The Project Gutenberg eBook of The legend of the blemished king, and other poems This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: The legend of the blemished king, and other poems Author: James Henry Cousins Illustrator: Louis H. Victory Release date: August 16, 2019 [eBook #60108] Most recently updated: October 17, 2024 Language: English Credits: Produced by Chuck Greif, MWS, Bryan Ness and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.) *** START OF THE PROJECT GUTENBERG EBOOK THE LEGEND OF THE BLEMISHED KING, AND OTHER POEMS *** _THE LEGEND OF THE BLEMISHED KING AND OTHER POEMS._ _A FEW COPIES REMAINING._ The Little Library--Vol. I. IDYLLS By LAURA JEAN DOUGLAS. =MODERATOR= says:--“Some of the most exquisite prose we have read for many a day.” =IRISH NEWS= (Belfast) says:--“In the ten ‘Idylls’ which Miss Douglas contributes, we have a group of the sweetest prose poetry possible.... A gallery of lovely pictures.... A thing of beauty and a joy for ever.... The turn-out of the book is equal to anything of the same kind produced in London.” =MRS. ALICE A. PITMAN=, author of “=TALES FROM LONDON LIFE=,” says:--“The pictures are beautifully conceived, and elegantly portrayed.” =IRISH FIGARO= says:--“I am grateful to all who essay in a sincere spirit the difficult task of making Dublin a book-producing place. In ‘The Little Library,’ author, editor, publisher, and draughtsman have combined in an honest endeavour to attain that desirable end. The writer of ‘Idylls’ gives us ten short prose-poems, of which I take the liberty to give the first in its entirety as a specimen. It is entitled, ‘A Rose Garden.’... This is a beautiful picture.” =JAMES H. COUSINS= says:--“Beautiful prose fancies.” =IRISH DAILY INDEPENDENT= says:--“The book is beautifully produced, and a credit to Dublin.” =SCOTTISH SOCIETY= says:--“The weirdly-covered little book with the strange frontispiece which comes to us under the title of ‘Idylls,’ will be read with great enjoyment by all whose sense of literary quality is sufficiently educated to appreciate the extreme delicacy of word-painting in water-colours, if it may be so expressed.... In every sense of the word, they are perfect representations of the idyll in its purest form,... impossible to criticise, and difficult properly to praise.” THE LITTLE LIBRARY.--VOL. 2. EDITED BY M. J. KEATS. The Legend of the Blemished King And Other Poems. BY JAMES H. COUSINS. _WITH COVER DRAWN BY LOUIS H. VICTORY._ Dublin: BERNARD DOYLE, FRANKLIN PRINTING WORKS, 9 UPPER ORMOND QUAY. 1897. [Illustration: Gaelic] AND TO THE COMPANION OF MY WANDERINGS AMONG MOST OF THE SCENES HEREIN MENTIONED, WHOSE PRESENCE GILDED THE SUN THAT SHINES UPON, AND PAINTED THE FLOWERS THAT BEDECK THE “FAIR HILLS OF HOLY IRELAND.” CONTENTS. THE LEGEND OF THE BLEMISHED KING-- PAGE PROLOGUE 19 CANTO I. 23 CANTO II. 30 CANTO III. 37 CANTO IV 42 THE LEGEND OF SAINT MAHEE OF ENDRIM 49 A SONG OF DECADENCE 65 THE RAILWAY ARCH 67 SCHAKHE 70 IN THE GIANT’S RING, BELFAST 74 THE BLIND FATHER 78 THE SOUTHERN CROSS 85 ON THE DEATH OF WILLIAM MORRIS 87 COPERNICUS 89 TO ALGERNON CHARLES SWINBURNE 90 HEAVEN AND EARTH 91 ON SOME TWENTIETH CENTURY FORECASTS 92 IRELAND 93 _EDITOR’S NOTE._ Wordsworth, writing a sonnet, having for its subject the sonnet-form, said:-- “To me, In sundry moods, ’twas pastime to be bound Within the sonnet’s scanty plot of ground;” and all those who have essayed the task of composing in this particular form will admit that Wordsworth’s definition--“scanty plot of ground”--characterises the sonnet’s limitations precisely. As will be observed in the following pages, Mr. Cousins not only excels as a sonneteer; but in “The Legend of the Blemished King” he performs the remarkable feat of producing a poem of classical character, containing forty-eight stanzas, cast perfectly in the no less difficult mould known as the Spenserian stanza--eight heroic lines, followed by an Alexandrine, rhyming thus:--1, 3; 2, 4, 5, 7; 6, 8, 9. The subject, however more than the technique, is remarkable. It will have an especial attraction for all who are interested in the ancient literature of Ireland; and, indeed it should be of universal interest, because of the fact that this story of Fergus bears a strong resemblance to the Scriptural narrative of Eden and the Fall of Man. It is a kind of allegory common to all ancient races, containing in its heart an unobtruded moral, wrapped in dramatic incident and decorated with charming pictures of land and sea. It is, in short, what Fiona M’Leod would call a “legendary morality.” The other poems are equally admirable; and, indeed, however considered, I think that this book should prove a valuable addition to the best literary products of Ireland. RIGHT M. J. K. DEIRDRE. Illan, what King was he dwelt here of yore? ILLAN. Fergus, the son of Leide Lithe-o’-limb, Ere yet he reigned at Eman, did dwell here. DEIRDRE. What, Fergus Wry-mouth? I have heard of him, And how he came by his ill-favoured name. Methinks I see him when he rose again From combat with the monster, and his face, That had that blemish till love wiped it off, Serene and ample-featured like a King. ILLAN. Not love but anger, made him fight the beast. DEIRDRE. No, no, I will not have it anger. Love Prompts every deed heroic. ’Tis the fault Of him who did compose the tale at first, Not to have shown ’twas love unblemished him. . . . . . . FERGUS. All Erin, shore to shore, shall ring with it And poets in the ages yet to come Make tales of wonder of it for the world. “DEIRDRE.”--FERGUSON The Legend of the Blemished King. Prologue: At Scrabo, Co. Down. _The rugged rock against the sky Heaves high a tower-topped crest, Whence widens out beneath the eye The realms of East and West. Here lies a land but seldom sung,-- This crude, majestic crown, And that white sea that moves among The fertile fields of Down!_ _Unsung!--save when an alien lyre A moment’s space was strung, And Browning fanned a little fire, And Helen’s Tower was sung. Yet storied homes of sept and clan Are here, and,--dim and vague,-- Anear and far, Ben Madighan, And Keats-sung Ailsa Craig!_ _Unsung!--and wherefore? lovely land! Hast thou not ample store For song, from yonder ocean strand, To Strangford’s shining shore? Hast thou not throbbed to foamy flanks, And sound of Saxon steel, To crash of Cromwell’s rattling ranks, And Clansmen of O’Neill?_ _And yet, not all thy songful crown Is strife of right with wrong; Here, limpid lark-streams trickle down A hundred peaks of song; There, silent sheep and lambkins lie-- A white, uncertain thing-- Like lingering snow that fain would spy The secret of the spring._ _The roaming robber breezes catch, And hither upward float, A lusty lilt and vagrant snatch From some far rustic throat; And blustering bye, with strident shout, From scenes of festive glee, That libertine of flower and sprout, The bacchanalian bee._ _All life is song:--and song is life To souls with these akin, Unfettered by yon city’s strife, Unsullied by its sin! Some part of these fair fields and coast, Some waft of phantom wings, Will haunt my heart, a welcome ghost, A hint of higher things._ _Dear land of love and happy lot Of merry maids and swains, Worthy the martial muse of Scott, Or Virgil’s pastoral strains; Loved land, this tongue thy song would share This votive soul is thine: Thy lips are loud with praise and prayer,-- Pray God they kindle mine!