Pre-Raphaelite and other Poets. Lafcadio Hearn

"O to clasp her golden head!" (O Troy's down! Tall Troy's on fire!)

      This wonderful ballad, with its single and its double refrains, represents Rossetti's nearest approach to earth, except the ballad of "Eden Bower." Usually he seldom touches the ground, but moves at some distance above it, just as one flies in dreams. But you will observe that the mysticism here has almost vanished. There is just a little ghostliness to remind you that the writer is no common singer, but a poet able to give a thrill. The ghostliness is chiefly in the fact of the supernatural elements involved; Helen with her warm breast we feel to be a real woman, but Venus and love are phantoms, who speak and act as figures in sleep. This is true art under the circumstances. We feel nothing more human until we come to the last stanza; then we hear it in the cry of Paris. But why do I say that this is high art to make the gods as they are made here? The Greeks would have made Venus and Cupid purely human. But Rossetti is not taking the Greek view of the subject at all. He is taking the mediæval one. He is writing of Greek gods and Greek legends as such subjects were felt by Chaucer and by the French poets of the thirteenth and fourteenth centuries. It would not be easy to explain the mediæval tone of the poem to you; that would require a comparison with the work of very much older poets. I only want now to call your attention to the fact that even in a Greek subject of the sensuous kind Rossetti always keeps the tone of the Middle Ages; and that tone was mystical.

      Having given this beautiful example of the least mystical class of Rossetti's light poems, let us pass at once to the most mystical. These are in all respects, I am not afraid to say, far superior. The poem by which Rossetti became first widely known and admired was "The Blessed Damozel." This and a lovely narrative poem entitled "Staff and Scrip" form the most exquisite examples of the poet's treatment of mystical love. You should know both of them; but we shall first take "The Blessed Damozel."

      This is the story of a woman in heaven, speaking of the man she loved on earth. She is waiting for him. She watches every new soul that comes to heaven, hoping that it may be the soul of her lover. While waiting thus, she talks to herself about what she will do to make her lover happy when he comes, how she will show him all the beautiful things in heaven, and will introduce him to the holy saints and angels. That is all. But it is very wonderful in its sweetness of simple pathos, and in a peculiar, indescribable quaintness which is not of the nineteenth century at all. It is of the Middle Ages, the Italian Middle Ages before the time of Raphael. The heaven painted here is not the heaven of modern Christianity—if modern Christianity can be said to have a heaven; it is the heaven of Dante, a heaven almost as sharply defined as if it were on earth.

      THE BLESSED DAMOZEL

       The blessed damozel leaned out

       From the gold bar of Heaven;

       Her eyes were deeper than the depth

       Of waters stilled at even;

       She had three lilies in her hand,

       And the stars in her hair were seven.

      Damozel. This is only a quaint form of the same word which in modern French signifies a young lady—demoiselle. The suggestion is not simply that it is a maiden that speaks, but a maiden of noble blood. The idea of the poet is exactly that of Dante in speaking of Beatrice. Seven is the mystical number of Christianity.

      Her robe, ungirt from clasp to hem,

       No wrought flowers did adorn,

       But a white rose of Mary's gift,

       For service meetly worn;

       Her hair that lay along her back

       Was yellow like ripe corn.

      Clasp. The ornamental fastening of the dress at the neck. "From clasp to hem" thus signifies simply "from neck to feet," for the hem of a garment means especially its lower edge. Wrought-flowers here means embroidered flowers. The dress has no ornament and no girdle; it is a dress of the thirteenth century as to form; but it may interest you to know that usually in religious pictures of angels and heavenly souls (the French religious prints are incomparably the best) there is no girdle, and the robe falls straight from neck to feet. Service. The maiden in heaven becomes a servant of the Mother of God. But the mediæval idea was that the daughter of a very noble house, entering heaven, might be honoured by being taken into the service of Mary, just as in this world one might be honoured by being taken into the personal service of a queen or emperor. A white rose is worn as the badge or mark of this distinction, because white is the symbol of chastity, and Mary is especially the patron of chastity. In heaven also—the heaven of Dante—the white rose has many symbolic significations. Yellow. Compare "Elle est blonde comme le blé." (De Musset.)

      Herseemed she scarce had been a day

       One of God's choristers;

       The wonder was not yet quite gone

       From that still look of hers;

       Albeit, to them she left, her day

       Had counted as ten years.

      Herseemed. This word is very unusual, even obsolete. Formerly instead of saying "it seems to me," "it seems to him," English people used to say meseems, him-seems, herseems. The word "meseems" is still used, but only in the present, with rare exceptions. It is becoming obsolete also. Choristers. Choir-singers. The daily duty of angels and souls in heaven was supposed to be to sing the praises of God, just as on earth hymns are sung in church. Albeit. An ancient form of "although."

      (To one, it is ten years of years,

       … Yet now, and in this place,

       Surely she leaned o'er me—her hair

       Fell all about my face. …

       Nothing: the autumn-fall of leaves.

       The whole year sets apace.)

      Ten years of years. That is, years composed not of three hundred and sixty-five days, but of three hundred and sixty-five years. To the lover on earth, deprived of his beloved by death, the time passes slowly so that a day seems as long as a year. Sometimes he imagines that he feels the dead bending over him—that he feels her hair falling over his face. When he looks, he finds that it is only the leaves of the trees that have been falling upon him; and he knows that the autumn has come, and that the year is slowly dying.

      It was the rampart of God's house

       That she was standing on;

       By God built over the sheer depth

       The which is Space begun;

       So high, that looking downward thence

       She scarce could see the sun.

      Rampart, you know, means part of a fortification; all the nobility of the Middle Ages lived in castles or fortresses, and their idea of heaven was necessarily the idea of a splendid castle. In the "Song of Roland" we find the angels and the saints spoken of as knights and ladies, and the language they use is the language of chivalry. Sheer depth, straight down, perpendicularly, absolute. God's castle overlooks, not a landscape, but space; the sun and the stars lie far below.

      It lies in Heaven, across the flood

       Of ether, as a bridge.

       Beneath, the tides of day and night

       With flame and darkness ridge

       The void, as low as where this earth

       Spins like a fretful midge.

       Around her, lovers, newly met

       'Mid deathless love's acclaims,

       Spoke ever more among themselves

       Their heart-remembered names;

       And the souls mounting up to God

       Went by her like thin flames.

      Ether. This is not the modern word, the scientific ether, but the Greek and also mediæval ether, the most spiritual form of matter. The house of God, or heaven, rests upon nothing, but stretches out like a bridge over the ether itself. Far below something like enormous