Victorian Songs: Lyrics of the Affections and Nature

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Contents
Index of First Lines
List of Illustrations
Introduction
Victorian Songs

Victorian Songs

“‘Let some one sing to vs, lightlier move
The minvtes fledged with mvsic’.”

TENNYSON

tiny rose    

Frontispiece: Sweet and Low, Sweet and Low

Copyright, 1895.
By Edmund H. Garrett.

 
 

University Press:
John Wilson and Son, Cambridge, U.S.A.

Some editions of the book have a two-page Editor’s Note before the Contents, acknowledging the “publishers and authors who have given permission for the use of many of the songs included in this volume”. It has been omitted from this e-text.

  Contents

Where are the songs I used to know?    

Christina Rossetti.

AÏDÉ, HAMILTON (1830). page
Remember or Forget 3
Oh, Let Me Dream 6
Love, the Pilgrim 7
ALLINGHAM, WILLIAM (1824-1889).
Lovely Mary Donnelly 9
Song 13
Serenade 14
Across the Sea 16
ARNOLD, SIR EDWIN (1832).
Serenade 18
A Love Song of Henri Quatre 20
ASHE, THOMAS (1836-1889).
No and Yes 22
At Altenahr 23
Marit 24
AUSTIN, ALFRED (1835).
A Night in June 26
BEDDOES, THOMAS LOVELL (1803-1849).
Dream-Pedlary 30
Song from the Ship 33
Song 34
Song 35
Song, by Two Voices 36
Song 38
BENNETT, WILLIAM COX (1820).
Cradle Song 39
My Roses blossom the Whole Year Round 41
Cradle Song 42
BOURDILLON, F. W. (1852).
Love’s Meinie 43
The Night has a Thousand Eyes 44
A Lost Voice 45
BUCHANAN, ROBERT (1841).
Serenade 46
Song 48
COLLINS, MORTIMER (1827-1876).
To F. C. 49
A Game of Chess 50
Multum in Parvo 52
Violets at Home 53
My Thrush 54
CRAIK, DINAH MARIA MULOCK (1826-1887).
Too Late 56
A Silly Song 58
DARLEY, GEORGE (1795-1846).
May Day 60
I ’ve been Roaming 62
Sylvia’s Song 63
Serenade 64
DE TABLEY, LORD (1835).
A Winter Sketch 66
The Second Madrigal 69
DE VERE, AUBREY (1788-1846).
Song 70
Song 72
Song 74
DICKENS, CHARLES (1812-1870).
The Ivy Green 75
DOBSON, AUSTIN (1840).
The Ladies of St. James’s 77
The Milkmaid 81
DOMETT, ALFRED (1811-1887).
A Glee for Winter 84
A Kiss 86
DUFFERIN, LADY (1807-1867).
Song 88
Lament of the Irish Emigrant 90
FIELD, MICHAEL.
Winds To-day are Large and Free 94
Let us Wreathe the Mighty Cup 96
Where Winds abound 97
GALE, NORMAN (1862).
A Song 98
Song 99
GOSSE, EDMUND (1849).
Song for the Lute 101
HOOD, THOMAS (1798-1845).
Ballad 102
Song 104
I Remember, I Remember 106
Ballad 108
Song 110

HOUGHTON, LORD (RICHARD MONCKTON MILNES) (1809-1885).

The Brookside 111
The Venetian Serenade 113
From Love and Nature 115
INGELOW, JEAN (1830).
The Long White Seam 116
Love 118
Sweet is Childhood 120
KINGSLEY, CHARLES (1819-1875).
Airly Beacon 121
The Sands of Dee 122
Three Fishers went Sailing 124
A Farewell 126
LANDOR, WALTER SAVAGE (1775-1864).
Rose Aylmer 127
Rubies 128
The Fault is not Mine 129
Under the Lindens 130
Sixteen 131
Ianthe 132
One Lovely Name 133
Forsaken 133
LOCKER-LAMPSON, FREDERICK (1821-1895).
A Garden Lyric 134
The Cuckoo 137
Gertrude’s Necklace 139
LOVER, SAMUEL (1797-1868).
The Angel’s Whisper 141
What will you do, Love? 143
MACKAY, CHARLES (1814-1889).
I Love my Love 145
O Ye Tears! 147
MAHONEY, FRANCIS (1805-1866).
The Bells of Shandon 149
MASSEY, GERALD (1828).
Song 153
O’SHAUGHNESSY, ARTHUR (1844-1881).
A Love Symphony 156
I made Another Garden 158
PROCTER, ADELAIDE ANNE (1825-1864).
The Lost Chord 160
Sent to Heaven 162
PROCTER, B. W. (BARRY CORNWALL) (1787-1874).
The Poet’s Song to his Wife 165
A Petition to Time 167
A Bacchanalian Song 168
She was not Fair nor Full of Grace 170
The Sea-King 172
A Serenade 174
King Death 176
Sit Down, Sad Soul 178
A Drinking Song 180
Peace! What do Tears Avail? 182
The Sea 184
ROSSETTI, CHRISTINA G. (1830-1895).
Song 186
Song 188
Song 189
Three Seasons 190
ROSSETTI, DANTE GABRIEL (1828-1882).
A Little While 191
Sudden Light 193
Three Shadows 194
SCOTT, WILLIAM BELL (1812-1890).
Parting and Meeting Again 196
SKIPSEY, JOSEPH (1832).
A Merry Bee 198
The Songstress 199
The Violet and the Rose 200
STERRY, J. ASHBY.
Regrets 201
Daisy’s Dimples 203
A Lover’s Lullaby 204
SWINBURNE, ALGERNON CHARLES (1837).
A Match 205
Rondel 208
Song 209
TENNYSON, ALFRED (1809-1892).
The Bugle Song 210
Break, Break, Break 212
Tears, Idle Tears 213
Sweet and Low 215
Turn, Fortune, Turn thy Wheel 216
Vivien’s Song 217
THACKERAY, WILLIAM MAKEPEACE (1811-1863).
At the Church Gate 218
The Mahogany Tree 220
THORNBURY, GEORGE WALTER (1828-1876).
Dayrise and Sunset 223
The Three Troopers 225
The Cuckoo 228

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  An Index to First Lines

Listen—Songs thou ’lt hear

Through the wide world ringing.

Barry Cornwall.

page

A baby was sleeping

Samuel Lover 141

“A cup for hope!” she said

Christina G. Rossetti

190

A golden bee a-cometh

Joseph Skipsey 198

A little shadow makes the sunrise sad

Mortimer Collins 52

A little while a little love

Dante Gabriel Rossetti

191

A thousand voices fill my ears

F. W. Bourdillon 45

Across the grass I see her pass

Austin Dobson 81

Ah, what avails the sceptered race!

Walter Savage Landor 127

Airly Beacon, Airly Beacon

Charles Kingsley 121

All glorious as the Rainbow’s birth

Gerald Massey 153

All through the sultry hours of June

Mortimer Collins 54

Along the garden ways just now

Arthur O’Shaughnessy 156

Although I enter not

William Makepeace Thackeray

218

As Gertrude skipt from babe to girl

Frederick Locker-Lampson

139

As I came round the harbor buoy

Jean Ingelow 116

Awake!—The starry midnight Hour

B. W. Procter (Barry Cornwall)

174

Awake thee, my Lady-love!

George Darley 64

Back flies my soul to other years

Joseph Skipsey 199

Break, break, break

Alfred Tennyson 212

Came, on a Sabbath noon, my sweet

Thomas Ashe 23

Christmas is here

William Makepeace Thackeray

220

Come, rosy Day!

Sir Edwin Arnold 20

Come sing, Come sing, of the great Sea-King

B. W. Procter (Barry Cornwall)

172

Could ye come back to me, Douglas, Douglas

Dinah Maria Mulock Craik

56

Drink, and fill the night with mirth!

B. W. Procter (Barry Cornwall)

180

Every day a Pilgrim, blindfold

Hamilton AÏdÉ 7

Fast falls the snow, O lady mine

Mortimer Collins 49

First the fine, faint, dreamy motion

Norman Gale 98

Hence, rude Winter! crabbed old fellow

Alfred Domett 84

How many Summers, love

B. W. Procter (Barry Cornwall)

165

How many times do I love thee, dear?

Thomas Lovell Beddoes

38

I bring a garland for your head

Edmund Gosse 101

I had a Message to send her

Adelaide Anne Procter

162

I have been here before

Dante Gabriel Rossetti

193

I leaned out of window, I smelt the white clover

Jean Ingelow 118

I looked and saw your eyes

Dante Gabriel Rossetti

194

I made another garden, yea

Arthur O’Shaughnessy 158

I remember, I remember

Thomas Hood 106

I sat beside the streamlet

Hamilton AÏdÉ 3

I wandered by the brook-side

Lord Houghton 111

I walked in the lonesome evening

William Allingham 16

If I could choose my paradise

Thomas Ashe 22

If love were what the rose is

Algernon Charles Swinburne

205

If there were dreams to sell

Thomas Lovell Beddoes

30

I ’m sitting on the stile, Mary

Lady Dufferin 90

In Clementina’s artless mien

Walter Savage Landor 131

In Love, if Love be Love, if Love be ours

Alfred Tennyson 217

Into the Devil tavern

George Walter Thornbury

225

It was not in the winter

Thomas Hood 102

I ’ve been roaming! I ’ve been roaming!

George Darley 62

King Death was a rare old fellow!

