The Project Gutenberg EBook of The Poems of Madison Cawein, Volume 1 (of 5), by Madison Cawein 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'll have to check the laws of the country where you are located before using this ebook. Title: The Poems of Madison Cawein, Volume 1 (of 5) Author: Madison Cawein Illustrator: Eric Pape Release Date: July 5, 2017 [EBook #55049] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK POEMS OF MADISON CAWEIN, VOL 1 *** Produced by Larry B. Harrison, Jane Robins and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)
VOLUME I
LYRICS AND OLD WORLD
IDYLLS
"It shall go hard with him through thee, unconquerable blade" Page 270
Accolon of Gaul
THE POEMS OF
MADISON CAWEIN
Volume I
WITH AN INTRODUCTION BY
EDMUND GOSSE
Illustrated
WITH PHOTOGRAVURES AFTER PAINTINGS
BY ERIC PAPE
INDIANAPOLIS
THE BOBBS-MERRILL COMPANY
PUBLISHERS
Copyright, 1887, 1888, 1889, 1890, 1891, 1892, 1893,
1898 and 1907, by Madison Cawein
PRESS OF
BRAUNWORTH & CO.
BOOKBINDERS AND PRINTERS
BROOKLYN, N. Y.
TO
WILLIAM DEAN HOWELLS
WHO WAS THE FIRST TO RECOGNIZE AND ENCOURAGE
MY ENDEAVORS, THIS VOLUME IS
INSCRIBED WITH AFFECTION,
ADMIRATION AND ESTEEM
This first collected edition of my poems contains all the verses I care to retain except the translations from the German, published in 1895 under the title of The White Snake, and some of the poems in Nature-Notes and Impressions, published in 1906.
Several of the poems which I probably would have omitted I have retained at the solicitation of friends, who have based their argument for their retention upon the generally admitted fact that a poet seldom knows his best work.
The new arrangement under new titles I found was necessary for the sake of convenience; and the poems in a manner grouped themselves in certain classes. In eliminating the old titles—some eighteen in number—I have disregarded entirely, except in the case of the first volume, the date of the appearance of each poem, placing every one, according to its subject matter, in its proper group under its corresponding title.
Most of the poems, especially the earlier ones, have been revised; many of them almost entirely rewritten and, I think, improved.
Madison Cawein.
Louisville, Kentucky.
Since the disappearance of the latest survivors of that graceful and somewhat academic school of poets who ruled American literature so long from the shores of Massachusetts, serious poetry in the United States seems to have been passing through a crisis of languor. Perhaps there is no country on the civilized globe where, in theory, verse is treated with more respect and, in practice, with greater lack of grave consideration than in America. No conjecture as to the reason of this must be attempted here, further than to suggest that the extreme value set upon sharpness, ingenuity and rapid mobility is obviously calculated to depreciate and to condemn the quiet practice of the most meditative of the arts. Hence we find that it is what is called "humorous" verse which is mainly in fashion on the western side of the Atlantic. Those rhymes are most warmly welcomed which play the most preposterous tricks with language, which dazzle by the most mountebank swiftness of turn, and which depend most for their effect upon paradox and the negation of sober thought. It is probable that the diseased craving for what is "smart," "snappy," and wide-awake, and the impulse to see everything foreshortened and topsy-turvy, must wear themselves out before cooler and more graceful tastes again prevail in imaginative literature.
Whatever be the cause, it is certain that this is not a moment when serious poetry, of any species, is flourishing in the United States. The absence of anything like a common impulse among young writers, of any definite and intelligible, if excessive, parti pris, is immediately observable if we contrast the American, for instance, with the French poets of the last fifteen years. Where there is no school and no clear trend of executive ambition, the solitary artist, whose talent forces itself up into the light and air, suffers unusual difficulties, and runs a constant danger of being choked in the aimless mediocrity that surrounds him. We occasionally meet with a poet in the history of literature, of whom we are inclined to say: "Charming as he is, he would have developed his talent more evenly and conspicuously, if he had been accompanied from the first by other young men like-minded, who would have formed for him an atmosphere and cleared for him a space." This is the one regret I feel in contemplating, as I have done for years past, the ardent and beautiful talent of Mr. Madison Cawein. I deplore the fact that he seems to stand alone in his generation; I think his poetry would have been even better than it is, and its qualities would certainly have been more clearly perceived, and more intelligently appreciated, if he were less isolated. In his own country, at this particular moment, in this matter of serious nature-painting in lyric verse, Mr. Cawein possesses what Cowley would have called "a monopoly of wit." In one of his lyrics Mr. Cawein asks—
To this inquiry, the answer is: the only hermit-thrush now audible seems to sing from Louisville, Kentucky. America will, we may be perfectly sure, calm herself into harmony again, and possess once more her school of singers. In those coming days, history may perceive in Mr. Cawein the golden link that bound the music of the past to the music of the future through an interval of comparative tunelessness.
