Fleurs du Mal Magazine
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Virgil (Vergilius)
(70BC – 19BC)
THE ECLOGUES
Alexim
Formosum pastor Corydon ardebat Alexim,
delicias domini, nec quid speraret habebat;
tantum inter densas, umbrosa cacumina, fagos
adsidue veniebat. Ibi haec incondita solus
montibus et silvis studio iactabat inani:
O crudelis Alexi, nihil mea carmina curas?
Nil nostri miserere? Mori me denique coges.
nunc etiam pecudes umbras et frigora captant;
nunc viridis etiam occultant spineta lacertos,
Thestylis et rapido fessis messoribus aestu
alia serpyllumque herbas contundit olentis.
at mecum raucis, tua dum vestigia lustro,
sole sub ardenti resonant arbusta cicadis.
Nonne fuit satius tristis Amaryllidis iras
atque superba pati fastidia, nonne Menalcan,
quam vis ille niger, quamvis tu candidus esses?
o formose puer, nimium ne crede colori!
alba ligustra cadunt, vaccinia nigra leguntur.
Despectus tibi sum, nec qui sim quaeris, Alexi,
quam dives pecoris, nivei quam lactis abundans.
mille meae Siculis errant in montibus agnae;
lac mihi non aestate novum, non frigore defit;
canto quae solitus, si quando armenta vocabat,
Amphion Dircaeus in Actaeo Aracimtho.
Nec sum adeo informis: nuper me in litore vidi,
cum placidum ventis staret mare; non ego Daphnim
iudice te metuam, si numquam fallit imago.
O tantum libeat mecum tibi sordida rura
atque humilis habitare casas, et figere cervos,
haedorumque gregem viridi compellere hibisco!
Mecum una in silvis imitabere Pana canendo.
Pan primus calamos cera coniungere pluris
instituit; Pan curat ovis oviumque magistros.
Nec te paeniteat calamo trivisse labellum:
haec eadem ut sciret, quid non faciebat Amyntas?
est mihi disparibus septem compacta cicutis
fistula, Damoetas dono mihi quam dedit olim,
et dixit moriens: ‘Te nunc habet ista secundum.’
dixit Damoetas, invidit stultus Amyntas.
Praeterea duo, nec tuta mihi valle reperti,
capreoli, sparsis etiam nunc pellibus albo,
bina die siccant ovis ubera; quos tibi servo:
iam pridem a me illos abducere Thestylis orat;
et faciet, quoniam sordent tibi munera nostra.
Huc ades, O formose puer: tibi lilia plenis
ecce ferunt Nymphae calathis; tibi candida Nais,
pallelltis violas et summa papavera carpens,
narcissum et florem iungit bene olentis anethi;
tum casia atque aliis intexens suavibus herbis,
mollia luteola pingit vaccinia calta.
Ipse ego cana legam tenera lanugine mala,
castaneasque nuces, mea quas Amaryllis amabat;
addam cerea pruna: honos erit huic quoque pomo;
et vos, O lauri, carpam, et te, proxima myrte,
sic positae quoniam suavis miscetis odores.
Rusticus es, Corydon: nec munera curat Alexis,
nec, si muneribus certes, concedat Iollas.
Heu, heu, quid volui misero mihi! Floribus austrum
perditus et liquidis inmisi fontibus apros.
Quem fugis, ah, demens? Habitarunt di quoque silvas,
Dardaniusque Paris. Pallas, quas condidit arces,
ipsa colat; nobis placeant ante omnia silvae.
Torva leaena lupum sequitur; lupus ipse capellam;
florentem cytisum sequitur lasciva capella;
te Corydon, o Alexi: trahit sua quemque voluptas.
Aspice, aratra iugo referunt suspensa iuvenci,
et sol crescentis decedens duplicat umbras:
me tamen urit amor; quis enim modus adsit amori?
Ah, Corydon, Corydon, quae te dementia cepit!
Semiputata tibi frondosa vitis in ulmo est;
quin tu aliquid saltem potius, quorum indiget usus,
viminibus mollique paras detexere iunco?
Invenies alium, si te hic fastidit, Alexim.
Alexis
The shepherd Corydon with love was fired
For fair Alexis, his own master’s joy:
No room for hope had he, yet, none the less,
The thick-leaved shadowy-soaring beech-tree grove
Still would he haunt, and there alone, as thus,
To woods and hills pour forth his artless strains.
“Cruel Alexis, heed you naught my songs?
Have you no pity? you’ll drive me to my death.
Now even the cattle court the cooling shade
And the green lizard hides him in the thorn:
Now for tired mowers, with the fierce heat spent,
Pounds Thestilis her mess of savoury herbs,
Wild thyme and garlic. I, with none beside,
Save hoarse cicalas shrilling through the brake,
Still track your footprints ‘neath the broiling sun.
Better have borne the petulant proud disdain
Of Amaryllis, or Menalcas wooed,
Albeit he was so dark, and you so fair!
Trust not too much to colour, beauteous boy;
White privets fall, dark hyacinths are culled.
You scorn me, Alexis, who or what I am
Care not to ask- how rich in flocks, or how
In snow-white milk abounding: yet for me
Roam on Sicilian hills a thousand lambs;
Summer or winter, still my milk-pails brim.
I sing as erst Amphion of Circe sang,
What time he went to call his cattle home
On Attic Aracynthus. Nor am I
So ill to look on: lately on the beach
I saw myself, when winds had stilled the sea,
And, if that mirror lie not, would not fear
Daphnis to challenge, though yourself were judge.
Ah! were you but content with me to dwell.
Some lowly cot in the rough fields our home,
Shoot down the stags, or with green osier-wand
Round up the straggling flock! There you with me
In silvan strains will learn to rival Pan.
Pan first with wax taught reed with reed to join;
For sheep alike and shepherd Pan hath care.
Nor with the reed’s edge fear you to make rough
Your dainty lip; such arts as these to learn
What did Amyntas do?- what did he not?
