Dante Gabriel Rossetti, Proserpine,1874, oil on canvas
Afar away the light that brings cold cheer
Unto this wall, – one instant and no more
Admitted at my distant palace-door
Afar the flowers of Enna from this drear
Dire fruit, which, tasted once, must thrall me here.
Afar those skies from this Tartarean grey
That chills me: and afar how far away,
The nights that shall become the days that were.
Afar from mine own self I seem, and wing
Strange ways in thought, and listen for a sign:
And still some heart unto some soul doth pine,
(Whose sounds mine inner sense in fain to bring,
Continually together murmuring) —
‘Woe me for thee, unhappy Proserpine’.
Dante Gabriel Rossetti, The Day Dream, 1880, oil on canvas
The thronged boughs of the shadowy sycamore
Still bear young leaflets half the summer through;
From when the robin ‘gainst the unhidden blue
Perched dark, till now, deep in the leafy core,
The embowered throstle’s urgent wood-notes soar
Through summer silence. Still the leaves come new;
Yet never rosy-sheathed as those which drew
Their spiral tongues from spring-buds heretofore.
Within the branching shade of Reverie
Dreams even may spring till autumn; yet none be
Like woman’s budding day-dream spirit-fann’d.
Lo! tow’rd deep skies, not deeper than her look,
She dreams; till now on her forgotten book
Drops the forgotten blossom from her hand.
Dante Gabriel Rossetti, Pia de’ Tolomei, 1868, oil on canvas
Dante Gabriel Rossetti, The Blue Silk Dress,1868, oil on canvas
I am in the Ruling Court of The Nine Muses. At 9:50 A.M. I began to read Martin Eden, perhaps for the first time? Twenty minutes before that I posted my last chapter on the long message chat I am having with my niece, Shannon Rosamond. I offered another solution to the mysterious death of her mother who rendered beautiful women in her Carmel By The Sea Art Gallery……that Martin Eden awkwardly walks into and….looks at paintings……and recalls a poem written by Swinburne. What? Hello? Are you there….Rosamond?
Alas, I am reunited with my Muse, Rena Christensen, who I did two Pre-Raphaelite painting of.
“Let me live out my years in heat of blood!
Let me lie drunken with the dreamer’s wine!
Let me not see this soul-house built of mud
Go toppling to the dust a vacant shrine!”
The one opened the door with a latch-key and went in, followed by a young fellow who awkwardly removed his cap. He wore rough clothes that smacked of the sea, and he was manifestly out of place in the spacious hall in which he found himself. He did not know what to do with his cap, and was stuffing it into his coat pocket when the other took it from him. The act was done quietly and naturally, and the awkward young fellow appreciated it. “He understands,” was his thought. “He’ll see me through all right.”
He walked at the other’s heels with a swing to his shoulders, and his legs spread unwittingly, as if the level floors were tilting up and sinking down to the heave and lunge of the sea. The wide rooms seemed too narrow for his rolling gait, and to himself he was in terror lest his broad shoulders should collide with the doorways or sweep the bric-a-brac from the low mantel. He recoiled from side to side between the various objects and multiplied the hazards that in reality lodged only in his mind. Between a grand piano and a centre-table piled high with books was space for a half a dozen to walk abreast, yet he essayed it with trepidation. His heavy arms hung loosely at his sides. He did not know what to do with those arms and hands, and when, to his excited vision, one arm seemed liable to brush against the books on the table, he lurched away like a frightened horse, barely missing the piano stool. He watched the easy walk of the other in front of him, and for the first time realized that his walk was different from that of other men. He experienced a momentary pang of shame that he should walk so uncouthly. The sweat burst through the skin of his forehead in tiny beads, and he paused and mopped his bronzed face with his handkerchief.
“Hold on, Arthur, my boy,” he said, attempting to mask his anxiety with facetious utterance. “This is too much all at once for yours truly. Give me a chance to get my nerve. You know I didn’t want to come, an’ I guess your fam’ly ain’t hankerin’ to see me neither.”
“That’s all right,” was the reassuring answer. “You mustn’t be frightened at us. We’re just homely people—Hello, there’s a letter for me.”
