Poems of Rupert Brooke [31]
and those who would have been, Their sons, they gave -- their immortality. I am strangely mistaken if the accent of the noblest English poetry does not speak to us in those lines. And again: "If I should die, think only this of me: That there's some corner of a foreign field That is for ever England. There shall be In that rich earth a richer dust concealed; A dust whom England bore, shaped, made aware, Gave, once, her flowers to love, her ways to roam, A body of England's breathing, breathing English air, Washed by the rivers, blest by suns of home.
"This -- this music, this beauty, this courage -- was Rupert Brooke. But it is, we may be sure, his immortality. It is not yet tolerable to speak of personal loss. The name seemed to stand for a magical vitality that must be safe -- safe! Yes, `and if these poor limbs die, safest of all!' What poetry has lost in him cannot be judged by any one who has not read those last sonnets, now his farewell to England and the world. I am not underrating the rest of his work. There was an intellectual keenness and brightness in it, a fire of imagery and (in the best sense) wit, the like of which had not been known, or known only in snatches, in our literature since the best days of the later Elizabethans. And it was all penetrated by a mastering passion, the most elemental of all passions -- the passion for life. `I have been so great a lover,' he cries, and artfully leads us on to think he means the usual passion of a young poet's career. But it is just life he loves, and not in any abstract sense, but all the infinite little familiar details of life catalogued with delighted jest. This was profoundly sincere: no one ever loved life more wholly or more minutely. And he celebrated his love exquisitely, often unforgettably, through all his earlier poetry, getting further intensity from a long sojourn in the South Seas. But this passion for life had never had seriously to fight for its rights and joys. Like all great lovers of life, he had pleased himself with the thought of death and after death: not insincerely, by any means, but simply because this gave a finer relish to the sense of being alive. Platonism, which offers delightful games for such subtle wit as his, he especially liked to play with. It was one more element in the life of here and now, the life of mortal thought and sense and spirit, infinitely varying and by him infinitely loved. And then came 1914; and his passion for life had suddenly to face the thought of voluntary death. But there was no struggle; for instantly the passion for life became one with the will to die -- and now it has become death itself. But first Rupert Brooke had told the world once more how the passion for beautiful life may reach its highest passion and most radiant beauty when it is the determination to die."
Margaret Lavington.
London, October, 1915.
Appendix
In Memory of Rupert Brooke
In alien earth, across a troubled sea, His body lies that was so fair and young. His mouth is stopped, with half his songs unsung; His arm is still, that struck to make men free. But let no cloud of lamentation be Where, on a warrior's grave, a lyre is hung. We keep the echoes of his golden tongue, We keep the vision of his chivalry.
So Israel's joy, the loveliest of kings, Smote now his harp, and now the hostile horde. To-day the starry roof of Heaven rings With psalms a soldier made to praise his Lord; And David rests beneath Eternal wings, Song on his lips, and in his hand a sword.
Joyce Kilmer, from `Main Street and Other Poems', 1917.
Rupert Brooke
I
Your face was lifted to the golden sky Ablaze beyond the black roofs of the square As flame on flame leapt, flourishing in air Its tumult of red stars exultantly To the cold constellations dim and high: And as we neared the roaring ruddy flare Kindled to gold your throat and brow and hair Until you burned,
"This -- this music, this beauty, this courage -- was Rupert Brooke. But it is, we may be sure, his immortality. It is not yet tolerable to speak of personal loss. The name seemed to stand for a magical vitality that must be safe -- safe! Yes, `and if these poor limbs die, safest of all!' What poetry has lost in him cannot be judged by any one who has not read those last sonnets, now his farewell to England and the world. I am not underrating the rest of his work. There was an intellectual keenness and brightness in it, a fire of imagery and (in the best sense) wit, the like of which had not been known, or known only in snatches, in our literature since the best days of the later Elizabethans. And it was all penetrated by a mastering passion, the most elemental of all passions -- the passion for life. `I have been so great a lover,' he cries, and artfully leads us on to think he means the usual passion of a young poet's career. But it is just life he loves, and not in any abstract sense, but all the infinite little familiar details of life catalogued with delighted jest. This was profoundly sincere: no one ever loved life more wholly or more minutely. And he celebrated his love exquisitely, often unforgettably, through all his earlier poetry, getting further intensity from a long sojourn in the South Seas. But this passion for life had never had seriously to fight for its rights and joys. Like all great lovers of life, he had pleased himself with the thought of death and after death: not insincerely, by any means, but simply because this gave a finer relish to the sense of being alive. Platonism, which offers delightful games for such subtle wit as his, he especially liked to play with. It was one more element in the life of here and now, the life of mortal thought and sense and spirit, infinitely varying and by him infinitely loved. And then came 1914; and his passion for life had suddenly to face the thought of voluntary death. But there was no struggle; for instantly the passion for life became one with the will to die -- and now it has become death itself. But first Rupert Brooke had told the world once more how the passion for beautiful life may reach its highest passion and most radiant beauty when it is the determination to die."
Margaret Lavington.
London, October, 1915.
Appendix
In Memory of Rupert Brooke
In alien earth, across a troubled sea, His body lies that was so fair and young. His mouth is stopped, with half his songs unsung; His arm is still, that struck to make men free. But let no cloud of lamentation be Where, on a warrior's grave, a lyre is hung. We keep the echoes of his golden tongue, We keep the vision of his chivalry.
So Israel's joy, the loveliest of kings, Smote now his harp, and now the hostile horde. To-day the starry roof of Heaven rings With psalms a soldier made to praise his Lord; And David rests beneath Eternal wings, Song on his lips, and in his hand a sword.
Joyce Kilmer, from `Main Street and Other Poems', 1917.
Rupert Brooke
I
Your face was lifted to the golden sky Ablaze beyond the black roofs of the square As flame on flame leapt, flourishing in air Its tumult of red stars exultantly To the cold constellations dim and high: And as we neared the roaring ruddy flare Kindled to gold your throat and brow and hair Until you burned,