Down along the rocky sh.o.r.e Some make their home, They live on crispy pancakes Of yellow tide-foam; Some in the reeds Of the black mountain lake, With frogs for their watch-dogs All night awake.

High on the hill-top The old King sits; He is now so old and gray He's nigh lost his wits.

With a bridge of white mist Columbkill he crosses, On his stately journeys From Slieveleague to Rosses; Or going up with music, On cold starry nights, To sup with the Queen Of the gay Northern Lights.

All lovers of fairy tales and folklore should get this little book. _The Horned Women_, _The Priest's Soul_, {157} and _Teig O'Kane_, are really marvellous in their way; and, indeed, there is hardly a single story that is not worth reading and thinking over.

_Fairy and Folk Tales of the Irish Peasantry_. Edited and Selected by W.

B. Yeats. (Walter Scott.)

MR. W. B. YEATS (_Woman's World_, March 1889.)

'_The Wanderings of Oisin and Other Poems_ is, I believe, the first volume of poems that Mr. Yeats has published, and it is certainly full of promise. It must be admitted that many of the poems are too fragmentary, too incomplete. They read like stray scenes out of unfinished plays, like things only half remembered, or, at best, but dimly seen. But the architectonic power of construction, the power to build up and make perfect a harmonious whole, is nearly always the latest, as it certainly is the highest, development of the artistic temperament. It is somewhat unfair to expect it in early work. One quality Mr. Yeats has in a marked degree, a quality that is not common in the work of our minor poets, and is therefore all the more welcome to us-I mean the romantic temper. He is essentially Celtic, and his verse, at its best, is Celtic also.

Strongly influenced by Keats, he seems to study how to 'load every rift with ore,' yet is more fascinated by the beauty of words than by the beauty of metrical music. The spirit that dominates the whole book is perhaps more valuable than any individual poem or particular pa.s.sage, but this from _The Wanderings of Oisin_ is worth quoting. It describes the ride to the Island of Forgetfulness:

And the ears of the horse went sinking away in the hollow light, For, as drift from a sailor slow drowning the gleams of the world and the sun, Ceased on our hands and faces, on hazel and oak leaf, the light, And the stars were blotted above us, and the whole of the world was one;

Till the horse gave a whinny; for c.u.mbrous with stems of the hazel and oak, Of hollies, and hazels, and oak-trees, a valley was sloping away From his hoofs in the heavy gra.s.ses, with monstrous slumbering folk, Their mighty and naked and gleaming bodies heaped loose where they lay.

More comely than man may make them, inlaid with silver and gold, Were arrow and shield and war-axe, arrow and spear and blade, And dew-blanched horns, in whose hollows a child of three years old Could sleep on a couch of rushes, round and about them laid.

And this, which deals with the old legend of the city lying under the waters of a lake, is strange and interesting:

The maker of the stars and worlds Sat underneath the market cross, And the old men were walking, walking, And little boys played pitch-and-toss.

'The props,' said He, 'of stars and worlds Are prayers of patient men and good.

The boys, the women, and old men, Listening, upon their shadows stood.

A grey professor pa.s.sing cried, 'How few the mind's intemperance rule!

What shallow thoughts about deep things!

The world grows old and plays the fool.'

The mayor came, leaning his left ear- There were some talking of the poor- And to himself cried, 'Communist!'

And hurried to the guardhouse door.

The bishop came with open book, Whispering along the sunny path; There was some talking of man's G.o.d, His G.o.d of stupor and of wrath.

The bishop murmured, 'Atheist!

How sinfully the wicked scoff!'

And sent the old men on their way, And drove the boys and women off.

The place was empty now of people; A c.o.c.k came by upon his toes; An old horse looked across the fence, And rubbed along the rail his nose.

The maker of the stars and worlds To His own house did Him betake, And on that city dropped a tear, And now that city is a lake.

Mr. Yeats has a great deal of invention, and some of the poems in his book, such as _Mosada_, _Jealousy_, and _The Island of Statues_, are very finely conceived. It is impossible to doubt, after reading his present volume, that he will some day give us work of high import. Up to this he has been merely trying the strings of his instrument, running over the keys.

_The Wanderings of Oisin and Other Poems_. By W. B. Yeats. (Kegan Paul.)

