Complete Works of Thomas Hardy (Illustrated)
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It is not unattractive to prink
Them in sables for heroes. Some fickle and fleet hearts
Have found them new loves.”
XI
”And our wives?” quoth another resignedly,
”Dwell they on our deeds?”
— ”Deeds of home; that live yet
Fresh as new — deeds of fondness or fret;
Ancient words that were kindly expressed or unkindly,
These, these have their heeds.”
XII
— ”Alas! then it seems that our glory
Weighs less in their thought
Than our old homely acts,
And the long-ago commonplace facts
Of our lives — held by us as scarce part of our story,
And rated as nought!”
XIII
Then bitterly some: “Was it wise now
To raise the tomb-door
For such knowledge? Away!”
But the rest: “Fame we prized till to-day;
Yet that hearts keep us green for old kindness we prize now
A thousand times more!”
XIV
Thus speaking, the trooped apparitions
Began to disband
And resolve them in two:
Those whose record was lovely and true
Bore to northward for home: those of bitter traditions
Again left the land,
XV
And, towering to seaward in legions,
They paused at a spot
Overbending the Race -
That engulphing, ghast, sinister place -
Whither headlong they plunged, to the fathomless regions
Of myriads forgot.
XVI
And the spirits of those who were homing
Passed on, rushingly,
Like the Pentecost Wind;
And the whirr of their wayfaring thinned
And surceased on the sky, and but left in the gloaming
Sea-mutterings and me.
December 1899.
SONG OF THE SOLDIERS’ WIVES
I
At last! In sight of home again,
Of home again;
No more to range and roam again
As at that bygone time?
No more to go away from us
And stay from us? -
Dawn, hold not long the day from us,
But quicken it to prime!
II
Now all the town shall ring to them,
Shall ring to them,
And we who love them cling to them
And clasp them joyfully;
And cry, “O much we’ll do for you
Anew for you,
Dear Loves! — aye, draw and hew for you,
Come back from oversea.”
III
Some told us we should meet no more,
Should meet no more;
Should wait, and wish, but greet no more
Your faces round our fires;
That, in a while, uncharily
And drearily
Men gave their lives — even wearily,
Like those whom living tires.
IV
And now you are nearing home again,
Dears, home again;
No more, may be, to roam again
As at that bygone time,
Which took you far away from us
To stay from us;
Dawn, hold not long the day from us,
But quicken it to prime!
THE SICK GOD
I
In days when men had joy of war,
A God of Battles sped each mortal jar;
The peoples pledged him heart and hand,
From Israel’s land to isles afar.
II
His crimson form, with clang and chime,
Flashed on each murk and murderous meeting-time,
And kings invoked, for rape and raid,
His fearsome aid in rune and rhyme.
III
On bruise and blood-hole, scar and seam,
On blade and bolt, he flung his fulgid beam:
His haloes rayed the very gore,
And corpses wore his glory-gleam.
IV
Often an early King or Queen,
And storied hero onward, knew his sheen;
’Twas glimpsed by Wolfe, by Ney anon,
And Nelson on his blue demesne.
V
But new light spread. That god’s gold nimb
And blazon have waned dimmer and more dim;
Even his flushed form begins to fade,
Till but a shade is left of him.
VI
That modern meditation broke
His spell, that penmen’s pleadings dealt a stroke,
Say some; and some that crimes too dire
Did much to mire his crimson cloak.
VII
Yea, seeds of crescive sympathy
Were sown by those more excellent than he,
Long known, though long contemned till then -
The gods of men in amity.
VIII
Souls have grown seers, and thought out-brings
The mournful many-sidedness of things
With foes as friends, enfeebling ires
And fury-fires by gaingivings!
IX
He scarce impassions champions now;
They do and dare, but tensely — pale of brow;
And would they fain uplift the arm
Of that faint form they know not how.
X
Yet wars arise, though zest grows cold;
Wherefore, at whiles, as ‘twere in ancient mould
He looms, bepatched with paint and lath;
But never hath he seemed the old!
XI
Let men rejoice, let men deplore.
The lurid Deity of heretofore
Succumbs to one of saner nod;
The Battle-god is god no more.
GENOA AND THE MEDITERRANEAN
(March, 1887)
O epic-famed, god-haunted Central Sea,
Heave careless of the deep wrong done to thee
When from Torino’s track I saw thy face first flash on me.