_ The Legend of the Blemished King. [NOTE:--I am indebted to “The Ecclesiastical History of Down and Connor,” by Rev. James O’Laverty, for the story of the “Blemished King.” Believing it to be comparatively unknown, and desiring, as far as lay in my power, to spread a knowledge of the interesting stories and legends which abound in Irish History and Literature, I translated it into verse. I learn, however, that a poem on the same subject has been written by the late Sir Samuel Ferguson, under the title of “Fergus Wry-mouth.” I can only plead justification for running the inevitable gauntlet of comparison between a giant and a pigmy, on the ground that I had already committed myself to the publication of the present version of the legend before I became aware of the fact mentioned. I have not read the poem by Sir Samuel Ferguson, and I shall not do so until after this volume is in print; but I have written Lady Ferguson on the matter, and she very kindly refuses to see any possible objection to the publication of my rendering of the story, seeing that it contains almost as many stanzas as there are lines in Sir Samuel’s. The Loch of Rory ([Illustration: Gaelic]), the centre around which the following story moves, is Dundrum Bay. That bay is still remarkable for its roar, which has been frequently referred to by ancient writers. Even a modern poet (S. K. Cowan, in “Sung by Six”) has written of the bay, “where deep seas moan.” Other evidences point to the identity of Rory and Dundrum, in opposition to the conjectures of some that the present Belfast Lough was the scene of the incidents contained in the “Legend of the Blemished King.”--THE AUTHOR.] CANTO I. I. Eastward in Eireann lay the Lough of Rory. The Moon, like some pale huntress, landward led Her white-toothed hounds betwixt the promontory And its far twin. Thither King Fergus sped Within his chariot. High his shaggy head Clove thro’ the dusky clouds his chargers made; And o’er his shoulders, far behind him, spread Loose locks, and circling cloak, in which arrayed He, with benignant arm, Ultonia’s sceptre swayed. II. Beside him stood his suremost charioteer, (Muëna, faithful bondsman of his lord, Favoured in form, and swift of eye and ear), Urging with well-skilled hand and timely word The flying steeds. The seaward-soaring bird Seemed fixed in Heaven, so swift they sped: the day Lumbered behind, as high the sand they stirred, And echoes of their wheels that edged the spray Rolled thro’ the silent hills like thunder far away! III. Onward they whirled. The billows on the beach Drew backward in amaze, then, bolder grown, Sprang forward to the chase, but far from reach The phantom bounded on o’er sand and stone; Till the low clouds that late-born winds had blown About the hills, upon the chariot’s flight Drew down their brows; or was it they had flown Thro’ dalliant day into a former night That now, with jealous hand, hid shore and sea from sight? IV. Then when the day had rallied all its forces,-- A splash of glory in a murky west,-- Obedient, where it pleased (like men), the horses Slackened their speed, and paused, and stood at rest. “Thus far, O King! fulfilled is thy behest,” Muëna said. To whom the King: “To thee And me ’twere Heaven in Night’s soft arms carest To sleep.”--They slept.--Without, that smith, the sea, On adamantine anvils shaped new shores to be. V. Who knoweth not the spell that lurks in twilight?-- When mystic murmurs float across the world From strange, vague forms that hate the brazen highlight Of day, and sleep in hidden corners curled Till, westward, day has nigh his banner furled. Then fare they forth: rich spoil, in sooth, they found Where Fergus had his mighty figure hurled Upon the chariot’s floor. They drew around, Plucked from its sheath his sword, and bore him to the ground, VI. Thence to the verge of ocean. Fairy elves, A thousand strong, the toilsome task essayed; While twice a thousand, perched on rocky shelves, A wierd accomp’niment of laughter made (Timed to their phantom forms that swung and swayed). So sweet the sound, ’twould seem the winds, at rest For once from warring, ’mong the treetops played: Till, lo, the King, so close they round him prest, Woke, and a struggling trio clasped upon his breast. VII. “Life for thy life,” they cried: “have mercy, King!” Swift to his feet he sprang. The fairy throng Vanished like vapour, save where, in the ring Of his tight-clasping arms, as swift along The dim-seen beach he strode the stones among, The wriggling remnant of the elvish crew Craved mercy.--“Mercy doth to thee belong, And ours in turn to render service due.” Clasping them in his arms he toward his chariot drew. VIII. There lay Muëna, wrapt in peaceful sleep, Nor woke the King his bondsman; but did say To those he held his captives: “Through the deep, And under, give me knowledge of the way, Unfearful of the power of wave or spray. This shall ye grant and live.” “O King, such boon,” Thus said the elves, “sweeps not beyond our sway; So shall be thine, ere swings another moon, Skill meet to dare the depths of river and lagoon, IX. “Save Rory, whence thou camest; that shalt thou Ne’er ruffle with thy foot: within its wide Impassioned breast, from day’s first dawn till now, And still from now till dawn’s last day, has plied, And still shall ply, the spirit of the tide His secret craft. Nor thou nor human kind Shall scan his face and live. All else beside Is thine when Earth ’s again to Day resigned, Whose advent now is blown on trumpets of the wind.” X. So when the morn, like Virtue’s cheek red-blushing For night’s black deeds, from couch of cloud arose, Ere yet were heard hoarse caws and dark wings rushing Athwart the sun, when trailing lines of crows Hasten to haunts far off that no man knows, Beside the sea stood King and charioteer To take the waves’ great secret now from those In promise bound, who stand apart, yet near, Where wavelets lift and lay, as if some word to hear. XI. Then spake the first of fairies: “O great King, Thy life was ours--we spared it; ours was thine And thou didst spare us, yet encompassing Thy deed with obligation, line on line, And promise holding promise,--me and mine To do, and thou to do not. Now the hour Hath come--as ne’er before--when billow and brine Yield to a mortal every whit of power-- Save one--how suns soe’er may shine or clouds may lower.” XII. Low bowed the Monarch his assenting head. The elfin chieftain swiftly drew anear Doffing his hood, long-trailing, ruby red. Lo! on the King ’tis placed. In either ear They plant sweet spices, herbs, anointing clear; And weird enchantments drown the muffled roar Of throbbing ocean. Then the charioteer Beholds his master pass the waters o’er, And stands, a lonely man upon a lonely shore. . . . . . . XIII. Day brightened in the East, and o’er the waters The round sun rose and threw across the wave A lambent flame, blood-red, as though from slaughters In Orient lands. The breaking surf did lave Muëna’s feet: he, wrapt in wonderings grave, Looked long and wistful, such as lovers do To greet their love. At length the wondering slave Saw on the deep a form that neared, and grew, And stepped upon the beach--the King returned anew. CANTO II. XIV. Thenceforth, King Fergus, strong in power new born, Recked not a restful hour, but, passion-fired, And strong in strength un’customed, night and morn Probed to the farthest deeps his soul desired. At such swift speed too soon his