A pipe have I, of hemlock-stalks compact
In lessening lengths, Damoetas’ dying-gift:
‘Mine once,’ quoth he, ‘now yours, as heir to own.’
Foolish Amyntas heard and envied me.
Ay, and two fawns, I risked my neck to find
In a steep glen, with coats white-dappled still,
From a sheep’s udders suckled twice a day-
These still I keep for you; which Thestilis
Implores me oft to let her lead away;
And she shall have them, since my gifts you spurn.
Come hither, beauteous boy; for you the Nymphs
Bring baskets, see, with lilies brimmed; for you,
Plucking pale violets and poppy-heads,
Now the fair Naiad, of narcissus flower
And fragrant fennel, doth one posy twine-
With cassia then, and other scented herbs,
Blends them, and sets the tender hyacinth off
With yellow marigold. I too will pick
Quinces all silvered-o’er with hoary down,
Chestnuts, which Amaryllis wont to love,
And waxen plums withal: this fruit no less
Shall have its meed of honour; and I will pluck
You too, ye laurels, and you, ye myrtles, near,
For so your sweets ye mingle. Corydon,
You are a boor, nor heeds a whit your gifts
Alexis; no, nor would Iollas yield,
Should gifts decide the day. Alack! alack!
What misery have I brought upon my head!-
Loosed on the flowers Siroces to my bane,
And the wild boar upon my crystal springs!
Whom do you fly, infatuate? gods ere now,
And Dardan Paris, have made the woods their home.
Let Pallas keep the towers her hand hath built,
Us before all things let the woods delight.
The grim-eyed lioness pursues the wolf,
The wolf the she-goat, the she-goat herself
In wanton sport the flowering cytisus,
And Corydon Alexis, each led on
By their own longing. See, the ox comes home
With plough up-tilted, and the shadows grow
To twice their length with the departing sun,
Yet me love burns, for who can limit love?
Ah! Corydon, Corydon, what hath crazed your wit?
Your vine half-pruned hangs on the leafy elm;
Why haste you not to weave what need requires
Of pliant rush or osier? Scorned by this,
Elsewhere some new Alexis you will find.”
kempis poetry magazine
More in: Archive U-V
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C h a r l e s C r o s
(1842-1888)
Excuse
Aux arbres il faut un ciel clair,
L’espace, le soleil et l’air,
L’eau dont leur feuillage se mouille.
Il faut le calme en la forêt,
La nuit, le vent tiède et discret
Au rossignol, pour qu’il gazouille.
Il te faut, dans les soirs joyeux,
Le triomphe ; il te faut des yeux
Eblouis de ta beauté fière.
Au chercheur d’idéal il faut
Des âmes lui faisant là-haut
Une sympathique atmosphère.
Mais quand mauvaise est la saison,
L’arbre perd fleurs et frondaison.
Son bois seul reste, noir et grêle.
Et sur cet arbre dépouillé,
L’oiseau, grelottant et mouillé,
Reste muet, tête sous l’aile.
Ainsi ta splendeur, sur le fond
Que les envieuses te font,
Perd son nonchaloir et sa grâce.
Chez les nuls, qui ne voient qu’hier,
Le poète, interdit et fier,
Rêvant l’art de demain, s’efface.
Arbres, oiseaux, femmes, rêveurs
Perdent dans les milieux railleurs
Feuillage, chant, beauté, puissance.
Dans la cohue où tu te plais,
Regarde-moi, regarde-les,
Et tu comprendras mon silence.
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Charles Cros poetry
k e m p i s p o e t r y m a g a z i n e
More in: Cros, Charles
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W i l l e m B i l d e r d i j k
(1756-1831)
A a n d e V r o u w
ô Felices ter et amplius
Quos irrupta tenet copula!
H O R A T I U S
Lieve troosteres in ’t leven,
Weêrhelft van ons eigen hart
Die om weêr tot één te kleven
Ons te rug geschonken werd;
Gy, voor ons en met ons lijdend,
Ons geheel uw aanzijn wijdend;
Alles waar ons hart naar hijgt;
Alles wat het kan genoegen;
En voor wie te mogen zwoegen,
Wellust is die de aard ontstijgt!
Zijn er zulke wangedrochten,
Die, door ’t onverbreekbre snoer
Met eene Egâ vastgevlochten
Die hun trouw en liefde zwoer
Voor haar teêrheid onverschillig,
Ongevoelig, koud, en grillig,
God niet danken voor dien schat?
In wier borst die vlam kon smooren
Die by ’t eerste huwlijksglooren
Zulk een schoonen luister had?
Die, ontrefbaar voor haar zorgen,
Voor haar weekheid, voor haar leed,
’t Innig zielsgevoel verworgen;
Eigen hart en boezem wreed?
Neen zy zijn er niet op aarde,
Neen, het hart erkent de waarde
Van het hem geheiligd hart!
Neen, daar zijn slechts Echtgenooten
Samen aan den band gesloten,
Wier bestaan verzelvigd werd!
Of beleeft men zulke dagen
Van verdeeldheid, afkeer, twist,
Dat het zuurdeeg aller plagen
Ook by Echtgenooten gist?
Kan de man de banden scheuren,
En zijn wederhelft zien treuren?
Vreugde zoeken buiten haar?
Spreek, ô gruwlijkste aller tijden
Die de menschheid ooit kan lijden!
Is dit wreed vermoeden waar?
Zwakke vrouw, tot smart geboren?
Zaligheid van man en kroost!
Welk een lot is u beschoren,
Zoo hy u verroekeloost!
Wee hem, die u ’t harte griefde!
Heel de wareld toch is liefde;
Zy is de adem van uw ziel;
In haar zonnekoestring leeft ge;
Op haar hemelwolkjens zweeft ge;
Wee haar die daar uit ontviel!
Zy is de eerzucht die u blaken,
Die u streelen, prikklen moet:
Zy, de schat waar naar te haken
Al de drift is van uw bloed.
Ach, u dezen trek te doven,
Is u meer dan ’t leven rooven;
En by d’ onmench die haar smaadt,
Laat geen wreedheid zich gelijken;
Moeten Falarissen wijken,
Wien de Hel in ’t harte slaat.