He stepped back to the table, tore open the envelope, and began to read, giving the stranger an opportunity to recover himself. And the stranger understood and appreciated. His was the gift of sympathy, understanding; and beneath his alarmed exterior that sympathetic process went on. He mopped his forehead dry and glanced about him with a controlled face, though in the eyes there was an expression such as wild animals betray when they fear the trap. He was surrounded by the unknown, apprehensive of what might happen, ignorant of what he should do, aware that he walked and bore himself awkwardly, fearful that every attribute and power of him was similarly afflicted. He was keenly sensitive, hopelessly self-conscious, and the amused glance that the other stole privily at him over the top of the letter burned into him like a dagger-thrust. He saw the glance, but he gave no sign, for among the things he had learned was discipline. Also, that dagger-thrust went to his pride. He cursed himself for having come, and at the same time resolved that, happen what would, having come, he would carry it through. The lines of his face hardened, and into his eyes came a fighting light. He looked about more unconcernedly, sharply observant, every detail of the pretty interior registering itself on his brain. His eyes were wide apart; nothing in their field of vision escaped; and as they drank in the beauty before them the fighting light died out and a warm glow took its place. He was responsive to beauty, and here was cause to respond.
An oil painting caught and held him. A heavy surf thundered and burst over an outjutting rock; lowering storm-clouds covered the sky; and, outside the line of surf, a pilot-schooner, close-hauled, heeled over till every detail of her deck was visible, was surging along against a stormy sunset sky. There was beauty, and it drew him irresistibly. He forgot his awkward walk and came closer to the painting, very close. The beauty faded out of the canvas. His face expressed his bepuzzlement. He stared at what seemed a careless daub of paint, then stepped away. Immediately all the beauty flashed back into the canvas. “A trick picture,” was his thought, as he dismissed it, though in the midst of the multitudinous impressions he was receiving he found time to feel a prod of indignation that so much beauty should be sacrificed to make a trick. He did not know painting. He had been brought up on chromos and lithographs that were always definite and sharp, near or far. He had seen oil paintings, it was true, in the show windows of shops, but the glass of the windows had prevented his eager eyes from approaching too near.
He glanced around at his friend reading the letter and saw the books on the table. Into his eyes leaped a wistfulness and a yearning as promptly as the yearning leaps into the eyes of a starving man at sight of food. An impulsive stride, with one lurch to right and left of the shoulders, brought him to the table, where he began affectionately handling the books. He glanced at the titles and the authors’ names, read fragments of text, caressing the volumes with his eyes and hands, and, once, recognized a book he had read. For the rest, they were strange books and strange authors. He chanced upon a volume of Swinburne and began reading steadily, forgetful of where he was, his face glowing. Twice he closed the book on his forefinger to look at the name of the author. Swinburne! he would remember that name. That fellow had eyes, and he had certainly seen color and flashing light. But who was Swinburne? Was he dead a hundred years or so, like most of the poets? Or was he alive still, and writing? He turned to the title-page . . . yes, he had written other books; well, he would go to the free library the first thing in the morning and try to get hold of some of Swinburne’s stuff. He went back to the text and lost himself. He did not notice that a young woman had entered the room. The first he knew was when he heard Arthur’s voice saying:-
“Ruth, this is Mr. Eden.”
The book was closed on his forefinger, and before he turned he was thrilling to the first new impression, which was not of the girl, but of her brother’s words. Under that muscled body of his he was a mass of quivering sensibilities. At the slightest impact of the outside world upon his consciousness, his thoughts, sympathies, and emotions leapt and played like lambent flame. He was extraordinarily receptive and responsive, while his imagination, pitched high, was ever at work establishing relations of likeness and difference. “Mr. Eden,” was what he had thrilled to—he who had been called “Eden,” or “Martin Eden,” or just “Martin,” all his life. And “Mister!” It was certainly going some, was his internal comment. His mind seemed to turn, on the instant, into a vast camera obscura, and he saw arrayed around his consciousness endless pictures from his life, of stoke-holes and forecastles, camps and beaches, jails and boozing-kens, fever-hospitals and slum streets, wherein the thread of association was the fashion in which he had been addressed in those various situations.
