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Stroom and Graith

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When Graith was young, and Stroom returned

From conquering the Northern Stars;

And showed to her the road he'd burned

Across the sky, to make his wars;

And smiled at Fear, and hid his scars —

He little dreamed his fate could hold

The doom of dwarfish avatars

That Vega sent, when Stroom was old.


When you are talking things over with any one, you have to take some precautions. If you have just come from a cathedral, and try to discuss its stained glass, with the janitor of your apartment house, say, – why, it won't be much use, because stained glass means to him bathroom windows, and that's all his mind will run on. I am in exactly that position at this moment. I don't mean bathroom windows, I mean what is the use of my saying a word about Stroom and Graith, to any one who may think they are a firm of provision dealers in Yonkers. Any woman who began this essay thinking that Graith was a new perfume, – any man who said to himself "Stroom? Oh, yes: that Bulgarian ferment," – are readers who would really do better to go and read something else.

Having settled that, I must now admit that until yesterday I knew nothing about them myself. Yet, centuries ago, Stroom and Graith were on every one's tongues. Then, I don't know what happened, but a strange silence about them began. One by one, those who had spoken of them freely in some way were hushed. The chronicles of the times became silent, and named them no more.

We think when we open our histories, we open the past. We open only such a small part of it! Great tracts disappear. Forgetfulness or secret taboos draw the dim curtains down, and hide from our sight awful thoughts, monstrous deeds, monstrous dooms…

Even now, in the bright lights and courage of the era we live in, there has been only one writer who has ventured to name Stroom and Graith.

His name was Dixon; he was at Oxford, in the fifties, with that undergraduate group which included Burne-Jones, William Morris, and on the outside, Rossetti. Where he found what so long had been hidden, even he does not say. But he wrote certain poems, in which Stroom and Graith, and the Agraffe appear.

This fact is recorded in only one book that I know of, and that is in the fifth volume of Mr. T. Humphry Ward's English Poets. When I opened this book, I read for the first time about Dixon. I also read one of his poems, which was wildish and weird:

"Go now from the shore,

Far ruined: the grey shingly floor

To thy crashing step answers, the doteril cries,

And on dipping wing flies:

'Tis their silence!"


Not knowing what a doteril was, I looked to see if the editor had explained: but no, all he said was that Dixon was fond of such words.

He added that others such as Stroom, Graith, and Agraffe appeared in his poems.

But he didn't print those poems in this collection, or explain those strange names.

The sound of them fascinated me. I sat there and dreamed for a while; and it was out of these dreamings that I wrote that verse at the head of this essay. Some stern and vast mystery seemed to me about to enfold. What part the Agraffe played in it (a mediæval beast I imagined) I could not know, could not guess. But I pictured a strong-hearted Stroom to myself as some hero, waging far, lonely fights, against foes on the edge of the skies; and I dreamed of how Vega stood waiting, until Stroom married Graith, and of how at the height of his majesty she inflicted her doom – a succession of abhorrent rebirths as a grotesque little dwarf.

Still, these were only my imaginings, and I wanted the records. I sent to the public library, and got out all of Dixon they had. Great red and gold volumes. But the one that I wanted – not there… I sent to several famous universities… It was not to be found.

I turned my search over to an obliging old friend, a librarian, and sat down feeling thwarted, to console myself with some other poet. There were many in Volume V of the English Poets, but not a one of them calmed me. I read restlessly every day, waiting to hear about Stroom. Then at last, one rainy evening, a telegram came! It was from that old friend. "Have found all those words Dixon used, in a dialect dictionary. It gives: 'Stroom: rightly strom: a malt strainer, a wicker-work basket or bottle, placed under the bunghole of a mash-tub to strain off the hops.' Mr. Dixon used it because he loved its sound, I suppose. As to Graith, it means 'furniture, equipment, apparatus for traveling.' And agraffes are the ornamented hooks used to fasten Knights' armor. They are mentioned in Ivanhoe."

Well, poets are always disappointing me.

I don't know why I read them.

However, having bought Volume V to read, I tried to keep on with it.

I read what it said about Browning's father being a banker. Poor old man, I felt sorry for him. Imagine the long years when he and his son faced each other, the old father telling himself hopefully, "Ah, well, he's a child, he'll get over these queer poetical ways," – and then his not getting over them, but proposing to give his life to poetry! Make a career of it!

If there are any kind of men who want sons like themselves, it's our bankers: they have their banks to hand on, and they long to have nice banker babies. But it seems they are constantly begetting impossible infants. Cardinal Newman for instance: his bewildered father too was a banker. Fate takes a special pleasure in tripping these worthy men up.

Imagine Browning senior reading "Pippa Passes," with pursed lips, at his desk. What mental pictures of his son's heroine did the old gentleman form, as he followed her on her now famous walk through that disreputable neighborhood?

