A bad poem, though interesting from the number of poets mentioned, is a satiric effort entitled The Examination. It supposes that all the living poets have been summoned by Apollo to undergo a competitive examination. The bards, summoned by postcards, which had just then been introduced, repair to Parnassus and are shown to the Hall. Rossetti and Morris, however, make a fuss because the paper is not to their taste. Walt Whitman, already a great favourite of mine, "though spurning a jingle," is hailed as "the singer of songs for all time." Proteus (Wilfrid Blount) is mentioned, for my cult for him was already growing. Among other poets who appear, but who have since died to fame, are Lord Lytton, Lord Southesk, Lord Lome, Mrs. Singleton, and Martin Tupper. In the end Apollo becomes "fed up" with his versifiers, and dismisses them all with the intimation that any who have passed will receive printed cards. The curtain is rung down with the gloomy couplet:
Six months have elapsed, but no poet or bard,
So far as I know, has yet got a card
Another set of verses, written between the ages of fourteen and fifteen, which are worth recalling from the point of view of metre include some English hexameters. I was inspired to write them by an intense admiration of Clough's Amours de Voyage, an admiration which grows greater, not lesser, with years.
As I have started upon the subject of verse, I think I had better pursue the course of the stream until, as the old geographers used to say about the Rhine, its waters were lost in the sands, in my case not of Holland but of Prose.
From 1877 to the time when I actually entered Balliol, at eighteen and a half, I went on writing verse, and was fortunate enough to get one or two pieces published. Besides two sonnets which were accepted by The Spectator—sonnets whose only raison d'être was a certain competence of expression—was a poem entitled Love's Arrows, which was accepted, to my great delight, by Sir George Grove, then the Editor of Macmillan's Magazine, a periodical given up to belles-lettres. The poem may be best described as in the Burne Jones manner. I shall not, however, quote any part of it, except the prose introduction, which I still regard with a certain enthusiasm as a successful fake. It ran as follows:
At a league's distance from the town of Ponteille in Provence and hard by the shrine of Our Lady of Marten, there is in the midst of verdant meadows a little pool, overshadowed on all sides by branching oak-trees, and surrounded at the water's edge by a green sward so fruitful that in spring it seemeth, for the abundance of white lilies, as covered with half-melted snow. Unto this fair place a damsel from out a near village once came to gather white flowers for the decking of Our Lady's chapel; and while so doing saw lying in the grass a naked boy; in his hair were tangled blue waterflowers, and at his side lay a bow and marvellously wrought quivers of two arrows, one tipped at the point with gold, the other with lead. These the damsel, taking up the quiver, drew out; but as she did so the gold arrow did prick her finger, and so sorely that, starting at the pain, she let fall the leaden one upon the sleeping boy. He at the touch of that arrow sprang up, and crying against her with much loathing, fled over the meadows. She followed him to overtake him, but could not, albeit she strove greatly; and soon, wearied with her running, fell upon the grass in a swoon. Here had she lain, had not a goatherd of those parts found her and brought her to the village. Thus was much woe wrought unto the damsel, for after this she never again knew any joy, nor delighted in aught, save only it were to sit waiting and watching among the lilies by the pool. By these things it seemeth that the boy was not mortal, as she supposed, but rather the Demon or Spirit of Love, whom John of Dreux for his two arrows holdeth to be that same Eros of Greece.—MSS. Mus. Aix. B. 754. Needless to say, it was a pure invention and not a copy, or travesty of an old model. I was egregiously proud of the scription at the end which, if I remember rightly, my father helped me to concoct. A certain interest has always attached in my mind to this piece of prose. To read it one would imagine that the author had closely studied the translations of Morris and other Tenderers of the French romances, but as far as I know I had not read any of them. The sole inspiration of my forgery were a few short references in Rossetti and Swinburne. This shows that in the case of literary forgeries one need not be surprised by verisimilitudes, and that it is never safe to say that a literary forger could not have done this or that. If he happens to have a certain flair for language and the tricks of the literary trade, he can do a wonderful amount of forgery upon a very small stock of knowledge. After all, George Byron forged Sonnets by Keats which took in Lord Houghton—a very good judge in the case of Keats.
CHAPTER X
OXFORD
My introduction to Oxford and its life was somewhat chaotic. Out of that chaos, as I shall show later, I achieved both good and evil. But I must first explain how the chaos arose. By the time I had reached seventeen it had become obvious to my father—or, rather, to the people at the University, who so advised him—that if I was to be able to matriculate at Balliol I must set my intellectual house in order and learn something of the things upon which alone one could matriculate. The irony of accident had designed my mental equipment to be of a kind perfectly useless for the purposes of the preliminary Oxford examinations. It was no doubt true that I knew enough poetry and general literature to confound half the Dons in Balliol. I also knew enough mathematics, as, to my astonishment, a mathematical tutor at Oxford in an unguarded hour confessed to me, to enable me to take a First in Mathematical Mods. But knowledge of literature, a power of writing, a not inconsiderable reading in modern history, and the aforesaid mathematics were no use whatever for the purposes of matriculation.
In those days Latin and Greek Grammar, Latin Prose and "Latin and Greek Unseen," and certain specially-prepared Greek and Latin Books were essentials. It is true that these alone would not have matriculated me. In addition to them the writing of a good essay and of a good general paper were required, to obtain success. Still, the sine qua non was what the representative of the old Oxford in Matthew Arnold's Friendship's Garland calls "the good old fortifying classical curriculum." I could by no possibility have reached the heights of "Hittal," who, it will be remembered, wrote "some longs and shorts about the Caledonian boar which were not bad." Though English verses came so easily, Latin verses did not come at all.