B. W. Procter (Barry Cornwall)

176

Kissing her hair I sat against her feet.

Algernon Charles Swinburne

208

Lady! in this night of June

Alfred Austin 26

Last time I parted from my Dear

William Bell Scott 196

Let us wreathe the mighty cup

Michael Field 96

Little dimples so sweet and soft

J. Ashby Sterry 203

Lullaby! O lullaby!

William Cox Bennett 42

Lute! breathe thy lowest in my Lady’s ear

Sir Edwin Arnold 18

Mirror your sweet eyes in mine, love

J. Ashby Sterry 204

Mother, I can not mind my wheel

Walter Savage Landor 133

My fairest child, I have no song to give you

Charles Kingsley 126

My goblet’s golden lips are dry

Thomas Lovell Beddoes

34

My love, on a fair May morning

Thomas Ashe 24

My roses blossom the whole year round

William Cox Bennett 41

O for the look of those pure gray eyes

J. Ashby Sterry 201

O happy buds of violet!

Mortimer Collins 53

“O Heart, my heart!” she said, and heard

Dinah Maria Mulock Craik

58

O lady, leave thy silken thread

Thomas Hood 104

O lips that mine have grown into

Algernon Charles Swinburne

209

O Love is like the roses

Robert Buchanan 48

O May, thou art a merry time

George Darley 60

O roses for the flush of youth

Christina G. Rossetti

188

O spirit of the Summertime!

William Allingham 13

O ye tears! O ye tears! that have long refused to flow

Charles Mackay 147

Often I have heard it said

Walter Savage Landor 128

Oh, a dainty plant is the Ivy green

Charles Dickens 75

Oh, hearing sleep, and sleeping hear

William Allingham 14

Oh! let me dream of happy days gone by

Hamilton AÏdÉ 6

Oh, lovely Mary Donnelly, my joy, my only best!

William Allingham 9

“Oh, Mary, go and call the cattle home”

Charles Kingsley 122

One lovely name adorns my song

Walter Savage Landor 133

Peace! what can tears avail?

B. W. Procter (Barry Cornwall)

182

Seated one day at the Organ

Adelaide Anne Procter

160

Seek not the tree of silkiest bark

Aubrey de Vere 72

She was not fair, nor full of grace

B. W. Procter (Barry Cornwall)

170

She ’s up and gone, the graceless Girl

Thomas Hood 108

Sing!—Who sings

B. W. Procter (Barry Cornwall)

168

Sit down, sad soul, and count

B. W. Procter (Barry Cornwall)

178

Sleep sweet, belovËd one, sleep sweet!

Robert Buchanan 46

Sleep! the bird is in its nest

William Cox Bennett 39

Softly, O midnight Hours!

Audrey de Vere 70

Strew not earth with empty stars

Thomas Lovell Beddoes

35

Sweet and low, sweet and low

Alfred Tennyson 215

Sweet is childhood—childhood ’s over

Jean Ingelow 120

Sweet mouth! O let me take

Alfred Domett 86

Tears, idle tears, I know not what they mean

Alfred Tennyson 213

Terrace and lawn are white with frost

Mortimer Collins 50

Thank Heaven, Ianthe, once again

Walter Savage Landor 132

The fault is not mine if I love you too much

Walter Savage Landor 129

The ladies of St. James’s

Austin Dobson 77

The night has a thousand eyes

F. W. Bourdillon 44

The Sea! the Sea! the open Sea!

B. W. Procter (Barry Cornwall)

184

The splendour falls on castle walls

Alfred Tennyson 210

The stars are with the voyager

Thomas Hood 110

The streams that wind amid the hills

George Darley 63

The Sun came through the frosty mist

Lord Houghton 115

The Violet invited my kiss

Joseph Skipsey 200

There is no summer ere the swallows come.

F. W. Bourdillon 43

Three fishers went sailing away to the West

Charles Kingsley 124

To sea, to sea! the calm is o’er

Thomas Lovell Beddoes

33

Touch us gently, Time!

B. W. Procter (Barry Cornwall)

167

Turn, Fortune, turn thy wheel and lower the proud!

Alfred Tennyson 216

Two doves upon the selfsame branch

Christina G. Rossetti

189

Under the lindens lately sat

Walter Savage Landor 130

Wait but a little while

Norman Gale 99

We have loiter’d and laugh’d in the flowery croft

Frederick Locker-Lampson

134

We heard it calling, clear and low

Frederick Locker-Lampson

137

What is the meaning of the song

Charles Mackay 145

“What will you do, love, when I am going”

Samuel Lover 143

When a warm and scented steam

George Walter Thornbury

228

When along the light ripple the far serenade

Lord Houghton 113

When another’s voice thou hearest

Lady Dufferin 88

When I am dead, my dearest

Christina G. Rossetti

186

When I was young, I said to Sorrow

Aubrey de Vere 74

When Spring casts all her swallows forth

George Walter Thornbury

223

When the snow begins to feather

Lord de Tabley 66

Where winds abound

Michael Field 97

Who is the baby, that doth lie

Thomas Lovell Beddoes

36

Winds to-day are large and free

Michael Field 94

With deep affection

Francis Mahoney 149

Woo thy lass while May is here

Lord de Tabley 69

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  List of Illustrations

Their songs wake singing echoes in my land.

Christina Rossetti.

Sweet and low, sweet and low Frontispiece
“Oh! let me dream of happy days gone by” 6
Across the Sea 16
“My love on a fair May morning” 24
Song in the Garden 38
The night has a thousand eyes 44
A Game of Chess 50
“I ’ve been roaming, I ’ve been roaming” 62
“A maid I know,—and March winds blow” 82
“That bright May morning long ago” 90
“I remember, I remember” 106
I wandered by the brook-side 112
“Three fishers went sailing away to the West” 124
Ianthe 132
Gertrude’s Necklace 140
“She turned back at the last to wait” 158
King Death 176
“I looked and saw your eyes” 194
Break, Break, Break 212
“When Spring casts all her swallows forth” 224

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  Introduction

The writer of prose, by intelligence taught,

Says the thing that will please, in the way that he ought.

Frederick Locker-Lampson.

No species of poetry is more ancient than the lyrical, and yet none shows so little sign of having outlived the requirements of human passion. The world may grow tired of epics and of tragedies, but each generation, as it sees the hawthorns blossom and the freshness of girlhood expand, is seized with a pang which nothing but the spasm of verse will relieve. Each youth imagines that spring-tide and love are wonders which he is the first of human beings to appreciate, and he burns to alleviate his emotion in rhyme. Historians exaggerate, perhaps, the function of music in awakening and guiding the exercise of lyrical poetry. The lyric exists, they tell us, as an accompaniment to the lyre; and without the mechanical harmony the spoken song is an artifice. Quite as plausibly might it be avowed that music was but added to verse to concentrate and emphasize its rapture, to add poignancy and volume to its expression. But the truth is that these two arts, though sometimes happily allied, are, and always have been, independent. When verse has been innocent enough to lean on music, we may be likely to find that music also has been of the simplest order, and that the pair of them, like two delicious children, have tottered and swayed together down the flowery meadows of experience. When either poetry or music is adult, the presence of each is a distraction to the other, and each prefers, in the elaborate ages, to stand alone, since the mystery of the one confounds the complexity of the other. Most poets hate music; few musicians comprehend the nature of poetry; and the combination of these arts has probably, in all ages, been contrived, not for the satisfaction of artists, but for the convenience of their public.

This divorce between poetry and music has been more frankly accepted in the present century than ever before, and is nowadays scarcely opposed in serious criticism. If music were a necessary ornament of lyrical verse, the latter would nowadays scarcely exist; but we hear less and less of the poets devotion (save in a purely conventional sense) to the lute and the pipe. What we call the Victorian lyric is absolutely independent of any such aid. It may be that certain songs of Tennyson and Christina Rossetti have been with great popularity “set,” as it is called, “to music.” So far as the latter is in itself successful, it stultifies the former; and we admit at last that the idea of one art aiding another in this combination is absolutely fictitious. The beauty—even the beauty of sound—conveyed by the ear in such lyrics as “Break, break, break,” or “When I am dead, my dearest,” is obscured, is exchanged for another and a rival species of beauty, by the most exquisite musical setting that a composer can invent.

The age which has been the first to accept this condition, then, should be rich in frankly lyrical poetry; and this we find to be the case with the Victorian period. At no time has a greater mass of this species of verse been produced, not even in the combined Elizabethan and Jacobean age. But when we come to consider the quality of this later harvest of song, we observe in it a far less homogeneous character. We can take a piece of verse, and decide at sight that it must be Elizabethan, or of the age of the PlÉiade in France, or of a particular period in Italy. Even an ode of our own eighteenth century is hardly to be confounded with a fragment from any other school. The great Georgian age introduced a wide variety into English poetry; and yet we have but to examine the selected jewels strung into so exquisite a carcanet by Mr. Palgrave in his “Golden Treasury” to notice with surprise how close a family likeness exists between the contributions of Shelley, Wordsworth, Keats, and Byron. The distinctions of style, of course, are very great; but the general character of the diction, the imagery, even of the rhythm, is more or less identical. The stamp of the same age is upon them,—they are hall-marked 1820.

