Notes and Queries, Number 72, March 15, 1851. Various
Time: but that it must
Be shaken into dust?
Then poore, poore Israelites are wee
Who see,
But cannot shunn the Graue's captivitie.
"Alas, good Browne! that Nature hath
No bath,
Or virtuous herbes to strayne,
To boyle2 thee yong againe;
Yet could she (kind) but back command
Thy brand,
Herself would dye thou should'st be unman'd.
"But (ah!) the golden Ewer by [a] stroke,
Is broke,
And now the Almond Tree
With teares, with teares, we see,
Doth lowly lye, and with its fall
Do all
The daughters dye, that once were musicall.
"Thus yf weake builded man cann saye,
A day
He lives, 'tis all, for why?
He's sure at night to dye,
For fading man in fleshly lome3
Doth rome
Till he his graue find, His eternall home.
"Then farewell, farewell, man of men,
Till when
(For us the morners meet
Pal'd visag'd in the street,
To seale up this our britle birth
In earth,)
We meet with thee triumphant in our mirth."
Now, to what does Hall refer in the third stanza, in his mention of the almond-tree? Is it a classical allusion, as in the preceding stanza, or has it some reference to any botanical fact? I send the ballad, trusting that as an inedited morsel you will receive it.
[We do not take Hall here to be the name of a man, but Trinity Hall at Cambridge.]
ON A PASSAGE IN MARMION
I venture for the first time to trespass upon the attention of your readers in making the following remarks upon a passage in Marmion, which, as far as I know, has escaped the notice of all the critical writers whose comments upon that celebrated poem have hitherto been published.
It will probably be remembered, that long after the main action of the poem and interest of the story have been brought to a close by the death of the hero on the field of Flodden, the following incident is thus pointedly described:—
Short is my tale:—Fitz-Eustace' care
A pierced and mangled body bare
To moated Lichfield's lofty pile:
And there, beneath the southern aisle,
A tomb, with Gothic sculpture fair
Did long Lord Marmion's image bear,
&c. &c. &c.
"There erst was martial Marmion found,
His feet upon a couchant hound,
His hands to Heaven upraised:
And all around on scutcheon rich,
And tablet carved, and fretted niche,
His arms and feats were blazed.
And yet, though all was carved so fair,
And priest for Marmion breathed the prayer,
The last Lord Marmion lay not there.
From Ettrick woods a peasant swain
Follow'd his lord to Flodden plain,—
&c. &c. &c.
"Sore wounded Sybil's Cross he spied,
And dragg'd him to its foot, and died,
Close by the noble Marmion's side.
The spoilers stripp'd and gash'd the slain,
And thus their corpses were mista'en;
And thus in the proud Baron's tomb,
The lowly woodsman took the room."
Now, I ask, wherefore has the poet dwelt with such minuteness upon this forced and improbable incident? Had it indeed been with no other purpose than to introduce the picturesque description and the moral reflexions contained in the following section, the improbability might well be forgiven. But such is not the real object. The critic of the Monthly Review takes the following notice of this passage, which is printed as a note in the last edition of Scott's Poems in 1833:—
"A corpse is afterwards conveyed, as that of Marmion, to the cathedral of Lichfield, where a magnificent tomb is erected to his memory, &c. &c.; but, by an admirably imagined act of poetical justice, we are informed that a peasant's body was placed beneath that costly monument, while the haughty Baron himself was buried like a vulgar corpse on the spot where he died."
Had the reviewer attempted to penetrate a little deeper into the workings of the author's mind, he would have seen in this circumstance much more than "an admirably imagined act of poetical justice." He would have perceived in it the ultimate and literal fulfilment of the whole penalty foreshadowed to the delinquent baron in the two concluding stanzas of that beautiful and touching song sung by Fitz-Eustace in the Hostelrie of Gifford in the third canto of the poem, which I here transcribe:
"Where shall the traitor rest,
He the deceiver,
Who could win maiden's breast,
Ruin, and leave her?
In the lost battle
Borne down by the flying,
Where mingles war's rattle,
With groans of the dying—
There shall he be lying.
Her wing shall the eagle flap
O'er the false-hearted,
His warm blood the wolf shall lap
Ere life be parted.
Shame and dishonour sit
By his grave ever;
Blessing shall hallow it,
Never, O never!"
Then follows the effect produced upon the conscience of the "Traitor," described in these powerful lines:—
"It ceased. the melancholy sound;
And silence sunk on all around.
The air was sad; but sadder still
It fell on Marmion's ear,
And plain'd as if disgrace and ill,
And shameful death, were near."
&c. &c. &c.
And lastly, when the life of the wounded baron is ebbing forth with his blood on the field of battle, when—
"The Monk, with unavailing cares
Exhausted all the Church's prayers—
Ever, he said, that, close and near,
A lady's voice was in his ear,
And that the priest he could not hear—
For that she ever sung,
'In the lost battle, borne down by the flying,
Where
The reader will recognise the classical allusion.
Loam, earth; roam.