GEORGE MARTIN’S
POEMS.
BY
GEORGE MARTIN.
MONTREAL:
DAWSON BROTHERS, PUBLISHERS.
1887.
Entered according to Act of Parliament of Canada in the year 1886,
by George Martin, in the Office of the Minister of Agriculture.
GAZETTE PRINT, MONTREAL.
TO
A TRUE WOMAN, IN WHOM ARE UNITED THE
MANY VIRTUES WHICH ADORN HER SEX,
WITH A STRENGTH OF INTELLECT
RARELY SURPASSED,
THIS VOLUME IS DEDICATED
BY HER HUSBAND
The poems in this volume have been written at various periods of a busy life, and are widely separated in date of composition. Most of the minor poems have appeared in Canadian periodicals, and some of them have the local colour of the city in which they were written. The poem most recent in date is Marguerite, which has been written under conditions more favourable than the rest, and which appears now for the first time. The poems have been inspired by the history and the scenery of Canada, and in collecting them, and in issuing and publishing them, the author hopes to put in permanent literary form some of the natural and social aspects which are peculiar to this country.
Montreal, Nov., 1886.
PAGE. | |
PREFATORY NOTE | 4 |
SONNET TO LOVE | 6 |
MARGUERITE, OR THE ISLE OF DEMONS | 8 |
EUDORA | 79 |
THE VOICE OF THE AGES | 88 |
THE WOODLAND WALK | 90 |
THE STREET WAIF | 94 |
THE SONG OF A GLORIFIED SPIRIT | 100 |
BOUND TO THE WHEEL | 103 |
THE APPLE WOMAN | 106 |
ON MOUNT ROYAL | 111 |
MAIDEN LONGINGS | 117 |
ASPIRATION | 119 |
THE HAWK AND THE SPARROW | 123 |
CELESTINE | 129 |
TO A YOUNG LADY | 131 |
BETRAYED | 134 |
EPITHALAMIUM | 137 |
IN THE WOODS OF ST. LEON | 147 |
THE LOVER’S DREAM | 149 |
THE HEROES OF VILLE-MARIE | 153 |
CHANGE ON THE OTTAWA | 161 |
THE BLIND MINSTREL OF THE MARKET PLACE | 167 |
TO W. H. MAGEE | 173 |
LINES ON RECOVERING FROM ILLNESS | 178 |
HALLOWEEN IN CANADA | 181 |
ETHEL | 192 |
KEATS | 195 |
THE CRISIS | 198 |
IN MEMORY OF JOSEPH GUIBORD | 201 |
“IT MOVES” | 204 |
SUPERSTITION | 207 |
VIGER SQUARE | 208 |
1881 | 210 |
DESPONDENT | 211 |
THOMAS D’ARCY McGEE | 213 |
THE NEWS-BOY | 215 |
CHARLES HEAVYSEGE | 219 |
BOOKS | 222 |
THE DRUNKARD | 224 |
A NIGHT ON THE SKATING RINK | 227 |
JACK FROST’S HAPPY DREAM | 231 |
MONTREAL CARNIVAL SPORTS | 234 |
PETER WIMPLE’S COURTSHIP | 242 |
FEAR OF BLINDNESS | 269 |
UNKNOWN | 271 |
FLORAL ENVOY | 273 |
ON THE DEATH OF A VETERAN JOURNALIST | 276 |
HEART-HUNGER | 277 |
TO A YOUNG AUTHOR ON HIS BIRTHDAY | 278 |
TO G. I., AT STRATFORD-ON-AVON | 279 |
MERCY | 280 |
LOVE AND DEATH | 281 |
MARGUERITE.
PREFATORY NOTE.
The story narrated in the following poem is one of the most touching of the many romantic legends of the early history of Canada. Some foundation in fact it undoubtedly has, for it forms the basis of one of the stories in the collection of Queen Margaret of Navarre, written while the chief actors in the tragedy were alive. The version of Queen Margaret differs from that of Thevet in many respects. He gives for his authorities Roberval and the unfortunate Marguerite herself.
Parkman, in the first volume of his admirable series of histories—the Pioneers of New France—gives the story as related by Thevet. The subject readily lends itself to poetical treatment, and, if the heroine in the poem is made to put a more favourable construction upon her conduct than the chronicler, it is surely no more than, as the narrator of her own story, she might have a right to do. The harsh and tyrannical character of Roberval is drawn in dark lines by Parkman. His cruelties, in the short lived colony at Cap Rouge, were such than even the Indians were moved to pity for his victims. On his return to France he was assassinated at night in the streets of Paris, probably by the hand of one who had suffered from his tyranny.
[Pg 5] In these prosaic days of ocean steamers, cable telegraphs and light-houses, it is difficult to realize the mystery which, in old days, enshrouded the shores of the Western continent. The imaginations of the daring sailors who in their little vessels explored the stormy seas of the West, teemed with stories of dangers, spiritual as well as physical. In those days of supernaturalism, Satan might well stand guard over the great world, where, until then, he had held undivided sway. This Isle of Demons was one of his outposts. On Wytfliet’s Map (1597), I. de las Demonios is laid down to the North of Newfoundland, but too far out of Roberval’s course to be the island of our story. It is necessary to the narrative that the island in question should be in the regular route of vessels, and, as the earliest course of sailors to the Gulf of St. Lawrence was by the straits of Belle Isle, some of the islands which shelter the harbours of Labrador would probably have been the scene of the events narrated. Jean Alphonse of Saintonge, who was Roberval’s first pilot, no doubt indicates the island of our heroine’s trials under the name of Isles de la Demoiselle in latitude 50° 45′, and he says there is a good harbour there. This name clung for a long time to the locality and is found on many old maps. To-day the most important of the group is known as Grand Meccatina Island.