It is perhaps too early to decide that this will never be the case with the Victorian lyrics. While we live in an age we see the distinction of its parts, rather than their co-relation. It is said that the Japanese Government once sent over a Commission to report upon the art of Europe; and that, having visited the exhibitions of London, Paris, Florence, and Berlin, the Commissioners confessed that the works of the European painters all looked so exactly alike that it was difficult to distinguish one from another. The Japanese eye, trained in absolutely opposed conventions, could not tell the difference between a Watts and a Fortuny, a ThÉodore Rousseau and a Henry Moore. So it is quite possible, it is even probable, that future critics may see a close similarity where we see nothing but divergence between the various productions of the Victorian age. Yet we can judge but what we discern; and certainly to the critical eye to-day it is the absence of a central tendency, the chaotic cultivation of all contrivable varieties of style, which most strikingly seems to distinguish the times we live in.

We use the word “Victorian” in literature to distinguish what was written after the decline of that age of which Walter Scott, Coleridge, and Wordsworth were the survivors. It is well to recollect, however, that Tennyson, who is the Victorian writer par excellence, had published the most individual and characteristic of his lyrics long before the Queen ascended the throne, and that Elizabeth Barrett, Henry Taylor, William Barnes, and others were by this date of mature age. It is difficult to remind ourselves, who have lived in the radiance of that august figure, that some of the most beautiful of Tennyson’s lyrics, such as “Mariana” and “The Dying Swan” are now separated from us by as long a period of years as divided them from Dr. Johnson and the author of “Night Thoughts.” The reflection is of value only as warning us of the extraordinary length of the epoch we still call “Victorian.” It covers, not a mere generation, but much more than half a century. During this length of time a complete revolution in literary taste might have been expected to take place. This has not occurred, and the cause may very well be the extreme license permitted to the poets to adopt whatever style they pleased. Where all the doors stand wide open, there is no object in escaping; where there is but one door, and that one barred, it is human nature to fret for some violent means of evasion. How divine have been the methods of the Victorian lyrists may easily be exemplified:—

That is a masterpiece, but so is this:—

“Nay, but you who do not love her,

Is she not pure gold, my mistress?

Holds earth aught—speak truth—above her?

Aught like this tress, see, and this tress,

And this last fairest tress of all,

—So fair, see, ere I let it fall?

“Because, you spend your lives in praisings,

To praise, you search the wide world over:

Then why not witness, calmly gazing,

If earth holds aught—speak truth—above her?

Above this tress, and this I touch,

But cannot praise, I love so much!”

And so is this:—

But who would believe that the writers of these were contemporaries?

If we examine more closely the forms which lyric poetry has taken since 1830, we shall find that certain influences at work in the minds of our leading writers have led to the widest divergence in the character of lyrical verse. It will be well, perhaps, to consider in turn the leading classes of that work. It was not to be expected that in an age of such complexity and self-consciousness as ours, the pure song, the simple trill of bird-like melody, should often or prominently be heard. As civilization spreads, it ceases to be possible, or at least it becomes less and less usual, that simple emotion should express itself with absolute naÏvetÉ. Perhaps Burns was the latest poet in these islands whose passion warbled forth in perfectly artless strains; and he had the advantage of using a dialect still unsubdued and unvulgarized. Artlessness nowadays must be the result of the most exquisitely finished art; if not, it is apt to be insipid, if not positively squalid and fusty. The obvious uses of simple words have been exhausted; we cannot, save by infinite pains and the exercise of a happy genius, recover the old spontaneous air, the effect of an inevitable arrangement of the only possible words.

This beautiful direct simplicity, however, was not infrequently secured by Tennyson, and scarcely less often by Christina Rossetti, both of whom have left behind them jets of pure emotional melody which compare to advantage with the most perfect specimens of Greek and Elizabethan song. Tennyson did not very often essay this class of writing, but when he did, he rarely failed; his songs combine, with extreme naturalness and something of a familiar sweetness, a felicity of workmanship hardly to be excelled. In her best songs, Miss Rossetti is scarcely, if at all, his inferior; but her judgment was far less sure, and she was more ready to look with complacency on her failures. The songs of Mr. Aubrey de Vere are not well enough known; they are sometimes singularly charming. Other poets have once or twice succeeded in catching this clear natural treble,—the living linnet once captured in the elm, as Tusitala puts it; but this has not been a gift largely enjoyed by our Victorian poets.

The richer and more elaborate forms of lyric, on the contrary, have exactly suited this curious and learned age of ours. The species of verse which, originally Italian or French, have now so abundantly and so admirably been practised in England that we can no longer think of them as exotic, having found so many exponents in the Victorian period that they are pre-eminently characteristic of it. “Scorn not the Sonnet,” said Wordsworth to his contemporaries; but the lesson has not been needed in the second half of the century. The sonnet is the most solid and unsingable of the sections of lyrical poetry; it is difficult to think of it as chanted to a musical accompaniment. It is used with great distinction by writers to whom skill in the lighter divisions of poetry has been denied, and there are poets, such as Bowles and Charles Tennyson-Turner, who live by their sonnets alone. The practice of the sonnet has been so extended that all sense of monotony has been lost. A sonnet by Elizabeth Barrett Browning differs from one by D. G. Rossetti or by Matthew Arnold to such excess as to make it difficult for us to realize that the form in each case is absolutely identical.

With the sonnet might be mentioned the lighter forms of elaborate exotic verse; but to these a word shall be given later on. More closely allied to the sonnet are those rich and somewhat fantastic stanza-measures in which Rossetti delighted. Those in which Keats and the Italians have each their part have been greatly used by the Victorian poets. They lend themselves to a melancholy magnificence, to pomp of movement and gorgeousness of color; the very sight of them gives the page the look of an ancient blazoned window. Poems of this class are “The Stream’s Secret” and the choruses in “Love is enough.” They satisfy the appetite of our time for subtle and vague analysis of emotion, for what appeals to the spirit through the senses; but here, again, in different hands, the “thing,” the metrical instrument, takes wholly diverse characters, and we seek in vain for a formula that can include Robert Browning and Gabriel Rossetti, William Barnes and Arthur Hugh Clough.

From this highly elaborated and extended species of lyric the transition is easy to the Ode. In the Victorian age, the ode, in its full Pindaric sense, has not been very frequently used. We have specimens by Mr. Swinburne in which the Dorian laws are closely adhered to. But the ode, in a more or less irregular form, whether pÆan or threnody, has been the instrument of several of our leading lyrists. The genius of Mr. Swinburne, even to a greater degree than that of Shelley, is essentially dithyrambic, and is never happier than when it spreads its wings as wide as those of the wild swan, and soars upon the very breast of tempest. In these flights Mr. Swinburne attains to a volume of sonorous melody such as no other poet, perhaps, of the world has reached, and we may say to him, as he has shouted to the Mater Triumphalis:—

Nothing could mark more picturesquely the wide diversity permitted in Victorian lyric than to turn from the sonorous and tumultuous odes of Mr. Swinburne to those of Mr. Patmore, in which stateliness of contemplation and a peculiar austerity of tenderness find their expression in odes of iambic cadence, the melody of which depends, not in their headlong torrent of sound, but in the cunning variation of catalectic pause. A similar form has been adopted by Lord De Tabley for many of his gorgeous studies of antique myth, and by Tennyson for his “Death of the Duke of Wellington.” It is an error to call these iambic odes “irregular,” although they do not follow the classic rules with strophe, antistrophe, and epode. The enchanting “I have led her home,” in “Maud,” is an example of this kind of lyric at its highest point of perfection.

A branch of lyrical poetry which has been very widely cultivated in the Victorian age is the philosophical, or gnomic, in which a serious chain of thought, often illustrated by complex and various imagery, is held in a casket of melodious verse, elaborately rhymed. Matthew Arnold was a master of this kind of poetry, which takes its form, through Wordsworth, from the solemn and so-called “metaphysical” writers of the seventeenth century. We class this interesting and abundant section of verse with the lyrical, because we know not by what other name to describe it; yet it has obviously as little as possible of the singing ecstasy about it. It neither pours its heart out in a rapture, nor wails forth its despair. It has as little of the nightingale’s rich melancholy as of the lark’s delirium. It hardly sings, but, with infinite decorum and sobriety, speaks its melodious message to mankind. This sort of philosophical poetry is really critical; its function is to analyze and describe; and it approaches, save for the enchantment of its form, nearer to prose than do the other sections of the art. It is, however, just this species of poetry which has particularly appealed to the age in which we live; and how naturally it does so may be seen in the welcome extended to the polished and serene compositions of Mr. William Watson.

Almost a creation, or at least a complete conquest, of the Victorian age is the humorous lyric in its more delicate developments. If the past can point to Prior and to Praed, we can boast, in their various departments, of Calverly, of Locker-Lampson, of Mr. Andrew Lang, of Mr. W. S. Gilbert. The comic muse, indeed, has marvellously extended her blandishments during the last two generations, and has discovered methods of trivial elegance which were quite unknown to our forefathers. Here must certainly be said a word in favor of those French forms of verse, all essentially lyrical, such as the ballad, the rondel, the triolet, which have been used so abundantly as to become quite a feature in our lighter literature. These are not, or are but rarely, fitted to bear the burden of high emotion; but their precision, and the deftness which their use demands fit them exceedingly well for the more distinguished kind of persiflage. No one has kept these delicate butterflies in flight with the agile movement of his fan so admirably as Mr. Austin Dobson, that neatest of magicians.

