again in Brynhild's heart. To be united with her lover in jdeath she pierces her breast with a sword, and one pyre consumes both. With this climax Wagner very properly concludes his drama. But the epic poet likes to follow the course of events to their ultimate consequences, and Morris, in accordance with the Volsunga Saga, pro- ceeds to relate how, after many years of mournful widowhood, Gudrun is married to Atli, a mighty king, the brother of Brynhild. Eager to become possessed of Sigurd's treasure he invites the Niblungs, its actual MEMOIR OF WILLIAM MORRIS. I 5 owners, to his country, and there the kingly brothers and all their followers are killed by base treachery and after the most heroic resistance. They refuse sternly to ransom their lives by a discovery of the hoard which previous to their departure they have hidden at the bottom of a lake, and which thus is irrecoverably lost to mankind. Gudrun has incited her husband to the deed and has looked on calmly while her kinsmen were slain one after the other. But when all are dead and the murder of Sigurd has been revenged, the feeling of blood relationship so powerful among Northern nations is reawakened in her. While Atli and his earls are asleep she sets fire to the kingly hall, and her wretched husband falls by her own hand. It is characteristic of the Icelandic epic that after all these fates and horrors Gudrun lives for a number of years and is yet again married to a third husband. But to this length even Morris refuses to accompany the tale. In accordance with the Volsunga Saga his Gudrun throws herself into the sea; but the waves do not carry her "to the burg of king Imakr, a mighty king and lord of many folk." All this is very grand and weird, the reader will say, but where is the moral, the ideal essence of which these events are but the earthly reflex? To this essence we gradually ascend by inquiring into the mythological sources of the tale, by asking who is Sigurd, whence does he come, on what mission is he sent and by whom? also what is the significance of the treasure watched by a dragon and coveted by all mankind? This treasure we then shall find and the curse attaching to it ever since it was robbed from Andvari, the water-elf, is the keynote of the whole 1 6 MEMOIR OF WILLIAM MORRIS. Story. The curse proves fatal to all its successive owners from Andvari himself and Fafnir, who, for its sake, kills his father, down to Sigurd and Brynhild and the Niblung brothers. Nay, Odin himself, the supreme God, becomes subject to the curse of the gold through having once coveted it, and we dimly discern that the ultimate doom of the Aesir, the Rag- narok, or dusk of the Gods, of which the Voluspa speaks, is intimately connected with the same baneful influence. It further becomes evident that Sigurd the Volsung, the descendant of Odin, is destined to wrest the treasure and the power derived from it from the Niblungs, the dark or cloudy people who threaten the bright godworld of Valhall with destruction. And this leads us back to a still earlier stage of the myth in which Sigurd himself becomes the symbol of the celestial luminary conquering night and misty dark- ness, an idea repeatedly hinted at by Morris and splendidly illustrated by Wagner, when Siegfried ap- pears on the stage illumined by the first rays of the rising sun. In the work of the German poet all this is brought out with a distinctness of which only dramatic genius of the highest order is capable. With an astounding grasp of detail and with a continuity of thought rarely equalled, Wagner has remoulded the confused and complex argument of the old tale, omitting what seemed unnecessary, and placing in juxtaposition incidents organically connected but sepa- rated by the obtuseness of later sagamen. Morris, as has been said before, proceeds on a dif- ferent principle. His first object is to tell a tale, and to tell it as nearly as possible in the spirit and ac- cording to the letter of the old Sagas. In this he has MEMOIR OF WILLIAM MORRIS. I7 succeeded in a manner at once indicative of his high poetic gifts and of a deep sympathy with the spirit of the Northern Myth, which breathes in every line and in every turn of his phraseology. To compare the peculiar tinge of his language with the ordinary archaisms and euphonisms of literary poets would be mistaking a field flower for its counterpart in a milliner's shop window. It is true that he also hints at the larger philosophic and moral issues of the tale. But when he refers to the end of the gods brought about by their own guilt or to the redeeming mission of Sigurd, it is done in the mysterious, not to say half conscious manner of the saga itself, and the effect is such as