U te aanbidden, u te winnen,
Is den man het hoogste goed.
Geen begoocheling van zinnen
Kan bereiken by dit zoet!
By die vesting te veroveren
Haalt geen last van zegeloveren:
Maar rampzalig die har nam,
Om geplonderd en verlaten,
Met verwoesting langs de straten,
Prooi te geven aan de vlam!
Hoe! Het toonbeeld aller gaven,
Aan wier hemelvolle borst
In haar adem zich te laven,
Meerder is dan Wareldvorst,
Zou haars Egaas hart niet roeren!
Lage drift dat hart vervoeren,
En haar doemen tot den druk:
Die in zijden Echtgareelen
’t Onverdeelbre heil moest deelen,
Plettren in een eenzaam juk!
Die haar jeugd en frische leden,
Als Gods hemel onbesmet,
Die haar borst vol zaligheden
Offert aan het huwlijksbed;
Gaf ze een beestlijken roover
Argloos ter verwoesting over!
Hemel, en gy ziet het aan?
Neen, gy zult die ponjaartssteken
Op den laffen moorder wreken;
Ieder afgeperste traan!
Voelt, ontmenschten, voelt, verraders
Van uw eigen zaligheid,
(Stroomt er leven door uw aders,)
Welke traan eene Egâ schreit!
Vrouwentranen zijn geen druppelen
Waar de vrolijkheid by huppelen,
’t Harte vredig kloppen kan:
In haar teder oogbestralen,
In haar vredig ademhalen,
Is het leven van den man.
1824
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Willem Bilderdijk gedichten
k e m p i s p o e t r y m a g a z i n e
More in: Bilderdijk, Willem
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P. A. d e G é n e s t e t
(1829 – 1861)
De Liefste Plek
Elk heeft een plekje’ op aarde
Hem dierbaar bovenal,
Een landstreek of een gaarde,
Een dorpjen of een dal,
Een plekje, waar hij blijven
En vrede zoeken wou,
Waarheen zijn droomen drijven
Met stille liefde en trouw.
Voor mij, schoon mijn verlangen
Soms dwaalde heinde en veer:
Al hoorde ik tooverzangen
Aan ’t dichterlijke meer
Al staarde ik op de reize
Vol plannen wel in ’t rond,
En sprak na lang gepeize:
Zoo hier ons kluisje stond!
Toch, Hollands rozentuinen,
U bleef mijn hart verpand;
Op Hollands blonde duinen
Prijs ik mijn eigen land!
U heb ik uitgelezen,
Mijn bosch en duin en dal,
Daar half mijn thuis. mocht wezen,
U eer ik, bovenal!
Neen, frissche bloemengaarde,
Zoo needrig, maar zoo rijk,
In vriendlijkheid, op aarde,
Geen plekjen u gelijk
Laat schooner oorden spreken
Van kracht, van majesteit,
Mijn uitverkoren streken,
Gij ademt lieflijkheid!
Waar rijzen zoeter geuren?
Waar mengelt de avondstond
Zoo vriendelijke kleuren,
Zoo lieflijk bruin en blond?
Ik weet geen lentedreven
Zoo rijk aan melodij
Waar had ook ’t jonge leven
Een bljder glans voor mij!
Wij plachten hier te dwalen
Zoo menig, menig uur,
Ik ken hier al uw talen
En stemmen, mijn natuur!
’k Versta de teedre woorden
Van weemoed, liefde en lof,
Die ruischen in de akkoorden
Van deez’ uw mildèn hof!
’k Weet wat de koeltjes kozen
Des morgens in onz’ tuin,
Des avonds met de rozen,
De rozen van het duin;
Wat, als de najaarsvlagen
Hier dwarlen door het hout,
De sombre dennen klagen,
Die dichtren van het woud.
Mijn zielsgeheimen weten
Drie plekjes in het bosch,
Daar wij zoete uurtjes sleten
Op ’t geurig, krakend mos.
Waar ’t lelietje der dalen
Ginds welig opwaart schiet,
Daar zongen nachtegalen
Ons ’t eerste liefdelied!
O lusthof mijner ziele,
Goed plekje mij zoo waard,
Hoe wèl mijn snoeren vielen
Ginds bij mijn hof en haard,
Ik mag toch ook belijden
Dat ik u stil betreur,
En dat mijn hart bij tijden
Hijgt naar uw rozengeur!
Ik zoek u telkens weder
Dan, met een traan, een lach,
Gedenke ik lang en teeder
Den schoonen levensdag,
Dien ’k leefde in deze gaarde,
Beminnend en bemind,
Bij al mijn liefste’ op aarde
En, – God, uw dankbaar kind!
Dan fluistren de avondwinden
Mij zangen van weleer,
’k Hoor namen van mijn vrinden.
’k Zie al mijn jonkheid weer;
Dan klaag ik aan mijn duinen
Mijn opgegaarde smart,
En ’t lied uit de eikekruinen
Stort balsem in mijn hart.
En ware ik Heer in ’t leven,
Neen, neen, ik scheidde niet;
’k Bleef nestlen in dees dreven
En zong u lied op lied.
Ik leefde van mijn droomen
En nederig fortuin,
In schaûw van de eikeboomen,
Ginds aan den voet van ’t duin.
En niemand zou daar vragen:
Hoe welkte uw ………
Een bloem van korte dagen –
Nog vóór het zomertij?
Neen, ’t hart is vol verhalen,
Vol zangen mijn gemoed –
Maar ’k dierf de lucht der dalen,
Die ’t lied ontluiken doet!
Bloemendaal 1854
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P.A. de Génestet gedichten
k e m p i s p o e t r y m a g a z i n e
More in: Génestet, P.A. de
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Henry Wadsworth Longfellow
(1807-1882)
The Secret of The Sea
Ah! what pleasant visions haunt me
As I gaze upon the sea!
All the old romantic legends,
All my dreams, come back to me.