Those who write hastily of Victorian lyrical poetry are apt to find fault with its lack of spontaneity. It is true that we cannot pretend to discover on a greensward so often crossed and re-crossed as the poetic language of England many morning dewdrops still glistening on the grasses. We have to pay the penalty of our experience in a certain lack of innocence. The artless graces of a child seem mincing affectations in a grown-up woman. But the poetry of this age has amply made up for any lack of innocence by its sumptuous fulness, its variety, its magnificent accomplishment, its felicitous response to a multitude of moods and apprehensions. It has struck out no new field for itself; it still remains where the romantic revolution of 1798 placed it; its aims are not other than were those of Coleridge and of Keats. But within that defined sphere it has developed a surprising activity. It has occupied the attention and become the facile instrument of men of the greatest genius, writers of whom any age and any language might be proud. It has been tender and fiery, severe and voluminous, gorgeous and marmoreal, in turns. It has translated into words feelings so subtle, so transitory, moods so fragile and intangible, that the rough hand of prose would but have crushed them. And this, surely, indicates the great gift of Victorian lyrical poetry to the race. During a time of extreme mental and moral restlessness, a time of speculation and evolution, when all illusions are tested, all conventions overthrown, when the harder elements of life have been brought violently to the front, and where there is a temptation for the emancipated mind roughly to reject what is not material and obvious, this art has preserved intact the lovelier delusions of the spirit, all that is vague and incorporeal and illusory. So that for Victorian Lyric generally no better final definition can be given than is supplied by Mr. Robert Bridges in a little poem of incomparable beauty, which may fitly bring this essay to a close:—

Edmund Gosse.

Victorian Songs

“Short swallow-flights of song”

TENNYSON

tiny rose   tiny rose

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HAMILTON AÏDÉ.

1830.

REMEMBER OR FORGET.

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OH, LET ME DREAM.
FROM “A NINE DAYS’ WONDER.”

O

h! let me dream of happy days gone by,

Forgetting sorrows that have come between,

As sunlight gilds some distant summit high,

And leaves the valleys dark that intervene.

The phantoms of remorse that haunt

The soul, are laid beneath that spell;

As, in the music of a chaunt

Is lost the tolling of a bell.

Oh! let me dream of happy days gone by, etc.

In youth, we plucked full many a flower that died,

Dropped on the pathway, as we danced along;

And now, we cherish each poor leaflet dried

In pages which to that dear past belong.

With sad crushed hearts they yet retain

Some semblance of their glories fled;

Like us, whose lineaments remain,

When all the fires of life are dead.

Oh! let me dream, etc.

“Oh! let me dream of happy days gone by”

LOVE, THE PILGRIM.
SUGGESTED BY A SKETCH BY E. BURNE-JONES.

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WILLIAM ALLINGHAM.

1824-1889.

LOVELY MARY DONNELLY.

O

h, lovely Mary Donnelly, my joy, my only best!

If fifty girls were round you, I ’d hardly see the rest;

Be what it may the time o’ day, the place be where it will,

Sweet looks o’ Mary Donnelly, they bloom before me still.

Her eyes like mountain water that ’s flowing on a rock,

How clear they are, how dark they are! they give me many a shock;

Red rowans warm in sunshine and wetted with a show’r,

Could ne’er express the charming lip that has me in its pow’r.

Her nose is straight and handsome, her eyebrows lifted up,

Her chin is very neat and pert, and smooth like a china cup,

Her hair ’s the brag of Ireland, so weighty and so fine;

It ’s rolling down upon her neck, and gathered in a twine.

The dance o’ last Whit-Monday night exceeded all before,

No pretty girl for miles about was missing from the floor;

But Mary kept the belt o’ love, and O but she was gay!

She danced a jig, she sung a song, that took my heart away.

When she stood up for dancing, her steps were so complete

The music nearly kill’d itself to listen to her feet;

The fiddler moaned his blindness, he heard her so much praised,

But bless’d his luck to not be deaf when once her voice she raised.

And evermore I ’m whistling or lilting what you sung,

Your smile is always in my heart, your name beside my tongue;

But you ’ve as many sweethearts as you ’d count on both your hands,

And for myself there ’s not a thumb or little finger stands.

’T is you ’re the flower o’ womankind in country or in town;

The higher I exalt you, the lower I ’m cast down.

If some great lord should come this way, and see your beauty bright,

And you to be his lady, I ’d own it was but right.

O might we live together in a lofty palace hall,

Where joyful music rises, and where scarlet curtains fall!

O might we live together in a cottage mean and small,

With sods o’ grass the only roof, and mud the only wall!

O lovely Mary Donnelly, your beauty ’s my distress.

It ’s far too beauteous to be mine, but I ’ll never wish it less.

The proudest place would fit your face, and I am poor and low;

But blessings be about you, dear, wherever you may go!

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SONG.

O

 spirit of the Summertime!

Bring back the roses to the dells;

The swallow from her distant clime,

The honey-bee from drowsy cells.

Bring back the friendship of the sun;

The gilded evenings, calm and late,

When merry children homeward run,

And peeping stars bid lovers wait.

Bring back the singing; and the scent

Of meadowlands at dewy prime;—

Oh, bring again my heart’s content,

Thou Spirit of the Summertime!

SERENADE.

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Across the Sea

ACROSS THE SEA.

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THOMAS ASHE.

1836-1889.

NO AND YES.

I

f I could choose my paradise,

And please myself with choice of bliss,

Then I would have your soft blue eyes

And rosy little mouth to kiss!

Your lips, as smooth and tender, child,

As rose-leaves in a coppice wild.

If fate bade choose some sweet unrest,

To weave my troubled life a snare,

Then I would say “her maiden breast

And golden ripple of her hair;”

And weep amid those tresses, child,

Contented to be thus beguiled.

AT ALTENAHR.

1872.

Meet we no angels, Pansie?

C

ame, on a Sabbath noon, my sweet,

In white, to find her lover;

The grass grew proud beneath her feet,

The green elm-leaves above her:—

Meet we no angels, Pansie?

She said, “We meet no angels now;”

And soft lights streamed upon her;

And with white hand she touched a bough;

She did it that great honour:—

What! meet no angels, Pansie?

O sweet brown hat, brown hair, brown eyes

Down-dropped brown eyes so tender!

Then what said I?—Gallant replies

Seem flattery, and offend her:—

But,—meet no angels, Pansie?

“My love on a fair May morning”

MARIT.
1869-70.

C’est un songe que d’y penser.

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ALFRED AUSTIN.

1835.

A NIGHT IN JUNE.

L

ady! in this night of June,

Fair like thee and holy,

Art thou gazing at the moon

That is rising slowly?

I am gazing on her now:

Something tells me, so art thou.

Night hath been when thou and I

Side by side were sitting,

Watching o’er the moonlit sky

Fleecy cloudlets flitting.

Close our hands were linkÈd then;

When will they be linked again?

What to me the starlight still,

Or the moonbeams’ splendour,

If I do not feel the thrill

Of thy fingers slender?

Summer nights in vain are clear,

If thy footstep be not near.

Roses slumbering in their sheaths

O’er my threshold clamber,

And the honeysuckle wreathes

Its translucent amber

Round the gables of my home:

How is it thou dost not come?

If thou camest, rose on rose

From its sleep would waken;

From each flower and leaf that blows

Spices would be shaken;

Floating down from star and tree,

Dreamy perfumes welcome thee.

I would lead thee where the leaves

In the moon-rays glisten;

And, where shadows fall in sheaves,

We would lean and listen

For the song of that sweet bird

That in April nights is heard.

And when weary lids would close,

And thy head was drooping,

Then, like dew that steeps the rose,

O’er thy languor stooping,

I would, till I woke a sigh,

Kiss thy sweet lips silently.

I would give thee all I own,

All thou hast would borrow,

I from thee would keep alone

Fear and doubt and sorrow.

All of tender that is mine

Should most tenderly be thine.

Moonlight! into other skies,

I beseech thee wander.

Cruel thus to mock mine eyes,

Idle, thus to squander

Love’s own light on this dark spot;—

For my lady cometh not!

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THOMAS LOVELL BEDDOES.

1803-1849.

DREAM-PEDLARY.

SONG FROM THE SHIP.
FROM “DEATH’S JEST-BOOK.”

T

o sea, to sea! the calm is o’er;

The wanton water leaps in sport,

And rattles down the pebbly shore;

The dolphin wheels, the sea-cows snort,

And unseen Mermaids’ pearly song

Comes bubbling up, the weeds among.

Fling broad the sail, dip deep the oar:

To sea, to sea! the calm is o’er.

To sea, to sea! Our wide-winged bark

Shall billowy cleave its sunny way,

And with its shadow, fleet and dark,

Break the caved Tritons’ azure day,

Like mighty eagle soaring light

O’er antelopes on Alpine height.

The anchor heaves, the ship swings free,

The sails swell full. To sea, to sea!

SONG.

M

y goblet’s golden lips are dry,

And, as the rose doth pine

For dew, so doth for wine

My goblet’s cup;

Rain, O! rain, or it will die;

Rain, fill it up!

Arise, and get thee wings to-night,

Ætna! and let run o’er

Thy wines, a hill no more,

But darkly frown

A cloud, where eagles dare not soar,

Dropping rain down.

SONG.
FROM “THE SECOND BROTHER.”

S

trew not earth with empty stars,

Strew it not with roses,

Nor feathers from the crest of Mars,

Nor summer’s idle posies.

’T is not the primrose-sandalled moon,

Nor cold and silent morn,

Nor he that climbs the dusty noon,

Nor mower war with scythe that drops,

Stuck with helmed and turbaned tops

Of enemies new shorn.

Ye cups, ye lyres, ye trumpets know,

Pour your music, let it flow,

’T is Bacchus’ son who walks below.