soul acquired The sum of knowledge granted. “All below,” So spake the King, “to which I have aspired Is mine,--that earth or ocean can bestow, Save one, whose secret fain my mind would grasp and know.” XV. So chafe Restriction’s fetters. So within Dwelleth for ever ancient Adam’s will. Sweet though the tasted fruit, the fruit unseen, Or seen but yet forbid, is sweeter still. Lord of the land, of river, vale, and hill, King Fergus stood, and “Wherefore,” thus said he, “This circumscription? What of greater ill Dwelleth within the breast of mine own sea Than those whose farthest caves have felt the foot of me? XVI. “I _will_ descend to Rory: haply there May dwell some secret whose resistless charms, Bent to my kindred’s service, danger, care Shall put apart, and shield from hurt or harm In council grave or battle’s loud alarm. What ho, Muëna. Haste my charioteer. Who boasts that weak has grown my kingly arm To sweep its path of all restriction clear? Fergus is Fergus still--and Fergus knows no fear!” XVII. Muëna heard, and answered word by deed. Soon rolled the chariot round the palace hall, And Eastward toward the ocean; steed by steed Stretched to the task his limbs; their hoofs did fall Like rain on summer noons. The curlews’ call Gave token of the near-approaching end, And soon before their eyes the ocean wall Shouldered the shock of waters that extend To meet the sky. The King did to the marge descend. XVIII. Know you the Loch of Rory? Sages tell How, when the sons of Adam felt the force Of watery judgments, came a vagrant swell And burst round shores of Eireann. Man and horse, King, chief, and clansman, in the widening course Of high, resistless billows, sank from sight ’Mong cries from throats in sudden anguish hoarse That called, and called, and ceased when fell the night,-- And on a stranger shore soft broke the morning’s light. XIX. Across this shore Ultonia’s King now passed. The waves that rattled up the pebbled strand Rose in their ranks, then low before him cast Themselves, and stood aside on either hand. The King moved forward. Never magic wand More swift compelled submission. Thro’ the spray, As tho’ he trod upon the level land, He took, ’twixt watery walls, a deepening way, Till o’er his head the waves shut out the light of day. XX. Forward he fared. No swimmer’s opened eye E’er scanned so sweet a sight. In glimmering green Slow lightening upward to the watery sky That arched the watery world, in softer sheen Than mortals wot of, lay the fairy scene:-- Fantastic rocks, sea-flowers that rose and fell As brushed by silent shapes that moved between Him and the darkening distance, fairy cell, And beds of ocean bloom more sweet than Asphodel. XXI. There sat the King adown to scan the world Of more than wonder. Thither came to sue For explanation things that swam, and curled, Then circled round, and passed away from view. Here stood as ’twere a camp, and there a few Forms, not of ocean, human arms outspread. King Fergus wept to make the sad review Where those who faced the flood, now dumb and dead, Slept out the tale of time upon the ocean’s bed. XXII. Short space he sat when, from athwart the deep, There came a sound of horror! Far and near A wild commotion rose, as things that creep, Or climb, or swim, smitten with sudden fear, Darkened the depths that erst had been so clear. King Fergus started upward to his feet, And saw, but dimly, toward him quickly steer A dreadful shape that came like lightning fleet, And chilled the monarch’s blood such fearful foe to meet. XXIII. It was the Muirdris!! Nought that men have known Could match its awful visage: high upheld On ogrish limbs, one moment ape-like grown, It flew along, till, lo! it sank, and swelled To size gigantic, while it yelped and yelled In sound that spake of fury, fiendish ire. In tremulous awe the King the beast beheld Bent in its course on devastation dire, While from its eyeballs streamed malignant lines of fire. XXIV. Round turned the King, and flew as ’twere from Death! Swift sped the beast within his foamy track. Wreathed round his form the King could feel its breath, Nor dared he glance one smallest moment back. Behind the twain, like tempest-driven rack, Spread clouds of foam, pointing the path of each. Above, white billows lashed the shore. His neck Muëna, wondering, strained,--till on the beach Swooned the swift-fleeing King beyond the monster’s reach. XXV. But tho’ Muëna wondered as he saw His King, ’mid foamy spray, make sudden flight, Far more he wondered as he scanned the flaw Upon the King’s wan face, that made the sight More dreadful than some horror-haunted night. Lo! wide apart, and stretched from ear to ear, In sudden aspect of tremendous fright, Gaped, like a cave, his jaws: the eyes, once clear, Stared as upon a sight of overmastering fear. XXVI. Muëna bore the King upon his breast Into the chariot. There he laid him, dazed, On ample couch, his fevered form to rest, Soft shaded from the sun, that burned and blazed High overhead,--then whipt the steeds, as crazed From some pursuing phantom. Might and main In lightning alternation high they raised Sure-stepping foot, and over hill and plain Toward far Emania’s walls their swiftest strength they strain. CANTO III. XXVII. Not far the sun had fallen, when he drew The chargers’ reins beside the circling sweep Of Royal walls. The gathering clansmen knew From foam and steam no slow and leisured creep Had been their pace. Their thought took leap on leap From sight to meaning. Then upon the floor They spied the King recumbent as in sleep, And as the form was borne within the door, In others’ eyes they sought the secret o’er and o’er. XXVIII. Straightway into the council-room of chiefs And sages was the limp-limbed body borne. Then spake Muëna: “Lo! a grief of griefs, Ultonia’s hearts are kingless and forlorn, For know ye not how spake the wiseman, born To wisdom?--‘Ne’er shall King with blemish marred Reign’: and behold! alas! since this sad morn King Fergus, from Ambition evil-starred, Lies now before your eyes in visage sorely scarred. XXIX. “Choose ye a King, to reign within his stead.” He ceased, but answer came not; rather, round The silent throng flew questioning glance that said Unstable vacillation. Not a sound Broke cover till one bolder spirit wound The trumpet-horn of speech; then left and right, Leapt forth the hounds of thought, and roof and ground Echoed impassioned tongues, and feet bedight With thong and sandal, plied with each loud speaker’s might. XXX. Then spake the sons of wisdom, they who stood Apart in silent conclave, while the din Of ineffectual babblings drew no rood More near conclusion: “Hear, Ultonian kin! What arm so strong Ultonia’s wars to win, Foster the strength of strong, inspire the weak? Lives there a soul full fit to stand within The Monarch’s room? What worthier do you seek To guide the reins of peace, or would ye other? Speak!” XXXI. “None! none!” the multitudinous answer rang Unanimous. (King Fergus, with a sigh, Turned in his sleep. Perchance he dreamed there sang Some bard of deeds their fathers did.) The cry Thrilled through the chamber’s walls, and far and nigh Found answer in a thousand throats, that gave Their yet unmeaning plaudits to the sky; And as, in sound like shoreward-shrieking wave They shout, the secret they in others’ faces crave. XXXII. Without, the crowd swayed back and forth, with din Low-muffled, as the sea doth surge and sway In