The career of Mr. Madison Cawein is represented to me as being most uneventful. He seems to have enjoyed unusual advantages for the cultivation and protection of the poetical temperament. He was born on the 23rd of March, 1865, in the metropolis of Kentucky, the vigorous city of Louisville, on the southern side of the Ohio, in the midst of a country celebrated for tobacco and whisky and Indian corn. These are commodities which may be consumed in excess, but in moderation they make glad the heart of man. They represent a certain glow of the earth, they indicate the action of a serene and gentle climate upon a rich soil. It was in this delicate and voluptuous state of Kentucky that Mr. Cawein was born, that he was educated, that he became a poet, and that he has lived ever since. His blood is full of the color and odor of his native landscape. The solemn books of history tell us that Kentucky was discovered in 1769, by Daniel Boone, a hunter. But he first discovers a country who sees it first, and teaches the world to see it; no doubt some day the city of Louisville will erect, in one of its principal squares, a statue to "Madison Cawein, who discovered the Beauty of Kentucky." The genius of this poet is like one of those deep rivers of his native state, which cut paths through the forests of chestnut and hemlock as they hurry towards the south and west, brushing with the impulsive fringe of their currents the rhododendrons and calmias and azaleas that bend from the banks to be mirrored in their flashing waters.
Mr. Cawein's vocation to poetry was irresistible. I do not know that he even tried to resist it. I have even the idea that a little more resistance would have been salutary for a talent which nothing could have discouraged, and which opposition might have taught the arts of compression and selection. Mr. Cawein suffered at first, I think, from lack of criticism more than from lack of eulogy. From his early writings I seem to gather an impression of a Louisville more ready to praise what was second-rate than what was first-rate, and practically, indeed, without any scale of appreciation whatever. This may be a mistake of mine; at all events, Mr. Cawein has had more to gain from the passage of years in self-criticism than in inspiring enthusiasm. The fount was in him from the first; but it bubbled forth before he had digged a definite channel for it. Sometimes, to this very day, he sports with the principles of syntax, as Nature played games so long ago with the fantastic caverns of the valley of the Green River or with the coral-reefs of his own Ohio. He has bad rhymes, amazing in so delicate an ear; he has awkwardness of phrase not expected in one so plunged in contemplation of the eternal harmony of Nature. But these grow fewer and less obtrusive as the years pass by.
The virgin timber-forests of Kentucky, the woods of honey-locust and buckeye, of white oak and yellow poplar, with their clearings full of flowers unknown to us by sight or name, from which in the distance are visible the domes of the far-away Cumberland Mountains,—this seems to be the hunting-field of Mr. Cawein's imagination. Here all, it must be confessed, has hitherto been unfamiliar to the Muses. If Persephone "of our Cumnor cowslips never heard," how much less can her attention have been arrested by clusters of orchids from the Ocklawaha, or by the song of the whippoorwill, rung out when "the west was hot geranium-red" under the boughs of a black-jack on the slopes of Mount Kinnex. "Not here," one is inclined to exclaim, "not here, O Apollo, are haunts meet for thee," but the art of the poet is displayed by his skill in breaking down these prejudices of time and place. Mr. Cawein reconciles us to his strange landscape—the strangeness of which one has to admit is mainly one of nomenclature,—by the exercise of a delightful instinctive pantheism. He brings the ancient gods to Kentucky, and it is marvelous how quickly they learn to be at home there. Here is Bacchus, with a spicy fragment of calamus-root in his hand, trampling the blue-eyed grass, and skipping, with the air of a hunter born, into the hickory thicket, to escape Artemis, whose robes, as she passes swiftly with her dogs through the woods, startle the humming-birds, silence the green tree-frogs, and fill the hot still air with the perfumes of peppermint and pennyroyal. It is a queer landscape, but one of new natural beauties frankly and sympathetically discovered, and it forms a mise en scene which, I make bold to say, would have scandalized neither Keats nor Spenser.