SONG, BY TWO VOICES.
FROM “THE BRIDES’ TRAGEDY.”

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SONG.
FROM “TORRISMOND.”

H

ow many times do I love thee, dear?

Tell me how many thoughts there be

In the atmosphere

Of a new-fall’n year,

Whose white and sable hours appear

The latest flake of Eternity:—

So many times do I love thee, dear.

How many times do I love again?

Tell me how many beads there are

In a silver chain

Of evening rain,

Unravelled from the tumbling main,

And threading the eye of a yellow star:—

So many times do I love again.

Song in the Garden

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MORTIMER COLLINS.

1827-1876.

TO F. C.

20th February 1875.

F

ast falls the snow, O lady mine,

Sprinkling the lawn with crystals fine,

But by the gods we won’t repine

While we ’re together,

We ’ll chat and rhyme and kiss and dine,

Defying weather.

So stir the fire and pour the wine,

And let those sea-green eyes divine

Pour their love-madness into mine:

I don’t care whether

’T is snow or sun or rain or shine

If we ’re together.

A Game of Chess

A GAME OF CHESS.

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MULTUM IN PARVO.

A

 little shadow makes the sunrise sad,

A little trouble checks the race of joy,

A little agony may drive men mad,

A little madness may the soul destroy:

Such is the world’s annoy.

Ay, and the rose is but a little flower

Which the red Queen of all the garden is:

And Love, which lasteth but a little hour,

A moment’s rapture and a moment’s kiss,

Is what no man would miss.

VIOLETS AT HOME.

I.

O

 happy buds of violet!

I give thee to my sweet, and she

Puts them where something sweeter yet

Must always be.

II.

White violets find whiter rest:

For fairest flowers how fair a fate!

For me remain, O fragrant breast!

Inviolate.

MY THRUSH.

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DINAH MARIA MULOCK CRAIK.

1826-1887.

TOO LATE.

“Dowglas, Dowglas, tendir and treu.”

C

ould ye come back to me, Douglas, Douglas,

In the old likeness that I knew,

I would be so faithful, so loving, Douglas,

Douglas, Douglas, tender and true.

Never a scornful word should grieve ye,

I ’d smile on ye sweet as the angels do;—

Sweet as your smile on me shone ever,

Douglas, Douglas, tender and true.

O to call back the days that are not!

My eyes were blinded, your words were few:

Do you know the truth now up in heaven,

Douglas, Douglas, tender and true?

I never was worthy of you, Douglas;

Not half worthy the like of you:

Now all men beside seem to me like shadows—

I love you, Douglas, tender and true.

Stretch out your hand to me, Douglas, Douglas,

Drop forgiveness from heaven like dew;

As I lay my heart on your dead heart, Douglas,

Douglas, Douglas, tender and true.

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A SILLY SONG.

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GEORGE DARLEY.

1795-1846.

MAY DAY.
From “Sylvia”: Act III. Scene ii.

O

 may, thou art a merry time,

Sing hi! the hawthorn pink and pale!

When hedge-pipes they begin to chime,

And summer-flowers to sow the dale.

When lasses and their lovers meet

Beneath the early village-thorn,

And to the sound of tabor sweet

Bid welcome to the Maying-morn!

O May, thou art a merry time,

Sing hi! the hawthorn pink and pale!

When hedge-pipes they begin to chime,

And summer-flowers to sow the dale.

When grey-beards and their gossips come

With crutch in hand our sports to see,

And both go tottering, tattling home,

Topful of wine as well as glee!

O May, thou art a merry time,

Sing hi! the hawthorn pink and pale!

When hedge-pipes they begin to chime,

And summer-flowers to sow the dale.

But Youth was aye the time for bliss,

So taste it, Shepherds! while ye may:

For who can tell that joy like this

Will come another holiday?

O May, thou art a merry time,

Sing hi! the hawthorn pink and pale!

When hedge-pipes they begin to chime,

And summer-flowers to sow the dale.

I’VE BEEN ROAMING.
FROM “LILIAN OF THE VALE.”

I

 ’ve been roaming! I ’ve been roaming!

Where the meadow dew is sweet,

And like a queen I ’m coming

With its pearls upon my feet.

I ’ve been roaming! I ’ve been roaming!

O’er red rose and lily fair,

And like a sylph I ’m coming

With their blossoms in my hair.

I ’ve been roaming! I ’ve been roaming!

Where the honeysuckle creeps,

And like a bee I ’m coming

With its kisses on my lips.

I ’ve been roaming! I ’ve been roaming!

Over hill and over plain,

And like a bird I ’m coming

To my bower back again!

“I ’ve been roaming, I ’ve been roaming”

SYLVIA’S SONG.

T

he streams that wind amid the hills

And lost in pleasure slowly roam,

While their deep joy the valley fills,—

Even these will leave their mountain home;

So may it, Love! with others be,

But I will never wend from thee.

The leaf forsakes the parent spray,

The blossom quits the stem as fast;

The rose-enamour’d bird will stray

And leave his eglantine at last:

So may it, Love! with others be,

But I will never wend from thee.

SERENADE.
From “Sylvia”: Act IV. Scene I.

Romanzo sings:

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LORD DE TABLEY.

1835.

A WINTER SKETCH.

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THE SECOND MADRIGAL.

W

oo thy lass while May is here;

Winter vows are colder.

Have thy kiss when lips are near;

To-morrow you are older.

Think, if clear the throstle sing,

A month his note will thicken;

A throat of gold in a golden spring

At the edge of the snow will sicken.

Take thy cup and take thy girl,

While they come for asking;

In thy heyday melt the pearl

At the love-ray basking.

Ale is good for careless bards,

Wine for wayworn sinners.

They who hold the strongest cards

Rise from life as winners.

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AUBREY DE VERE.

1788-1846.

SONG.

I.

S

oftly, O midnight Hours!

Move softly o’er the bowers

Where lies in happy sleep a girl so fair!

For ye have power, men say,

Our hearts in sleep to sway,

And cage cold fancies in a moonlight snare.

Round ivory neck and arm

Enclasp a separate charm:

Hang o’er her poised; but breathe nor sigh nor prayer:

Silently ye may smile,

But hold your breath the while,

And let the wind sweep back your cloudy hair!

II.

Bend down your glittering urns

Ere yet the dawn returns,

And star with dew the lawn her feet shall tread;

Upon the air rain balm;

Bid all the woods be calm;

Ambrosial dreams with healthful slumbers wed.

That so the Maiden may

With smiles your care repay

When from her couch she lifts her golden head;

Waking with earliest birds,

Ere yet the misty herds

Leave warm ’mid the grey grass their dusky bed.

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SONG.

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SONG.

I.

W

hen I was young, I said to Sorrow,

“Come, and I will play with thee:”—

He is near me now all day;

And at night returns to say,

“I will come again to-morrow,

I will come and stay with thee.”

II.

Through the woods we walk together;

His soft footsteps rustle nigh me;

To shield an unregarded head,

He hath built a winter shed;

And all night in rainy weather,

I hear his gentle breathings by me.

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AUSTIN DOBSON.

1840.

THE LADIES OF ST. JAMES’S.
A PROPER NEW BALLAD OF THE COUNTRY AND THE TOWN.

T

he ladies of St. James’s

Go swinging to the play;

Their footmen run before them,

With a “Stand by! Clear the way!”

But Phyllida, my Phyllida!

She takes her buckled shoon,

When we go out a-courting

Beneath the harvest moon.

The ladies of St. James’s

Wear satin on their backs;

They sit all night at Ombre,

With candles all of wax:

But Phyllida, my Phyllida!

She dons her russet gown,

And runs to gather May dew

Before the world is down.

The ladies of St. James’s

They are so fine and fair,

You ’d think a box of essences

Was broken in the air:

But Phyllida, my Phyllida!

The breath of heath and furze,

When breezes blow at morning,

Is scarce so fresh as hers.

The ladies of St. James’s

They ’re painted to the eyes;

Their white it stays forever,

Their red it never dies:

But Phyllida, my Phyllida!

Her color comes and goes;

It trembles to a lily,

It wavers to a rose.

The ladies of St. James’s,

With “Mercy!” and with “Lud!”

They season all their speeches

(They come of noble blood):

But Phyllida, my Phyllida!

Her shy and simple words

Are sweet as, after rain-drops,

The music of the birds.

The ladies of St. James’s,

They have their fits and freaks;

They smile on you—for seconds,

They frown on you—for weeks:

But Phyllida, my Phyllida!

Come either storm or shine,

From Shrovetide unto Shrovetide

Is always true—and mine.

My Phyllida, my Phyllida!

I care not though they heap

The hearts of all St. James’s,

And give me all to keep;

I care not whose the beauties

Of all the world may be,

For Phyllida—for Phyllida

Is all the world to me!

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“A maid I know,--and March winds blow”

THE MILKMAID.
A NEW SONG TO AN OLD TUNE.

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LADY DUFFERIN.

1807-1867.

SONG.*

April 30, 1833.

I.

W

hen another’s voice thou hearest,

With a sad and gentle tone,

Let its sound but waken, dearest,

Memory of my love alone!

When in stranger lands thou meetest

Warm, true hearts, which welcome thee,

Let each friendly look thou greetest

Seem a message, Love, from me!

II.

When night’s quiet sky is o’er thee,

When the pale stars dimly burn,

Dream that one is watching for thee,

Who but lives for thy return!

