After this feast of horrors, something more fanciful may not come amiss. Let us pass to a competition of flowers in the golden, or—if you will have it so—the iron age of chivalry. The meditations of a captive knight have been a cherished theme for poets in all ages. Richard the Lion-heart of England, and James I. of Scotland, have left us, in no mean verse, the records of their own experience. We all remember how nobly and how well Felicia Hemans portrayed the agony of the crusader as he saw, from the window of his prison, the bright array of his Christian comrades defiling through the pass below. We shall now take a similar poem of Goethe, but one in a different vein:—
The Fairest Flower.
The Lay of the Captive Earl.
The Earl.—I know a floweret passing fair,
And for its loss I pain me;
Fain would I hence to seek its lair,
But for these bonds that chain me.
My woes are aught but light to me,
For when I roam'd unbound and free
That flower was ever near me.
Adown and round the castle's steep,
I let my glances wander;
But cannot from the dizzy keep,
Descry it, there or yonder.
Oh, he who'd bring it to my sight,
Or were he knave or were he knight,
Should be my friend for ever!
The Rose.—I blossom bright thy lattice near,
And hear what thou hast spoken;
'Tis me—brave, ill-starr'd cavalier—
The Rose, thou wouldst betoken!
Thy spirit spurns the base, the low,
And 'tis the queen of flowers, I know,
That in thy bosom reigneth.
The Earl.—All honour to thy purple cheer,
From swathes of verdure blowing;
And so art though to maidens dear,
As gold or jewels glowing.
Thy wreaths adorn the fairest face,
Yet art thou not the flower, whose grace
In solitude I cherish.
The Lily.—A haughty place usurps the rose,
And haughtier still doth covet;
But where the lily meekly blows,
Some gentle eye will love it.
The heart that beats in faithful breast,
And spotless is as my white vest,
Must value me the highest.
The Earl.—Spotless and true of heart am I,
And free from sinful failing,
Yet must I here a captive lie,
In loneliness bewailing.
I see an image fair in you
Of many maidens pure and true,
Yet know I something dearer.
The Carnation.—That may thy warder's garden show
In me, the bright carnation,
Else would the old man tend me so
With loving adoration?
In perfect round my petals meet,
And lifelong are with scent replete,
And with a burning colour.
The Earl.—None may the sweet carnation slight,
It is the gardener's pleasure,
Now he unfolds it to the light,
Now shields from it his treasure.
But no—the flower for which I pant,
No rare, no brilliant charms can vaunt,
'Tis ever meek and lowly.
The Violet.—Conceal'd and bending I retreat,
Nor willingly had spoken,
Yet that same silence, since 'tis meet,
Shall now by me be broken.
If I be that which fills thy thought
Then must I grieve that I may not
Waft every perfume to thee.
The Earl.—I love the violet, indeed,
So modest in perfection,
So gently sweet—yet more I need
To soothe my heart's dejection.
To thee alone the truth I'll speak,
That not upon this rock so bleak
Is to be found my darling.
In yon far vale, earth's truest wife
Sits where the brooks run playing,
And still must wear a woeful life
Till I with her am straying.
When a blue floweret by that spot
She plucks, and says—FORGET-ME-NOT,
I feel it here in bondage.
Yes, when two truly love, its might
They own and feel in distance,
So I, within this dungeon's night,
Cling ever to existence.
And when my heart is nigh distraught,
If I but say—FORGET-ME-NOT,
Hope burns again within me!
Such is constant love—the light even of the dungeon! Nor, to the glory of human nature be it said, is this a fiction. Witness Picciola—witness those letters, perhaps the most touching that were ever penned, from poor Camille Desmoulins to his wife, while waiting for the summons to the guillotine—witness, above all, that fragment signed Quéret-Démery, which could not get beyond the sullen walls of the Bastile until fifty years after the agonizing request was preferred, when that torture-chamber of cruelty was razed indignantly to the ground—"If, for my consolation, Monseigneur would grant me, for the sake of God and the most blessed Trinity, that I could have news of my dear wife! were it only her name on a card to show that she is yet alive! It were the sweetest consolation I could receive; and I should for ever bless the greatness of Monseigneur." Poetry has no such eloquence as this.
But we must not digress from our author. Here are a few lines of the deepest feeling and truth, and most appropriate in the hours of wretchedness—
Sorrow without Consolation.
O, wherefore shouldst thou try
The tears of love to dry?
Nay, let them flow!
For didst thou only know,
How barren and how dead
Seems every thing below,
To those who have not tears enough to shed,
Thou'd'st rather bid them weep, and seek their comfort so.