Sails of silk and ropes of sandal,
Such as gleam in ancient lore;
And the singing of the sailors,
And the answer from the shore!
Most of all, the Spanish ballad
Haunts me oft, and tarries long,
Of the noble Count Arnaldos
And the sailor’s mystic song.
Like the long waves on a sea-beach,
Where the sand as silver shines,
With a soft, monotonous cadence,
Flow its unrhymed lyric lines:–
Telling how the Count Arnaldos,
With his hawk upon his hand,
Saw a fair and stately galley,
Steering onward to the land;–
How he heard the ancient helmsman
Chant a song so wild and clear,
That the sailing sea-bird slowly
Poised upon the mast to hear,
Till his soul was full of longing,
And he cried, with impulse strong,–
"Helmsman! for the love of heaven,
Teach me, too, that wondrous song!"
"Wouldst thou,"–so the helmsman answered,
"Learn the secret of the sea?
Only those who brave its dangers
Comprehend its mystery!"
In each sail that skims the horizon,
In each landward-blowing breeze,
I behold that stately galley,
Hear those mournful melodies;
Till my soul is full of longing
For the secret of the sea,
And the heart of the great ocean
Sends a thrilling pulse through me.
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H.W. Longfellow poetry
kempis poetry magazine
More in: Longfellow, Henry Wadsworth
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William Shakespeare
(1564-1616)
THE SONNETS
40
Take all my loves, my love, yea take them all,
What hast thou then more than thou hadst before?
No love, my love, that thou mayst true love call,
All mine was thine, before thou hadst this more:
Then if for my love, thou my love receivest,
I cannot blame thee, for my love thou usest,
But yet be blamed, if thou thy self deceivest
By wilful taste of what thy self refusest.
I do forgive thy robbery gentle thief
Although thou steal thee all my poverty:
And yet love knows it is a greater grief
To bear love’s wrong, than hate’s known injury.
Lascivious grace, in whom all ill well shows,
Kill me with spites yet we must not be foes.
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kempis poetry magazine
More in: -Shakespeare Sonnets
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James Joyce
(1882-1941)
Lightly Come or Lightly Go
Lightly come or lightly go:
Though thy heart presage thee woe,
Vales and many a wasted sun,
Oread let thy laughter run,
Till the irreverent mountain air
Ripple all thy flying hair.
Lightly, lightly — – ever so:
Clouds that wrap the vales below
At the hour of evenstar
Lowliest attendants are;
Love and laughter song-confessed
When the heart is heaviest.
Silently She’s Combing
Silently she’s combing,
Combing her long hair
Silently and graciously,
With many a pretty air.
The sun is in the willow leaves
And on the dappled grass,
And still she’s combing her long hair
Before the looking-glass.
I pray you, cease to comb out,
Comb out your long hair,
For I have heard of witchery
Under a pretty air,
That makes as one thing to the lover
Staying and going hence,
All fair, with many a pretty air
And many a negligence.
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James Joyce poetry
kempis poetry magazine
More in: Joyce, James
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Aloysius Bertrand
(1807-1841)
L E M A Ç O N
(Gaspard de la Nuit)
"Le maître Maçon. – Regardez ces bastions, ces contreforts: on les dirait construits pour l’éternité."
SCHILLER. – Guillaume-Tell.
Le maçon Abraham Knupfer chante, la truelle ŕ la main, dans les airs échafaudé, si haut que, lisant les vers gothiques du bourdon, il nivelle de ses pieds et l’église aux trente arc-boutants, et la ville aux trente églises.
Il voit les tarasques de pierre vomir l’eau des ardoises dans l’abîme confus des galeries, des fenętres, des pendentifs, des clochetons, des tourelles, des toits et des charpentes, que tache d’un point gris l’aile échancrée et immobile du tiercelet.
Il voit les fortifications qui se découpent en étoile, la citadelle qui se rengorge comme une géline dans un tourteau, les cours des palais oů le soleil tarit les fontaines, et les cloîtres des monastčres oů l’ombre tourne autour des piliers.
Les troupes impériales se sont logées dans le faubourg. Voilŕ qu’un cavalier tambourine lŕ-bas. Abraham Knupfer distingue son chapeau ŕ trois cornes, ses aiguilles de laine rouge, sa cocarde traversée d’une ganse, et sa queue nouée d’un ruban.
Ce qu’il voit encore, ce sont des soudards qui, dans le parc empanaché de gigantesques ramées, sur de larges pelouses d’émeraude, criblent de coups d’arquebuse un oiseau de bois fiché ŕ la pointe d’un mai.
Et le soir, quand la nef harmonique de la cathédrale s’endormit couchée les bras en croix, il aperçut de l’échelle, ŕ l’horizon, un village incendié par des gens de guerre, qui flamboyait comme une comčte dans l’azur.
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Aloysius Bertrand poetry
kempis poetry magazine
More in: Bertrand, Aloysius
William Makepeace Thackeray
(1811-1863)
The End Of The Play
The play is done; the curtain drops,
Slow falling to the prompter’s bell:
A moment yet the actor stops,
And looks around, to say farewell.
It is an irksome word and task;
And, when he’s laughed and said his say,
He shows, as he removes the mask,
A face that’s anything but gay.
One word, ere yet the evening ends,
Let’s close it with a parting rhyme,
And pledge a hand to all young friends,
As fits the merry Christmas time.
On life’s wide scene you, too, have parts,
That Fate ere long shall bid you play;
Good night! with honest gentle hearts
A kindly greeting go alway!
Goodnight—I’d say, the griefs, the joys,
Just hinted in this mimic page,
The triumphs and defeats of boys,
Are but repeated in our age.
I’d say, your woes were not less keen,
Your hopes more vain than those of men;
Your pangs or pleasures of fifteen
At forty-five played o’er again.
I’d say, we suffer and we strive,
Not less nor more as men, than boys;
With grizzled beards at forty-five,
As erst at twelve in corduroys.
And if, in time of sacred youth,
We learned at home to love and pray,
Pray Heaven that early Love and Truth
May never wholly pass away.