Wheresoe’er thy steps are roving,

Night or day, by land or sea,

Think of her, whose life of loving

Is but one long thought of thee!

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* These lines were written to the author’s husband, then at sea, in 1833, and set to music by herself.

“That bright May morning long ago”

LAMENT OF THE IRISH EMIGRANT.

I

 ’m sitting on the stile, Mary,

Where we sat, side by side,

That bright May morning long ago

When first you were my bride.

The corn was springing fresh and green,

The lark sang loud and high,

The red was on your lip, Mary,

The love-light in your eye.

The place is little changed, Mary,

The day is bright as then,

The lark’s loud song is in my ear,

The corn is green again;

But I miss the soft clasp of your hand,

Your breath warm on my cheek,

And I still keep list’ning for the words

You never more may speak.

’T is but a step down yonder lane,

The little Church stands near—

The Church where we were wed, Mary,—

I see the spire from here;

But the graveyard lies between, Mary,—

My step might break your rest,—

Where you, my darling, lie asleep

With your baby on your breast.

I ’m very lonely now, Mary,—

The poor make no new friends;—

But, oh! they love the better still

The few our Father sends.

And you were all I had, Mary,

My blessing and my pride;

There ’s nothing left to care for now

Since my poor Mary died.

Yours was the good brave heart, Mary,

That still kept hoping on,

When trust in God had left my soul,

And half my strength was gone.

There was comfort ever on your lip,

And the kind look on your brow.

I bless you, Mary, for that same,

Though you can’t hear me now.

I thank you for the patient smile

When your heart was fit to break;

When the hunger pain was gnawing there

You hid it for my sake.

I bless you for the pleasant word

When your heart was sad and sore.

Oh! I ’m thankful you are gone, Mary,

Where grief can’t reach you more!

I ’m bidding you a long farewell,

My Mary—kind and true!

But I ’ll not forget you, darling,

In the land I ’m going to.

They say there ’s bread and work for all,

And the sun shines always there;

But I ’ll not forget old Ireland,

Were it fifty times as fair.

And when amid those grand old woods

I sit and shut my eyes,

My heart will travel back again

To where my Mary lies;

I ’ll think I see the little stile

Where we sat, side by side,—

And the springing corn and bright May morn,

When first you were my bride.

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MICHAEL FIELD.

WINDS TO-DAY ARE LARGE AND FREE.

W

inds to-day are large and free,

Winds to-day are westerly;

From the land they seem to blow

Whence the sap begins to flow

And the dimpled light to spread,

From the country of the dead.

Ah, it is a wild, sweet land

Where the coming May is planned,

Where such influences throb

As our frosts can never rob

Of their triumph, when they bound

Through the tree and from the ground.

Great within me is my soul,

Great to journey to its goal,

To the country of the dead;

For the cornel-tips are red,

And a passion rich in strife

Drives me toward the home of life.

Oh, to keep the spring with them

Who have flushed the cornel-stem,

Who imagine at its source

All the year’s delicious course,

Then express by wind and light

Something of their rapture’s height!

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LET US WREATHE THE MIGHTY CUP.

L

et us wreathe the mighty cup,

Then with song we ’ll lift it up,

And, before we drain the glow

Of the juice that foams below

Flowers and cool leaves round the brim,

Let us swell the praise of him

Who is tyrant of the heart,

Cupid with his flaming dart!

Pride before his face is bowed,

Strength and heedless beauty cowed;

Underneath his fatal wings

Bend discrowned the heads of kings;

Maidens blanch beneath his eye

And its laughing mastery;

Through each land his arrows sound,

By his fetters all are bound.

WHERE WINDS ABOUND.

W

here winds abound,

And fields are hilly,

Shy daffadilly

Looks down on the ground.

Rose cones of larch

Are just beginning;

Though oaks are spinning

No oak-leaves in March.

Spring ’s at the core,

The boughs are sappy:

Good to be happy

So long, long before!

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THOMAS HOOD.

1798-1845.

BALLAD.

I.

I

t was not in the winter

Our loving lot was cast;

It was the time of roses,—

We plucked them as we passed;

II.

That churlish season never frowned

On early lovers yet:—

Oh, no—the world was newly crowned

With flowers when first we met!

III.

’T was twilight, and I bade you go,

But still you held me fast;

It was the time of roses,—

We plucked them as we passed.—

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SONG.

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“I remember, I remember”

I REMEMBER, I REMEMBER.

BALLAD.

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SONG.

I.

T

he stars are with the voyager

Wherever he may sail;

The moon is constant to her time;

The sun will never fail;

But follow, follow round the world,

The green earth and the sea;

So love is with the lover’s heart,

Wherever he may be.

II.

Wherever he may be, the stars

Must daily lose their light;

The moon will veil her in the shade;

The sun will set at night.

The sun may set, but constant love

Will shine when he ’s away;

So that dull night is never night,

And day is brighter day.

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RICHARD MONCKTON MILNES
(LORD HOUGHTON).

1809-1885.

THE BROOKSIDE.

I wandered by the brook-side

THE VENETIAN SERENADE.

W

hen along the light ripple the far serenade

Has accosted the ear of each passionate maid,

She may open the window that looks on the stream,—

She may smile on her pillow and blend it in dream;

Half in words, half in music, it pierces the gloom,

“I am coming—StalÌ*—but you know not for whom!

StalÌ—not for whom!”

Now the tones become clearer,—you hear more and more

How the water divided returns on the oar,—

Does the prow of the Gondola strike on the stair?

Do the voices and instruments pause and prepare?

Oh! they faint on the ear as the lamp on the view,

“I am passing—PremÌ—but I stay not for you!

PremÌ—not for you!”

Then return to your couch, you who stifle a tear,

Then awake not, fair sleeper—believe he is here;

For the young and the loving no sorrow endures,

If to-day be another’s,—to-morrow is yours;

May, the next time you listen, your fancy be true,

“I am coming—SciÀr—and for you and to you!

SciÀr—and to you!”

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* The words here used are the calls of the gondoliers, indicating the direction they are rowing. “SciÀr” is to stop the boat.

FROM LOVE AND NATURE.

T

he Sun came through the frosty mist

Most like a dead-white moon;

Thy soothing tones I seemed to list,

As voices in a swoon.

Still as an island stood our ship,

The waters gave no sound,

But when I touched thy quivering lip

I felt the world go round.

We seemed the only sentient things

Upon that silent sea:

Our hearts the only living springs

Of all that yet could be!

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JEAN INGELOW.

1830.

THE LONG WHITE SEAM

LOVE.
FROM “SONGS OF SEVEN.”

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SWEET IS CHILDHOOD.

S

weet is childhood—childhood ’s over,

Kiss and part.

Sweet is youth; but youth ’s a rover—

So ’s my heart.

Sweet is rest; but by all showing

Toil is nigh.

We must go. Alas! the going,

Say “good-bye.”

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CHARLES KINGSLEY.

1819-1875.

AIRLY BEACON.

A

irly Beacon, Airly Beacon;

Oh the pleasant sight to see

Shires and towns from Airly Beacon,

While my love climbed up to me!

Airly Beacon, Airly Beacon;

Oh the happy hours we lay

Deep in fern on Airly Beacon,

Courting through the summer’s day!

Airly Beacon, Airly Beacon;

Oh the weary haunt for me,

All alone on Airly Beacon,

With his baby on my knee!

THE SANDS OF DEE.

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“Three fishers went sailing away to the West”

THREE FISHERS WENT SAILING.

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A FAREWELL.
To C. E. G.—1856.

M

y fairest child, I have no song to give you;

No lark could pipe in skies so dull and gray;

Yet, if you will, one quiet hint I ’ll leave you,

For every day.

I ’ll tell you how to sing a clearer carol

Than lark who hails the dawn of breezy down;

To earn yourself a purer poet’s laurel

Than Shakespeare’s crown.

Be good, sweet maid, and let who can be clever;

Do lovely things, not dream them, all day long;

And so make Life, and Death, and that For Ever,

One grand sweet song.

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WALTER SAVAGE LANDOR.

1775-1864.

ROSE AYLMER.

A

h, what avails the sceptered race!

Ah, what the form divine!

What every virtue, every grace!

Rose Aylmer, all were thine.

Rose Aylmer, whom these wakeful eyes

May weep, but never see,

A night of memories and of sighs

I consecrate to thee.

RUBIES.

O

ften I have heard it said

That her lips are ruby-red.

Little heed I what they say,

I have seen as red as they.

Ere she smiled on other men,

Real rubies were they then.

When she kissed me once in play,

Rubies were less bright than they,

And less bright were those which shone

In the palace of the Sun.

Will they be as bright again?

Not if kissed by other men.

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THE FAULT IS NOT MINE.

T

he fault is not mine if I love you too much,

I loved you too little too long,

Such ever your graces, your tenderness such,

And the music the heart gave the tongue.

A time is now coming when Love must be gone,

Tho’ he never abandoned me yet.

Acknowledge our friendship, our passion disown,

Our follies (ah can you?) forget.

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UNDER THE LINDENS.

U

nder the lindens lately sat

A couple, and no more, in chat;

I wondered what they would be at

Under the lindens.

I saw four eyes and four lips meet,

I heard the words, “How sweet! how sweet!”

Had then the Faeries given a treat

Under the lindens?

I pondered long and could not tell

What dainty pleased them both so well:

Bees! bees! was it your hydromel

Under the lindens?

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SIXTEEN.