And then he turned and saw the girl. The phantasmagoria of his brain vanished at sight of her. She was a pale, ethereal creature, with wide, spiritual blue eyes and a wealth of golden hair. He did not know how she was dressed, except that the dress was as wonderful as she. He likened her to a pale gold flower upon a slender stem. No, she was a spirit, a divinity, a goddess; such sublimated beauty was not of the earth. Or perhaps the books were right, and there were many such as she in the upper walks of life. She might well be sung by that chap, Swinburne. Perhaps he had had somebody like her in mind when he painted that girl, Iseult, in the book there on the table. All this plethora of sight, and feeling, and thought occurred on the instant. There was no pause of the realities wherein he moved. He saw her hand coming out to his, and she looked him straight in the eyes as she shook hands, frankly, like a man. The women he had known did not shake hands that way. For that matter, most of them did not shake hands at all. A flood of associations, visions of various ways he had made the acquaintance of women, rushed into his mind and threatened to swamp it. But he shook them aside and looked at her. Never had he seen such a woman. The women he had known! Immediately, beside her, on either hand, ranged the women he had known. For an eternal second he stood in the midst of a portrait gallery, wherein she occupied the central place, while about her were limned many women, all to be weighed and measured by a fleeting glance, herself the unit of weight and measure. He saw the weak and sickly faces of the girls of the factories, and the simpering, boisterous girls from the south of Market. There were women of the cattle camps, and swarthy cigarette-smoking women of Old Mexico. These, in turn, were crowded out by Japanese women, doll-like, stepping mincingly on wooden clogs; by Eurasians, delicate featured, stamped with degeneracy; by full-bodied South-Sea-Island women, flower-crowned and brown-skinned. All these were blotted out by a grotesque and terrible nightmare brood—frowsy, shuffling creatures from the pavements of Whitechapel, gin-bloated hags of the stews, and all the vast hell’s following of harpies, vile-mouthed and filthy, that under the guise of monstrous female form prey upon sailors, the scrapings of the ports, the scum and slime of the human pit.
“Won’t you sit down, Mr. Eden?” the girl was saying. “I have been looking forward to meeting you ever since Arthur told us. It was brave of you—”
He waved his hand deprecatingly and muttered that it was nothing at all, what he had done, and that any fellow would have done it. She noticed that the hand he waved was covered with fresh abrasions, in the process of healing, and a glance at the other loose-hanging hand showed it to be in the same condition. Also, with quick, critical eye, she noted a scar on his cheek, another that peeped out from under the hair of the forehead, and a third that ran down and disappeared under the starched collar. She repressed a smile at sight of the red line that marked the chafe of the collar against the bronzed neck. He was evidently unused to stiff collars. Likewise her feminine eye took in the clothes he wore, the cheap and unaesthetic cut, the wrinkling of the coat across the shoulders, and the series of wrinkles in the sleeves that advertised bulging biceps muscles.
While he waved his hand and muttered that he had done nothing at all, he was obeying her behest by trying to get into a chair. He found time to admire the ease with which she sat down, then lurched toward a chair facing her, overwhelmed with consciousness of the awkward figure he was cutting. This was a new experience for him. All his life, up to then, he had been unaware of being either graceful or awkward. Such thoughts of self had never entered his mind. He sat down gingerly on the edge of the chair, greatly worried by his hands. They were in the way wherever he put them. Arthur was leaving the room, and Martin Eden followed his exit with longing eyes. He felt lost, alone there in the room with that pale spirit of a woman. There was no bar-keeper upon whom to call for drinks, no small boy to send around the corner for a can of beer and by means of that social fluid start the amenities of friendship flowing.
“You have such a scar on your neck, Mr. Eden,” the girl was saying. “How did it happen? I am sure it must have been some adventure.”
“A Mexican with a knife, miss,” he answered, moistening his parched lips and clearing his throat. “It was just a fight. After I got the knife away, he tried to bite off my nose.”