silken swell, from storm gone past. Within Was calm, and brows determined sought a way Through that old law to write emphatic “Nay!” Then quoth the wisemen’s chief: “Our path is plain. Our hearts upon our tongues have said their say, And Fergus o’er Ultonia’s host shall reign, If but to meet our thoughts your constant strength ye strain. XXXIII. “Let fools and babblers take their journey far, And silent sit as sent’nel to your speech. What wots the King of that which him doth mar If but the knowledge in the breast of each Be locked beyond a thought’s long-arméd reach Till forced forgetfulness doth rust the key Or haply lose it. E’en your art let teach The water to forget his form to see Or give it back, when to ablution cometh he.” XXXIV. Approval shone within their eyes. Their tongues In loud assent gave forth: “Fergus is King!” And once again without, untutored lungs Caught up the cry, nor knew what meant the thing, ’Till, like a mighty bird, on fresh-plumed wing, The Royal chariot once again did shake Rampart and roof, as champing steeds did fling Their heads on high, and sped by mount and brake To scenes of less surprise when Fergus should awake. . . . . . . XXXV. What need to sing of deeds within the scope Of thrice a dozen moons? What need to tell How fared the King when, by the sanded slope Where twice a day the sea-waves fret and swell, He woke? Or devious deeds that oft befell Clansman and chief in those high-sounding days Of war-girt peace--a Heaven ringed round with Hell-- Or battle’s loud-lunged shout, or conquest’s blaze, Or how the blemished King ne’er on his fault did gaze. CANTO IV. XXXVI. ’Twas thus--and thus, when thrice a year had sped King Fergus of his blemish happed to know:-- “I go to mine ablutions (so he said Unto his bond-maid), girl, the task you know Of preparation. Haste you, for I go On mighty mission!” P’r’aps ’twas Fate’s decree The maiden’s arm in service seemed full slow, And Fergus, strained of nerve, was swift to see In microscopic faults, some slight of majesty. XXXVII. Howbeit,--the fire to firelike will give blaze, And progeny of one small word or deed Count thousand-thousand. Half in wide amaze, And half in wild vexation that slow heed The maiden gave to that his will decreed, He strode into her presence: then on high He raised the stinging lash his stout-skinned steed Oft felt, and flinched, and, drawing swiftly nigh, Its serpent hiss was drowned in the smit’ maiden’s cry. XXXVIII. “A curse upon your laggard form!” he hissed. The smitten girl swift raised her flashing eyes In scarlet indignation, nor was missed The blemish on the Monarch’s face. She cries: “King Fergus, heartless coward! I loathe, despise Your craven hand, nor e’en a word would deign, But that I deem your spirit’s shape and size Must match your brute-like visage.” Purpling plain With rage, he drew his sword and cut the maid in twain. XXXIX. A maddened moment’s deed! And when the storm Was past, the King in calm the wreck surveyed Of his own making. Towering o’er the form Prostrate and purple, holding still the blade Wet with her life, he stood as sore dismayed, Muttering: “Visage! Visage!” still the word Beat inward on his ’wildered brain, nor stayed Till that grim truth, long hid, to sight restored, Burst on his mind. He turned, still clasping tight the sword. XL. Three steps beyond the portal of the room Where lay the maid, he stopped and cast a look Backward,--a look portentous of dark doom To all beneath its ban. Aloft he shook The bleeding blade; then cried, till every nook, E’en to the farthest of the farthest halls, Trembled; and, as he called, his way he took Down corridors that held his foot’s swift falls Till cry and footfall blent without the castle walls. XLI. The cry was: “Visage! Visage! Death and blood To what has wrought the ruin of yon maid,-- That hideous habitant of Rory’s flood Who plies--mayhap not long--his secret trade; And mine ambition that such depths essayed As strained the strength of me. Yet, not for nought The fiend was found, tho’ fled I sore dismayed: Some lesson yet is there, tho’ anguish-taught; Some profit yet remains, tho’ it in blood be bought. XLII. One falleth--that foul spirit: then is past Temptation of ambition; but, perchance Mine arm may fail: sobeit, then is cast Away the secret.” On did he advance. And one who saw his eyeballs’ lightning glance, And marked his mood and manner, thro’ the crowd Spread rumouring words, keen, swift as strong-threwn lance, That drew them forth, a multitude, all browed With wonderment that grew with each swift stride, till, loud XLIII. And deep before them, Rory swells and swings. Behold! the King nor pauses, nor aside Turns in his track.--Not mine to tell of things Run riot in those minds that edged the tide, Where late the billows did King Fergus hide, Nor gave of him a token, save the swell Of giant strivings in the waters wide, And one wild wave that, as from heart of Hell, Leaped for the shore and ’mong the wondering warriors fell. XLIV. And thereupon arose confusion, such As ne’er was seen before, and ne’er again Shall e’er be seen. With tops that seemed to touch The heights of Heaven arose the strenuous main In wild tumultuous strivings, till the brain Of those beholders whirled, and they that spake In terror seemed all voiceless, for in vain Speech called at its own ears. All heaven did make Sound at whose dreadful voice all earth did seem to shake. XLV. And far across the world a tempest bore Sounds of a conflict such as never yet Man’s eyes beheld,--e’en to the cloudy shore Of distant Britain: there did they beget Vague words of wonder. Ere the sun had set Within a stormy west nor man nor maid Of all Ultonia but with spray was wet As, lo! from each far hill, each distant glade Long thousands shoreward drew with wide-eyed wonder swayed. XLVI. And when it seemed as if the heavens swam In wild bewilderment,--each starry sphere Would topple earthward, straightway fell a calm That laid a hush upon the heart of fear, And soothed both sea and sky, till softest tear Would drop with sound of cataracts in the glen. And thus they waited what should next appear, Uncounted thousands of full-armëd men, Bards, chieftans, clansmen, women, maids, youths, children:--then XLVII. As if the sea had stolen half the glow Of the sunk sun, the quiet Loch flushed red, And lengthened day, e’en tho’ the day did go To other lands. “Some portent this,” they said, “Of the fight’s finish: one hath joined the dead-- Which, shall appear full soon.”--Lo! on the sea What form is yon that waves a hideous head Within its hand? They gaze, they shout: “’Tis he, Fergus, Ultonia’s King. Fergus hath victory!” XLVIII. Then that red glory brightened, and they scanned The King’s marred visage--marred?--nay, pure and bright As erst in youth! He called: “With this right hand Nerved with the fury of revengeful might, I fought--and won! I’ve lived my day; now night Doth wrap its blackness round me: I but pay The price of mine own deed.” And from their sight He sank beneath the waters of the bay Which rolled in waves of blood for many a devious day! The Legend of St. Mahee of Endrim. The Legend of Saint Mahee of Endrim. TO J. A. GREGG. [NOTE.