The interior of a Convent in France: Group of Nuns listening to Marguerite narrating her adventure.
1545.
The tale continued in the Convent grounds; the same group of Nuns listening.
[1] Note to p. 24.—The settlement of Roberval at Quebec was a disastrous failure. It is said that the King, in great need of Roberval, sent Cartier to bring him home. It is said, too, that, in after years, the Viceroy essayed to repossess himself of his transatlantic domain, and lost his life in the attempt. Thevet, on the other hand, with ample means of learning the truth, affirms that Roberval was slain at night, near the Church of the Innocents, in the heart of Paris.—Parkman, Pioneers of France.
Note.—The origin of this lyric may possibly be of interest. A young friend had lost an only sister and, in an outburst of passionate sorrow, had exclaimed “O God if I could hear her speak.” Brooding over his sorrow, I retired to rest one evening and without attempting to embody my sympathy in words, I fell into a quiet slumber which lasted until day light. On waking, I had a vivid recollection of having seen in dream the youth kneeling by his sister’s grave and of having heard the words of his sister’s spirit chanted from the empyrean with inexpressible sweetness as if responding to his yearning exclamation. The words I heard in my dream I wrote down immediately lest their exactness and coherency might be lost. I was not at that time aware that Kubla Khan originated in a somewhat similar manner. As the occurrence, if standing alone, might seem difficult to believe, I refer to Coleridge’s poem merely to justify in some degree the publication of such a freak of the imagination.
(From life.)
These verses embody the last thoughts recorded in the Journal of a young lady of a village on the banks of the St. Lawrence, who was found dead in her chamber on a bright June morning of 186—, and was supposed to have committed suicide during the night.
Written in honour of the nuptials of two young friends.
(1882.)
Moonlight Chant of Fairies, crowned with maple leaves.
Scene:—Mount Royal, Canada.
II.
The Goblin of Celibacy chagrined.
Scene:—On the border.
III.
Hymenæus, exultant.
Scene:—Newark, N. J.
IV.
Salutation from the King of the Beavers.
Scene:—Canadian side of the border.
V.
Serenade of Fairies, crowned with ivy.
Scene:—A street in Montreal, West End.
Time:—November.
May, 1660.
[2] “During about ten days they resisted the most strenuous exertions of assailants,” &c.—Miles’ History of Canada, page 117.
[3] Parkman, in his Pioneers of France in the New World, says, in a footnote (p. 321): “According to Lafitau, both bucklers and breast-plates were in frequent use among the Iroquois. The former were very large, and made of cedar wood covered with interwoven thongs of hide.”
[4] In this ballad, the writer has purposely omitted to recognize the part taken in the affair by the few Algonquin and Huron Indians who joined the Frenchmen. First, because nearly the whole number deserted to the enemy during the conflict, thus more than counterbalancing any service which they may have rendered at the outset, and, second, because the contrast of race and character is lost by mixing civilized and savage men together as allies in opposition to combatants of the latter type. For these reasons, he ventures to think that the spirit of poesy will justify this deviation from the strict line of historical narration.
(A Fragment.)
[5] Wa-Wa, or i.e. lit.—the Wild Goose.
(A friend of early days.)
(Written on recovering from the effects of a serious accident.)
AND
HOW IT SETTLED A DOMESTIC QUARREL.
[6] An instance of such performance was reported in the public prints at the time when these lines were written.
[7] These lines were written in reference to the American civil war, at the time known as “Grant’s Battles in the Wilderness,” when, in a note to the War Department, (May 11, 1864), he penned those memorable words, “I propose to fight it out on this line, if it takes all summer.”
1875.
[8] A beautiful public park, in the east end of Montreal.
(Occasioned by hearing a pathetic air played on the Flute.)
(April 7th, 1868.)
[9] This was written in the early days of telegraphing, when the News-boy delighted to proclaim that his papers, sparkled with intelligence, flashed along the electric wire.
[10] The lofty genius of this author attracted no attention in Canada till noticed by the North British Review in an article on his “Saul,” which appeared in the August number of 1858.
1883.
1884.
This poem was written when the author was a pupil of a literary institute in the State of New York, and was read at a public entertainment given by that institution, too long ago to make mention of the date desirable.
(On receiving the portrait of a young lady
personally
unknown to the author.)
To F. B.
[11] Written in reference to the impending execution of Louis Riel, when it was hoped by many that his life would be spared.
[Arranged from fragments of MS. found in the portmanteau of a young traveller who died suddenly at a wayside inn in Idaho, in the year 1850.]
The End.
Transcriber’s Notes:
Typographical errors have been silently corrected..
Footnotes have been moved to the end of the poem in which they occur.