Baldly as he had stated it, in his eyes was a rich vision of that hot, starry night at Salina Cruz, the white strip of beach, the lights of the sugar steamers in the harbor, the voices of the drunken sailors in the distance, the jostling stevedores, the flaming passion in the Mexican’s face, the glint of the beast-eyes in the starlight, the sting of the steel in his neck, and the rush of blood, the crowd and the cries, the two bodies, his and the Mexican’s, locked together, rolling over and over and tearing up the sand, and from away off somewhere the mellow tinkling of a guitar. Such was the picture, and he thrilled to the memory of it, wondering if the man could paint it who had painted the pilot-schooner on the wall. The white beach, the stars, and the lights of the sugar steamers would look great, he thought, and midway on the sand the dark group of figures that surrounded the fighters. The knife occupied a place in the picture, he decided, and would show well, with a sort of gleam, in the light of the stars. But of all this no hint had crept into his speech. “He tried to bite off my nose,” he concluded.
“Oh,” the girl said, in a faint, far voice, and he noticed the shock in her sensitive face.
He felt a shock himself, and a blush of embarrassment shone faintly on his sunburned cheeks, though to him it burned as hotly as when his cheeks had been exposed to the open furnace-door in the fire-room. Such sordid things as stabbing affrays were evidently not fit subjects for conversation with a lady. People in the books, in her walk of life, did not talk about such things—perhaps they did not know about them, either.
There was a brief pause in the conversation they were trying to get started. Then she asked tentatively about the scar on his cheek. Even as she asked, he realized that she was making an effort to talk his talk, and he resolved to get away from it and talk hers.
“It was just an accident,” he said, putting his hand to his cheek. “One night, in a calm, with a heavy sea running, the main-boom-lift carried away, an’ next the tackle. The lift was wire, an’ it was threshin’ around like a snake. The whole watch was tryin’ to grab it, an’ I rushed in an’ got swatted.”
“Oh,” she said, this time with an accent of comprehension, though secretly his speech had been so much Greek to her and she was wondering what a lift was and what swatted meant.
“This man Swineburne,” he began, attempting to put his plan into execution and pronouncing the i long.
“Swineburne,” he repeated, with the same mispronunciation. “The poet.”
“Swinburne,” she corrected.
“Yes, that’s the chap,” he stammered, his cheeks hot again. “How long since he died?”
“Why, I haven’t heard that he was dead.” She looked at him curiously. “Where did you make his acquaintance?”
“I never clapped eyes on him,” was the reply. “But I read some of his poetry out of that book there on the table just before you come in. How do you like his poetry?”
And thereat she began to talk quickly and easily upon the subject he had suggested. He felt better, and settled back slightly from the edge of the chair, holding tightly to its arms with his hands, as if it might get away from him and buck him to the floor. He had succeeded in making her talk her talk, and while she rattled on, he strove to follow her, marvelling at all the knowledge that was stowed away in that pretty head of hers, and drinking in the pale beauty of her face. Follow her he did, though bothered by unfamiliar words that fell glibly from her lips and by critical phrases and thought-processes that were foreign to his mind, but that nevertheless stimulated his mind and set it tingling. Here was intellectual life, he thought, and here was beauty, warm and wonderful as he had never dreamed it could be. He forgot himself and stared at her with hungry eyes. Here was something to live for, to win to, to fight for—ay, and die for. The books were true. There were such women in the world. She was one of them. She lent wings to his imagination, and great, luminous canvases spread themselves before him whereon loomed vague, gigantic figures of love and romance, and of heroic deeds for woman’s sake—for a pale woman, a flower of gold. And through the swaying, palpitant vision, as through a fairy mirage, he stared at the real woman, sitting there and talking of literature and art. He listened as well, but he stared, unconscious of the fixity of his gaze or of the fact that all that was essentially masculine in his nature was shining in his eyes. But she, who knew little of the world of men, being a woman, was keenly aware of his burning eyes. She had never had men look at her in such fashion, and it embarrassed her. She stumbled and halted in her utterance. The thread of argument slipped from her. He frightened her, and at the same time it was strangely pleasant to be so looked upon. Her training warned her of peril and of wrong, subtle, mysterious, luring; while her instincts rang clarion-voiced through her being, impelling her to hurdle caste and place and gain to this traveller from another world, to this uncouth young fellow with lacerated hands and a line of raw red caused by the unaccustomed linen at his throat, who, all too evidently, was soiled and tainted by ungracious existence. She was clean, and her cleanness revolted; but she was woman, and she was just beginning to learn the paradox of woman.