And in the world, as in the school,
I’d say, how fate may change and shift;
The prize be sometimes with the fool,
The race not always to the swift.
The strong may yield, the good may fall,
The great man be a vulgar clown,
The knave be lifted over all,
The kind cast pitilessly down.
Who knows the inscrutable design?
Blessed be He who took and gave!
Why should your mother, Charles, not mine,
Be weeping at her darling’s grave?
We bow to Heaven that will’d it so,
That darkly rules the fate of all,
That sends the respite or the blow,
That’s free to give, or to recall.
This crowns his feast with wine and wit:
Who brought him to that mirth and state?
His betters, see, below him sit,
Or hunger hopeless at the gate.
Who bade the mud from Dives’ wheel
To spurn the rags of Lazarus?
Come, brother, in that dust we’ll kneel,
Confessing Heaven that ruled it thus.
So each shall mourn, in life’s advance,
Dear hopes, dear friends, untimely killed;
Shall grieve for many a forfeit chance,
And longing passion unfulfilled.
Amen! whatever fate be sent,
Pray God the heart may kindly glow,
Although the head with cares be bent,
And whitened with the winter snow.
Come wealth or want, come good or ill,
Let young and old accept their part,
And bow before the Awful Will,
And bear it with an honest heart,
Who misses or who wins the prize.
Go, lose or conquer as you can;
But if you fail, or if you rise,
Be each, pray God, a gentleman.
A gentleman, or old or young!
(Bear kindly with my humble lays);
The sacred chorus first was sung
Upon the first of Christmas days:
The shepherds heard it overhead—
The joyful angels raised it then:
Glory to Heaven on high, it said,
And peace on earth to gentle men.
My song, save this, is little worth;
I lay the weary pen aside,
And wish you health, and love, and mirth,
As fits the solemn Christmas-tide.
As fits the holy Christmas birth,
Be this, good friends, our carol still—
Be peace on earth, be peace on earth,
To men of gentle will.
William Makepeace Thackeray poetry
kempis poetry magazine
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Virginia Woolf
(1882-1941)
Jane Austen
It is probable that if Miss Cassandra Austen had had her way we should have had nothing of Jane Austen’s except her novels. To her elder sister alone did she write freely; to her alone she confided her hopes and, if rumour is true, the one great disappointment of her life; but when Miss Cassandra Austen grew old, and the growth of her sister’s fame made her suspect that a time might come when strangers would pry and scholars speculate, she burnt, at great cost to herself, every letter that could gratify their curiosity, and spared only what she judged too trivial to be of interest.
Hence our knowledge of Jane Austen is derived from a little gossip, a few letters, and her books. As for the gossip, gossip which has survived its day is never despicable; with a little rearrangement it suits our purpose admirably. For example, Jane “is not at all pretty and very prim, unlike a girl of twelve . . . Jane is whimsical and affected,” says little Philadelphia Austen of her cousin. Then we have Mrs. Mitford, who knew the Austens as girls and thought Jane “the prettiest, silliest, most affected husband-hunting butterfly she ever remembers “. Next, there is Miss Mitford’s anonymous friend “who visits her now [and] says that she has stiffened into the most perpendicular, precise, taciturn piece of ‘single blessedness’ that ever existed, and that, until Pride and Prejudice showed what a precious gem was hidden in that unbending case, she was no more regarded in society than a poker or firescreen. . . . The case is very different now”, the good lady goes on; “she is still a poker — but a poker of whom everybody is afraid. . . . A wit, a delineator of character, who does not talk is terrific indeed!” On the other side, of course, there are the Austens, a race little given to panegyric of themselves, but nevertheless, they say, her brothers “were very fond and very proud of her. They were attached to her by her talents, her virtues, and her engaging manners, and each loved afterwards to fancy a resemblance in some niece or daughter of his own to the dear sister Jane, whose perfect equal they yet never expected to see.” Charming but perpendicular, loved at home but feared by strangers, biting of tongue but tender of heart — these contrasts are by no means incompatible, and when we turn to the novels we shall find ourselves stumbling there too over the same complexities in the writer.
To begin with, that prim little girl whom Philadelphia found so unlike a child of twelve, whimsical and affected, was soon to be the authoress of an astonishing and unchildish story, Love and Freindship,8 which, incredible though it appears, was written at the age of fifteen. It was written, apparently, to amuse the schoolroom; one of the stories in the same book is dedicated with mock solemnity to her brother; another is neatly illustrated with water-colour heads by her sister. These are jokes which, one feels, were family property; thrusts of satire, which went home because all little Austens made mock in common of fine ladies who “sighed and fainted on the sofa”.
Brothers and sisters must have laughed when Jane read out loud her last hit at the vices which they all abhorred. “I die a martyr to my grief for the loss of Augustus. One fatal swoon has cost me my life. Beware of Swoons, Dear Laura. . . . Run mad as often as you chuse, but do not faint. . . .” And on she rushed, as fast as she could write and quicker than she could spell, to tell the incredible adventures of Laura and Sophia, of Philander and Gustavus, of the gentleman who drove a coach between Edinburgh and Stirling every other day, of the theft of the fortune that was kept in the table drawer, of the starving mothers and the sons who acted Macbeth. Undoubtedly, the story must have roused the schoolroom to uproarious laughter. And yet, nothing is more obvious than that this girl of fifteen, sitting in her private corner of the common parlour, was writing not to draw a laugh from brother and sisters, and not for home consumption. She was writing for everybody, for nobody, for our age, for her own; in other words, even at that early age Jane Austen was writing. One hears it in the rhythm and shapeliness and severity of the sentences. “She was nothing more than a mere good-tempered, civil, and obliging young woman; as such we could scarcely dislike her — she was only an object of contempt.” Such a sentence is meant to outlast the Christmas holidays. Spirited, easy, full of fun, verging with freedom upon sheer nonsense,— Love and Freindship is all that; but what is this note which never merges in the rest, which sounds distinctly and penetratingly all through the volume? It is the sound of laughter. The girl of fifteen is laughing, in her corner, at the world.