from his own point of view he intended it and could not but intend it to be. Between the publication of The Defence 0/ Guenevere and that of Jason ten years elapsed. During most of this time the poet was employed in artistic pursuits. In 1 86 1 he started in conjunction with a number of friends the business of decorator and artistic designer which still bears his name. Growing from very modest beginnings this enterprise was destined to work an entire change in the external aspect of English homes. It soon extended its activity to every branch of art-workmanship. D. G. Rossetti, Madox Brown, and Burne Jones drew cartoons for the stained glass windows to be seen in many of our churches and colleges. Morris himself designed wall-papers and the patterns of carpets. The latter are woven on hand-looms in his factory at Merton Abbey, which stands on the banks of the river Wandle surrounded by orchards, and looks as like a medieval workshop as the modern dresses of the workgirls will allow. Another Morris. 2 1 8 MEMOIR OF WILLIAM MORRIS. member of the firm, Philip Webb, was the first modern architect to build houses of red brick in the style vaguely and not quite correctly described as "Queen Anne." At present these houses count by thousands in London and a whole village of them has been built at Turnham Green. The members of the firm did not confine their attention to any particular style or age or country. Wherever beautiful things could be found they collected them and made them popular. Old china English, and foreign, Japanese fans and screens, Venetian glass and German pottery were equally welcome to them and through them to the public generally. It may be said that the "aesthetic" fashion as it came to be called will like other fashions die out, and that people in the course of time will grow tired of "living up to" their furniture and dresses. At the same time the idea thus insisted upon that beauty is an essential and necessary ingredient of practical modern English life is not likely to be with- out beneficial and permanent effect. It was as artistic worker and employer of skilled labour that Morris imbibed that profound disgust with our social condition which induced him to adopt the principles of extreme socialism. For a long time his views had tended in that direction, and at the end of 1884 he joined the Socialist League, a body professing the doctrines of international revolutionary socialism. He is the editor of its official organ, the Commonweal, which contains many contributions from his pen both in prose and verse. That the poet has not been entirely sunk in the politician, that longing for beauty is at least the partial cause of this desire for change at any price, is however proved by such a sentiment MEMOIR OF WILLIAM MORRIS. I 9 as, "Beauty, which is what is meant by ari^ using the word in its widest sense, is, I contend, no mere accident of human life which people can take or have as they choose, but a positive necessity of life, if we are to live as nature meant us to, that is unless we are content to be less than men," or by such a vision of a future earthly paradise as is expressed in the follow- ing lines: Then a man shall work and bethink him, and rejoice in the deeds of his hand, Nor yet come home in the even, too faint and weary to stand, For that which the worker winneth shall then be his indeed, Nor shall half be reaped for nothing by him that sowed no seed. Then all mine and thine shall be ours^ and no more shall any man crave For riches that serve for nothing but to fetter a friend for a slave. One may admire the pathetic beauty of such lines, without sharing the poet's hope, that their import will ever be realised, in a world peopled by men and not by angels. History teaches and personal experience confirms that art enjoyment and art creation of the highest type must be confined to the few, and it is to be feared that social democracy, whatever it may do for the physical welfare of the many, will care little about beauty, either in nature or in art. The Demos will never admire Rossetti's pictures or Keats's poetry, and the first thing the much-vaunted peasant proprietors, or peasant communes would do would be to cut down our ancient trees, level every hedgerow and turn parks and commons into potato plots or it may be turnip fields. One may feel certain of all this and yet ad- 2* 20 MEMOIR OF WILLIAM MORRIS. mire the author of The Earthly Paradise^ "the idle singer of an empty day" when he preaches universal brotherhood in the crossways of Hammersmith, and wrestles with policemen, or wrangles with obtuse magis- trates about the freedom of speech. Conviction thus upheld at the cost of worldly advantage and personal convenience and taste must command respect even from those who cannot share it. Francis Hueffer. CONTENTS. Page From ''THE DEFENCE OF GUENEVERE AND OTHER POEMS." The Defence of Guenevere 23 A Good Knight in Prison 36 Shameful Death 41 The Eve of Crecy 43 The Haystack in the Floods • . . . 