And multimarbled Genova the Proud,
Gleam all unconscious how, wide-lipped, up-browed,
I first beheld thee clad — not as the Beauty but the Dowd.
Out from a deep-delved way my vision lit
On housebacks pink, green, ochreous — where a slit
Shoreward ‘twixt row and row revealed the classic blue through it.
And thereacross waved fishwives’ high-hung smocks,
Chrome kerchiefs, scarlet hose, darned underfrocks;
Since when too oft my dreams of thee, O Queen, that frippery mocks:
Whereat I grieve, Superba! . . . Afterhours
Within Palazzo Doria’s orange bowers
Went far to mend these marrings of thy soul-subliming powers.
But, Queen, such squalid undress none should see,
Those dream-endangering eyewounds no more be
Where lovers first behold thy form in pilgrimage to thee.
SHELLEY’S SKYLARK
(The neighbourhood of Leghorn: March, 1887)
Somewhere afield here something lies
In Earth’s oblivious eyeless trust
That moved a poet to prophecies -
A pinch of unseen, unguarded dust
The dust of the lark that Shelley heard,
And made immortal through times to be; -
Though it only lived like another bird,
And knew not its immortality.
Lived its meek life; then, one day, fell -
A little ball of feather and bone;
And how it perished, when piped farewell,
And where it wastes, are alike unknown.
Maybe it rests in the loam I view,
Maybe it throbs in a myrtle’s green,
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Maybe it sleeps in the coming hue
Of a grape on the slopes of yon inland scene.
Go find it, faeries, go and find
That tiny pinch of priceless dust,
And bring a casket silver-lined,
And framed of gold that gems encrust;
And we will lay it safe therein,
And consecrate it to endless time;
For it inspired a bard to win
Ecstatic heights in thought and rhyme.
IN THE OLD THEATRE, FIESOLE
(April, 1887)
I traced the Circus whose gray stones incline
Where Rome and dim Etruria interjoin,
Till came a child who showed an ancient coin
That bore the image of a Constantine.
She lightly passed; nor did she once opine
How, better than all books, she had raised for me
In swift perspective Europe’s history
Through the vast years of Caesar’s sceptred line.
For in my distant plot of English loam
‘Twas but to delve, and straightway there to find
Coins of like impress. As with one half blind
Whom common simples cure, her act flashed home
In that mute moment to my opened mind
The power, the pride, the reach of perished Rome.
ROME: ON THE PALATINE
(April, 1887)
We walked where Victor Jove was shrined awhile,
And passed to Livia’s rich red mural show,
Whence, thridding cave and Criptoportico,
We gained Caligula’s dissolving pile.
And each ranked ruin tended to beguile
The outer sense, and shape itself as though
It wore its marble hues, its pristine glow
Of scenic frieze and pompous peristyle.
When lo, swift hands, on strings nigh over-head,
Began to melodize a waltz by Strauss:
It stirred me as I stood, in Caesar’s house,
Raised the old routs Imperial lyres had led,
And blended pulsing life with lives long done,
Till Time seemed fiction, Past and Present one.
ROME: BUILDING A NEW STREET IN THE ANCIENT QUARTER
(April, 1887)
These numbered cliffs and gnarls of masonry
Outskeleton Time’s central city, Rome;
Whereof each arch, entablature, and dome
Lies bare in all its gaunt anatomy.
And cracking frieze and rotten metope
Express, as though they were an open tome
Top-lined with caustic monitory gnome;
“Dunces, Learn here to spell Humanity!”
And yet within these ruins’ very shade
The singing workmen shape and set and join
Their frail new mansion’s stuccoed cove and quoin
With no apparent sense that years abrade,
Though each rent wall their feeble works invade
Once shamed all such in power of pier and groin.
ROME THE VATICAN — SALA DELLE MUSE (1887)
I sat in the Muses’ Hall at the mid of the day,
And it seemed to grow still, and the people to pass away,
And the chiselled shapes to combine in a haze of sun,
Till beside a Carrara column there gleamed forth One.
She was nor this nor that of those beings divine,
But each and the whole — an essence of all the Nine;
With tentative foot she neared to my halting-place,
A pensive smile on her sweet, small, marvellous face.