Girls of fifteen are always laughing. They laugh when Mr. Binney helps himself to salt instead of sugar. They almost die of laughing when old Mrs. Tomkins sits down upon the cat. But they are crying the moment after. They have no fixed abode from which they see that there is something eternally laughable in human nature, some quality in men and women that for ever excites our satire. They do not know that Lady Greville who snubs, and poor Maria who is snubbed, are permanent features of every ballroom. But Jane Austen knew it from her birth upwards. One of those fairies who perch upon cradles must have taken her a flight through the world directly she was born. When she was laid in the cradle again she knew not only what the world looked like, but had already chosen her kingdom. She had agreed that if she might rule over that territory, she would covet no other. Thus at fifteen she had few illusions about other people and none about herself. Whatever she writes is finished and turned and set in its relation, not to the parsonage, but to the universe. She is impersonal; she is inscrutable. When the writer, Jane Austen, wrote down in the most remarkable sketch in the book a little of Lady Greville’s conversation, there is no trace of anger at the snub which the clergyman’s daughter, Jane Austen, once received. Her gaze passes straight to the mark, and we know precisely where, upon the map of human nature, that mark is. We know because Jane Austen kept to her compact; she never trespassed beyond her boundaries. Never, even at the emotional age of fifteen, did she round upon herself in shame, obliterate a sarcasm in a spasm of compassion, or blur an outline in a mist of rhapsody. Spasms and rhapsodies, she seems to have said, pointing with her stick, end THERE; and the boundary line is perfectly distinct. But she does not deny that moons and mountains and castles exist — on the other side. She has even one romance of her own. It is for the Queen of Scots. She really admired her very much. “One of the first characters in the world”, she called her, “a bewitching Princess whose only friend was then the Duke of Norfolk, and whose only ones now Mr. Whitaker, Mrs. Lefroy, Mrs. Knight and myself.” With these words her passion is neatly circumscribed, and rounded with a laugh. It is amusing to remember in what terms the young Brontë‘s wrote, not very much later, in their northern parsonage, about the Duke of Wellington.
The prim little girl grew up. She became “the prettiest, silliest, most affected husband-hunting butterfly” Mrs. Mitford ever remembered, and, incidentally, the authoress of a novel called Pride and Prejudice, which, written stealthily under cover of a creaking door, lay for many years unpublished. A little later, it is thought, she began another story, The Watsons, and being for some reason dissatisfied with it, left it unfinished. The second-rate works of a great writer are worth reading because they offer the best criticism of his masterpieces. Here her difficulties are more apparent, and the method she took to overcome them less artfully concealed. To begin with, the stiffness and the bareness of the first chapters prove that she was one of those writers who lay their facts out rather baldly in the first version and then go back and back and back and cover them with flesh and atmosphere. How it would have been done we cannot say — by what suppressions and insertions and artful devices. But the miracle would have been accomplished; the dull history of fourteen years of family life would have been converted into another of those exquisite and apparently effortless introductions; and we should never have guessed what pages of preliminary drudgery Jane Austen forced her pen to go through. Here we perceive that she was no conjuror after all. Like other writers, she had to create the atmosphere in which her own peculiar genius could bear fruit. Here she fumbles; here she keeps us waiting. Suddenly she has done it; now things can happen as she likes things to happen. The Edwardses are going to the ball. The Tomlinsons’ carriage is passing; she can tell us that Charles is “being provided with his gloves and told to keep them on”; Tom Musgrave retreats to a remote corner with a barrel of oysters and is famously snug. Her genius is freed and active. At once our senses quicken; we are possessed with the peculiar intensity which she alone can impart. But of what is it all composed? Of a ball in a country town; a few couples meeting and taking hands in an assembly room; a little eating and drinking; and for catastrophe, a boy being snubbed by one young lady and kindly treated by another. There is no tragedy and no heroism. Yet for some reason the little scene is moving out of all proportion to its surface solemnity. We have been made to see that if Emma acted so in the ball-room, how considerate, how tender, inspired by what sincerity of feeling she would have shown herself in those graver crises of life which, as we watch her, come inevitably before our eyes. Jane Austen is thus a mistress of much deeper emotion than appears upon the surface. She stimulates us to supply what is not there. What she offers is, apparently, a trifle, yet is composed of something that expands in the reader’s mind and endows with the most enduring form of life scenes which are outwardly trivial. Always the stress is laid upon character. How, we are made to wonder, will Emma behave when Lord Osborne and Tom Musgrave make their call at five minutes before three, just as Mary is bringing in the tray and the knife-case? It is an extremely awkward situation. The young men are accustomed to much greater refinement. Emma may prove herself ill-bred, vulgar, a nonentity. The turns and twists of the dialogue keep us on the tenterhooks of suspense. Our attention is half upon the present moment, half upon the future. And when, in the end, Emma behaves in such a way as to vindicate our highest hopes of her, we are moved as if we had been made witnesses of a matter of the highest importance. Here, indeed, in this unfinished and in the main inferior story, are all the elements of Jane Austen’s greatness. It has the permanent quality of literature. Think away the surface animation, the likeness to life, and there remains, to provide a deeper pleasure, an exquisite discrimination of human values. Dismiss this too from the mind and one can dwell with extreme satisfaction upon the more abstract art which, in the ball-room scene, so varies the emotions and proportions the parts that it is possible to enjoy it, as one enjoys poetry, for itself, and not as a link which carries the story this way and that.