It was Mr. Howells,—ever as generous in discovering new talent as he is unflinching in reproof of the effeteness of European taste,—who first drew attention to the originality and beauty of Mr. Cawein's poetry. The Kentucky poet had, at that time, published but one tentative volume, the Blooms of the Berry, of 1887. This was followed, in 1888, by The Triumph of Music, and since then hardly a year has passed without a slender sheaf of verse from Mr. Cawein's garden. Among these (if a single volume is to be indicated), the quality which distinguishes him from all other poets,—the Kentucky flavor, if we may call it so,—is perhaps to be most agreeably detected in Intimations of the Beautiful.
But it is time that I should leave the American lyrist to make his own appeal, with but one additional word of explanation, namely, that in this introduction Mr. Cawein's narrative poems on medieval themes, and in general his cosmopolitan writings, have been neglected of mention in favor of such nature lyrics as would present him most vividly in his own native landscape, no visitor in spirit to Europe, but at home in that bright and exuberant West—
So sweet a voice, so consonant with the music of the singers of past times, heard in a place so fresh and strange, will surely not pass without its welcome from lovers of genuine poetry.
Edmund Gosse.
London, England.
"It Shall go Hard With Him Through Thee, Unconquerable Blade" | Frontispiece |
PAGE | |
She Raised Her Oblong Lute and Smote Some Chords (See page 230) | 124 |
In Her Ecstasy a Lovely Devil (See page 303) | 250 |
And Grasped of Both Wild Hands, Swung Trenchant (See page 285) | 374 |
She raised her oblong lute and smote some chords. Page 230
Accolon of Gaul
Scene, Baghdad: time of the Khalif Haroun er Reshid. Salih ben Tarif speaks.
Note.—In this poem, which originally appeared in a volume of mine entitled Lyrics and Idylls, published in 1890, some hypercritical critic in the New York Nation accused me of imitating Browning's The Laboratory. The truth of the matter is that the poem was written ten months before I had ever read Browning's Dramatic Lyrics, and was suggested to me by the reading of the following passage in one of E. T. W. Hoffman's (the German Poe's) stories. The passage occurs in Mademoiselle De Scuderi and is as follows: "The poisons which Sainte Croix prepared were of so subtle a nature that if the powder (called by the Parisians Poudre de Succession, or Succession Powder) were prepared with the face exposed, a single inhalation of[175] it might cause instantaneous death. Sainte Croix therefore, when engaged in its manufacture, always wore a mask of fine glass. One day, just as he was pouring a prepared powder into a phial, his mask fell off, and inhaling the fine particles of the poison, he fell dead on the spot."
In her ecstasy a lovely devil Page 303
Accolon of Gaul
"But when the queen, La beale Isoude heard these tidings shee made such sorrow that shee was full nigh out of her minde, and so upon a day she thought to slay herselfe, and never for to live after Sir Tristram's death."—Le Morte d'Arthure.
With the knights Peredur and Gawain he sits, in a chapel in Lyonesse, speaking while the dawn slowly reddens on the sea, gray-seen through the open door.
The good Knight, Sir Lionell de Ganis, wounded unto death, addresses his Lady, Evalott, in the Forest of Dean, whither he has been borne on his shield.
The young advocate Don Sebastian Lopez, between three pinches of snuff, lays the facts of the case before his friend, Don Emanuel de Cordova, chief magistrate of the City of Valladolid.
A woman speaks. Year 1218; war of the Albigenses.
"The third of these heroes, the blind Arabah."—Gibbon.
A jongleur tells to the Viscountess of Ventadour,—wife of the Seigneur of the Château de Ventadour, in Limousin,—how the troubadour Bernard, her former lover, met his death. Time, the middle of the 12th century.
To the Chapter of the Archbishop of Toledo.
Transcriber Notes:
P. 31. "fragant firmament", changed 'fragant' to 'fragrant'.
A copy of the original text can be found here:
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