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AJP.Writing.FaithChoice
ComIo fui dentro, in un bogliente vetroGittato mi sarci per rinfrescarmi,Tant era ivi lo Ncendio senza metro.Del Purgatoria, xxvii. 49.
Editors.Policy
Eternal._When everything that is sincerely good,And perfectly divineWith truth and peace and love, shall ever shineAbout the supreme throneOf him to whose happy-making sight aloneWhen once our heavenly-guided soul shall climb,Then, all this earthy grossness quit,Attired with stars, we shall for ever sitTriumphing over Death and Chance and thee, O Time.The next I give is likewise an ode--a more _beautiful_ one. Observe inBoth the fine effect of the short lines, essential to the nature of theOde, being that which gives its solemnity the character yet of a song, orRather, perhaps, of a chant.In this he calls upon Voice and Verse to rouse and raise our imaginationUntil we hear the choral song of heaven, and hearing become able to singIn tuneful response.AT A SOLEMN MUSIC.Blest pair of sirens, pledges of heavenS joySphere-born harmonious sisters, Voice and Verse,Wed your divine sounds, and mixed power employ--Dead things with inbreathed sense able to pierce--And to our high-raised phantasy presentThat undisturbed song of pure concent105
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I know my mother _said_ nothing more just then, but let my father have itAll his own way for a while.
Ill, from all artistic points of view, as such a note comesIn, I must, for reasons paramount to artistic considerations, remindMy readers, that not only is the date of my story half a centuryOr so back, but, dealing with principles, has hardly anything toDo with actual events, and nothing at all with persons. The localSkeleton of the story alone is taken from the real, and I had notA model, not to say an original, for one of the characters in it--except indeed Mrs CatanachS dog.
Illustration
JOSEPH _goes. Sounds approach_.
JULIAN _follows him out of the cell, steps along a narrowPassage to a door, which he opens slowly. He goes out,And closes the door behind him_.
JULIAN _gives her drink, supporting her. She looks at himAgain, with large wondering eyes_.
JULIAN _goes_.
JULIAN _lies motionless. Insensibility passes into sleep. HeWakes calm, in the sultry dusk of a summer evening_.
JULIAN _moves on slowly_.
JULIAN _sings_.
Jew goes.
Kissing her.
LADY GERTRUDE _goes_.
LILIA _stands as before_.
LILIA, _looking off her work, and thinking withFixed eyes for a few moments, sings_.
LILIA, _loosening her arms, and drawing back a little with aKind of shrinking, looks a frightened interrogation_.
LILY _looks long in her motherS face, as if wonderingWhat the song could be about then turns away to the closet.After a little she comes running with a box in her hand_.
LILY _spies her mother, darts down, and is caught inHer arms. They land on_ JULIANS _peak, andClimb_, LILY _leading her mother_.
LORD SEAFORD _covers his eyes with his hands_.
Lay hold of._The clear skies.I now turn from those poems of national scope and wide social interest,Bearing their share, doubtless, in the growth of the great changes thatShowed themselves at length more than a century after, and from the poemI have just quoted of a yet wider human interest, to one of another tone,Springing from the grief that attends love, and the aspiration born ofThe grief. It is, nevertheless, wide in its scope as the conflict betweenDeath and Life, although dealing with the individual and not with theRace. The former poems named of Pierce Ploughman are the cry of John theBaptist in the English wilderness this is the longing of Hannah at home,Having left her little son in the temple. The latter _seems_ a poorerMatter but it is an easier thing to utter grand words of justCondemnation, than, in the silence of the chamber, or with the well-knownHousehold-life around, forcing upon the consciousness only the law ofThings seen, to regard with steadfastness the blank left by a belovedForm, and believe in the unseen, the marvellous, the eternal. In theMidst of The light of common day, with all the persistently commonThings pressing upon the despairing heart, to hold fast, after whatFashion may be possible, the vanishing song that has changed its key, isIndeed a victory over the flesh, however childish the forms in which theFaith may embody itself, however weak the logic with which it may defendIts intrenchments.The poem which has led me to make these remarks is in many respectsNoteworthy. It is very different in style and language from any I haveYet given. There was little communication to blend the different modes ofSpeech prevailing in different parts of the country. It belongs,24
Lord Stair, the prime mover in the Massacre of Glenco.
Monk _goes_.
My father went on, taking no heed of my motherSExpostulation.
My mother was now, however, so vexed with my father for saying shePreferred the DeanS preaching to his,--although I doubt very much whetherIt wasnT true,--that she actually walked out of the octagon room whereThey were, and left him to meditate on his unkindness. Vexed with herselfThe next moment, she returned as if nothing had happened. I am only tellingWhat my mother told me for to her grown daughters she is blessedlyTrusting.