--Saint Mahee ([Illustration: Gaelic]) was born about 420 A.D., founded the Abbey of Endrim ([Illustration: Gaelic]--the single ridge), on the beautiful island bearing that name, about 450, and died in the year 496 or 497. For several centuries the Abbey, in which education and religion were combined, occupied a prominent position, and turned out a number of subsequent founders of similar institutions. Between 974 and 1178 history is silent in regard to it, but it is certain that, from its position on Cuan ([Illustration: Gaelic]--a lough, now Strangford), which was infested by Danish marauders, it came in for a large share of their devastating attentions. From the date of its affiliation with an English educational establishment, 1178, it seems to have fallen on evil days, and in 1450 it is simply noted as a Parish Church in the charge of the Bishop of Down. The Island of Endrim--or, as it is now called, in memory of its Patron Saint, Mahee--is situated most picturesquely on Strangford Lough, about seven miles from Comber, Co. Down, and is approachable on foot or car by a modern causeway-road, which crosses an intervening island. On the shoreward end of the island may be seen many remnants of the stone buildings which superseded the original wooden structures. These remnants include the stump of a round tower; traces of extensive foundations once laid bare by the late Bishop Reeves, but now almost entirely hidden from view; the site of the harbour where anchored “ships from Britain;” evidences of a hallowed God’s-acre, and a fairly complete castle of a later period. The circuit of the island can be made on foot leisurely in a couple of hours, and the walk affords a view of the extensive waters of the once Dane-infested lough, the distant hoary walls of Greyabbey, the haunts of Saint Patrick, the reputed scene of the death of Ollav Fola ([Illustration: Gaelic], the lawgiver of Erin), and the martial deeds of De Courcey. Ballydrain, about half-way between Comber and Mahee Island, is so-called from [Illustration: Gaelic], a townland, and [Illustration: Gaelic], a blackthorn tree; and the reader will observe the connection between this place and the Island of Mahee. No trace of a church has yet been discovered at Ballydrain. The idea contained in the Legend has been variously rendered by several eminent authors. The incident in which it is here embodied may, however, be fairly claimed as the oldest version--the original, in fact.--THE AUTHOR.] Lo! right and left, in calm repose, Are spread unnumbered isles, Between whose shores the bluff breeze blows, And sungilt Strangford smiles. The shoreward way our feet have left Below, still winds along Where strenuous waves, in eddy and cleft, Croon low their iterant song. II. Bright in the passionate, tremulous rays From cloudy towers of day, Yon crumbling castle seems to gaze At castles far away, Like parted friends of other years Who meet, nor waste a word, But wondering stand, and smile thro’ tears From depths unfathomed stirred. III. Here may we rest, and make our seat On this high rock-strewn mound, “Put off our shoes from off our feet”-- We tread on holy ground The haunts where many a sandalled sole Trod out life’s lust and woe, And, stedfast set to one high goal, Went down in dust below. IV. No stone is theirs engraven large With record born of strife, No gilded scroll, no carven marge, No legend loud with life. Far other deeds than men applaud Their holy hands essayed, In life viceregent here of God, In death still undismayed. V. No fluctuant favours--servile spouse Of princes’ transient smile-- Did e’er bedeck their sacred brows, Their saintly souls defile: No life-warm lips their own had kissed (Earth’s hope-inspiring dove)-- Their life was one long Eucharist Eternalised in love. VI. The workers went; the works remain. Time here small kingship owns. Thro’ ’whelming winds, thro’ sun and rain, Have lived these lichened stones, And that brief tower upreared by those Whose dread was from the deep,-- In strife their strength, in peace repose, Their guardian now in sleep. VII. Thine eyes, old tower, have scanned the scroll And palimpsest of Earth, And fain would we thy thoughts unroll Thro’ years of bliss or dearth, For thou from thy calm height dost look With sage, dispassionate eye, To where the star of day-dawn shook Within a youthful sky. VIII. We deem thee old; but age is not A toll of hours and days,-- Mean measure of our little lot And arbitrary ways. We run our little round of change Thro’ years of less or more, But Time to thee holds nought of strange, Unheard, unseen before. IX. Down paths of night no starrier balls No new Milanion throws; Thro’ no transfigured day’s high halls Th’ itinerant breeze still blows; Belligerent ever, baffled still, Th’ importunate surges swing; Still dear as dawn th’ ecstatic thrill And prophet power of Spring. X. Wrapt in a dream of ancient days Thou stand’st aloof from ours, Yet nought hast thou of battle’s blaze Or blighting iron showers; For well-beloved art thou of moon, And sun, and winds, and stars, Forever in thy heart attune To every statelier bars XI. Than aught my highest hope could know In this inspiring breath Where wilding blossoms bloom and blow, As life blooms out of death; Yet fain, withal, my lips would wed To song, for modern ears, This chord from lyric days long dead, This dream from epic years: THE LEGEND. Quoth good Saint Mahee of Endrim, “I shall build for Christ my master Here a church, and here defend him And His cause from all disaster.” Seven score youths cut beam and wattle, Seven score hands unseared in battle Their unstinted aid did lend him, Fast and ever faster. But tho’ arm, and voice loud-ringing, To a test of toil defied him, Right and left the wattles flinging, Not a tongue could dare deride him For, before them all, he stood Finished, waiting. Not a rood From the spot a bird was singing In a thorn beside him. Sang no bird in ancient story Half so sweet or loud a strain: Seaward to the Lough of Rory, Landward then, and back again, Swelled the song, and trilled and trembled O’er the toiling youths assembled, Rang around ’mid Summer glory There at Ballydrain. Far more beautiful the bird was Than the bright-plumed Bird of Bliss And the Abbot’s feeling stirred was To its deepest depths, I wis; ’Till, as from the fiery splendour Moses saw, in accents tender Spake the bird, and lo, the word was: “Goodly work is this!” “True,” quoth Saint Mahee of Endrim, “’Tis required by Christ my master Here to build, and here defend Him And His cause from all disaster; But my blood mounts high with weening Of this goodly word the meaning?” Nearer then the bird did tend him, Fast and even faster. “I shall answer. I descended From mine angel-soul’s compeers, From my home serene and splendid To this haunt of toil and tears; Came to cheer thee with a note From an angel’s silvern throat.” Then he sang three songs: each, ended, Made a hundred years. There, thro’ days that dawned and darkened, With his wattles by his side, Stood the island Saint and hearkened To that silvery-flowing tide Stood entranced, and ever wondr’éd, Till had circled thrice a hundred Years o’er fields, life-lade or stark, and Strangford’s waters wide. Then when came the final number, Ceased the angel-bird its strain, And, unheld by ills that cumber Mortals, sought the heavenly plain. Then the Saint, in mute amaze, Round him turned an anxious gaze, And from that far land of slumber Came to Earth again. Low his load, mid weed and flower, Lay beside him all unbroken, Till, with thrice augmented power, From his holy dream awoken, Up he bore it to his shoulder-- Broad and not a hand’s breath older. Scarce, thought he, had passed an hour Since the bird had spoken. Toward his island church he bore it. Lo, an oratory gleaming, And “To Saint Mahee,” writ o’er it! “Now,” quoth he, “in faith I’m dreaming! Say, good monk, at whose consistory Shall I solve this mighty mystery, And to form of fact restore it From this shadowy seeming?” Thus he spake to one who faced him With a look of mild surprise, One who swiftly brought and placed him ’Neath the Abbot’s searching eyes.