“Regarded so long, we render thee sad?” said she.
“Not you,” sighed I, “but my own inconstancy!
I worship each and each; in the morning one,
And then, alas! another at sink of sun.
“To-day my soul clasps Form; but where is my troth
Of yesternight with Tune: can one cleave to both?”
- “Be not perturbed,” said she. “Though apart in fame,
As I and my sisters are one, those, too, are the same.
- “But my loves go further — to Story, and Dance, and Hymn,
The lover of all in a sun-sweep is fool to whim -
Is swayed like a river-weed as the ripples run!”
- “Nay, wight, thou sway’st not. These are but phases of one;
“And that one is I; and I am projected from thee,
One that out of thy brain and heart thou causest to be -
Extern to thee nothing. Grieve not, nor thyself becall,
Woo where thou wilt; and rejoice thou canst love at all!
ROME AT THE PYRAMID OF CESTIUS
NEAR THE GRAVES OF SHELLEY AND KEATS
(1887)
Who, then, was Cestius,
And what is he to me? -
Amid thick thoughts and memories multitudinous
One thought alone brings he.
I can recall no word
Of anything he did;
For me he is a man who died and was interred
To leave a pyramid
Whose purpose was exprest
Not with its first design,
Nor till, far down in Time, beside it found their rest
Two countrymen of mine.
Cestius in life, maybe,
Slew, breathed out threatening;
I know not. This I know: in death all silently
He does a kindlier thing,
In beckoning pilgrim feet
With marble finger high
To where, by shadowy wall and history-haunted street,
Those matchless singers lie . . .
— Say, then, he lived and died
That stones which bear his name
Should mark, through Time, where two immortal Shades abide;
It is an ample fame.
LAUSANNE
IN GIBBON’S OLD GARDEN: 11-12 P.M.
June 27, 1897
(The 110th anniversary of the completion of the “Decline and Fall” at
the same hour and place)
A spirit seems to pass,
Formal in pose, but grave and grand withal:
He contemplates a volume stout and tall,
And far lamps fleck him through the thin acacias.
Anon the book is closed,
With “It is finished!” And at the alley’s end
He turns, and soon on me his glances bend;
And, as from earth, comes speech — small, muted, yet composed.
”How fares the Truth now? — Ill?
— Do pens but slily further her advance?
May one not speed her but in phrase askance?
Do scribes aver the Comic to be Reverend still?
”Still rule those minds on earth
At whom sage Milton’s wormwood words were hurled:
’Truth like a bastard comes into the world
Never without ill-fame to him who gives her birth’?”
ZERMATT
TO THE MATTERHORN
(June-July, 1897)
Thirty-two years since, up against the sun,
Seven shapes, thin atomies to lower sight,
Labouringly leapt and gained thy gabled height,
And four lives paid for what the seven had won.
They were the first by whom the deed was done,
And when I look at thee, my mind takes flight
To that day’s tragic feat of manly might,
As though, till then, of history thou hadst none.
Yet ages ere men topped thee, late and soon
Thou watch’dst each night the planets lift and lower;
Thou gleam’dst to Joshua’s pausing sun and moon,
And brav’dst the tokening sky when Caesar’s power
Approached its bloody end: yea, saw’st that Noon
When darkness filled the earth till the ninth hour.
THE BRIDGE OF LODI
(Spring, 1887)
<
br /> I
When of tender mind and body
I was moved by minstrelsy,
And that strain “The Bridge of Lodi”
Brought a strange delight to me.
II
In the battle-breathing jingle
Of its forward-footing tune
I could see the armies mingle,
And the columns cleft and hewn
III
On that far-famed spot by Lodi
Where Napoleon clove his way
To his fame, when like a god he
Bent the nations to his sway.
IV
Hence the tune came capering to me
While I traced the Rhone and Po;
Nor could Milan’s Marvel woo me
From the spot englamoured so.
V
And to-day, sunlit and smiling,
Here I stand upon the scene,
With its saffron walls, dun tiling,
And its meads of maiden green,
VI
Even as when the trackway thundered
With the charge of grenadiers,
And the blood of forty hundred
Splashed its parapets and piers . . .
VII
Any ancient crone I’d toady
Like a lass in young-eyed prime,
Could she tell some tale of Lodi