45 Riding together 51 Summer Dawn 54 From "THE LIFE AND DEATH OF JASON." (Book XIV.) The Sirens. — The Garden of the Hesperides. — The Heroes do Sacrifice at Malea 55 From "THE EARTHLY PARADISE." An Apology 82 From Prologue — The Wanderers 84 22 CONTENTS. Page Ogier the Dane 95 The golden Apples 147 L»Envoi 168 From *«L0VE IS ENOUGH." Interludes 173 From "THE STORY OF SIGURD THE VOL- SUNG." (Book II.) Regin 178 FROM ''THE DEFENCE OF GUENEVERE AND OTHER POEMS." THE DEFENCE OF GUENEVERE. But, knowing now that they would have her speak, She threw her wet hair backward from her brow, Her hand close to her mouth touching her cheek. As though she had had there a shameful blow, And feeling it shameful to feel ought but shame, All through her heart, yet felt her cheek burned so. She must a little touch it; like one lame She walked away from Gauwaine, with her head Still lifted up; and on her cheek of flame The tears dried quick; she stopped at last and said "O knights and lords, it seems but little skill To talk of well-known things past now and dead. "God wot I ought to say, I have done ill, And pray you all forgiveness heartily! Because you must be right such great lords — still 24 FROM THE DEFENCE OF "Listen, suppose your time were come to die, And you were quite alone and very weak; Yea, laid a dying while very mightily "The wind was ruffling up the narrow streak Of river through your broad lands running well : Suppose a hush should come, then some one speak: "'One of these cloths is heaven, and one is hell. Now choose one cloth for ever, which they be, I will not tell you, you must somehow tell "* Of your own strength and mightiness; here, see!' Yea, yea, my lord, and you to ope your eyes. At foot of your familiar bed to see "A great God's angel standing, with such dyes. Not known on earth, on his great wings, and hands. Held out two ways, light from the inner skies "Showing him well, and making his commands Seem to be God's commands, moreover, too, Holding within his hands the cloths on wands; "And one of these strange choosing cloths was blue, Wavy and long, and one cut short and red; No man could tell the better of the two. "'After a shivering half-hour you said, * God help! heaven's colour, the blue;' and he said, 'hell' Perhaps you then would roll upon your bed, GUENEVERE AND OTHER POEMS. 25 "And cry to all good men that loved you well, *Ah Christ! if only I had known, known, known;' Launcelot went away, then I could tell, "Like wisest man how all things would be, moan, And roll and hurt myself, and long to die. And yet fear much to die for what was sown. "Nevertheless you, O Sir Gauwaine, lie. Whatever may have happened through these years, God knows I speak truth, saying that you lie." Her voice was low at first, being full of tears. But as it cleared, it grew full loud and shrill, Growing a windy shriek in all men's ears, A ringing in their startled brains, until She said that Gauwaine lied, then her voice sunk. And her great eyes began again to fill, Though still she stood right up, and never shrunk, But spoke on bravely, glorious lady fair! Whatever tears her full lips may have drunk, . She stood, and seemed to think, and wrung her hair, Spoke out at last with no more trace of shame. With passionate twisting of her body there: "It chanced upon a day Launcelot came To dwell at Arthur's Court; at Christmas-time This happened; when the heralds sung his name, 26 FROM THE DEFENCE OF "'Son of King Ban of Benwick/ seemed to chime Along with all the bells that rang that day, O'er the white roofs, with little change of rhyme. "Christmas and whitened winter passed away, And over me the April sunshine came, Made very awful with black hail-clouds, yea "And in the Summer I grew white with flame, And bowed my head down — Autumn, and the sick Sure knowledge things would never be the same, "However often Spring might be most thick Of blossoms and buds, smote on me, and I grew Careless of most things, let the clock tick, tick, "To my unhappy pulse, that beat right through My eager body; while I laughed out loud. And let my lips curl up at false or true, "Seemed cold and shallow without any cloud. Behold my judges, then the cloths were brought: While I was dizzied thus, old thoughts would crowd, "Belonging to the time ere I was bought By Arthur's great name and his little love, Must I give up for ever then, I thought, "That which I deemed would ever round me move Glorifying all things; for a little word. Scarce ever meant at all, must I now prove GUENEVERE AND OTHER POEMS. 