Like to the cloud upon the hill
We are a moment seen
Or the shadow of the windmill-sail
Across yon sunny slope of green.
Like to the cloud upon the hill
We are a moment seen
Or the shadow of the windmill-sail
Across yon sunny slope of green.
New or not, and I don't remember it elsewhere, it is just and beautiful I think. Think how the shadow of the windmill-sail just touches the ground on a bright windy day! the shadow of a bird flying is not faster! Then the 'Three Knights' has beautiful things, with more definite and distinct images than he is apt to show—for his character is a vague grand massiveness,—like Stonehenge—or at least, if 'towers and battlements he sees' they are 'bosomed high' in dusky clouds ... it is a 'passion-created imagery' which has no clear outline. In this ballad of the 'Knights,' and in the Monk's too, we may look at things, as on the satyr who swears by his horns and mates not with his kind afterwards, 'While, holding beards, they dance in pairs—and that is all excellent and reminds one of those fine sylvan festivals, 'in Orion.' But now tell me if you like altogether 'Ben Capstan' and if you consider the sailor-idiom to be lawful in poetry, because I do not indeed. On the same principle we may have Yorkshire and Somersetshire 'sweet Doric'; and do recollect what it ended in of old, in the Blowsibella heroines. Then for the Elf story ... why should such things be written by men like Mr. Horne? I am vexed at it. Shakespeare and Fletcher did not write so about fairies:—Drayton did not. Look at the exquisite 'Nymphidia,' with its subtle sylvan consistency, and then at the lumbering coarse ... 'machina intersit' ... Grandmama Grey!—to say nothing of the 'small dog' that isn't the 'small boy.' Mr. Horne succeeds better on a larger canvass, and with weightier material; with blank verse rather than lyrics. He cannot make a fine stroke. He wants subtlety and elasticity in the thought and expression. Remember, I admire him honestly and earnestly. No one has admired more than I the 'Death of Marlowe,' scenes in 'Cosmo,' and 'Orion' in much of it. But now tell me if you can accept with the same stretched out hand all these lyrical poems? I am going to write to him as much homage as can come truly. Who combines different faculties as you do, striking the whole octave? No one, at present in the world.
Dearest, after you went away yesterday and I began to consider, I found that there was nothing to be so over-glad about in the matter of the letters, for that, Sunday coming next to Saturday, the best now is only as good as the worst before, and I can't hear from you, until Monday ... Monday! Did you think of that—you who took the credit of acceding so meekly! I shall not praise you in return at any rate. I shall have to wait ... till what o'clock on Monday, tempted in the meanwhile to fall into controversy against the 'new moons and sabbath days' and the pausing of the post in consequence.
You never guessed perhaps, what I look back to at this moment in the physiology of our intercourse, the curious double feeling I had about you—you personally, and you as the writer of these letters, and the crisis of the feeling, when I was positively vexed and jealous of myself for not succeeding better in making a unity of the two. I could not! And moreover I could not help but that the writer of the letters seemed nearer to me, long ... long ... and in spite of the postmark, than did the personal visitor who confounded me, and left me constantly under such an impression of its being all dream-work on his side, that I have stamped my feet on this floor with impatience to think of having to wait so many hours before the 'candid' closing letter could come with its confessional of an illusion. 'People say,' I used to think, 'that women always know, and certainly I do not know, and therefore ... therefore.'—The logic crushed on like Juggernaut's car. But in the letters it was different—the dear letters took me on the side of my own ideal life where I was able to stand a little upright and look round. I could read such letters for ever and answer them after a fashion ... that, I felt from the beginning. But you—!
Monday.—Never too early can the light come. Thank you for my letter! Yet you look askance at me over 'newt and toad,' and praise so the Elf-story that I am ashamed to send you my ill humour on the same head. And you really like that? admire it? Grandmama Grey and the night cap and all? and 'shoetye and blue sky?' and is it really wrong of me to like certainly some touches and images, but not the whole, ... not the poem as a whole? I can take delight in the fantastical, and in the grotesque—but here there is a want of life and consistency, as it seems to me!—the elf is no elf and speaks no elf-tongue: it is not the right key to touch, ... this, ... for supernatural music. So I fancy at least—but I will try the poem again presently. You must be right—unless it should be your over-goodness opposed to my over-badness—I will not be sure. Or you wrote perhaps in an accidental mood of most excellent critical smoothness, such as Mr. Forster did his last Examiner in, when he gave the all-hail to Mr. Harness as one of the best dramatists of the age!! Ah no!—not such as Mr. Forster's. Your soul does not enter into his secret—There can be nothing in common between you. For him to say such a word—he who knows—or ought to know!—And now let us agree and admire the bowing of the old ministrel over Bedd Gelert's unfilled grave—
The long beard fell like snow into the grave
With solemn grace
The long beard fell like snow into the grave
With solemn grace
The long beard fell like snow into the grave
With solemn grace
The long beard fell like snow into the grave
With solemn grace