Beautifully our author hag named the succeeding poem also Mater Dolorosa. The one is the agony of loss, the other the bitterness of bereavement:
From her He passed: yet still with her
The endless thought of Him found rest;
A sad but sacred branch of myrrh
For ever folded in her breast.
A Boreal winter void of light—
So seemed her widowed days forlorn:
She slept; but in her breast all night
Her heart lay waking till the morn.
Sad flowers on Calvary that grew;—
Sad fruits that ripened from the Cross;—
These were the only joys she knew:
Yet all but these she counted loss.
Love strong as Death! She lived through thee
That mystic life whose every breath
From Life's low harp-string amorously
Draws out the sweetened name of Death.
Love stronger far than Death or Life!
Thy martyrdom was o'er at last
Her eyelids drooped; and without strife
To Him she loved her spirit passed.
For once we can leave the of a poem to the unaided italics with a good grace. To expound the exquisiteness of these lines would be like botanically dissecting a lily. But there is a deeper underlying excellence that may perhaps not suggest itself so irresistibly—the marvellous intuitive delicacy of the whole conception embodied by this poem. Only a truly profound religious feeling could thus happily have characterized the effect of such a sorrow on such a nature. A mere pietist would have painted a sanctified apathy; a merely smart writer would have imbued her with an eagerness for the end of earthly trouble; a man of talent would have made her resigned to death; the man of genius makes her resigned to life. Here is the effortless exactness of true poet.
Two more views, and we can turn from this picture of the Blessed Virgin of the May Carols—one, her human and inferior relation to God; and the other, her human and superior relation to ourselves. To the first point, perhaps the most explicit of the poems is the following, which, also, is a good example of the author s peculiar, sudden manner of turning his broad philosophy into the channel of some forcible application:
Not all thy purity, although
The whitest moon that ever lit
The peaks of Lebanonian snow
Shone dusk and dim compared with it;—
Not that great love of thine, whose beams
Transcended in their virtuous heat
Those suns which melt the ice-bound streams,
And make earth's pulses newly beat:—
It was not these that from the sky
Drew down to thee the Eternal Word:
He looked on thy humility;
He knew thee, "Handmaid of thy Lord."
Let no one claim with thee a part;
Let no one, Mary, name thy name,
While, aping God, upon his heart
Pride sits, a demon robed in flame.
Proud Vices, die! Where Sin has place
Be Sin's familiar self-disgust.
Proud Virtues, doubly die; that Grace
At last may burgeon from your dust.
But the poem which of all most truly, tenderly, and perfectly develops the whole beautiful spiritual dependence of the true Catholic upon the Mother of his God, is the Mater Divinae Gratis, already published in The Catholic World for May, p. 216.
The beauty of this piece has already attracted wide attention. The wonder is that any Catholic could have passed it by. It is a theological treatise in itself. Could all the repositories of divinity furnish a more complete reputation of those cold and narrow organisms (we hesitate to call them hearts) whose breasts would seem to have room for just so much piety, of a prescribed quality and regulation pattern, and who insist that every one we love is a unit in the divisor which assigns to each his portion of that known and limited store, our affection? These people sincerely cannot see how one can love Mary too without loving God less. It is as if a tree could not strike another root without sapping its trunk. Perish this narrowness! How long before these strait-laced souls—the moral progeny of that unhappiest of men, Calvin—will learn to love God as well as believe in him?
There is something very difficult of analysis about the power of these poems. They have none of that dramatic force which consists in skilfully selecting and emphasizing the striking sonnets of the situation. De Vere's strength does not seem to tend toward the outward personality, but rather lies in the direction of the soul and its sensations. When we lay down the May Carols, we do not conceive a whit the more clearly how the Virgin Mary looked; there is no impression to overlie and mar our memories of the great painters' pictures of her. But we cannot read aright without bearing away an expanded comprehension and near, real, vivid insight into her love, her pain, her humility, her deserving, her glory. We so enter in spirit into the scenes of her life as absolutely to lose sight of the surroundings. This kind of power may not be the most broadly effective, but we must admit that it reaches our admiration through our best faculties. Its secret lies in the fact that the author's own ideas both of Christ and his Mother are so complete and exalted. At what advantage, for example, he stands over the author of Ecce Homo, who, it seems, would have us believe Christ in his childhood to have been a Hebrew boy, much like other Hebrew boys, till ill-explained causes metamorphosed a Galilean peasant youth into the most transcendent genius of history! With this cold casuistic theory compare De Vere's picture of the mother lying worshipping by the moonlit cradle of her Son and God. He accepts in their entirety the received ideas of the church, neither varying nor wishing to vary one jot or tittle of the law, but lovingly investing it with all the developments of thought and all the decorations of fancy. No Catholic can help being struck by the singular doctrinal accuracy which pervades without perturbing the whole of this work. The result is a portraiture of the incarnation and the Blessed Virgin, such as an author who could set all the ruggedness of Calvary before our eyes, and make every waving olive-leaf in Gethsemane musically mournful in our souls, could not hope to rival by all the efforts of graphic genius.