Pre-Raphaelite and other Poets. Lafcadio Hearn

be soundlessly passing, light and dark. Even in heaven, and throughout the universe, it was supposed in the Middle Ages that there were successions of day and night independent of the sun. These are the "tides" described. Ridge the void means, make ridges or wave-like lines in the ether of space. Midge is used in English just as the word kobai is used in Japanese. Fretful midge, a midge that moves very quickly as if fretted or frightened.

      And still she bowed herself and stooped

       Out of the circling charm;

       Until her bosom must have made

       The bar she leaned on warm,

       And the lilies lay as if asleep

       Along her bended arm.

      Charm. The circling charm is not merely the gold railing upon which she leans, but the magical limits of heaven itself which holds the souls back. She cannot pass beyond them. Otherwise her wish would take her back to this world to watch by her living lover. But only the angels, who are the messengers of heaven, can go beyond the boundaries.

      From the fixed place of Heaven she saw

       Time like a pulse shake fierce

       Through all the worlds. Her gaze still strove

       Within the gulf to pierce

       Its path; and now she spoke as when

       The stars sang in their spheres.

      Shake. Here in the sense of to beat like a heart or pulse. Heaven about her is motionless, fixed; but looking down upon the universe she sees a luminous motion, regular like a heart-beat; that is Time. Its path. Her eyes tried to pierce a way or path for themselves through space; that is, she made a desperate effort to see farther than she could see. She is looking in vain for the coming of her lover. Their spheres. This is an allusion to a Biblical verse, "when the morning stars sang together." It was said that when the world was created the stars sang for joy.

      The sun was gone now; the curled moon

       Was like a little feather

       Fluttering far down the gulf; and now

       She spoke through the still weather.

       Her voice was like the voice the stars

       Had when they sang together.

       (Ah sweet! Even now, in that bird's song,

       Strove not her accents there,

       Fain to be hearkened? When those bells

       Possessed the mid-day air,

       Strove not her steps to reach my side

       Down all the echoing stair?)

      Stair. We must suppose the lover to be in or near a church with a steeple, or lofty bell tower. Outside he hears a bird singing; and in the sweetness of its song he thinks that he hears the voice of the dead girl speaking to him. Then, as the church bells send down to him great sweet waves of sound from the tower, he imagines that he can hear, in the volume of the sound, something like a whispering of robes and faint steps as of a spirit trying to descend to his side.

      "I wish that he were come to me,

       For he will come," she said.

       "Have I not prayed in Heaven?—on earth,

       Lord, Lord, has he not prayed?

       Are not two prayers a perfect strength?

       And shall I fell afraid?

      An allusion to a verse in the New Testament—"if two of you shall agree on earth as touching anything that they shall ask, it shall be done for them." She is a little afraid that her lover may not get to heaven after all, but she suddenly remembers this verse, and it gives her encouragement. Perfect strength means strength of prayer, the power of the prayer to obtain what is prayed for. As she and he have both been praying for reunion in heaven, and as Christ has promised that whatever two people pray for, shall be granted, she feels consoled.

      "When round his head the aureole clings,

       And he is clothed in white,

       I'll take his hand and go with him

       To the deep wells of light;

       As unto a stream we will step down,

       And bathe there in God's sight.

      The aureole is the circle or disk of golden light round the head of a saint. Sometimes it is called a "glory." In some respects the aureole of Christian art much resembles that of Buddhist art, with this exception, that some of the Oriental forms are much richer and more elaborate. Three forms in Christian art are especially common—the plain circle; the disk, like a moon or sun, usually made in art by a solid plate of gilded material behind the head; the full "glory," enshrining the whole figure. There is only one curious fact to which I need further refer here; it is that the Holy Ghost in Christian art has a glory of a special kind—the triangle. White. This is a reference to the description of heaven in the paradise of St. John's vision, where all the saints are represented in white garments. Deep wells of light. Another reference to St. John's vision, Rev. XXII, 1—"And he showed me a pure river of water of life, clear as crystal, proceeding out of the throne of God." In the heaven of the Middle Ages, as in the Buddhist paradise, we find also lakes and fountains of light, or of liquid jewels.

      "We two will stand beside that shrine,

       Occult, withheld, untrod,

       Whose lamps are stirred continually

       With prayer sent up to God;

       And see our old prayers, granted, melt

       Each like a little cloud.

      Shrine. The Holy of Holies, or innermost sanctuary of heaven, imagined by mediæval faith as a sort of reserved chapel. But the origin of the fancy will be explained in the next note. Lamps. See again St. John's vision, Rev. IV, 5—"And there were seven lamps of fire burning before the throne, which are the seven Spirits of God." These mystical flames, representing special virtues and powers, would be agitated according to the special virtues corresponding to them in the ascending prayers of men. But now we come to another and stranger thought. A little cloud. See again Rev. V, 8, in which reference is made to "golden vials, full of incense, which are the prayers of the saints." Here we see the evidence of a curious belief that prayers in heaven actually become transformed into the substance of incense. By the Talmudists it was said that they were turned into beautiful flowers. Again, in Rev. VIII, 3, we have an allusion to this incense, made of prayer, being burned in heaven—"And there was given unto him much incense, that he should offer it with the prayers of all saints." Now the poem can be better understood. The Blessed Damozel thinks that her old prayers, that is to say, the prayers that she made on earth, together with those of her lover, are in heaven in the shape of incense. As long as prayer is not granted, it remains incense; when granted it becomes perfume smoke and vanishes. Therefore she says, "We shall see our old prayers, granted, melt each like a little cloud"—that is, a cloud of smoke of incense.

      "We two will lie i' the shadow of

       That living mystic tree

       Within whose secret growth the Dove

       Is sometimes felt to be,

       While every leaf that His plumes touch

       Saith His Name audibly.

      The heavenly tree of life is described in Rev. XXVII, 2, as bearing twelve different kinds of fruit, one for each of the twelve months of the year, while its leaves heal all diseases or troubles of any kind. The Dove is the Holy Ghost, who is commonly represented in Christian art by this bird, when he is not represented by a tongue or flame of fire. Every time that a leaf touches the body of the Dove, we are told that the leaf repeats the name of the Holy Ghost. In what language? Probably in Latin, and the sound of the Latin name would be like the sound of the motion of leaves, stirred by a wind: Sanctus Spiritus.

      "And I myself will teach to him,

       I myself, lying so,