Such is the lot of all the young,
However bright and fair.
Lo! Streams that April could not check
Are patient of thy rule;
Gurgling in foamy water-break,
Loitering in glassy pool:
By thee, thee only, could be sent
Such gentle mists as glide,
Curling with unconfirmed intent,
On that green mountain's side.
How delicate the leafy veil
Through which yon house of God Gleams 'mid the peace of this deep dale,
By few but shepherds trod! And lowly huts near beaten ways
No sooner stand attired
In thy fresh wreaths, than they for praise
Peep forth, and are admired.
Season of fancy and of hope,
Permit not for one hour,
A blossom from thy crown to drop,
Nor add to it a flower!
Keep, lovely May, as if by touch
Of self-restraining art,
This modest charm of not too much,
Part seen, imagined part!
SUGGESTED BY A PORTRAIT FROM THE PENCIL OF F. STONE.
BEGUILED into forgetfulness of care
Due to the day's unfinished task; of pen
Or book regardless, and of that fair scene
In Nature's prodigality displayed
Before my window, oftentimes and long
I gaze upon a Portrait whose mild gleam
Of beauty never ceases to enrich
The common light; whose stillness charms the air,
Or seems to charm it, into like repose;
Whose silence, for the pleasure of the ear,
Surpasses sweetest music. There she sits,
With emblematic purity attired
In a white vest, white as her marble neck
Is, and the pillar of the throat would be
But for the shadow by the drooping chin
Cast into that recess, the tender shade,
The shade and light, both there and everywhere,
And through the very atmosphere she breathes,
Broad, clear, and toned harmoniously, with skill
That might from nature have been learnt in the
When the lone shepherd sees the morning spread Upon the mountains. Look at her, whoe'er
Thou be, that, kindling with a poet's soul,
Hast loved the painter's true Promethean craft
Intensely, from Imagination take
what mine eyes behold see thou,
Even though the Atlantic Ocean roll between.
A silver line, that runs from brow to crown
And in the middle parts the braided hair,
Just serves to show how delicate a soil
The golden harvest grows in; and those eyes,
Soft and capacious as a cloudless sky
Whose azure depth their color emulates,
Must needs be conversant with upward looks,
Prayer's voiceless service; but now, seeking naught
And shunning naught, their own peculiar life
Of motion they renounce, and with the head
Partake its inclination towards earth
In humble grace, and quiet pensiveness
Caught at the point where it stops short of sadness.
Offspring of soul-bewitching Art, make me
Thy confidant! say, whence derived that air
Of calm abstraction? Can the ruling thought
Be with some lover far away, or one
Crossed by misfortune, or of doubted faith?
Inapt conjecture! Childhood here, a moon
Crescent in simple loveliness serene,
Has but approached the gates of womanhood,
Not entered them; her heart is yet unpierced
By the blind Archer-god; her fancy free:
The fount of feeling, if unsought elsewhere,
Will not be found.
Her right hand, as it lies
Across the slender wrist of the left arm
Upon her lap reposing, holds - but mark
How slackly, for the absent mind permits
No firmer grasp a little wild-flower, joined,
As in a posy, with a few pale ears
Of yellowing corn, the same that overtopped
And in their common birthplace sheltered it
Till they were plucked together; a blue flower
Called by the thrifty husbandman a weed;
But Ceres, in her garland, might have worn
That ornament, unblamed. The floweret, held
In scarcely conscious fingers, was, she knows,
(Her Father told her so,) in youth's gay dawn
Her Mother's favorite; and the orphan Girl,
In her own dawn, a dawn less gay and bright,
Loves it, while there in solitary peace
She sits, for that departed Mother's sake.
Not from a source less sacred is derived
(Surely I do not err) that pensive air
Of calm abstraction through the face diffused
And the whole person.
Words have something told
More than the pencil can, and verily
More than is needed, but the precious Art
Forgives their interference,
That both creates and fixes, in despite
Of Death and Time, the marvels it hath wrought.
Strange contrasts have we in this world of ours! That posture, and the look of filial love
Thinking of past and gone, with what is left
Dearly united, might be swept away
From this fair Portrait's fleshy Archetype,
Even by an innocent fancy's slightest freak
Banished, nor ever, haply, be restored
To their lost place, or meet in harmony
So exquisite; but here do they abide,
Enshrined for ages. Is not then the Art
Godlike, a humble branch of the divine,
In visible quest of immortality,
Stretched forth with trembling hope?
realm,
From high Gibraltar to Siberian plains,
Thousands, in each variety of tongue
That Europe knows, would echo this appeal;
One above all, a Monk who waits on God
In the magnific Convent built of yore
To sanctify the Escurial palace. He
Guiding, from cell to cell and room to room,
A British Painter (eminent for truth
In character, and depth of feeling, shown
By labors that have touched the hearts of kings,
And are endeared to simple cottagers)
Came, in that service, to a glorious work,
Our Lord's Last Supper, beautiful as when first
The appropriate Picture, fresh from Titian's hand,
Graced the Refectory: and there, while both
Stood with eyes fixed upon that masterpiece,
The hoary Father in the Stranger's ear
Breathed out these words: "Here daily do
we sit,
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