Amaturus
Somewhere beneath the sun,
These quivering heart-strings prove it,
Somewhere there must be one
Made for this soul, to move it;
Someone that hides her sweetness
From neighbors whom she slights,
Nor can attain completeness,
Nor give her heart its rights;
Someone whom I could court
With no great change of manner,
Still holding reason’s fort
Though waving fancy’s banner;
A lady, not so queenly
As to disdain my hand,
Yet born to smile serenely
Like those that rule the land;
Noble, but not too proud;
With soft hair simply folded,
And bright face crescent-browed
And throat by Muses moulded;
Keen lips, that shape soft sayings
Like crystals of the snow,
With pretty half-betrayings
Of things one may not know;
Fair hand, whose touches thrill,
Like golden rod of wonder,
Which Hermes wields at will
Spirit and flesh to sunder.
Forth, Love, and find this maid,
Wherever she be hidden;
Speak, Love, be not afraid,
But plead as thou art bidden;
And say, that he who taught thee
His yearning want and pain,
Too dearly dearly bought thee
To part with thee in vain.
These lines are by the author of that exquisite little book “Ionica”—a book about which I hope to talk to you in another lecture. His real name was William Cory, and he was long the head-master of an English public school, during which time he composed and published anonymously the charming verses which have made him famous—modelling his best work in close imitation of the Greek poets. A few expressions in these lines need explanation. For instance, the allusion to Hermes and his rod. I think you know that Hermes is the Greek name of the same god whom the Romans called Mercury,—commonly represented as a beautiful young man, naked and running quickly, having wings attached to the sandals upon his feet. Runners used to pray to him for skill in winning foot races. But this god had many forms and many attributes, and one of his supposed duties was to bring the souls of the dead into the presence of the king of Hades. So you will see some pictures of him standing before the throne of the king of the Dead, and behind him a long procession of shuddering ghosts. He is nearly always pictured as holding in his hands a strange sceptre called the caduceus, a short staff about which two little serpents are coiled, and at the top of which is a tiny pair of wings. This is the golden rod referred to by the poet; when Hermes touched anybody with it, the soul of the person touched was obliged immediately to leave the body and follow after him. So it is a very beautiful stroke of art in this poem to represent the touch of the hand of great love as having the magical power of the golden rod of Hermes. It is as if the poet were to say: “Should she but touch me, I know that my spirit would leap out of my body and follow after her.” Then there is the expression “crescent-browed.” It means only having beautifully curved eyebrows—arched eyebrows being considered particularly beautiful in Western countries.
Now we will consider another poem of the ideal. What we have been reading referred to ghostly ideals, to memories, or to hopes. Let us now see how the poets have talked about realities. Here is a pretty thing by Thomas Ashe. It is entitled “Pansie”; and this flower name is really a corruption of a French word “Penser,” meaning a thought. The flower is very beautiful, and its name is sometimes given to girls, as in the present case.