MR. YEATS'S _WANDERINGS OF OISIN_ (_Pall Mall Gazette_, July 12, 1889.)

Books of poetry by young writers are usually promissory notes that are never met. Now and then, however, one comes across a volume that is so far above the average that one can hardly resist the fascinating temptation of recklessly prophesying a fine future for its author. Such a book Mr. Yeats's _Wanderings of Oisin_ certainly is. Here we find n.o.bility of treatment and n.o.bility of subject-matter, delicacy of poetic instinct and richness of imaginative resource. Unequal and uneven much of the work must be admitted to be. Mr. Yeats does not try to 'out-baby'

Wordsworth, we are glad to say; but he occasionally succeeds in 'out-glittering' Keats, and, here and there, in his book we come across strange crudities and irritating conceits. But when he is at his best he is very good. If he has not the grand simplicity of epic treatment, he has at least something of the largeness of vision that belongs to the epical temper. He does not rob of their stature the great heroes of Celtic mythology. He is very nave and very primitive and speaks of his giants with the air of a child. Here is a characteristic pa.s.sage from the account of Oisin's return from the Island of Forgetfulness:

And I rode by the plains of the sea's edge, where all is barren and grey, Grey sands on the green of the gra.s.ses and over the dripping trees, Dripping and doubling landward, as though they would hasten away Like an army of old men longing for rest from the moan of the seas.

Long fled the foam-flakes around me, the winds fled out of the vast, s.n.a.t.c.hing the bird in secret, nor knew I, embosomed apart, When they froze the cloth on my body like armour riveted fast, For Remembrance, lifting her leanness, keened in the gates of my heart.

Till fattening the winds of the morning, an odour of new-mown hay Came, and my forehead fell low, and my tears like berries fell down; Later a sound came, half lost in the sound of a sh.o.r.e far away, From the great gra.s.s-barnacle calling, and later the sh.o.r.e-winds brown.

If I were as I once was, the gold hooves crushing the sand and the sh.e.l.ls, Coming forth from the sea like the morning with red lips murmuring a song, Not coughing, my head on my knees, and praying, and wroth with the bells, I would leave no Saint's head on his body, though s.p.a.cious his lands were and strong.

Making way from the kindling surges, I rode on a bridle-path, Much wondering to see upon all hands, of wattle and woodwork made, Thy bell-mounted churches, and guardless the sacred cairn and the earth, And a small and feeble populace stooping with mattock and spade.

In one or two places the music is faulty, the construction is sometimes too involved, and the word 'populace' in the last line is rather infelicitous; but, when all is said, it is impossible not to feel in these stanzas the presence of the true poetic spirit.

_The Wanderings of Oisin and other Poems_. By W. B. Yeats. (Kegan Paul.)

MR. WILLIAM MORRIS'S LAST BOOK (_Pall Mall Gazette_, March 2, 1889.)

Mr. Morris's last book is a piece of pure art workmanship from beginning to end, and the very remoteness of its style from the common language and ordinary interests of our day gives to the whole story a strange beauty and an unfamiliar charm. It is written in blended prose and verse, like the mediaeval 'cante-fable,' and tells the tale of the House of the Wolfings in its struggles against the legionaries of Rome then advancing into Northern Germany. It is a kind of Saga, and the language in which the folk-epic, as we may call it, is set forth recalls the antique dignity and directness of our English tongue four centuries ago. From an artistic point of view it may be described as an attempt to return by a self-conscious effort to the conditions of an earlier and a fresher age.

Attempts of this kind are not uncommon in the history of art. From some such feeling came the Pre-Raphaelite movement of our own day and the archaistic movement of later Greek sculpture. When the result is beautiful the method is justified, and no shrill insistence upon a supposed necessity for absolute modernity of form can prevail against the value of work that has the incomparable excellence of style. Certainly, Mr. Morris's work possesses this excellence. His fine harmonies and rich cadences create in the reader that spirit by which alone can its own spirit be interpreted, awake in him something of the temper of romance and, by taking him out of his own age, place him in a truer and more vital relation to the great masterpieces of all time. It is a bad thing for an age to be always looking in art for its own reflection. It is well that, now and then, we are given work that is n.o.bly imaginative in its method and purely artistic in its aim. As we read Mr. Morris's story with its fine alternations of verse and prose, its decorative and descriptive beauties, its wonderful handling of romantic and adventurous themes, we cannot but feel that we are as far removed from the ign.o.ble fiction as we are from the ign.o.ble facts of our own day. We breathe a purer air, and have dreams of a time when life had a kind of poetical quality of its own, and was simple and stately and complete.