I hope he enjoyed more "How They Brought the Good News from Ghent." For example, where the man says, while galloping fast down the road:

"I turned in my saddle and made the girths tight,

Then shortened each stirrup, and set the pique right,

Rebuckled the check-strap, chained slacker the bit – "


The banker must have been pleased that Robert could harness a horse in rhyme anyhow. I dare say he knew as we all do that it was poor enough poetry, but at least it was practical. It was something he could tell his friends at the club.

Putting Browning aside with poor Stroom, I next tried Matthew Arnold.

The Arnolds: a great family, afflicted with an unfortunate strain. Unusually good qualities, – but they feel conscientious about them.

If Matthew Arnold had only been born into some other family! If he had only been the son of C. S. Calverley or Charles II, for instance.

He had a fine mind, and he and it matured early. Both were Arnold characteristics. But so was his conscientiously setting himself to enrich his fine mind "by the persistent study of 'the best that is known and thought in the world.'" This was deadening. Gentlemen who teach themselves just how and what to appreciate, take half the vitality out of their appreciation thereafter. They go out and collect all "the best" and bring it carefully home, and faithfully pour it down their throats – and get drunk on it? No! It loses its lift and intoxication, taken like that.

An aspiring concern with good art is supposed to be meritorious. People "ought" to go to museums and concerts, and they "ought" to read poetry. It is a mark of superiority to have a full supply of the most correct judgments.

This doctrine is supposed to be beyond discussion, Leo Stein says. "I do not think it is beyond discussion," he adds. "It is more nearly beneath it… To teach or formally to encourage the appreciation of art does more harm than good… It tries to make people see things that they do not feel… People are stuffed with appreciation in our art galleries, instead of looking at pictures for the fun of it."

Those who take in art for the fun of it, and don't fake their sensations, acquire an appetite that it is a great treat to satisfy. And by and by, art becomes as necessary to them as breathing fresh air.

To the rest of us, art is only a luxury: a dessert, not a food.

Some poets have to struggle with a harsh world for leave to be poets, like unlucky peaches trying to ripen north of Latitude 50. Coventry Patmore by contrast was bred in a hot-house. He was the son of a man named Peter G. Patmore, who, unlike most fathers, was willing to have a poet in the family. In fact he was eager. He was also, unfortunately, helpful, and did all he could to develop in his son "an ardor for poetry." But ardor is born, not cooked. A watched pot never boils. Nor did Patmore. He had many of the other good qualities that all poets need, but the quality Peter G. planned to develop in the boy never grew. Young Patmore studied the best Parnassian systems, he obeyed the best rules, he practiced the right spiritual calisthenics, took his dumb-bells out daily: but he merely proved that poetry is not the automatic result of going through even the properest motions correctly.

Still he kept on, year by year, and the results were impressive. Many respected them highly. Including their author.

He grew old in this remarkable harness. Perhaps he also grew tired. At any rate, at sixty-three he "solemnly recorded" the fact that he had finally finished "his task as a poet." He lived for about ten years more, but the remainder was silence. "He had been a practicing poet for forty-seven years," Edmund Gosse says. Odd way for Gosse to talk: as though he were describing a dentist.

One of this worthy Mr. Patmore's most worthy ideas was that the actual writing of verse was but a part of his job. Not even professional poets, he felt, should make it their chief occupation. No; one ought to spend months, maybe years, meditating on everything, in order to supply his soul with plenty of suitable thoughts – like a tailor importing fine woolens to accumulate stock. And even with the shelves full, one ought not to work till just the right hour.

His theories called for a conscientious inspection of each inspiration. They also obliged this good gentleman to exercise self-control. Many a time when he wanted to work he held back. Although "the intention to write was never out of his mind" (Mr. Gosse says), Mr. Patmore had "the power of will to refuse himself the satisfaction of writing, except on those rare occasions when he felt capable of doing his best."

There once was a man I knew, who wooed his fiancée on those terms. He used to sit thinking away in his library, evenings, debating whether he had better go see her, and whether he was at his best. And after fiddling about in a worried way between yes and no, he would sometimes go around only to find that she would not see him. I think that she loved the man, too, or was ready to love him. "His honesty has a horrible fascination for me," I remember her saying, "but when he has an impulse to kiss me – and I see him stop – and look as though he were taking his temperature with a thermometer first, trying to see if his blood is up – I want to hit him and scream!"

Mr. Patmore, however, was very firm about this being necessary. He had many a severe inner struggle because of his creed. He would repulse the most enticing inspiration, if his thermometer wasn't at just the right figure. Neither he nor his inspirations were robust, but they were evenly matched, and they must have wrestled obstinately and often in the course of his life, and pushed each other about and exchanged slaps and tense bloodless pinches. But whenever Mr. Patmore felt it his duty to wrestle, he won.