2.7 "Stone-cold for ever? Pray you, does the Lord Will that all folks should be quite happy and good? I love God now a little, if this cord "Were broken, once for all what striving could Make me love anything in earth or heaven. So day by day it grew, as if one should "Slip slowly down some path worn smooth and even, Down to a cool sea on a summer day; Yet still in slipping there was some small leaven "Of stretched hands catching small stones by the way, Until one surely reached the sea at last. And felt strange new joy as the worn head lay "Back, with the hair like sea-weed; yea all past Sweat of the forehead, dryness of the lips, Washed utterly out by the dear waves o'ercast, "In the lone sea, far off from any ships! Do I not know now of a day in Spring? No minute of that wild day ever slips "From out my memory; I hear thrushes sing, And wheresoever I may be, straightway Thoughts of it all come up with most fresh sting: "I was half mad with beauty on that day. And went without my ladies all alone, In a quiet garden walled round every way; 28 FROM THE DEFENCE OF "I was right joyful of that wall of stone, That shut the flowers and trees up with the sky, And trebled all the beauty: to the bone, "Yea right through to my heart, grown very shy With weary thoughts, it pierced, and made me glad; Exceedingly glad, and I knew verily, "A little thing just then had made me mad; I dared not think, as I was wont to do. Sometimes, upon my beauty; If I had "Held out my long hand up against the blue, And, looking on the tenderly darken'd fingers. Thought that by rights one ought to see quite through, "There, see you, where the soft still light yet lingers. Round by the edges; what should I have done. If this had joined with yellow spotted singers, "And startling green drawn upward by the sun? But shouting, loosed out, see now! all my hair, And trancedly stood watching the west wind run "With faintest half-heard breathing sound — why there I lose my head e'en now in doing this; But shortly listen — In that garden fair "Came Launcelot walking; this is true, the kiss Wherewith we kissed in meeting that spring day, I scarce dare talk of the remember'd bliss, GUENEVERE AND OTHER POEMS. 2g "When both our mouths went wandering in one way, And aching sorely, met among the leaves; Our hands being left behind strained far away. "Never within a yard of my bright sleeves Had Launcelot come before — and now, so nigh! AfterHhat day why is it Guenevere grieves? "Nevertheless you, O Sir Gauwaine, lie. Whatever happened on through all those years, God knows I speak truth, saying that you lie. "Being such a lady could I weep these%tears If this were true? A great queen such as I Having sinn'd this way, straight her conscience sears; "And afterwards she liveth hatefully, Slaying and poisoning, certes never weeps, — Gauwaine be friends now, speak me lovingly. "Do I not see how God's dear pity creeps All through your frame, and trembles in your mouth? Remember in what grave your mother sleeps, "Buried in some place far down in the south, Men are forgetting as I speak to you; By her head sever'd in that awful drouth "Of pity that drew Agravaine's fell blow, I pray your pity! let me not scream out For ever after, when the shrill winds blow 30 FROM THE DEFENCE OF "Through half your castle-locks! let me not shout For ever after in the winter night When you ride out alone! in battle-rout "Let not my rusting tears make your sword light! Ah ! God of mercy how he turns away ! So, ever must I dress me to the fight, "So — let God's justice work! Gauwaine, I say. See me hew down your proofs: yea all men know Even as you said how Mellyagraunce one day, "One bitter day in la Fausse Garde, for so All good knights held it after, saw — Yea, sirs, by cursed unknightly outrage; though "You, Gauwaine, held his word without a flaw. This Mellyagraunce saw blood upon my bed — Whose blood then pray you? is there any law "To make a queen say why some spots of red Lie on her coverlet? or will you say, 'Your hands are white, lady, as when you wed, "'Where did you bleed?' and must I stammer out- 'Nay', I blush indeed, fair lord, only to rend My sleeve up to my shoulder, where there lay "*A knife-point last night:' so must I defend The honour of the lady Guenevere? Not so, fair lords, even if the world should end GUENEVERE AND OTHER POEMS. 