The tragic interest of _The House of the Wolfings_ centres round the figure of Thiodolf, the great hero of the tribe. The G.o.ddess who loves him gives him, as he goes to battle against the Romans, a magical hauberk on which rests this strange fate: that he who wears it shall save his own life and destroy the life of his land. Thiodolf, finding out this secret, brings the hauberk back to the Wood-Sun, as she is called, and chooses death for himself rather than the ruin of his cause, and so the story ends.

But Mr. Morris has always preferred romance to tragedy, and set the development of action above the concentration of pa.s.sion. His story is like some splendid old tapestry crowded with stately images and enriched with delicate and delightful detail. The impression it leaves on us is not of a single central figure dominating the whole, but rather of a magnificent design to which everything is subordinated, and by which everything becomes of enduring import. It is the whole presentation of the primitive life that really fascinates. What in other hands would have been mere archaeology is here transformed by quick artistic instinct and made wonderful for us, and human and full of high interest. The ancient world seems to have come to life again for our pleasure.

Of a work so large and so coherent, completed with no less perfection than it is conceived, it is difficult by mere quotation to give any adequate idea. This, however, may serve as an example of its narrative power. The pa.s.sage describes the visit of Thiodolf to the Wood-Sun:

The moonlight lay in a great flood on the gra.s.s without, and the dew was falling in the coldest hour of the night, and the earth smelled sweetly: the whole habitation was asleep now, and there was no sound to be known as the sound of any creature, save that from the distant meadow came the lowing of a cow that had lost her calf, and that a white owl was flitting about near the eaves of the Roof with her wild cry that sounded like the mocking of merriment now silent. Thiodolf turned toward the wood, and walked steadily through the scattered hazel-trees, and thereby into the thick of the beech-trees, whose boles grew smooth and silver-grey, high and close-set: and so on and on he went as one going by a well-known path, though there was no path, till all the moonlight was quenched under the close roof of the beech-leaves, though yet for all the darkness, no man could go there and not feel that the roof was green above him. Still he went on in despite of the darkness, till at last there was a glimmer before him, that grew greater till he came unto a small wood-lawn whereon the turf grew again, though the gra.s.s was but thin, because little sunlight got to it, so close and thick were the tall trees round about it. . . . Nought looked Thiodolf either at the heavens above, or the trees, as he strode from off the husk-strewn floor of the beech wood on to the scanty gra.s.s of the lawn, but his eyes looked straight before him at that which was amidmost of the lawn: and little wonder was that; for there on a stone chair sat a woman exceeding fair, clad in glittering raiment, her hair lying as pale in the moonlight on the grey stone as the barley acres in the August night before the reaping-hook goes in amongst them. She sat there as though she were awaiting some one, and he made no stop nor stay, but went straight up to her, and took her in his arms, and kissed her mouth and her eyes, and she him again; and then he sat himself down beside her.

As an example of the beauty of the verse we would take this from the song of the Wood-Sun. It at least shows how perfectly the poetry harmonizes with the prose, and how natural the transition is from the one to the other:

In many a stead Doom dwelleth, nor sleepeth day nor night: The rim of the bowl she kisseth, and beareth the chambering light When the kings of men wend happy to the bride-bed from the board.

It is little to say that she wendeth the edge of the grinded sword, When about the house half builded she hangeth many a day; The ship from the strand she shoveth, and on his wonted way By the mountain hunter fareth where his foot ne'er failed before: She is where the high bank crumbles at last on the river's sh.o.r.e: The mower's scythe she whetteth; and lulleth the shepherd to sleep Where the deadly ling-worm wakeneth in the desert of the sheep.

Now we that come of the G.o.d-kin of her redes for ourselves we wot, But her will with the lives of men-folk and their ending know we not.

So therefore I bid thee not fear for thyself of Doom and her deed.

But for me: and I bid thee hearken to the helping of my need.