But the gossip says of Jane Austen that she was perpendicular, precise, and taciturn —“a poker of whom everybody is afraid”. Of this too there are traces; she could be merciless enough; she is one of the most consistent satirists in the whole of literature. Those first angular chapters of The Watsons prove that hers was not a prolific genius; she had not, like Emily Brontë, merely to open the door to make herself felt. Humbly and gaily she collected the twigs and straws out of which the nest was to be made and placed them neatly together. The twigs and straws were a little dry and a little dusty in themselves. There was the big house and the little house; a tea party, a dinner party, and an occasional picnic; life was hedged in by valuable connections and adequate incomes; by muddy roads, wet feet, and a tendency on the part of the ladies to get tired; a little principle supported it, a little consequence, and the education commonly enjoyed by upper middle-class families living in the country. Vice, adventure, passion were left outside. But of all this prosiness, of all this littleness, she evades nothing, and nothing is slurred over. Patiently and precisely she tells us how they “made no stop anywhere till they reached Newbury, where a comfortable meal, uniting dinner and supper, wound up the enjoyments and fatigues of the day”. Nor does she pay to conventions merely the tribute of lip homage; she believes in them besides accepting them. When she is describing a clergyman, like Edmund Bertram, or a sailor, in particular, she appears debarred by the sanctity of his office from the free use of her chief tool, the comic genius, and is apt therefore to lapse into decorous panegyric or matter-of-fact description. But these are exceptions; for the most part her attitude recalls the anonymous lady’s ejaculation —“A wit, a delineator of character, who does not talk is terrific indeed!” She wishes neither to reform nor to annihilate; she is silent; and that is terrific indeed. One after another she creates her fools, her prigs, her worldlings, her Mr. Collinses, her Sir Walter Elliotts, her Mrs. Bennets. She encircles them with the lash of a whip-like phrase which, as it runs round them, cuts out their silhouettes for ever. But there they remain; no excuse is found for them and no mercy shown them. Nothing remains of Julia and Maria Bertram when she has done with them; Lady Bertram is left “sitting and calling to Pug and trying to keep him from the flower-beds” eternally. A divine justice is meted out; Dr. Grant, who begins by liking his goose tender, ends by bringing on “apoplexy and death, by three great institutionary dinners in one week”. Sometimes it seems as if her creatures were born merely to give Jane Austen the supreme delight of slicing their heads off. She is satisfied; she is content; she would not alter a hair on anybody’s head, or move one brick or one blade of grass in a world which provides her with such exquisite delight.
Nor, indeed, would we. For even if the pangs of outraged vanity, or the heat of moral wrath, urged us to improve away a world so full of spite, pettiness, and folly, the task is beyond our powers. People are like that — the girl of fifteen knew it; the mature woman proves it. At this very moment some Lady Bertram is trying to keep Pug from the flower beds; she sends Chapman to help Miss Fanny a little late. The discrimination is so perfect, the satire so just, that, consistent though it is, it almost escapes our notice. No touch of pettiness, no hint of spite, rouse us from our contemplation. Delight strangely mingles with our amusement. Beauty illumines these fools.
That elusive quality is, indeed, often made up of very different parts, which it needs a peculiar genius to bring together. The wit of Jane Austen has for partner the perfection of her taste. Her fool is a fool, her snob is a snob, because he departs from the model of sanity and sense which she has in mind, and conveys to us unmistakably even while she makes us laugh. Never did any novelist make more use of an impeccable sense of human values. It is against the disc of an unerring heart, an unfailing good taste, an almost stern morality, that she shows up those deviations from kindness, truth, and sincerity which are among the most delightful things in English literature. She depicts a Mary Crawford in her mixture of good and bad entirely by this means. She lets her rattle on against the clergy, or in favour of a baronetage and ten thousand a year, with all the ease and spirit possible; but now and again she strikes one note of her own, very quietly, but in perfect tune, and at once all Mary Crawford’s chatter, though it continues to amuse, rings flat. Hence the depth, the beauty, the complexity of her scenes. From such contrasts there comes a beauty, a solemnity even, which are not only as remarkable as her wit, but an inseparable part of it. In The Watsons she gives us a foretaste of this power; she makes us wonder why an ordinary act of kindness, as she describes it, becomes so full of meaning. In her masterpieces, the same gift is brought to perfection. Here is nothing out of the way; it is midday in Northamptonshire; a dull young man is talking to rather a weakly young woman on the stairs as they go up to dress for dinner, with housemaids passing. But, from triviality, from commonplace, their words become suddenly full of meaning, and the moment for both one of the most memorable in their lives. It fills itself; it shines; it glows; it hangs before us, deep, trembling, serene for a second; next, the housemaid passes, and this drop, in which all the happiness of life has collected, gently subsides again to become part of the ebb and flow of ordinary existence.
What more natural, then, with this insight into their profundity, than that Jane Austen should have chosen to write of the trivialities of day-to-day existence, of parties, picnics, and country dances? No “suggestions to alter her style of writing” from the Prince Regent or Mr. Clarke could tempt her; no romance, no adventure, no politics or intrigue could hold a candle to life on a country-house staircase as she saw it. Indeed, the Prince Regent and his librarian had run their heads against a very formidable obstacle; they were trying to tamper with an incorruptible conscience, to disturb an infallible discretion. The child who formed her sentences so finely when she was fifteen never ceased to form them, and never wrote for the Prince Regent or his Librarian, but for the world at large. She knew exactly what her powers were, and what material they were fitted to deal with as material should be dealt with by a writer whose standard of finality was high. There were impressions that lay outside her province; emotions that by no stretch or artifice could be properly coated and covered by her own resources. For example, she could not make a girl talk enthusiastically of banners and chapels. She could not throw herself whole-heartedly into a romantic moment. She had all sorts of devices for evading scenes of passion. Nature and its beauties she approached in a sidelong way of her own. She describes a beautiful night without once mentioning the moon. Nevertheless, as we read the few formal phrases about “the brilliancy of an unclouded night and the contrast of the deep shade of the woods”, the night is at once as “solemn, and soothing, and lovely” as she tells us, quite simply, that it was.
The balance of her gifts was singularly perfect. Among her finished novels there are no failures, and among her many chapters few that sink markedly below the level of the others. But, after all, she died at the age of forty-two. She died at the height of her powers. She was still subject to those changes which often make the final period of a writer’s career the most interesting of all. Vivacious, irrepressible, gifted with an invention of great vitality, there can be no doubt that she would have written more, had she lived, and it is tempting to consider whether she would not have written differently. The boundaries were marked; moons, mountains, and castles lay on the other side. But was she not sometimes tempted to trespass for a minute? Was she not beginning, in her own gay and brilliant manner, to contemplate a little voyage of discovery?