31 "This very day, and you were judges here Instead of God. Did you see Mellyagraunce When Launcelot stood by him? what white fear "Curdled his blood, and how his teeth did dance, His side sink in? as my knight cried and said, 'Slayer of unarm'd men, here is a chance! " ' Setter of traps, I pray you guard your head, By God I am so glad to fight with you. Stripper of ladies, that my hand feels lead "'For driving weight; hurrah now! draw and do, For all my wounds are moving in my breast, And I am getting mad with waiting so.' "He struck his hands together o'er the beast. Who fell down flat, and grovell'd at his feet. And groan'd at being slain so young — 'at least.' "My knight said, 'Rise you, sir, who are so fleet At catching ladies, half-arm'd will I fight. My left side all uncover'd!' then I weet, "Up sprang Sir Mellyagraunce with great delight Upon his knave's face; not until just then Did I quite hate him, as I saw my knight "Along the lists look to my stake and pen With such a joyous smile, it made me sigh From agony beneath my waist-chain, when 32 FROM THE DEFENCE OF "The fight began, and to me they drew nigh; Ever Sir Launcelot kept him on the right, And traversed warily, and ever high "And fast leapt caitiff's sword, until my knight Sudden threw up his sword to his left hand, Caught it, and swung it; that was all the fight. "Except a spout of blood on the hot land; For it was hottest summer; and I know I wondered how the fire, while I should stand, "And burn, against the heat, would quiver so. Yards above my head; thus these matters went: Which things were only warnings of the w^oe "That fell on me. Yet Mellyagraunce was shent. For Mellyagraunce had fought against the Lord; Therefore, my lords, take heed lest you be blent "With all this wickedness; say no rash word Against me, being so beautiful; my eyes, Wept all away the grey, may bring some sword "To drown you in your blood; see my breast rise. Like waves of purple sea, as here I stand; And how my arms are moved in wonderful wise, "Yea also at my full heart's strong command. See through my long throat how the words go up In ripples to my mouth; how in my hand GUENEVERE AND OTHER POEMS. 33 "The shadow lies like wine within a cup Of marvellously colour'd gold; yea now This little wind is rising, look you up, "And wonder how the light is falling so Within my moving tresses: will you dare When you have looked a little on my brow, "To say this thing is vile? or will you care For any plausible lies of cunning woof, When you can see my face with no lie there "For ever? am I not a gracious proof — 'But in your chamber Launcelot was found' — Is there a good knight then would stand aloof, "When a queen says with gentle queenly sound: *0 true as steel come now and talk with me, I love to see your step upon the ground "'Unwavering, also well I love to see That gracious smile light up your face, and hear Your wonderful words, that all mean verily "'The thing they seem to mean: good friend, so dear To me in everything, come here to-night. Or else the hours will pass most dull and drear; " 'If you come not, I fear this time I might Get thinking over much of times gone by, When I was young, and green hope was in sight: Morris, 3 34 FROM THE DEFENCE OF "'For no man cares now to know why I sigh; And no man comes to sing me pleasant songs, Nor any brings me the sweet flowers that lie "'So thick in the gardens; therefore one so longs To see you, Launcelot; that we may be Like children once again, free from all wrongs "'Just for one night.' Did he not come to me? What thing could keep true Launcelot away If I said 'Come?' there was one less than three "In my quiet room that night, and we were gay; Till sudden I rose up, weak, pale, and sick, Because a bawling broke our dream up, yea "I looked at Launcelot's face and could not speak. For he looked helpless too, for a little while; Then I remember how I tried to shriek, "And could not, but fell down; from tile to tile The stones they threw up rattled o'er my head And made me dizzier; till within a while "My maids were all about me, and my head On Launcelot's breast was being soothed away From its white chattering, until Launcelot said — "By God! I will not tell you more to-day, Judge any way you will — what matters it? You know quite well the story of that fray, GUENEVERE AND OTHER POEMS. 