Consequently, looking backward he felt able to say when he was old: "I have written little, but it is all my best; I have never spoken when I had nothing to say, nor spared time nor labor to make my words true. I have respected posterity, and should there be a posterity which cares for letters, I dare to hope that it will respect me."

That last phrase has a manly ring. Imagine him, alone late at night, trying to sum up his life, and placing before us what bits he had managed to do before dying. We may live through some evening of that sort ourselves, by and by. We may turn to look back at the new faces of the young men and women who will some day be inheriting our world as we go out its gate. Will they laugh at us and think us pompous, as some of us regard Mr. Patmore? He doesn't seem very hopeful, by the way, about our caring for letters, but he does seem to think, if we do, that we will not make fun of him.

I don't think he ought to mind that, though, if we are friendly about it. We certainly respect him compared with many men of his time – the shifty politicians, the vicious or weak leaders of thought, who went through life as softies, without rigid standards of conduct. He shines out by contrast, this incorruptible, solemn old Roman.

Only – he was so solemn! "From childhood to the grave" he thought he had "a mission to perform," with his poems. And what was this mission that he was so determined to fill? "He believed himself to be called upon to celebrate Nuptial Love."

Again it is his solemnity one smiles at, but not his idea. Nuptial Love? Very good. The possibilities of episodic love have been hotly explored, its rights have been defended, its spiritual joys have been sung. But Nuptial Love, our queer breed of humans, inconstant at heart, believes to be a tame thing by contrast: nearly all anti-climax. There are delights at the beginning, and a gentle glow (perhaps) at the end: for the rest it is a long dusty journey of which the less said the better. Exceptional couples who do somewhat better than this, and not only get along without storms but live contentedly too, are apt to congratulate themselves and call their lives a success. Contentedly! Pah! Content with mere absence of friction! No conception, apparently, of the depths beyond depths two should find, who devote themselves deeply to each other for all of their lives. I don't say this often is possible: I think people try: but one or the other comes up against a hard place and stops. Only, sometimes it's not that which prevents going further; it's a waywardness that will not stick to any one mine to get gold. A man slips away and runs about, picking up stray outcroppings, but loses the rich veins of metal, far down in the earth.

Why is it that so few of us contentedly stick to one mate, and say to ourselves, "Here is my treasure; I will seek all in her."

Well, this is a subject on which I should enjoy speculating – but Nuptial Love happens to be a field in which I have had no experience, and furthermore it is not my theme anyhow, but my friend Mr. Patmore's, whose spirit has been standing indignantly by, as I wrote, as though it were ordering me away, with a No Trespassing look. I will therefore withdraw, merely adding that he himself didn't do any too well with it.

However, no poet can avoid an occasional slump. For all Mr. Patmore's efforts, he needs to be edited as much as the rest of them. Some of his little chance sayings were taking and odd:

"How strange a thing a lover seems

To animals that do not love."


But he always fell back into being humdrum and jog-trot. Take this stanza, from his poetical flight entitled Tamerton Church Tower:

"I mounted, now, my patient nag,

And scaled the easy steep;

And soon beheld the quiet flag

On Lanson's solemn Keep.

But he was writing jokes for Punch;

So I, who knew him well,

Deciding not to stay for lunch,

Returned to my hotel."


May I ask why such verses should be enshrined in a standard collection of poetry? The last four lines are good, they have a touch of humor or lightness, perhaps; but what can be said for the first four? And they, only, are Patmore's. The last four I added myself, in an effort to help.

"A man may mix poetry with prose as much as he pleases, and it will only elevate and enliven," as Landor observed; "but the moment he mixes a particle of prose with his poetry, it precipitates the whole."

All but the vulgar like poetry. This is using vulgarity in the sense in which Iva Jewel Geary defines it, as being "in its essence the acceptance of life as low comedy, and the willingness to be entertained by it always, as such. Whereas poetry," she says, "is the interpretation of life as serious drama: a play, in the main dignified and beautiful, or tragic."

Some readers take to poetry as to music, because it enraptures the ear. Others of us feel a need for its wisdom and insight – and wings. It deepens our everyday moods. It reminds us of Wonder. Here we are, with our great hearts and brains, descended from blind bits of slime, erecting a busy civilization on a beautiful earth; and that earth is whirling through space, amid great golden worlds: and yet, being grandsons of slime, we forget to look around us.

As Patmore expressed it:

"An idle poet, here and there,

Looks round him; but, for all the rest,

The world, unfathomably fair,

Is duller than a witling's jest.

Love wakes men, once a lifetime each;

They lift their heavy lids, and look;

And, lo, what one sweet page can teach,

They read with joy, then shut the book."


The Crow's Nest

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