Set him beneath the Athenian olive trees,
To speak with Marathonians: or to task
The wise serenity of Socrates;
Asking, what other men dare never ask.
Love of his country and his gods? Not these
The master thoughts, that comfort his strange heart,
When life grows difficult, and the lights dim:
In him is no simplicity, but art
Is all in all, for life and death, to him:
And whoso looks upon that fair face, sees
No nature there: only a magic mask.
Or set this man beside the Roman lords,
To vote upon the fate of Catiline;
Or in a battle of stout Roman swords,
Where strength and virtue were one thing divine:
Or bind him to the cross with Punic cords.
Think you, this unknown and mysterious man
Had played the Roman, with that wistful smile,
Those looks not moulded on a Roman plan,
But full of witcheries and secret guile?
Think you, those lips had framed true Roman words,
Whose very curves have something Sibylline?
Thou wouldst but laugh, were one to question thee:
Laugh with malign, bright eyes, and curious joy.
Thou'rt fallen in love with thine own mystery!
And yet thou art no Sibyl, but a boy.
What wondrous land within the unvoyaged sea
Haunts then thy thoughts, thy memories, thy dreams?
Nay! be my friend; and share with me thy past:
If haply I may catch enchaunting gleams,
Catch marvellous music, while our friendship last:
Tell me thy visions: though their true home be
Some land, that was a legend in old Troy.
1890.
THE ROMAN STAGE.
To Hugh Orange.
A man of marble holds the throne,
With looks composed and resolute:
Till death, a prince whom princes own,
Draws near to touch the marble mute.
The play is over: good my friends!
Murmur the pale lips: your applause!
With what a grace the actor ends:
How loyal to dramatic laws!
A brooding beauty on his brow;
Irony brooding over sin:
The next imperial actor now
Bids the satiric piece begin.