35 "How Launcelot stilFd their bawling, the mad fit That caught up Gauwaine — all, all, verily, But just that which would save me; these things flit. "Nevertheless you, O Sir Gauwaine, lie. Whatever may have happen'd these long years, God knows I speak truth, saying that you lie! "All I have said is truth, by Christ's dear tears." She would not speak another word, but stood Turn'd sideways; listening, like a man who hears His brother's trumpet sounding through the wood Of his foe's lances. She lean'd eagerly. And gave a slight spring sometimes, as she could At last hear something really; joyfully Her cheek grew crimson, as the headlong speed Of the roan charger drew all men to see, The knight who came was Launcelot at good need. 3* 36 FROM THE DEFENCE OF A GOOD KNIGHT IN PRISON. Sir Guy, being in the court of a Pagan castle. This castle where I dwell, it stands A long way off from Christian lands, A long way off my lady's hands, A long way off the aspen trees. And murmur of the lime-tree bees. But down the Valley of the Rose My lady often hawking goes. Heavy of cheer; oft turns behind, Leaning towards the western wind. Because it bringeth to her mind Sad whisperings of happy times. The face of him who sings these rhymes. King Guilbert rides beside her there, Bends low and calls her very fair. And strives, by pulling down his hair. To hide from my dear lady's ken The grisly gash I gave him, when I cut him down at Camelot; However he strives, he hides it not. That tourney will not be forgot. Besides, it is King Guilbert's lot, Whatever he says she answers not. GUENEVERE AND OTHER POEMS. 37 Now tell me, you that are in love, From the king's son to the wood- dove, Which is the better, he or I? For this king means that I should die In this lone Pagan castle, where The flowers droop in the bad air On the September evening. Look, now I take mine ease and sing, Counting as but a little thing The foolish spite of a bad king. For these vile things that hem me in, . These Pagan beasts who live in sin. The sickly flowers pale and wan, The grim blue-bearded castellan. The stanchions half worn-out with rust, Whereto their banner vile they trust — Why, all these things I hold them just Like dragons in a missal book, Wherein, whenever we may look, We see no horror, yea, delight We have, the colours are so bright; Likewise we note the specks of white, And the great plates of burnish'd gold. Just so this Pagan castle old, ^ And everything I can see there, Sick-pining in the marshland air, I note; I will go over now. Like one who paints with knitted brow, 38 FROM THE DEFENCE OF The flowers and all things one by one, From the snail on the wall to the setting sun. Four great walls, and a little one That leads down to the barbican. Which walls with many spears they man, When news comes to the castellan Of Launcelot being in the land. And as I sit here, close at hand Four spikes of sad sick sunflowers stand, The castellan with a long wand Cuts down their leaves as he goes by, Ponderingly, with screw'd-up eye. And fingers twisted in his beard — Nay, was it a knight's shout I heard? I have a hope makes me afeard: It cannot be, but if some dream Just for a minute made me deem I saw among the flowers there My lady's face with long red hair, Pale, ivory-colour' d dear face come, As I was wont to see her some Fading September afternoon. And kiss me, saying nothing, soon To leave me by myself again; Could I get this by longing: vain! The castellan is gone: I see On one broad yellow flower a bee Drunk with much honey — Christ! again, Some distant knight's voice brings me pain. GUENEVERE AND OTHER POEMS. 39 I thought I had forgot to feel, I never heard the blissful steel These ten years past; year after year, Through all my hopeless sojourn here, No Christian pennon has been near; Laus Deo! the dragging wind draws on Over the marches, battle won, Knights' shouts, and axes hammering. Yea, quicker now the dint and ring Of flying hoofs; ah,, castellan. When they come back count man for man, Say whom you miss. The Vagans, /rom the battlements. Mahmoud to aid! Why flee ye so like men dismay'd? The FAGAHSf/rom without. Nay, haste! for here is Launcelot, Who follows quick upon us, hot And shouting with his men-at-arms. Sir Guy. Also the Pagans raise alarms. And ring the bells for fear; at last My prison walls will be well past. Sir Launcelot, _/r Then spake the Son of Sigmund: "Fairest, and most of worth, Hast thou seen the ways of man-folk and the regions of the earth? Then speak yet more of wisdom; for most meet meseems it is That my soul to thy soul be shapen, and that I should know thy bliss." So she took his right hand meekly, nor any word would say. Not e'en of love or praising, his longing to delay; And they sat on the side of Hindfell , and their fain eyes looked and loved. As she told of the hidden matters whereby the world is moved: And she told of the framing of all things, and the houses of the heaven; And she told of the star-worlds' courses, and how the winds be driven; And she told of the Norns and their names, and the fate that abideth the earth; And she told of the ways of King-folk in their anger and their mirth; SIGURD THE VOLSUNG. 