“As I was saying—what was I saying?” She broke off abruptly and laughed merrily at her predicament.
“You was saying that this man Swinburne failed bein’ a great poet because—an’ that was as far as you got, miss,” he prompted, while to himself he seemed suddenly hungry, and delicious little thrills crawled up and down his spine at the sound of her laughter. Like silver, he thought to himself, like tinkling silver bells; and on the instant, and for an instant, he was transported to a far land, where under pink cherry blossoms, he smoked a cigarette and listened to the bells of the peaked pagoda calling straw-sandalled devotees to worship.
“Yes, thank you,” she said. “Swinburne fails, when all is said, because he is, well, indelicate. There are many of his poems that should never be read. Every line of the really great poets is filled with beautiful truth, and calls to all that is high and noble in the human. Not a line of the great poets can be spared without impoverishing the world by that much.”
“I thought it was great,” he said hesitatingly, “the little I read. I had no idea he was such a—a scoundrel. I guess that crops out in his other books.”
“There are many lines that could be spared from the book you were reading,” she said, her voice primly firm and dogmatic.
“I must ’a’ missed ’em,” he announced. “What I read was the real goods. It was all lighted up an’ shining, an’ it shun right into me an’ lighted me up inside, like the sun or a searchlight. That’s the way it landed on me, but I guess I ain’t up much on poetry, miss.”
He broke off lamely. He was confused, painfully conscious of his inarticulateness. He had felt the bigness and glow of life in what he had read, but his speech was inadequate. He could not express what he felt, and to himself he likened himself to a sailor, in a strange ship, on a dark night, groping about in the unfamiliar running rigging. Well, he decided, it was up to him to get acquainted in this new world. He had never seen anything that he couldn’t get the hang of when he wanted to and it was about time for him to want to learn to talk the things that were inside of him so that she could understand. She was bulking large on his horizon.
“Now Longfellow—” she was saying.
“Yes, I’ve read ’m,” he broke in impulsively, spurred on to exhibit and make the most of his little store of book knowledge, desirous of showing her that he was not wholly a stupid clod. “‘The Psalm of Life,’ ‘Excelsior,’ an’ . . . I guess that’s all.”
She nodded her head and smiled, and he felt, somehow, that her smile was tolerant, pitifully tolerant. He was a fool to attempt to make a pretence that way. That Longfellow chap most likely had written countless books of poetry.
“Excuse me, miss, for buttin’ in that way. I guess the real facts is that I don’t know nothin’ much about such things. It ain’t in my class. But I’m goin’ to make it in my class.”
It sounded like a threat. His voice was determined, his eyes were flashing, the lines of his face had grown harsh. And to her it seemed that the angle of his jaw had changed; its pitch had become unpleasantly aggressive. At the same time a wave of intense virility seemed to surge out from him and impinge upon her.
“I think you could make it in—in your class,” she finished with a laugh. “You are very strong.”
Her gaze rested for a moment on the muscular neck, heavy corded, almost bull-like, bronzed by the sun, spilling over with rugged health and strength. And though he sat there, blushing and humble, again she felt drawn to him. She was surprised by a wanton thought that rushed into her mind. It seemed to her that if she could lay her two hands upon that neck that all its strength and vigor would flow out to her. She was shocked by this thought. It seemed to reveal to her an undreamed depravity in her nature. Besides, strength to her was a gross and brutish thing. Her ideal of masculine beauty had always been slender gracefulness. Yet the thought still persisted. It bewildered her that she should desire to place her hands on that sunburned neck. In truth, she was far from robust, and the need of her body and mind was for strength. But she did not know it. She knew only that no man had ever affected her before as this one had, who shocked her from moment to moment with his awful grammar.
