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.”

COVENTRY PATMORE.

HASTINGS, 1890.

THE UNKNOWN EROS

“Deliciae meae esse cum filiis hominum.”

PROV. VIII. 31.

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 me to breathe in peace and in surprise The light-thrill’d ether of your rarest skies, Till inmost absolution start The welling in the grateful eyes, The heaving in the heart. Winnow with sighs And wash away With tears the dust and stain of clay, Till all the Song be Thine, as beautiful as Morn, Bedeck’d with shining clouds of scorn; And Thou, Inspirer, deign to brood O’er the delighted words, and call them Very Good. This grant, Clear Spirit; and grant that I remain Content to ask unlikely gifts in vain.

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