NEMBRONI _falls dead_. JULIAN _wipes his dagger on theDead manS coat_.
Needs._We give to him by whom we all do live.Such mercy he by his most holy rede _instruction._Unto us taught, and to approve it true,Ensampled it by his most righteous deed,Shewing us mercy, miserable crewThat we the like should to the wretches60
No Signature.
Not
Nurse _goes_.
Nurse goes.
Outdoor
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Proverbs xxx. 4.
See article Martin Fereol, in St. PaulS Magazine vol. iv.Generally.
Sic
Sic, should be XXII.
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The fact to which the following verses refer, is related byDr. Edward Clarke in his Travels.
The fact which suggested this poem is related by Clarke in his Travels.
The rest follow.
This was my motherS most solemnMode of addressing my father
What added to the likelihood of Mr GrahamS conjecture was theFact, well enough known to him, though to few lowlanders besides,That revenge is not a characteristic of the Gael. Whatever instancesOf it may have appeared, and however strikingly they may have beenWorked up in fiction, such belong to the individual and not toThe race. A remarkable proof of this occurs in the history of theFamily of Glenco itself. What remained of it after the massacre in1689, rose in 1745, and joined the forces of Prince Charles Edward.Arriving in the neighbourhood of the residence of Lord Stair, whoseGrandfather had been one of the chief instigators of the massacre,The prince took special precautions lest the people of Glenco shouldWreak inherited vengeance on the earl. But they were so indignantAt being supposed capable of visiting on the innocent the guiltOf their ancestors, that it was with much difficulty they werePrevented from forsaking the standard of the prince, and returningAt once to their homes. Perhaps a yet stronger proof is the fact,Fully asserted by one Gaelic scholar at least, that their literatureContains nothing to foster feelings of revenge.
Wrangle
_3rd Student offers the money to_ JULIAN.
_A letter is brought in_. LORD SEAFORD _holds it before_JULIANS _eyes. He looks vaguely at it_.
_A loud shout. He steps in and casts the chain loose,Then pushes gently off_.
_A sudden crash of music from a brass band in the street,Melting away in a low cadence_.
_A tap at the door_.
_An outburst of mingled cries_.
_Approaches the bed, and gazes on_ LILIA _silently withClasped hands then returns to the window_.
_Approaches the lady within_.
_Beginning to weep_.
_Clasping him round the neck_.
_Clinging to_ JULIAN, _and pointing down_.
_Coming towards the door, carrying her_.
_Covering her face with her hands, and bursting into tears_.
_Distant yells and cries_.
_Drawing his sword, and making a thrust at_ JULIAN, _whichHe parries with his left arm, as, drawing his dagger, heSprings within_ NEMBRONIS _guard_.
_Emptying the JewS gold on the floor_.
_Enter the_ Steward _in haste, pale, breathless, and bleeding_.
_Enter_ LILY.
_Exeunt Host and Hostess_.
_Falling on his knees_.
_Faltering_.
_Flinging the door open, as_ NEMBRONI _springsForward on the other side_.
_Giving him money_.
_Goes_.
_Going to the chest again_.
_Half-rising_.
_He breaks the hilt from the blade and gives it her_.
_He clasps her to his heart leaves her pushes back thePanel, flings open a door, enters, and closes bothBehind him_. LILIA _starts suddenly from her fixed bewilderment,And flies after him, but forgets to closeThe panel_.
_He closes the book and kneels_.
_He closes the book, and is silent for some moments_.
_He falls into SEAFORDS arms. He lays him down_.
_He goes down the stair_
_He goes quickly toward the door_.
_He hesitates. She draws herself up erect, with flashing eyes_.
_He hurries past_
_He is quiet a little_.
_He is roused by a cry from the child_.
_He is silent for a moment then goes and looks at her_.
_He lays her down to sleep then sits musing_.
_He lays her down. She is comforted, and falls asleep. HeExtinguishes the light, and looks out of the window_.
_He leans on the wall_.
_He looks up and sees that the child has taken the bookTo her corner. She peeps into it then holds it to her earThen rubs her hand over it then puts her tongue on it_.
_He looks up and sees the child playing with his dagger_.
_He opens the door. She leaves the window, and walks slowlyOut. He hears the house-door open and shut, flings himselfOn the couch, and hides his face_.
_He puts the book down meditates awhile then rises andWalks up and down the room_.
_He reaches his hand, and the three are clasped inAn infinite embrace_.
_He reads_.
_He resumes his walk, singing in a low voice_.
