"My squills make a brave show this morning, and the little petticoated Narcissus Cyclamineus in the lower rock-garden (surely Narcissus ought to have been a girl!) begins to 'take the winds of March with beauty.' I am expecting visitors, and hope that mulching will benefit the Yellow Pottebakkers, which I don't want to flower before Billy comes home from school," etc.
But the other day, in 'The Garden's Story,' by Mr. George H. Ellwanger, I came upon a piece of literary criticism which gave me a pleasurable pause in my search for quite other information. Mr. Ellwanger, a great American gardener, has observed that our poets usually sing of autumn in a minor key, which startles an American who, while accustomed to our language, cannot suit this mournfulness with the still air and sunshine and glowing colour of his own autumn. With us, as he notes, autumn is a dank, sodden season, bleak or shivering. 'The sugar and scarlet maple, the dogwood and sumac, are wanting to impart their warmth of colour; and St. Martin's summer somehow fails to shed a cheerful influence' comparable with that of the Indian summer over there. The Virginia creeper which reddens our Oxford walls so magnificently in October is an importation of no very long standing—old enough to be accepted as a feature of the place, not yet old enough to be inseparably connected with it in song. Yet—
"Of all odes to autumn, Keats's, I believe, is most universally admired. This might almost answer to our own fall of the leaf, and is far less sombre than many apostrophes to the season that occur throughout English verse."
"Of all odes to autumn, Keats's, I believe, is most universally admired. This might almost answer to our own fall of the leaf, and is far less sombre than many apostrophes to the season that occur throughout English verse."
From this Mr. Ellwanger proceeds to compare Keats's with the wonderful 'Ode to Autumn' which Hood wrote in 1823 (each ode, by the way, belongs to its author's twenty-fourth year), less perfect, to be sure, and far less obedient to form, but with lines so haunting and images so full of beauty that they do not suffer in the comparison. Listen to the magnificent opening:—
"I saw old Autumn in the misty morn
Stand shadowless like Silence, listening
To silence, for no lonely bird would sing
Into his hollow ear from woods forlorn,
Nor lonely hedge, nor solitary thorn.…"
"I saw old Autumn in the misty morn
Stand shadowless like Silence, listening
To silence, for no lonely bird would sing
Into his hollow ear from woods forlorn,
Nor lonely hedge, nor solitary thorn.…"
I had never (to my shame) thought of comparing the two odes until Mr. Ellwanger invited me. He notes the felicitous use of the O-sounds throughout Hood's ode, and points out, shrewdly as correctly, that the two poets were contemplating two different stages of autumn. Keats, more sensuous, dwells on the stage of mellow fruitfulness, and writes of late October at the latest. Hood's poem lies close 'on the birth of trembling winter': he sings more austerely of November's desolation:—
"Where is the pride of Summer—the green prime—
The many, many leaves all twinkling?—Three
On the moss'd elm; three on the naked lime
Trembling,—and one upon the old oak tree!
Where is the Dryad's immortality?
Gone into mournful cypress and dark yew,
Or wearing the long gloomy Winter through
In the smooth holly's green eternity.
"The squirrel gloats o'er his accomplished hoard,
The ants have brimm'd their garners with ripe grain,
And honey bees have stored
The sweets of summer in their luscious cells;
The swallows all have wing'd across the main;
But here the Autumn melancholy dwells,
And sighs her tearful spells
Amongst the sunless shadows of the plain.
Alone, alone
Upon a mossy stone
She sits and reckons up the dead and gone
With the last leaves for a love-rosary…"
"Where is the pride of Summer—the green prime—
The many, many leaves all twinkling?—Three
On the moss'd elm; three on the naked lime
Trembling,—and one upon the old oak tree!
Where is the Dryad's immortality?
Gone into mournful cypress and dark yew,
Or wearing the long gloomy Winter through
In the smooth holly's green eternity.
"The squirrel gloats o'er his accomplished hoard,
The ants have brimm'd their garners with ripe grain,
And honey bees have stored
The sweets of summer in their luscious cells;
The swallows all have wing'd across the main;
But here the Autumn melancholy dwells,
And sighs her tearful spells
Amongst the sunless shadows of the plain.
Alone, alone
Upon a mossy stone
She sits and reckons up the dead and gone
With the last leaves for a love-rosary…"