-- Leave him there: not mine to rhyme of Deeds that filled the latter time of Him who, fain tho’ years would waste him, Ages not, nor dies. . . . . . . Such the wondrous old-time story Of the bird’s long, lethal strain Sung thro’ Summers hot and hoary, Winters white on mount and main And the monks, to mark the mission Of the bird,--so tells tradition,-- Built a church to God’s great glory There at Ballydrain. XII. The song has ceased, the dream is done, Lo, nought but shattered shrine And weed-clad walls greet now the sun That sparkles in the brine; Yet these no remnant are of dead Insalutary days, Vicarious blood of morning, shed For more than Memphian haze. XIII. The fires of worship, and of war, De Courcey’s marshalled hosts, The rude sea-rovers from afar Have vanished from our coasts; And out of these an ampler field Found Freedom, mind and hand, Toward unattempted ends to wield A world-enchanting wand. XIV. What tho’ in oft ignoble cause The wave of war still rolls, The hate of sects, the clutching claws, The strife of armoured souls; What tho’ the thousands, born to fail, In darkness come and go, Be ours no pessimistic wail Of fear for larger woe; XV. For even now the dawn doth give Some promissory gleams, Tho’ most ’tis ours in night to live, Participant in dreams Of some broad-beamed and brighter morn, Some elemental balm, Some purer peace, of battle born, Some tempest-cradled calm! [Illustration: text decoration] [Illustration: text decoration] Miscellaneous Poems. Song of Decadence. I wonder if there still remain Some echoes from the songs of old; Or what the measure of the strain The future shall unfold? The voice that breathed across the years, And came, and went, and passed the bar, And sang the battle song of tears, Sounds small, and faint, and far; And men have found another chord, An offspring, not of heart, but head; And gold is God, and lust is Lord, And Love lies stricken dead! Ah, me! the race goes blindly on And leaves the old familiar ways; And still, earth-weighted, flowers the dawn To still ignoble days; And men, as sheep within their folds, Grope round their world with great sad eyes; And hate the hand that still withholds The secret of the skies; Or, deeming God an idle tale Withdrawn from lore of ancient shelves, Themselves would reckon by the scale And measure of themselves! How mean the stature of the song Of our inglorious--glorious time, Attenuating, as along It moves from that great prime When Milton, in the midnight hours, Lay waiting for the mystic breath Of God to touch his soul to flowers Of song that smile at Death. O singers of the years to come! Be yours the large and liberal scope: Sing sweetly--or for aye be dumb-- Of God, and Love, and Hope, Encircled by no little line Of gain or loss, of time or sense, Nor, bent at Mammon’s soulless shrine, Your birth-right part for pence; But bend an arm across the past, And finger all the vibrant years, Till sunlight, on our shadows cast, Makes rainbows of our tears. The Railway Arch. There it stands, as it has stood-- Theme for bards, and theme for seers-- Mute to sun and tempests rude, To the swift express of years; Stretched across from bank to bank Where the rabbits flash and go, Where the fir-trees, rank by rank, Gaze upon the track below As the train, at man’s behest, In the calm or tempest’s teeth, Speeds with lightning in its breast, And the thunder underneath. There in many a rift and rent, Many a bird finds friendly cover; And the toiler, homeward bent, Whistles as he passes over; And the children from the town Climb its parapets and strain Half a hundred throats to drown With a cheer the passing train. Yet how many children, toilers, List’ to what that arch would say To the thousands of earth’s moilers?-- Dull of ear and listless they! Ah! adown the track of time, In the world’s great sidings lying, Many a theme for many a rhyme Is unmarked by thousands, flying After all the fen-fires, darting In the damps and swamps of life; Fires of meeting and of parting, Hate and love, and strain and strife! There it stands--O! how I love it; For it speaks of weal, and woe, For the thousands pass above it; For the thousands rush below; And, attune to whirr and clatter, Wide and wider does it span, High o’er time and sense and matter, High o’er life and death and man, Stretched from age to age unborn; And above it in a stream Pass, unceasing, night and morn, Shapes like those in Jacob’s dream All the souls of all the ages, All the ghosts of all the years, Priests and prophets, saints and sages, Sweet-breathed bards and broad-browed seers, Who from many a cloudy station List’ the whirring of the wheels Bounding on without cessation, Dragging progress at their heels; Who, as children from the town, Throng the parapets, and strain Form and voice in flashing down Warning signals to the train Speeding on, at man’s behest, In the calm, or tempest’s teeth, With the lightning in its breast, And the thunder underneath! Schakhe. (A Ballad of Armenia.) They had fought, they had failed, those women and now, in a wild-eyed throng, They fled from the red destroyer, and they cried: “O Lord, how long?-- How long, O Lord, till the ending of the ghastly sounds and sights, Till the dripping days be finished, and the thrice red-running nights,-- Till the last cold corpse falls, severed from the last Armenian head, Till the last maid be dishonoured, and the last hot tear be shed?” They had fled from the red destroyer, but he hastens around their track, Till the fate they had flown is before them, and they turn in their pathway back. But, Northward and Southward and Eastward and Westward, and round and round, Come the gleam of the steely lightning, and the wild, soul-harrowing sound, As mother and sister and daughter, and the child at its mother’s breast Go down in the surge of slaughter and the wreck of the great Opprest. And now they are huddled together, as the death-cries rise and swell, Where the rock runs up to Heaven, and the gulf goes down to Hell,-- On the edge of a beetling hillock; when, lo! from the ’wildered crowd, On a peak of the rock steps Schakhe, and calls to her sisters, loud:-- “O sisters in nameless sorrow, baptised in a life of tears; Before you two paths lie open: behind you a thousand years Fade far in the dusky distance, one long, broad stream of blood, That flows by the wreck and ruin of sword and fire and flood! Before you two paths lie open: one leads where dangers lurk, And the pain and the dumb dishonour from the merciless hand of the Turk. Choose ye! Will ye thread that pathway, prove false to the men ye love; Prove false to the children ye bore them; prove false to the God above? Will ye sell yourselves to the spoilers of father and mother and child, Who butchered and then, like devils, at their cries for mercy smiled? Do ye think of the thousands rotting, flung down in a ghastly heap Unblessed; whose dust commingles in their last unhallowed sleep? Do ye think of