“Yes, I ain’t no invalid,” he said. “When it comes down to hard-pan, I can digest scrap-iron. But just now I’ve got dyspepsia. Most of what you was sayin’ I can’t digest. Never trained that way, you see. I like books and poetry, and what time I’ve had I’ve read ’em, but I’ve never thought about ’em the way you have. That’s why I can’t talk about ’em. I’m like a navigator adrift on a strange sea without chart or compass. Now I want to get my bearin’s. Mebbe you can put me right. How did you learn all this you’ve ben talkin’?”
“By going to school, I fancy, and by studying,” she answered.
“I went to school when I was a kid,” he began to object.
“Yes; but I mean high school, and lectures, and the university.”
“You’ve gone to the university?” he demanded in frank amazement. He felt that she had become remoter from him by at least a million miles.
“I’m going there now. I’m taking special courses in English.”
He did not know what “English” meant, but he made a mental note of that item of ignorance and passed on.
“How long would I have to study before I could go to the university?” he asked.
She beamed encouragement upon his desire for knowledge, and said: “That depends upon how much studying you have already done. You have never attended high school? Of course not. But did you finish grammar school?”
“I had two years to run, when I left,” he answered. “But I was always honorably promoted at school.”
The next moment, angry with himself for the boast, he had gripped the arms of the chair so savagely that every finger-end was stinging. At the same moment he became aware that a woman was entering the room. He saw the girl leave her chair and trip swiftly across the floor to the newcomer. They kissed each other, and, with arms around each other’s waists, they advanced toward him. That must be her mother, he thought. She was a tall, blond woman, slender, and stately, and beautiful. Her gown was what he might expect in such a house. His eyes delighted in the graceful lines of it. She and her dress together reminded him of women on the stage. Then he remembered seeing similar grand ladies and gowns entering the London theatres while he stood and watched and the policemen shoved him back into the drizzle beyond the awning. Next his mind leaped to the Grand Hotel at Yokohama, where, too, from the sidewalk, he had seen grand ladies. Then the city and the harbor of Yokohama, in a thousand pictures, began flashing before his eyes. But he swiftly dismissed the kaleidoscope of memory, oppressed by the urgent need of the present. He knew that he must stand up to be introduced, and he struggled painfully to his feet, where he stood with trousers bagging at the knees, his arms loose-hanging and ludicrous, his face set hard for the impending ordeal.
Algernon Charles Swinburne; Swinburne
poet (a writer of poems (the term is usually reserved for writers of good poetry))
She might well be sung by that chap, Swinburne.
(Martin Eden, by Jack London)
They talked together on Swinburne and Rossetti, after which she led him beyond his depth into the by-paths of French literature.
(Martin Eden, by Jack London)
Swinburne fails, when all is said, because he is, well, indelicate.
(Martin Eden, by Jack London)
But who was Swinburne?
(Martin Eden, by Jack London)
Swinburne had furnished the key.
(Martin Eden, by Jack London)
They talked first of the borrowed books, of the Swinburne he was devoted to, and of the Browning he did not understand; and she led the conversation on from subject to subject, while she pondered the problem of how she could be of help to him.
(Martin Eden, by Jack London)
But the impression of that fleeting glimpse lingered, and when the time came for him to beat a stumbling retreat and go, she lent him the volume of Swinburne, and another of Browning—she was studying Browning in one of her English courses.
(Martin Eden, by Jack London)
“Swinburne,” she corrected.
(Martin Eden, by Jack London)
You was saying that this man Swinburne failed bein’ a great poet because—an’ that was as far as you got, miss, he prompted, while to himself he seemed suddenly hungry, and delicious little thrills crawled up and down his spine at the sound of her laughter.
(Martin Eden, by Jack London)
He turned to the title-page . . . yes, he had written other books; well, he would go to the free library the first thing in the morning and try to get hold of some of Swinburne‘s stuff.