315 And she spake of the love of women, and told of the flame that burns, And the fall of mighty houses, and the friend that falters and turns. And the lurking blinded vengeance, and the wrong that amendeth wrong. And the hand that repenteth its stroke, and the grief that endureth for long; And how man shall bear and forbear, and be master of all that is; And how man shall measure it all, the wrath, and the grief, and the bliss. "I saw the body of Wisdom, and of shifting guise was she wrought. And I stretched out my hands to hold her, and a mote of the dust they caught; And I prayed her to come for my teaching, and she came in the midnight dream — And I woke and might not remember, nor betwixt her tangle deem: She spake, and how might I hearken; I heard, and how might I know; I knew, and how might I fashion, or her hidden glory show? All things I have told thee of Wisdom are but fleeting images Of her hosts that abide in the Heavens, and her light that Allfather sees: Yet wise is the sower that sows, and wise is the reaper that reaps. And wise is the smith in his smiting, and wise is the warder that keeps: 3l6 FROM THE STORY OF And wise shalt thou be to deliver, and I shall be wise to desire; — And lo, the tale that is told, and the sword and the wakening fire! Lo now, I am she that loveth, and hark how Greyfell neighs, And Fafnir's Bed is gleaming, and green go the down- ward ways. The road to the children of men and the deeds that thou shalt do In the joy of thy life-days' morning, when thine hope is fashioned anew. Come now, O Bane of the Serpent, for now is the high-noon come. And the sun hangeth over Hindfell and looks on the earth-folk's home; But the soul is so great within thee, and so glorious are thine eyes. And me so love constraineth, and mine heart that was called the wise, That we twain may see men's dwellings and the house where we shall dwell. And the place of our life's beginning, where the tale shall be to tell." So they climb the burg of Hindfell, and hand in hand they fare. Till all about and above them is nought but the sunlit air. And there close they cling together rejoicing in their mirth; For far away beneath them lie the kingdoms of the earth. And the garths of men-folk's dwellings and the streams that water them, SIGURD THE VOLSUNG, 317 And the rich and plenteous acres, and the silver ocean's hem, And the woodland wastes and the mountains, and all that holdeth all; The house and the ship and the island, the loom and the mine and the stall. The beds of bane and healing, the crafts that slay and save. The temple of God and the Doom-ring, the cradle and the grave. Then spake the Victory-Wafter: "O King of the Earthly Age, As a God thou beholdest the treasure and the joy of thine heritage. And where on the wings of his hope is the spirit of Sigurd borne? Yet I bid thee hover awhile as a lark alow on the corn; Yet I bid thee look on the land 'twixt the wood and the silver sea In the bight of the swirling river, and the house that cherished me! There dwelleth mine earthly sister and the king that she hath wed; There morn by morn aforetime I woke on the golden bed; There eve by eve I tarried mid the speech and the lays of kings; There noon by noon I wandered and plucked the blos- soming things; The little land of Lymdale by the swirling river's side, Where Brynhild once was I called in the days ere my father died; 3l8 FROM THE STORY OF The little land of Lymdale 'twixt the woodland and the sea, Where on thee mine eyes shall brighten and thine eyes shall beam on me." "I shall seek thee there," said Sigurd, "when the day- spring is begun, Ere we wend the world together in the season of the sun." "I shall bide thee there," said Brynhild, "till the full- ness of the days, And the time for the glory appointed, and the springing- tide of praise," From his hand then draweth Sigurd Andvari's ancient Gold; There is nought but the sky above them as the ring together they hold. The shapen ancient token, that hath no change nor end. No change, and no beginning, no flaw for God to mend: Then Sigurd cries: "O Brynhild, now hearken while I swear, That the sun shall die in the heavens and the day no more be fair. If I seek not love in Lymdale and the house that fostered thee. And the land where thou awakedst 'twixt the wood- land and the sea!" And she cried: "O Sigurd, Sigurd, now hearken while I swear SIGURD THE VOLSUNG. 319 That the day shall die for ever and the sun to black- ness wear, Ere I forget thee, Sigurd, as I lie 'twixt wood and sea In the little land of Lymdale and the house that fostered me!" Then he set the ring on her finger and once, if ne'er again. They kissed and clung together, and their hearts were full and fain. So the day grew old about them and the joy of their desire. And eve and the sunset came, and faint grew the sunset fire. 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