the blood, the sorrow, the wild, sky-rending cries, As the scarce-born babe was mangled to feast their fiendish eyes? Do you think of the brute defilement when, full in the flare of day, Ye were robbed of your dear-prized honour, and made the Moslem’s prey? Will ye choose that path, O sisters? ’Tis a path ye have often trod; Or throw yourselves on the mercy of the great, all-powerful God? What though He is veiled in silence, and behind our clouds grown dim; If He come not down to help us, then we will go to Him. See! there is the other pathway, down, down to the home of Night. Jump! long ere the body be broken, the soul will have taken flight. He will give His charge to His angels: in their hands they will bear thee up, As ye tread the Saviour’s pathway, and drink the Saviour’s cup. There,--lean on my breast, sweet infant, and good-bye to Earth and woe. Now, sisters, the way lies open: I am weary and long to go!” They had fought: they had failed; and they followed brave Schakhe, a martyr throng;-- And soft o’er the corpse-strewn valley the winds sigh: “Lord, how long?” In the Giant’s Ring, Belfast. No Shakespeare girdle this, whose girth Would compass with its arms The sounding seas and snows of earth, The fruitful fields and farms.[A] Here priestly power has thrown around A circuit wide and high, A bar where waves of human sound Beat vainly, drop, and die. “Who dreams of war in such a scene Of undisturbed repose? Who babbles here of spite and spleen? Who rhymes of human woes? Nought here is heard of mingling cries, Of life’s unlovely jars Nought here is seen but yonder skies, And circling suns and stars!” O wise in wisdom of the fool! O warped in sight and soul! O Arctic spirit, icy cool As passions of the Pole! Is ’t but a dream of babe or bard That conjures grief and groans? Or is thy shrunken heart more hard Than those three standing stones? I dreamed a dream when last I stood Within their sombre shade: Time took my hand full many a rood Beyond the tides of trade, Beyond the sacerdotal rite, And soul-absorbing creeds, Beyond the narrow skirts of sight And despicable deeds. I soared above the brimming Earth; I peered beneath its breast; I saw the founts of joy and mirth, And seats of life’s unrest. But in the ocean of its thought One current swelled and grew And on to seas with blessing fraught A thousand others drew. ’Twas Love: and Time stood by, and said: “Behold! a thousand spires Speak gilded words from hearts as dead As those old Druid fires. But love lives on and leavens all In Earth’s expanding range, The height and depth, the rise and fall, The first and last of Change. “Kings pale and perish, dogmas die, The world goes slowly on To greet an all-unclouded sky, To kiss a purer dawn. Stript of the garb of mimic worth, Freed from his brothers’ ban And circumscribing creeds, steps forth A newer, nobler man. “’Twas thus God’s chosen race was bent Beneath a tyrant yoke: ’Twas thus the hated chains were rent, The conqueror’s sceptre broke. Thus Babylon to Persia bowed, Thus Persia bent to Greece, Thus Greece gave place to Rome the proud, The Goth broke Roman peace.” These mighty stones, this giant ring Give token of a day That died, as dies a dreamt-of thing, And passed in dust away, Save these, for you--dear heart--and me To gaze on, muse, and rhyme: “Time conquers all, both bond and free, But Love shall conquer Time!” [Illustration: text decoration] The Blind Father. I. So, my son, you came this morning at the blinking of the day, “King, and heir for Uther,” riding swiftly shoreward on the spray That, within my face, comes blowing from a stranger sea and sky,-- Felt, not seen--upon whose margin here, a sightless Merlin, I Stand, and turn my head and harken to the whisper of the wind Borne from seaward on to leeward,--dark before and dark behind. II. And they say you’re like your father?--How can I know, for I look With a dead eye into darkness; yet I’ve felt upon a book Something tell me: “In His form and with His likeness made He man:” So you’re like your father, and he looks like God--but, ah! the ban, A Damocles-blade, keeps hanging, as o’er ancient Adam’s head, O’er last moment’s latest Adam, just arisen from the dead. III. Ban! Who banned you? Is it God, or is it man suspends the knife? God decreed you’d toil for bread, but man decrees you’ll die for life! IV. “From the dead.”--You like the phrase not, wife; yet not from death he’s come, But from life, of all the ages past the product and the sum. Thine and mine,--yet neither mine nor thine, but heir of every hour, Drawing through thee from the world’s breast,--we the stem and he the flower. Ours, and yet not ours; the acorn from its parent will be broke, Drop to earth, from earth to heaven stretch the fingers of the oak. Acorn--oak, and back to acorn, hedging all the hills of time, On and on forever, housing birds of every wing and clime. Thus we die,--and thus we die not; mortal, yet immortal we; Closely clasping crumbling fingers round the hand of the To Be; Flingling out along the ages tendrils that will grip, and twine In a slow attenuation down the long posterior line. V. Thus the generations, marching to an universal strain, Start, and stop; and in the starting from Da Capo sing again. VI. Ah! not ours: yet ours the moulding of a future near or far; Ours to set a sun in heaven,--hurl in space a red-eyed star.-- For I’m told, beyond my curtain there revolveth day and night, And among the stars there standeth one that winketh red with fight; And you say the glow that lights upon my cheek is from the sun Guiding lightning-footed planets as they in their orbits run; And I’ve heard that all have sprung from atoms crowding God’s abyss,-- Mars, the evil-eyed and warlike; Sol, the pivot-point of bliss. VII. Yes, a weakness, sprung from weakness, weaker waxes, and a strength On from strength to strength goes marching, grasping God’s right hand at length; For the mickle at the shoulder means the muckle at the hand, And the hair’s breadth on the compass means the ship upon the land. VIII. Aye, wife; now I know the reason why you sighed so since we wed: You have seen the world hang on you. Don’t you mind, dear, what you read Out of Cowper?--where he speaks of how the arrow on the wing Falls at last far out of line though small the error at the string. IX. There he’s: take him! You can rhyme of chubby cheeks, and laughy eyes That have housed far down within them little patches of the skies; You can paint your glowing pictures, that a tear may wash away When a future Vandal stumbles through your dream some after day. Mine are coloured from th’ eternal, set by Love in Fancy’s mould, Knowing nought of life’s mutations, Summer’s heat or Winter’s cold. X. So you’ve only come this morning, courier dove with pinions white? What’s the news from God, what message from the hidden heart of Night? [Illustration: text decoration] Sundry Songs and Sonnets. The Southern Cross. Afar from his wife and his sons and his daughters, The fisherman grapples for gain or loss; Beneath him the silent midnight waters; Above him the blaze of the Southern Cross: And ever his thoughts on the breeze hie homeward, As he calls to the watcher again and again,-- “O what of the night: is it dark or bright?” And ever there cometh the old refrain,-- “The skies are clearing, the dawn is nearing, The midnight shadows fly. The Cross is bending, the night is ending, The day is drawing nigh.” Again, on