Swinburne Meets Joaquin Miller.” New York Times (10 May 1931) [Online: BR5]
Picture with the text: “Once Joaquin Miller and a British Writer Called on Swinburne, Whom the Englishman Claimed as an Intimate Friend. They Announced Themselves as Joaquin Miller, the American Poet, and a Friend. Swinburne Sent Down Word to ‘Bring the American Poet Up and Tell the Friend to Go to Hell.’” [MCK]
Algernon Charles Swinburne (London, April 5, 1837 – London, April 10, 1909) was an English poet, playwright, novelist, and critic. He invented the roundel form, wrote several novels, and contributed to the famous Eleventh Edition of the Encyclopaedia Britannica. He was nominated for the Nobel Prize in Literature in every year from 1903 to 1907 and again in 1909.
At Oxford Swinburne met several Pre-Raphaelites, including William Morris and Dante Gabriel Rossetti. After leaving college he lived in London and started an active writing career, where Rossetti was delighted with his ‘little Northumbrian friend’, a reference to Swinburne’s diminutive height—he was just over five feet tall.
The first of Rosamond’s five scenes is the most forceful in demonstrating Swinburne’s debt to troubadour conventions as well as to Pre-Raphaelite stylistic influences. Courtly love preoccupations and the medieval setting overshadow elements of Jacobean revenge tragedy throughout the play. Swinburne’s Rosamond, rather than the historical queen of the Courts of Love, espouses the religion of love and, as a result of her lived creed, is poisoned by Eleanor out of jealousy.
Swinburne’s choice of the “rose of the world” as one of his first subjects for verse suggests that he associated his conception of Rosamond with courtly love allegory, specifically the Roman de la Rose, in which the rose is the eternal symbol of the beloved and of the perfect beauty that is fearfully transient but simultaneously immortal.3 As in Swinburne’s later lyrics “Before the Mirror” and “The Year of the Rose,” Rosamond’s central symbol is the rose, and, like them, this play recapitulates the major preoccupations of courtly love poetry: the apotheosis of beauty; love as the necessary consequence of beauty fear of mutability; and a final insistence on the immortality of both love and beauty, which can be attained, paradoxically, only through death.
[39/40] The first scene of Rosamond characterizes its heroine as simultaneously enchanted with her own beauty, exalted by her love affair with Henry, and insecure about the permanence of her beauty and her love. Surrounded by the ephemeral rose blossoms with which she identifies in the maze at Woodstock, she is alone with her maid, Constance. Here Rosamond reveals her concern with the world’s slanderous gossip about her, and as the scene progresses she attempts gradually to rebuild her self-confidence-in her beauty, in Henry’s continuing devotion, and in the unassailable value of beauty and of love. At first, she is defensive:
If six leaves make a rose, I stay red yet
And the wind nothing ruins me; who says
I am at waste? (Tragedies, I, 231)
Is thy name
Babe? Sweet are babes as flowers that wed the sun,
But man may be not born a babe again,
And less than man may woman. Rosamund
Stands radiant now in royal pride of place
As wife of thine and queen of Lombards–not
Cunimund’s daughter. Hadst thou slain her sire
Shamefully, shame were thine to have sought her hand
And shame were hers to love thee: but he died
Manfully, by thy mightier hand than his
Manfully mastered. War, born blind as fire,
Fed not as fire upon her: many a maid
As royal dies disrobed of all but shame
And even to death burnt up for shame’s sake: she
Lives, by thy grace, imperial.
When my grandson, Tyler Hunt, were doing a painting together, Patrice Hanson, looked on with disgust. This goes back to our conversation at the ruins of Jack London’s Wolf House where I told my wife to be my families creative legacy was falling into the hands of outsiders the same way London’s legacy came to be owned by hostile outsiders. I told Patrice I am authoring a biography, and my rivals are inventing lies in their biogrphy of my famous sister, Rosamond. All of a sudden, Patrice says;
“Are you saying our daughter got all her talent from you?”
I can not tell you enough how important the friendship of Joaquin Miller, and the Rossetti family, is, to the history and future of Oregon and California. Miller grew up ten miles from Springfield Oregon. He would travel to Britain and have dinner with the Pre-Raphaelites. He had Japanese Poets living on his Bohemian Mecca in Oakland. Takeshi Kanno was a guest. He was on a cultural mission of the Emperor of Japan. There is talk about Russia and Japan having another war. Today, Japan and Britain signed a pact that resembles the one that Chruchill instigated. Everything has come – to fruition!
