are of the self-same mintage as Sidney’s golden coins, only more modern, and perhaps more perfect in form, and a trifle more shadowy in substance. If Sidney shows us but little of Stella, and if that little is, judged by the light of her subsequent career, not very accurately represented, Rossetti far surpasses him in unconscious reticence. He is not unwilling to analyze,—few recent poets are,—but his analysis lays bare only the tumult of his own heart, the lights and shades of his own delicate and sensitive nature.
It was Sidney, however, who first pointed out to women, with clear insistence, the advantage of having poets for lovers, and the promise of immortality thus conferred on them. He entreats them to listen kindly to those who can sing their praises to the world. “For so doing you shall be most fair, most wise, most rich, most everything! You shall feed upon superlatives.” Carew, adopting the same tone, and less gallant than Wither, who refers even his own fame to Arete’s kindling glances, tells the flaunting Celia very plainly that she owes her dazzling prominence to him alone.
“Know, Celia! since thou art so proud,
’Twas I that gave thee thy renown;
Thou hadst in the forgotten crowd
Of common beauties lived unknown,
Had not my verse exhaled thy name,
And with it impt the wings of fame.”
What wonder that, under such conditions and with such reminders, a passion for being be-rhymed seized upon all women, from the highest to the lowest, from the marchioness at court to the orange-girl smiling in the theatre!—a passion which ended its fluttering existence in our great-grandmothers’ albums. Yet nothing is clearer, when we study these poetic suits, than their very discouraging results. The pleasure that a woman takes in being courted publicly in verse is a very distinct sensation from the pleasure that she expects to take when being courted privately in prose. She is quick to revere, genius, but in her secret soul she seldom loves it. Genius, as Hazlitt scornfully remarks, “says such things,” and the average woman distrusts “such things,” and wonders why the poet will not learn to talk and behave like ordinary people. It hardly needed the crusty shrewdness of Christopher North to point out to us the arrant ill-success with which the Muse has always gone a-wooing. “Making love and making love-verses,” he explains, “are two of the most different things in the world, and I doubt if both accomplishments were ever found highly united in the same gifted individual. Inspiration is of little avail either to gods or men in the most interesting affairs of life, those of the earth. The pretty maid who seems to listen kindly
‘Kisses the cup, and passes it to the rest,’
and next morning, perhaps, is off before breakfast in a chaise-and-four to Gretna Green, with an aid-de-camp of Wellington, as destitute of imagination as his master.” It is the cheerful equanimity with which the older poets anticipated and endured some such finale as this which gives them their precise advantage over their more exacting and self-centred successors.
For what is the distinctive characteristic of the early love-songs, and to what do they owe their profound and penetrating charm? It is that quality of youth which Heine so subtly recognized in Rossini’s music, and which, to his world-worn ears, made it sweeter than more reflective and heavily burdened strains. Love was young when Herrick and Carew and Suckling went a-wooing; he has grown now to man’s estate, and the burdens of manhood have kept pace with his growing powers. It is no longer, as at the feast of Apollo, a contest for the deftest kiss, but a life-and-death struggle in that grim arena where passion and pain and sorrow contend for mastery.
“Ah! how sweet it is to love!
Ah! how gay is young desire!”
sang Dryden, who, in truth, was neither sweet nor gay in his amorous outpourings, but who merely echoed the familiar sentiments of his youth. That sweetness and gayety of the past still linger, indeed, in some half-forgotten and wholly neglected verses which we have grown too careless or too cultivated to recall. We harden our hearts against such delicious trifling as
“The young May moon is beaming, love,
The glow-worm’s lamp is gleaming, love.”