the storm-swept winter waters, He battles the billows that tumble and toss; And he thinks of the weeping of wives and daughters, As the clouds fly over the Southern Cross. Ah, then in the hour of his heart’s despairing, When sheets are rending and cables strain, How sweet to his ear come the words of cheer, And the sound of the watcher’s old refrain,-- “The skies are clearing, the dawn is nearing, The midnight shadows fly. The Cross is bending, the night is ending, The day is drawing nigh.” . . . . . . Far out, far out on Life’s wild waters, Where storms are howling, where breakers toss, How many of earth’s fair sons and daughters Are drifting and dragging to gain or loss! But ever the Stars of Hope are shining, Through calm and tempest, through wind and rain; And soft through the night, be it dark or bright, The heart still echoes the old refrain,-- “The skies are clearing, the dawn is nearing, The midnight shadows fly. The Cross is bending, the night is ending. The day is drawing nigh.” On the Death of William Morris. I. Mine eyes beheld thee--but not nigh: mine ear, Close to thy page, could feel the beat, beat, beat, That told thy great, good heart: now strangers’ feet Have borne thee out. Thee? Nay, I have thee here Forever young; nor less that eye, so clear, Beams brotherhood, nor can the years that fleet Leave me more lonely. No hot tear--full meet From widowed Friendship--drop I on thy bier. Some earth-stained page mars oft fair Friendships’s book; And happier I, who saw thro’ Fancy’s light Kin only of the sacred singing race, Blameless of all that mars familiar sight!-- Then wherefore should I weep, who skyward look, And mark a god move Godward to his place? II. Perfume of eld, more sweet than all the scent Of late-blown roses squandered on the air, Sweetens the tawny forest of thy hair, And there shall dwell till all the years be spent. To thee war’s call with hint of song is blent, And time sits easy on the brows of care; Love lifts a white affirming hand to swear Thee hero of thy heroes,--thou, who went To the frore Past. Lo! in its eyes did dance Reflection of a day within the wake Of some unrisen, kindlier star; and thou Didst cry: “Behold, with goodlier days the Now Is great, as forests wave in seeds to break, And countless thousands pulse in Love’s first glance!” [Illustration: text decoration] Copernicus. They deemed, self-centred souls! that those great eyes Which star the night, in amorous orbit turned And, ever boldly bashful, sighed and burned For one earth kiss, and stood within the skies Eternally expectant. O most wise In your great selves! that rude iconoclast His stones of Truth among your dreamings cast, And robbed your wisdom of its dear disguise. He stood, a Sampson of Titanic force, ’Twixt men and God, and swiftly grasped and hurled His bolts at callow thoughts of centuries, And pivoted th’ unreckoned universe, And marked the rhythmic orbit of a world, And changed chaotic chords to harmonies! To Algernon Charles Swinburne. (To remind him that the Genius of Ireland, nigh twenty centuries ago, taught the dull ears of the world the subtleties and charms of the rhyme of which he is now acknowledged master.) Moulder of mighty measures and sublime; Whose flower of song--how dead soe’er the ground-- Blossoms: whose feet, from no great depth profound, By cloudy slopes to cloudier summits climb! What though thou art, in this thy world-broad prime, Great King of Song, sceptred and robed and crowned; Be it not thine to scorn the narrow round Whence broadened out the bounds of later time. Not all the message of that far-off chime The strident strains of this our day have drowned: “Forget not, Singer, whence hath sprung thy rhyme, Or whence thy tongue its lofty power hath found; Nor squander all thy store in mocking mime, Niggard of sense and prodigal of sound.” Heaven and Earth. _In the beginning the Heaven and the Earth were wedded together, and then was the golden age of joy and beauty. But something occurred which destroyed the union, and the Heaven and the Earth were parted amid the tears of Nature, which men call the dew._--LEGEND OF SOUTH SEA ISLANDS. Truth in untruth; wisdom on Folly’s tongue, And substance in a shadow!--Hear ye this: Erewhile, ’mid transports of primeval bliss, In starry ears a bridal song was sung, And Heav’n and Earth, in mutual rapture, strung Ethereal harps, and took one reeling kiss, ’Till, seated with much joy, Earth grew remiss: But, love was rife, and, ah! the Earth was young. O trembling tears of dawn in Nature’s eyes! Forget your sadness. Lo! methinks the hour When recreant Love turns loveward, thrills the dome; Earth lifts mute praying hands in tree and flower, And Heav’n, in all the windows of the skies, Hangs nightly lamps to light the wand’rer home! On Some Twentieth Century forecasts. O imperturable and silent years, That reck not all the riot of our time Whose fevered feet, with inharmonious rhyme, Royster around thy high phantasmal tiers! How mean our mockings of the silent seers To read the riddle of th’ Eternal Soul! We list’ the thundering life within thy bole, And count the hidden harvest that anears, And dream our dreams, and smile to see them wrecked! Oh, vain insurgence on the unrevealed: Enough to map the paths our fathers tracked Not, mother-like, kiss yet the face concealed. Age ages not the elemental law, And we are thou in hope, thou we anew, And still beneath are depths whence Shakspere drew, And still above are stars that Milton saw! Ireland. Somewhat of Autumn’s splendour round her lies; Yet deem not thou ’tis preface of her death, For there is that within her heart which saith This word that buds and blossoms in her eyes:-- “Reck not the portent of the season’s skies, Nor deem yon darkling clouds aught but a breath Sundrawn from half a world that offereth Its votive incense to the year that flies.” The hand that bevels down the shortening day Is one with that which quickens leaf and wing, So prophecy of pregnance in decay Thou hast, and in thine Autumn germs of Spring; To vindicate these lips, that late have said: “They dreamed a lie who deemed thee wholly dead!” [Illustration: THE LITTLE LIBRARY. THE FOLLOWING VOLUMES WILL APPEAR IN DUE COURSE:-- 1. The King’s Oak and Other Stories, By ROBERT CROMIE, Author of “The Crack of Doom,” “A Plunge into Space,” &c. These Stories are amongst the best things from the pen of this brilliant and popular Irish Author. 2. [_Immediately._ SOCIALISM: ITS STRUCTURAL STUPIDITIES, By IGNOTUS. A pungent criticism and confutation of Fabian fallacies. 3. The Eve of the World’s Tragedy; OR, THE THOUGHTS OF A WORM, By LOUIS H. VICTORY, Author of “Lady Rosalind,” “Collected Verses,” “Poems,” “The Higher Teaching of Shakespeare,” &c., &c. 4. A VOLUME OF POEMS By the world-renowned SAMUEL K. COWAN, M.A., T.C.D., Author of “Poems,” “Roses and Rue,” “Idylls of Ireland,” “Play,” “Laurel Leaves,” &c., &c. 5. A BOOK OF PROSE By one of the greatest Irish Writers of his time, W. B. YEATS, Author of “The Countess Kathleen,” “Celtic Twilight,” “The Secret Rose,” &c., &c. OTHERS TO FOLLOW.] FOOTNOTES: [Footnote A: ...Put a Girdle round the earth In forty minutes. ] *** END OF THE PROJECT GUTENBERG EBOOK THE LEGEND OF THE BLEMISHED KING, AND OTHER POEMS *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate. While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org. This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.