I

n Clementina’s artless mien

Lucilla asks me what I see,—

And are the roses of sixteen

Enough for me?

Lucilla asks, if that be all,

Have I not culled as sweet before?

Ah yes, Lucilla! and their fall

I still deplore.

I now behold another scene,

Where Pleasure beams with heaven’s own light,—

More pure, more constant, more serene,

And not less bright:

Faith, on whose breast the Loves repose,

Whose chain of flowers no force can sever,

And Modesty, who, when she goes,

Is gone forever!

IANTHE.

T

hank Heaven, Ianthe, once again

Our hands and ardent lips shall meet,

And Pleasure, to assert his reign,

Scatter ten thousand kisses sweet:

Then cease repeating while you mourn,

“I wonder when he will return.”

Ah wherefore should you so admire

The flowing words that fill my song,

Why call them artless, yet require

“Some promise from that tuneful tongue?”

I doubt if heaven itself could part

A tuneful tongue and tender heart.

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Ianthe

ONE LOVELY NAME.

O

ne lovely name adorns my song,

And, dwelling in the heart,

For ever falters at the tongue,

And trembles to depart.

FORSAKEN.

M

other, I can not mind my wheel;

My fingers ache, my lips are dry;

Oh! if you felt the pain I feel!

But oh, who ever felt as I!

No longer could I doubt him true,

All other men may use deceit;

He always said my eyes were blue,

And often swore my lips were sweet.

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FREDERICK LOCKER-LAMPSON.

1821-1895.

A GARDEN LYRIC.

The flow of life is yet a rill

That laughs, and leaps, and glistens;

And still the woodland rings, and still

The old Damoetas listens.

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THE CUCKOO.

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GERTRUDE’S NECKLACE.

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Gertrude’s Necklace

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SAMUEL LOVER.

1797-1868.

THE ANGEL’S WHISPER.*

* A superstition of great beauty prevails in Ireland that when a child smiles in its sleep it is “talking with angels.”

WHAT WILL YOU DO, LOVE?

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CHARLES MACKAY.

1814-1889.

I LOVE MY LOVE.

I.

W

hat is the meaning of the song

That rings so clear and loud,

Thou nightingale amid the copse—

Thou lark above the cloud?

What says the song, thou joyous thrush,

Up in the walnut-tree?

“I love my Love, because I know

My Love loves me.”

II.

What is the meaning of thy thought,

O maiden fair and young?

There is such pleasure in thine eyes,

Such music on thy tongue;

There is such glory on thy face—

What can the meaning be?

“I love my Love, because I know

My Love loves me.”

III.

O happy words! at Beauty’s feet

We sing them ere our prime;

And when the early summers pass,

And Care comes on with Time,

Still be it ours, in Care’s despite,

To join the chorus free—

“I love my Love, because I know

My Love loves me.”

O YE TEARS!

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ARTHUR O’SHAUGHNESSY.

1844-1881.

A LOVE SYMPHONY.

A

long the garden ways just now

I heard the flowers speak;

The white rose told me of your brow,

The red rose of your cheek;

The lily of your bended head,

The bindweed of your hair:

Each looked its loveliest and said

You were more fair.

I went into the wood anon,

And heard the wild birds sing,

How sweet you were; they warbled on,

Piped, trilled the self-same thing.

Thrush, blackbird, linnet, without pause,

The burden did repeat,

And still began again because

You were more sweet.

And then I went down to the sea,

And heard it murmuring too,

Part of an ancient mystery,

All made of me and you.

How many a thousand years ago

I loved, and you were sweet—

Longer I could not stay, and so

I fled back to your feet.

“She turned back at the last to wait”

I MADE ANOTHER GARDEN.

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ADELAIDE ANNE PROCTER.

1825-1864.

THE LOST CHORD.

S

eated one day at the Organ,

I was weary and ill at ease,

And my fingers wandered idly

Over the noisy keys.

I do not know what I was playing,

Or what I was dreaming then;

But I struck one chord of music,

Like the sound of a great Amen.

It flooded the crimson twilight

Like the close of an Angel’s Psalm,

And it lay on my fevered spirit

With a touch of infinite calm.

It quieted pain and sorrow,

Like love overcoming strife;

It seemed the harmonious echo

From our discordant Life.

It linked all perplexÈd meanings

Into one perfect peace,

And trembled away into silence

As if it were loth to cease.

I have sought, but I seek it vainly,

That one lost chord divine,

Which came from the soul of the Organ,

And entered into mine.

It may be that Death’s bright angel

Will speak in that chord again,—

It may be that only in Heaven

I shall hear that grand Amen.

SENT TO HEAVEN.

I

 had a Message to send her,

To her whom my soul loved best;

But I had my task to finish,

And she was gone home to rest.

To rest in the far bright heaven;

Oh, so far away from here,

It was vain to speak to my darling,

For I knew she could not hear!

I had a message to send her,

So tender, and true, and sweet,

I longed for an Angel to bear it,

And lay it down at her feet.

I placed it, one summer evening,

On a Cloudlet’s fleecy breast;

But it faded in golden splendour,

And died in the crimson west.

I gave it the Lark next morning,

And I watched it soar and soar;

But its pinions grew faint and weary,

And it fluttered to earth once more.

To the heart of a Rose I told it;

And the perfume, sweet and rare,

Growing faint on the blue bright ether,

Was lost in the balmy air.

I laid it upon a Censer,

And I saw the incense rise;

But its clouds of rolling silver

Could not reach the far blue skies.

I cried, in my passionate longing:—

“Has the earth no Angel-friend

Who will carry my love the message

That my heart desires to send?”

Then I heard a strain of music,

So mighty, so pure, so clear,

That my very sorrow was silent,

And my heart stood still to hear.

And I felt, in my soul’s deep yearning,

At last the sure answer stir:—

“The music will go up to Heaven,

And carry my thought to her.”

It rose in harmonious rushing

Of mingled voices and strings,

And I tenderly laid my message

On the Music’s outspread wings.

I heard it float farther and farther,

In sound more perfect than speech;

Farther than sight can follow,

Farther than soul can reach.

And I know that at last my message

Has passed through the golden gate:

So my heart is no longer restless,

And I am content to wait.

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B. W. PROCTER (BARRY CORNWALL).

1787-1874.

THE POET’S SONG TO HIS WIFE.
SET TO MUSIC BY THE CHEVALIER NEUKOMM.

H

ow many Summers, love,

Have I been thine?

How many days, thou dove,

Hast thou been mine?

Time, like the wingÈd wind

When ’t bends the flowers,

Hath left no mark behind,

To count the hours!

Some weight of thought, though loth,

On thee he leaves;

Some lines of care round both

Perhaps he weaves;

Some fears,—a soft regret

For joys scarce known;

Sweet looks we half forget;—

All else is flown!

Ah! with what thankless heart

I mourn and sing!

Look, where our children start,

Like sudden Spring!

With tongues all sweet and low,

Like a pleasant rhyme,

They tell how much I owe

To thee and Time!

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A PETITION TO TIME.
1831.

T

ouch us gently, Time!

Let us glide adown thy stream

Gently,—as we sometimes glide

Through a quiet dream!

Humble voyagers are We,

Husband, wife, and children three—

(One is lost,—an angel, fled

To the azure overhead!)

Touch us gently, Time!

We ’ve not proud nor soaring wings:

Our ambition, our content

Lies in simple things.

Humble voyagers are We,

O’er Life’s dim unsounded sea,

Seeking only some calm clime:—

Touch us gently, gentle Time!

A BACCHANALIAN SONG.
SET TO MUSIC BY MR. H. PHILLIPS.

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SHE WAS NOT FAIR NOR FULL OF GRACE.

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THE SEA-KING.
SET TO MUSIC BY THE CHEVALIER NEUKOMM.

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A SERENADE.
SET TO MUSIC BY THE CHEVALIER NEUKOMM.

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King Death

KING DEATH.
SET TO MUSIC BY THE CHEVALIER NEUKOMM.

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SIT DOWN, SAD SOUL.

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A DRINKING SONG.

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PEACE! WHAT DO TEARS AVAIL?

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THE SEA.
SET TO MUSIC BY THE CHEVALIER NEUKOMM.

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CHRISTINA G. ROSSETTI.

1830-1895.

SONG.

W

hen I am dead, my dearest,

Sing no sad songs for me;

Plant thou no roses at my head,

Nor shady cypress-tree:

Be the green grass above me

With showers and dewdrops wet;

And if thou wilt, remember,

And if thou wilt, forget.

I shall not see the shadows,

I shall not feel the rain;

I shall not hear the nightingale

Sing on, as if in pain:

And dreaming through the twilight

That doth not rise nor set,

Haply I may remember,

And haply may forget.

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SONG.

O

 roses for the flush of youth,

And laurel for the perfect prime;

But pluck an ivy branch for me

Grown old before my time.

O violets for the grave of youth,

And bay for those dead in their prime;

Give me the withered leaves I chose

Before in the old time.

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SONG.

T

wo doves upon the selfsame branch,

Two lilies on a single stem,

Two butterflies upon one flower:—

O happy they who look on them.

Who look upon them hand in hand

Flushed in the rosy summer light;

Who look upon them hand in hand

And never give a thought to night.

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THREE SEASONS.

A

cup for hope!” she said,

In springtime ere the bloom was old:

The crimson wine was poor and cold

By her mouth’s richer red.

“A cup for love!” how low,

How soft the words; and all the while

Her blush was rippling with a smile

Like summer after snow.

“A cup for memory!”