All my hard work – is not it vain. I am going to approach Disney about making a trilogy about Joaquin Miller, who was a flawed white man – of Tomorrowland. Many Americans are asking why we are over there again – helping Ukraine fight a war with Russia. Millions of black people want the money spent on war – spent at home. Today, we have allies that we fought against in World War Two. All Americans need and deserve an explanation, a presentation of our Mutual Cultural Ambitions. Hollywood has helped define Who We Are – in the past!
Who are we?
Candidate for Governor of Oregon
THE GARDEN OF PROSERPINE (*) – BY ALGERNON CHARLES SWINBURNE
Mentioned in Martin Eden, one of few poems that could actually touch me.
The first time I read it, seems like centuries ago. Now it makes me remember that time, when days were so heavy and nights so soft. Back then, in summer nights, the air smelled of milk flowers. And of course, the flashes on french windows, looked like things come from a different world, which is whole and makes sense. And one only thing left to be created, my old friend, the Rain. “Into the poison drunk in old days, pours drops of honey.”
Here, where the world is quiet ;
Here, where all trouble seems
Dead winds’ and spent waves’ riot
In doubtful dreams of dreams ;
I watch the green field growing
For reaping folk and sowing,
For harvest-time and mowing,
A sleepy world of streams.
I am tired of tears and laughter,
And men that laugh and weep ;
Of what may come hereafter
For men that sow to reap :
I am weary of days and hours,
Blown buds of barren flowers,
Desires and dreams and powers
And everything but sleep.
Here life has death for neighbour,
And far from eye or ear
Wan waves and wet winds labour,
Weak ships and spirits steer ;
They drive adrift, and whither
They wot not who make thither ;
But no such winds blow hither,
And no such things grow here.
No growth of moor or coppice,
No heather-flower or vine,
But bloomless buds of poppies,
Green grapes of Proserpine,
Pale beds of blowing rushes
Where no leaf blooms or blushes
Save this whereout she crushes
For dead men deadly wine.
Pale, without name or number,
In fruitless fields of corn,
They bow themselves and slumber
All night till light is born ;
And like a soul belated,
In hell and heaven unmated,
By cloud and mist abated
Comes out of darkness morn.
Though one were strong as seven,
He too with death shall dwell,
Nor wake with wings in heaven,
Nor weep for pains in hell ;
Though one were fair as roses,
His beauty clouds and closes ;
And well though love reposes,
In the end it is not well.
Pale, beyond porch and portal,
Crowned with calm leaves, she stands
Who gathers all things mortal
With cold immortal hands ;
Her languid lips are sweeter
Than love’s who fears to greet her
To men that mix and meet her
From many times and lands.
She waits for each and other,
She waits for all men born ;
Forgets the earth her mother,
The life of fruits and corn ;
And spring and seed and swallow
Take wing for her and follow
Where summer song rings hollow
And flowers are put to scorn.
There go the loves that wither,
The old loves with wearier wings ;
And all dead years draw thither,
And all disastrous things ;
Dead dreams of days forsaken,
Blind buds that snows have shaken,
Wild leaves that winds have taken,
Red strays of ruined springs.
We are not sure of sorrow,
And joy was never sure ;
To-day will die to-morrow ;
Time stoops to no man’s lure ;
And love, grown faint and fretful,
With lips but half regretful
Sighs, and with eyes forgetful
Weeps that no loves endure.
From too much love of living,
From hope and fear set free,
We thank with brief thanksgiving
Whatever gods may be
That no life lives for ever ;
That dead men rise up never ;
That even the weariest river
Winds somewhere safe to sea.
Then star nor sun shall waken,
Nor any change of light :
Nor sound of waters shaken,
Nor any sound or sight :
Nor wintry leaves nor vernal,
Nor days nor things diurnal ;
Only the sleep eternal
In an eternal night.