The Unknown Eros. Coventry Patmore
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The Unknown Eros
PREFACE TO THIRD EDITION
To this edition of “The Unknown Eros” are added all the other poems I have written, in what I venture—because it has no other name—to call “catalectic verse.” Nearly all English metres owe their existence as metres to “catalexis,” or pause, for the time of one or more feet, and, as a rule, the position and amount of catalexis are fixed. But the verse in which this volume is written is catalectic par excellence, employing the pause (as it does the rhyme) with freedom only limited by the exigencies of poetic passion. From the time of Drummond of Hawthornden to our own, some of the noblest flights of English poetry have been taken on the wings of this verse; but with ordinary readers it has been more or less discredited by the far greater number of abortive efforts, on the part sometimes of considerable poets, to adapt it to purposes with which it has no expressional correspondence; or to vary it by rhythmical movements which are destructive of its character.
Some persons, unlearned in the subject of metre, have objected to this kind of verse that it is “lawless.” But it has its laws as truly as any other. In its highest order, the lyric or “ode,” it is a tetrameter, the line having the time of eight iambics. When it descends to narrative, or the expression of a less-exalted strain of thought, it becomes a trimeter, having the time of six iambics, or even a dimeter, with the time of four; and it is allowable to vary the tetrameter “ode” by the occasional introduction of passages in either or both of these inferior measures, but not, I think, by the use of any other. The license to rhyme at indefinite intervals is counterbalanced, in the writing of all poets who have employed this metre successfully, by unusual frequency in the recurrence of the same rhyme. For information on the generally overlooked but primarily important function of catalexis in English verse I refer such readers as may be curious about the subject to the Essay printed as an appendix to the later editions of my collected poems.
I do not pretend to have done more than very moderate justice to the exceeding grace and dignity and the inexhaustible expressiveness of which this kind of metre is capable; but I can say that I have never attempted to write in it in the absence of that one justification of and prime qualification for its use, namely, the impulse of some thought that “voluntary moved harmonious numbers.”
THE UNKNOWN EROS
“Deliciae meae esse cum filiis hominum.”
PROEM
‘Many speak wisely, some inerrably:
Witness the beast who talk’d that should have bray’d,
And Caiaphas that said
Expedient ’twas for all that One should die;
But what avails
When Love’s right accent from their wisdom fails,
And the Truth-criers know not what they cry!
Say, wherefore thou,
As under bondage of some bitter vow,
Warblest no word,
When all the rest are shouting to be heard?
Why leave the fervid running just when Fame
’Gan whispering of thy name
Amongst the hard-pleased Judges of the Course?
Parch’d is thy crystal-flowing source?
Pierce, then, with thought’s steel probe, the trodden ground,
Till passion’s buried floods be found;
Intend thine eye
Into the dim and undiscover’d sky
Whose lustres are the pulsings of the heart,
And promptly, as thy trade is, watch to chart
The lonely suns, the mystic hazes and throng’d sparkles bright
That, named and number’d right
In sweet, transpicuous words, shall glow alway
With Love’s three-stranded ray,
Red wrath, compassion golden, lazuline delight.’
Thus, in reproof of my despondency,
My Mentor; and thus I:
O, season strange for song!
And yet some timely power persuades my lips.
Is’t England’s parting soul that nerves my tongue,
As other Kingdoms, nearing their eclipse,
Have, in their latest bards, uplifted strong
The voice that was their voice in earlier days?
Is it her sudden, loud and piercing cry,
The note which those that seem too weak to sigh
Will sometimes utter just before they die?
Lo, weary of the greatness of her ways,
There lies my Land, with hasty pulse and hard,
Her ancient beauty marr’d,
And, in her cold and aimless roving sight,
Horror of light;
Sole vigour left in her last lethargy,
Save when, at bidding of some dreadful breath,
The rising death
Rolls up with force;
And then the furiously gibbering corse
Shakes, panglessly convuls’d, and sightless stares,
Whilst one Physician pours in rousing wines,
One anodynes,
And one declares
That nothing ails it but the pains of growth.
My last look loth
Is taken; and I turn, with the relief
Of knowing that my life-long hope and grief
Are surely vain,
To that unshapen time to come, when She,
A dim, heroic Nation long since dead,
The foulness of her agony forgot,
Shall all benignly shed
Through ages vast
The ghostly grace of her transfigured past
Over the present, harass’d and forlorn,
Of nations yet unborn;
And this shall be the lot
Of those who, in the bird-voice and the blast
Of her omniloquent tongue,
Have truly sung
Or greatly said,
To shew as one
With those who have best done,
And be as rays,
Thro’ the still altering world, around her changeless head.
Therefore no ’plaint be mine
Of listeners none,
No hope of render’d use or proud reward,
In hasty times and hard;
But chants as of a lonely thrush’s throat
At latest eve,
That does in each calm note
Both joy and grieve;
Notes few and strong and fine,
Gilt with sweet day’s decline,
And sad with promise of a different sun.
’Mid the loud concert harsh
Of this fog-folded marsh,
To me, else dumb,
Uranian Clearness, come!
Give