Cold cup that one must drain alone:

While autumn winds are up and moan

Across the barren sea.

Hope, memory, love:

Hope for fair morn, and love for day,

And memory for the evening gray

And solitary dove.

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DANTE GABRIEL ROSSETTI.

1828-1882.

A LITTLE WHILE.

A

 little while a little love

The hour yet bears for thee and me

Who have not drawn the veil to see

If still our heaven be lit above.

Thou merely, at the day’s last sigh,

Hast felt thy soul prolong the tone;

And I have heard the night-wind cry

And deemed its speech mine own.

A little while a little love

The scattering autumn hoards for us

Whose bower is not yet ruinous

Nor quite unleaved our songless grove.

Only across the shaken boughs

We hear the flood-tides seek the sea,

And deep in both our hearts they rouse

One wail for thee and me.

A little while a little love

May yet be ours who have not said

The word it makes our eyes afraid

To know that each is thinking of.

Not yet the end: be our lips dumb

In smiles a little season yet:

I ’ll tell thee, when the end is come,

How we may best forget.

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SUDDEN LIGHT.

I

 have been here before,

But when or how I cannot tell:

I know the grass beyond the door,

The sweet keen smell,

The sighing sound, the lights around the shore.

You have been mine before,—

How long ago I may not know:

But just when at that swallow’s soar

Your neck turned so,

Some veil did fall,—I knew it all of yore.

Has this been thus before?

And shall not thus time’s eddying flight

Still with our lives our loves restore

In death’s despite,

And day and night yield one delight once more?

“I looked and saw your eyes”

THREE SHADOWS.

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ALGERNON CHARLES SWINBURNE.

1837.

A MATCH.

RONDEL.

K

issing her hair I sat against her feet,

Wove and unwove it, wound and found it sweet;

Made fast therewith her hands, drew down her eyes,

Deep as deep flowers and dreamy like dim skies;

With her own tresses bound and found her fair,

Kissing her hair.

Sleep were no sweeter than her face to me,

Sleep of cold sea-bloom under the cold sea;

What pain could get between my face and hers?

What new sweet thing would love not relish worse?

Unless, perhaps, white death had kissed me there,

Kissing her hair?

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SONG.
FROM “FELISE.”

O

 lips that mine have grown into

Like April’s kissing May,

O fervent eyelids letting through

Those eyes the greenest of things blue,

The bluest of things gray,

If you were I and I were you,

How could I love you, say?

How could the roseleaf love the rue,

The day love nightfall and her dew,

Though night may love the day?

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ALFRED TENNYSON.

1809-1892.

THE BUGLE SONG.
FROM “THE PRINCESS.”

T

he splendour falls on castle walls

And snowy summits old in story:

The long light shakes across the lakes,

And the wild cataract leaps in glory.

Blow, bugle, blow, set the wild echoes flying,

Blow, bugle; answer, echoes, dying, dying, dying.

O hark, O hear! how thin and clear,

And thinner, clearer, farther going!

O sweet and far from cliff and scar

The horns of Elfland faintly blowing!

Blow, let us hear the purple glens replying:

Blow, bugle; answer, echoes, dying, dying, dying.

O love, they die in yon rich sky,

They faint on hill or field or river:

Our echoes roll from soul to soul,

And grow for ever and for ever.

Blow, bugle, blow, set the wild echoes flying,

And answer, echoes, answer, dying, dying, dying.

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BREAK, BREAK, BREAK.

B

reak, break, break,

On thy cold gray stones, O Sea!

And I would that my tongue could utter

The thoughts that arise in me.

O well for the fisherman’s boy,

That he shouts with his sister at play!

O well for the sailor lad,

That he sings in his boat on the bay!

And the stately ships go on

To their haven under the hill;

But O for the touch of a vanished hand,

And the sound of a voice that is still!

Break, break, break,

At the foot of thy crags, O Sea!

But the tender grace of a day that is dead

Will never come back to me.

Break, Break, Break

TEARS, IDLE TEARS.
FROM “THE PRINCESS.”

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SWEET AND LOW.
FROM “THE PRINCESS.”

S

weet and low, sweet and low,

Wind of the western sea,

Low, low, breathe and blow,

Wind of the western sea!

Over the rolling waters go,

Come from the dying moon, and blow,

Blow him again to me;

While my little one, while my pretty one, sleeps.

Sleep and rest, sleep and rest,

Father will come to thee soon;

Rest, rest, on mother’s breast,

Father will come to thee soon;

Father will come to his babe in the nest,

Silver sails all out of the west

Under the silver moon:

Sleep, my little one, sleep, my pretty one, sleep.

TURN, FORTUNE, TURN THY WHEEL.
FROM “THE MARRIAGE OF GERAINT.”

T

urn, Fortune, turn thy wheel and lower the proud;

Turn thy wild wheel thro’ sunshine, storm, and cloud;

Thy wheel and thee we neither love nor hate.

Turn, Fortune, turn thy wheel with smile or frown;

With that wild wheel we go not up or down;

Our hoard is little, but our hearts are great.

Smile and we smile, the lords of many lands;

Frown and we smile, the lords of our own hands;

For man is man and master of his fate.

Turn, turn thy wheel above the staring crowd;

Thy wheel and thou are shadows in the cloud;

Thy wheel and thee we neither love nor hate.

VIVIEN’S SONG.
FROM “MERLIN AND VIVIEN.”

I

n Love, if Love be Love, if Love be ours,

Faith and unfaith can ne’er be equal powers:

Unfaith in aught is want of faith in all.

It is the little rift within the lute,

That by and by will make the music mute,

And ever widening slowly silence all.

The little rift within the lover’s lute

Or little pitted speck in garnered fruit,

That rotting inward slowly moulders all.

It is not worth the keeping: let it go:

But shall it? answer, darling, answer, no.

And trust me not at all or all in all.

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WILLIAM MAKEPEACE THACKERAY.

1811-1863.

AT THE CHURCH GATE.
FROM “PENDENNIS.”

THE MAHOGANY TREE.

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GEORGE WALTER THORNBURY.

1828-1876.

DAYRISE AND SUNSET.

W

hen Spring casts all her swallows forth

Into the blue and lambent air,

When lilacs toss their purple plumes

And every cherry-tree grows fair,—

Through fields with morning tints a-glow

I take my rod and singing go.

Where lilies float on broad green leaves

Below the ripples of the mill,

When the white moth is hovering

In the dim sky so hushed and still,

I watch beneath the pollard ash

The greedy trout leap up and splash.

Or down where golden water flowers

Are wading in the shallow tide,

While still the dusk is tinged with rose

Like a brown cheek o’erflushed with pride—

I throw the crafty fly and wait;

Watching the big trout eye the bait.

It is the lover’s twilight-time,

And there ’s a magic in the hour,

But I forget the sweets of love

And all love’s tyranny and power,

And with my feather-hidden steel

Sigh but to fill my woven creel.

Then upward darkling through the copse

I push my eager homeward way,

Through glades of drowsy violets

That never see the golden day.

Yes! while the night comes soft and slow

I take my rod and singing go.

“When Spring casts all her swallows forth”

THE THREE TROOPERS.
DURING THE PROTECTORATE.

I

nto the Devil tavern

Three booted troopers strode,

From spur to feather spotted and splashed

With the mud of a winter road.

In each of their cups they dropped a crust,

And stared at the guests with a frown;

Then drew their swords, and roared for a toast,

“God send this Crum-well-down!”

A blue smoke rose from their pistol locks,

Their sword blades were still wet;

There were long red smears on their jerkins of buff,

As the table they overset.

Then into their cups they stirred the crusts,

And cursed old London town;

They waved their swords, and drank with a stamp,

“God send this Crum-well-down!”

The ’prentice dropped his can of beer,

The host turned pale as a clout;

The ruby nose of the toping squires

Grew white at the wild men’s shout.

Then into their cups they flung their crusts,

And shewed their teeth with a frown;

They flashed their swords as they gave the toast,

“God send this Crum-well-down!”

The gambler dropped his dog’s-ear’d cards,

The waiting-women screamed,

As the light of the fire, like stains of blood,

On the wild men’s sabres gleamed.

Then into their cups they splashed their crusts,

And cursed the fool of a town,

And leapt on the table, and roared a toast,

“God send this Crum-well-down!”

Till on a sudden fire-bells rang,

And the troopers sprang to horse;

The eldest muttered between his teeth,

Hot curses—deep and coarse.

In their stirrup cups they flung the crusts,

And cried as they spurred through the town,

With their keen swords drawn and their pistols cocked,

“God send this Crum-well-down!”

Away they dashed through Temple Bar,

Their red cloaks flowing free,

Their scabbards clashed, each back-piece shone—

None liked to touch the three.

The silver cups that held the crusts

They flung to the startled town,

Shouting again, with a blaze of swords,

“God send this Crum-well-down!”

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THE CUCKOO.

W

hen a warm and scented steam

Rises from the flowering earth;

When the green leaves are all still,

And the song birds cease their mirth;

In the silence before rain

Comes the cuckoo back again.

When the Spring is all but gone—

Tearful April, laughing May—

When a hush comes on the woods,

And the sunbeams cease to play;

In the silence before rain

Comes the cuckoo back again.

decoration

Title Page

Victorian Songs
Lyrics of the Affections
and Nature
[Illustration]
Collected and Illustrated
by Edmund H Garrett
with an Introduction by
Edmund Gosse
[Decoration]
Little Brown and Company
Boston 1895





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