Lyrical Poems [7]
when some justice has at length been conceded to him, Herrick has to meet the great rivalry of the poets who, from Burns and Cowper to Tennyson, have widened and deepened the lyrical sphere, making it at once on the one hand more intensely personal, on the other, more free and picturesque in the range of problems dealt with: whilst at the same time new and richer lyrical forms, harmonies more intricate and seven-fold, have been created by them, as in Hellas during her golden age of song, to embody ideas and emotions unknown or unexpressed under Tudors and Stuarts. To this latter superiority Herrick would, doubtless, have bowed, as he bowed before Ben Jonson's genius. 'Rural ditties,' and 'oaten flute' cannot bear the competition of the full modern orchestra. Yet this author need not fear! That exquisite: and lofty pleasure which it is the first and the last aim of all true art to give, must, by its own nature, be lasting also. As the eyesight fluctuates, and gives the advantage to different colours in turn, so to the varying moods of the mind the same beauty does not always seem equally beautiful. Thus from the 'purple light' of our later poetry there are hours in which we may look to the daffodil and rose-tints of Herrick's old Arcadia, for refreshment and delight. And the pleasure which he gives is as eminently wholesome as pleasurable. Like the holy river of Virgil, to the souls who drink of him, Herrick offers 'securos latices.' He is conspicuously free from many of the maladies incident to his art. Here is no overstrain, no spasmodic cry, so wire-drawn analysis or sensational rhetoric, no music without sense, no mere second-hand literary inspiration, no mannered archaism:--above all, no sickly sweetness, no subtle, unhealthy affectation. Throughout his work, whether when it is strong, or in the less worthy portions, sanity, sincerity, simplicity, lucidity, are everywhere the characteristics of Herrick: in these, not in his pretty Pagan masquerade, he shows the note,--the only genuine note,--of Hellenic descent. Hence, through whatever changes and fashions poetry may pass, her true lovers he is likely to 'please now, and please for long.' His verse, in the words of a poet greater than himself, is of that quality which 'adds sunlight to daylight'; which is able to 'make the happy happier.' He will, it may be hoped, carry to the many Englands across the seas, east and west, pictures of English life exquisite in truth and grace:--to the more fortunate inhabitants (as they must perforce hold themselves!) of the old country, her image, as she was two centuries since, will live in the 'golden apples' of the West, offered to us by this sweet singer of Devonshire. We have greater poets, not a few; none more faithful to nature as he saw her, none more perfect in his art;--none, more companionable:--
F. T. P. Dec. 1876
** C H R Y S O M E L A **
A SELECTION FROM THE LYRICAL POEMS OF ROBERT HERRICK
** PREFATORY **
*1*
THE ARGUMENT OF HIS BOOK
I sing of brooks, of blossoms, birds, and bowers, Of April, May, of June, and July-flowers; I sing of May-poles, hock-carts, wassails, wakes, Of bride-grooms, brides, and of their bridal-cakes. I write of Youth, of Love;--and have access By these, to sing of cleanly wantonness; I sing of dews, of rains, and, piece by piece, Of balm, of oil, of spice, and ambergris. I sing of times trans-shifting; and I write How roses first came red, and lilies white. I write of groves, of twilights, and I sing The court of Mab, and of the Fairy King. I write of Hell; I sing, and ever shall Of Heaven,--and hope to have it after all.
*2*
TO HIS MUSE
Whither, mad maiden, wilt thou roam? Far safer 'twere to stay at home; Where thou mayst sit, and piping, please The poor and private cottages.
Since cotes and hamlets best agree With this thy meaner minstrelsy. There with the reed thou mayst express The shepherd's fleecy happiness; And with thy Eclogues intermix: Some smooth and harmless Bucolics. There, on a hillock, thou mayst sing Unto a handsome shepherdling;
F. T. P. Dec. 1876
** C H R Y S O M E L A **
A SELECTION FROM THE LYRICAL POEMS OF ROBERT HERRICK
** PREFATORY **
*1*
THE ARGUMENT OF HIS BOOK
I sing of brooks, of blossoms, birds, and bowers, Of April, May, of June, and July-flowers; I sing of May-poles, hock-carts, wassails, wakes, Of bride-grooms, brides, and of their bridal-cakes. I write of Youth, of Love;--and have access By these, to sing of cleanly wantonness; I sing of dews, of rains, and, piece by piece, Of balm, of oil, of spice, and ambergris. I sing of times trans-shifting; and I write How roses first came red, and lilies white. I write of groves, of twilights, and I sing The court of Mab, and of the Fairy King. I write of Hell; I sing, and ever shall Of Heaven,--and hope to have it after all.
*2*
TO HIS MUSE
Whither, mad maiden, wilt thou roam? Far safer 'twere to stay at home; Where thou mayst sit, and piping, please The poor and private cottages.
Since cotes and hamlets best agree With this thy meaner minstrelsy. There with the reed thou mayst express The shepherd's fleecy happiness; And with thy Eclogues intermix: Some smooth and harmless Bucolics. There, on a hillock, thou mayst sing Unto a handsome shepherdling;