Let us take Persuasion, the last completed novel, and look by its light at the books she might have written had she lived. There is a peculiar beauty and a peculiar dullness in Persuasion. The dullness is that which so often marks the transition stage between two different periods. The writer is a little bored. She has grown too familiar with the ways of her world; she no longer notes them freshly. There is an asperity in her comedy which suggests that she has almost ceased to be amused by the vanities of a Sir Walter or the snobbery of a Miss Elliott. The satire is harsh, and the comedy crude. She is no longer so freshly aware of the amusements of daily life. Her mind is not altogether on her object. But, while we feel that Jane Austen has done this before, and done it better, we also feel that she is trying to do something which she has never yet attempted. There is a new element in Persuasion, the quality, perhaps, that made Dr. Whewell fire up and insist that it was “the most beautiful of her works”. She is beginning to discover that the world is larger, more mysterious, and more romantic than she had supposed. We feel it to be true of herself when she says of Anne: “She had been forced into prudence in her youth, she learned romance as she grew older — the natural sequel of an unnatural beginning”. She dwells frequently upon the beauty and the melancholy of nature, upon the autumn where she had been wont to dwell upon the spring. She talks of the “influence so sweet and so sad of autumnal months in the country”. She marks “the tawny leaves and withered hedges”. “One does not love a place the less because one has suffered in it”, she observes. But it is not only in a new sensibility to nature that we detect the change. Her attitude to life itself is altered. She is seeing it, for the greater part of the book, through the eyes of a woman who, unhappy herself, has a special sympathy for the happiness and unhappiness of others, which, until the very end, she is forced to comment upon in silence. Therefore the observation is less of facts and more of feelings than is usual. There is an expressed emotion in the scene at the concert and in the famous talk about woman’s constancy which proves not merely the biographical fact that Jane Austen had loved, but the aesthetic fact that she was no longer afraid to say so. Experience, when it was of a serious kind, had to sink very deep, and to be thoroughly disinfected by the passage of time, before she allowed herself to deal with it in fiction. But now, in 1817, she was ready. Outwardly, too, in her circumstances, a change was imminent. Her fame had grown very slowly. “I doubt”, wrote Mr. Austen Leigh, “whether it would be possible to mention any other author of note whose personal obscurity was so complete.” Had she lived a few more years only, all that would have been altered. She would have stayed in London, dined out, lunched out, met famous people, made new friends, read, travelled, and carried back to the quiet country cottage a hoard of observations to feast upon at leisure.
And what effect would all this have had upon the six novels that Jane Austen did not write? She would not have written of crime, of passion, or of adventure. She would not have been rushed by the importunity of publishers or the flattery of friends into slovenliness or insincerity. But she would have known more. Her sense of security would have been shaken. Her comedy would have suffered. She would have trusted less (this is already perceptible in Persuasion) to dialogue and more to reflection to give us a knowledge of her characters. Those marvellous little speeches which sum up, in a few minutes’ chatter, all that we need in order to know an Admiral Croft or a Mrs. Musgrove for ever, that shorthand, hit-or-miss method which contains chapters of analysis and psychology, would have become too crude to hold all that she now perceived of the complexity of human nature. She would have devised a method, clear and composed as ever, but deeper and more suggestive, for conveying not only what people say, but what they leave unsaid; not only what they are, but what life is. She would have stood farther away from her characters, and seen them more as a group, less as individuals. Her satire, while it played less incessantly, would have been more stringent and severe. She would have been the forerunner of Henry James and of Proust — but enough. Vain are these speculations: the most perfect artist among women, the writer whose books are immortal, died “just as she was beginning to feel confidence in her own success”.
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Virginia Woolf: The Common Reader
kempis poetry magazine
More in: Archive W-X, Austen, Jane, Austen, Jane, Woolf, Virginia
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P. A. d e G é n e s t e t
(1829 – 1861)
Waar het meeste wordt geleden
Het knaapje sluimert! maar de moeder aan zijn sponde
Bespiedt de onvaste rust van ’t krank en lijdend kind;
Ach, hoe dat hoofdje gloeit! ’t Is alles stil in ’t ronde,
Doch in heur ziele met, die vreest, zooveel zij mint.
O God, waar hier op aard wel ’t innigst wordt gestreden?….
Aan ’t kinderziekbed, Heer! Daar buigt ook ’t twijflend hoofd
Des fieren mans zich neêr met staamlende gebeden; –
Geen moeder die niet bidt en in haar God gelooft!
Aan ’t kinderziekbed, Heer! daar worstlen in de harten
Gedachten, waar het hart voor week wordt, of voor breekt.
Daar lijdt een liefde, die bij ’t foltren van haar smarten,
Uw Liefde zoeken moet en vurigst tot Haar smeekt.
Ook nergens, stil geloof, is deze Liefde u nader,
Dan waar uw lijden klimt, bij ’t klimmen der gebeên….
Van ’t krankbed van ons kroost trekt gij ons hart, o Vader
Ten Hemel uwer kindren heen.
1857
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P.A. de Génestet gedichten
k e m p i s p o e t r y m a g a z i n e
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Aan de muze
Mijn god, je ziet dat ik me kan vervelen
dat het me dwars zit als een scheet
dat ik je bovendien dan niet wil delen
vertel dus hoe die Fransman heet!
je kunt de knoflook uit mijn pasta stelen
met al wat jij van dichtkunst weet
in jouw genade, vrouw ontstaan juwelen
al eist het schrijfproces een eed
aan welke dode grootheid mag ik denken
een Mallarmé, Verlaine of die vandaal?
heb geen idee, toe geef me nog wat wenken
voor alle loze woorden in mijn taal
zal ik je dan terstond vergeving schenken
aha, de dichter van Les fleurs du mal!
Kees Godefrooij
kempis poetry magazine
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