_He returns to his seat_.
_He rises and is going_. LILIA _enters, looking weary_.
_He rises and leaves the room. LILIA weeping_.
_He rows swiftly off. The torches come nearer, withCries of search_.
_He sets her down. She goes to her corner_.
_He sinks at her feet_.
_He sinks exhausted in his chair_.
_He sits at the table, and pours out a glass of wine_.
_He sits down and writes_.
_He stabs him_.
_He stands in a stupor for some minutes_.
_He still hesitates. She walks swiftly to the window, flings itWide, and is throwing herself out_.
_He takes her on his knees_.
_He throws himself wearily on the bed_.
_He throws the dagger on the floor_.
_He tries to sing_.
_He turns his gaze downward.--From the fog-seaBelow half-rises a woman-form, which floats toward him._
_He turns, but sinks on the grave. Recovering and rising_.
_He walks toward the window, seats himself at aLittle table, and writes_.
_His bends his head upon his knees_. LILY _comes running upTo him, stumbling over the graves_.
_His eye falls on that likeness of Jesus said to be copied from anEmerald engraved for Tiberius. He gazes, drops on his knees, andCovers his face remains motionless a long time then rises very pale,His lips compressed, his eyes filled with tears_.
_His eyes fall on the glove which the child still holds in herSleeping hand. He takes it gently away, and hides it inHis bosom_.
_Hurriedly turning the letter on the table to see the address_.
_Is going_.
_JULIAN has been rapidly changing his clothes_.
_Kissing him, then looking at the book_.
_Kissing him_.
_Kneeling and clasping the child to his heart_.
_Laughing heartily_.
_Laughing_.
_Lays her down_.
_Leans her head on his arm_. JULIAN _winces a little. SheRaises her head and looks at him_.
_Lies down on the floor_.
_Light from without flares on the wall_.
_Lightning flashes on the blade_.
_Looking out of the window on the landing_.
_Looking round_.
_Moving as to go_.
_Pulling her hand from her face_.
_Pulling off his coat, and laying it over her_.
_Putting her arms round him_.
_Putting her finger to his cheek_.
_Putting his arm round her. She stands like stone_.
_Querulously_.
_Re-enter_ LORD SEAFORD _with the doctor_. JULIAN _takes noHeed of them. The doctor shakes his head_.
_Recalling something_.
_Recollecting_.
_Returning_.
_Rises_.
_Rising_.
_Rubbing her finger up and down the ends of the lines_.
_Running up to him_.
_Rushing feet up the stairs, and along the galleries_.
_Seeing RobertS bewildered look, and changing his tone_--
_She bursts into tears_.
_She falls asleep on her knees_
_She hurries to the door, but falls_.
_She is silent far some time, and keeps looking first down andThen up_. JULIAN _carries her away_.
_She kisses him mechanically. He goes with a sigh_.
_She looks at him with wide restless eyes then sinks back onThe pillow. He leaves her_.
_She looks in his face_.
_She looks long and passionately in his face. HerEyes close her head drops backward. She is dead_.
_She sleeps at last. He sits as before, with the childLeaning on his bosom, and falls into a kind of stupor, inWhich he talks_.
_She stares at him_.
_She weeps herself asleep_.
_She weeps_.
_Sighing_.
_Silence_.
_Sings_.
_Sitting by her_.
_Sitting down wearily_.
_Smiling_.
_Smoothing her hair down with both hands_.
_Sound of a carriage drawing up_.
_Sound of a coach-horn_.
_Sound of descending footsteps. Others rush in withTorches and follow_.
_Springing to his feet_.
_Staring at him_.
_Starting and facing wildly through the room_.
_Stopping by the crib, and bending over the child_.
_Stretching-her hands toward a lady stepping out of a carriage_.
_Takes a handkerchief from the floor by the window_.
_Taking his dagger, and feeling its point_.
_The boat rounds the headland_, JULIAN _singing_.
_The lady looks round, and _LILY _clings to her father_.Women _talking_.
_The moon and the stars and the blue night closeAround them and the poet awakes from his dream_.
_The trampling offset and clamour of voices. The doorOf the room is flung open. Enter the foremost ofThe mob_.
_The_ Angel _goes_. JULIAN _and_ LILY _take his place_.LILIA _is praying, and they hear parts of her prayer_.
_They listen. He sings_.
_They struggle_.
_Thinking aloud_.
_Ties the handkerchief with hand and teeth round his arm_.
_Turningpale_.
_Very pale, brokenly_.
_Weeps_.
_While he sings, enter_ LORD SEAFORD, _pale and haggard_.
_With an effort_.
_Writing_.

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