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The Poets' Corner III |
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_ (Pall Mall Gazette, May 30, 1887.) Such a pseudonym for a poet as 'Glenessa' reminds us of the good old days of the Della Cruscans, but it would not be fair to attribute Glenessa's poetry to any known school of literature, either past or present. Whatever qualities it possesses are entirely its own. Glenessa's most ambitious work, and the one that gives the title to his book, is a poetic drama about the Garden of Eden. The subject is undoubtedly interesting, but the execution can hardly be said to be quite worthy of it. Devils, on account of their inherent wickedness, may be excused for singing-- Then we'll rally--rally--rally-- but such scenes as-- Enter ADAM. ADAM (excitedly). Eve, where art thou? EVE (surprised). Oh! ADAM (in astonishment). Eve! my God, she's there or-- Enter ADAM and EVE. EVE (in astonishment). Well, is not this surprising? ADAM (distracted). It is-- seem to belong rather to the sphere of comedy than to that of serious verse. Poor Glenessa! the gods have not made him poetical, and we hope he will abandon his wooing of the muse. He is fitted, not for better, but for other things. Vortigern and Rowena is a cantata about the Britons and the Danes. There is a Druid priestess who sings of Cynthia and Endymion, and a chorus of jubilant Vikings. It is charmingly printed, and as a libretto for music quite above the average. As truly religious people are resigned to everything, even to mediocre poetry, there is no reason at all why Madame Guyon's verses should not be popular with a large section of the community. Their editor, Mr. Dyer, has reprinted the translations Cowper made for Mr. Bull, added some versions of his own and written a pleasing preface about this gentle seventeenth-century saint whose life was her best, indeed her only true poem. Mr. Pierce has discovered a tenth muse and writes impassioned verses to the Goddess of Chess whom he apostrophises as 'Sublime Caissa'! Zukertort and Steinitz are his heroes, and he is as melodious on mates as he is graceful on gambits. We are glad to say, however, that he has other subjects, and one of his poems beginning: Cedar boxes deeply cut, is very dainty and musical. Mr. Clifford Harrison is well known as the most poetic of our reciters, but as a writer himself of poetry he is not so famous. Yet his little volume In Hours of Leisure contains some charming pieces, and many of the short fourteen-line poems are really pretty, though they are very defective in form. Indeed, of form Mr. Harrison is curiously careless. Such rhymes as 'calm' and 'charm,' 'baize' and 'place,' 'jeu' and 'knew,' are quite dreadful, while 'operas' and 'stars,' 'Gautama' and 'afar' are too bad even for Steinway Hall. Those who have Keats's genius may borrow Keats's cockneyisms, but from minor poets we have a right to expect some regard to the ordinary technique of verse. However, if Mr. Harrison has not always form, at least he has always feeling. He has a wonderful command over all the egotistic emotions, is quite conscious of the artistic value of remorse, and displays a sincere sympathy with his own moments of sadness, playing upon his moods as a young lady plays upon the piano. Now and then we come across some delicate descriptive touches, such as The cuckoo knew its latest day had come, and whenever Mr. Harrison writes about nature he is certainly pleasing and picturesque but, as a rule, he is over-anxious about himself and forgets that the personal expression of joy or sorrow is not poetry, though it may afford excellent material for a sentimental diary. The daily increasing class of readers that likes unintelligible poetry should study AEonial. It is in many ways a really remarkable production. Very fantastic, very daring, crowded with strange metaphor and clouded by monstrous imagery, it has a sort of turbid splendour about it, and should the author some day add meaning to his music he may give us a true work of art. At present he hardly realises that an artist should be articulate. Seymour's Inheritance is a short novel in blank verse. On the whole, it is very harmless both in manner and matter, but we must protest against such lines as And in the windows of his heart the blinds for a simile committing suicide is always a depressing spectacle. Some of the other poems are so simple and modest that we hope Mr. Ross will not carry out his threat of issuing a 'more pretentious volume.' Pretentious volumes of poetry are very common and very worthless. Mr. Brodie's Lyrics of the Sea are spirited and manly, and show a certain freedom of rhythmical movement, pleasant in days of wooden verse. He is at his best, however, in his sonnets. Their architecture is not always of the finest order but, here and there, one meets with lines that are graceful and felicitous. Like silver swallows on a summer morn is pretty, and on flowers Mr. Brodie writes quite charmingly. The only thoroughly bad piece in the book is The Workman's Song. Nothing can be said in favour of Is there a bit of blue, boys? for optimism of this kind is far more dispiriting than Schopenhauer or Hartmann at their worst, nor are there really any grounds for supposing that the British workman enjoys third-rate poetry. (1) The Discovery and Other Poems. By Glenessa. (National Publishing Co.) (2) Vortigern and Rowena: A Dramatic Cantata. By Edwin Ellis Griffin. (Hutchings and Crowsley.) (3) The Poems of Madame de la Mothe Guyon. Edited and arranged by the Rev. A. Saunders Dyer, M.A. (Bryce and Son.) (4) Stanzas and Sonnets. By J. Pierce, M.A. (Longmans, Green and Co.) (5) In Hours of Leisure. By Clifford Harrison. (Kegan Paul.) (6) AEonial. By the Author of The White Africans. (Elliot Stock.) (7) Seymour's Inheritance. By James Ross. (Arrowsmith.) (8) Lyrics of the Sea. By E. H. Brodie. (Bell and Sons.) _ |
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