The Works of Tennyson The Eversley Edition: Annotated by Alfred, Lord Tennyson: Edited by Hallam, Lord Tennyson |
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ROMNEY'S REMORSE. |
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 | The Works of Tennyson |  |
98
ROMNEY'S REMORSE.
[_]
‘I read Hayley's Life of Romney the other day—Romney wanted but education and reading to make him a very fine painter; but his ideal was not high nor fixed. How touching is the close of his life! He married at nineteen, and because Sir Joshua and others had said that “marriage spoilt an artist” almost immediately left his wife in the North and scarce saw her till the end of his life; when old, nearly mad and quite desolate, he went back to her and she received him and nursed him till he died. This quiet act of hers is worth all Romney's pictures! even as a matter of Art, I am sure.’ (Letters and Literary Remains of Edward Fitzgerald, vol. i.)
‘Beat, little heart—I give you this and this’
Who are you? What! the Lady Hamilton?
Good, I am never weary painting you.
To sit once more? Cassandra, Hebe, Joan,
Or spinning at your wheel beside the vine—
Bacchante, what you will; and if I fail
To conjure and concentrate into form
And colour all you are, the fault is less
In me than Art. What Artist ever yet
Could make pure light live on the canvas? Art!
Why should I so disrelish that short word?
Where am I? snow on all the hills! so hot,
So fever'd! never colt would more delight
To roll himself in meadow grass than I
To wallow in that winter of the hills.
Nurse, were you hired? or came of your own will
To wait on one so broken, so forlorn?
Have I not met you somewhere long ago?
I am all but sure I have—in Kendal church—
O yes! I hired you for a season there,
And then we parted; but you look so kind
That you will not deny my sultry throat
One draught of icy water. There—you spill
The drops upon my forehead. Your hand shakes.
I am ashamed. I am a trouble to you,
Could kneel for your forgiveness. Are they tears?
For me—they do me too much grace—for me?
O Mary, Mary!
Who are you? What! the Lady Hamilton?
Good, I am never weary painting you.
To sit once more? Cassandra, Hebe, Joan,
Or spinning at your wheel beside the vine—
Bacchante, what you will; and if I fail
To conjure and concentrate into form
And colour all you are, the fault is less
In me than Art. What Artist ever yet
99
Why should I so disrelish that short word?
Where am I? snow on all the hills! so hot,
So fever'd! never colt would more delight
To roll himself in meadow grass than I
To wallow in that winter of the hills.
Nurse, were you hired? or came of your own will
To wait on one so broken, so forlorn?
Have I not met you somewhere long ago?
I am all but sure I have—in Kendal church—
O yes! I hired you for a season there,
And then we parted; but you look so kind
That you will not deny my sultry throat
One draught of icy water. There—you spill
The drops upon my forehead. Your hand shakes.
I am ashamed. I am a trouble to you,
Could kneel for your forgiveness. Are they tears?
For me—they do me too much grace—for me?
O Mary, Mary!
Vexing you with words!
Words only, born of fever, or the fumes
Of that dark opiate dose you gave me,—words,
Wild babble. I have stumbled back again
Into the common day, the sounder self.
God stay me there, if only for your sake,
The truest, kindliest, noblest-hearted wife
That ever wore a Christian marriage-ring.
My curse upon the Master's apothegm,
That wife and children drag an Artist down!
This seem'd my lodestar in the Heaven of Art,
And lured me from the household fire on earth.
To you my days have been a life-long lie,
Grafted on half a truth; and tho' you say
‘Take comfort you have won the Painter's fame,’
The best in me that sees the worst in me,
And groans to see it, finds no comfort there.
What fame? I am not Raphaël, Titian—no
Nor even a Sir Joshua, some will cry.
Wrong there! The painter's fame? but mine, that grew
Blown into glittering by the popular breath,
May float awhile beneath the sun, may roll
The rainbow hues of heaven about it—
Words only, born of fever, or the fumes
Of that dark opiate dose you gave me,—words,
Wild babble. I have stumbled back again
Into the common day, the sounder self.
God stay me there, if only for your sake,
The truest, kindliest, noblest-hearted wife
100
My curse upon the Master's apothegm,
That wife and children drag an Artist down!
This seem'd my lodestar in the Heaven of Art,
And lured me from the household fire on earth.
To you my days have been a life-long lie,
Grafted on half a truth; and tho' you say
‘Take comfort you have won the Painter's fame,’
The best in me that sees the worst in me,
And groans to see it, finds no comfort there.
What fame? I am not Raphaël, Titian—no
Nor even a Sir Joshua, some will cry.
Wrong there! The painter's fame? but mine, that grew
Blown into glittering by the popular breath,
May float awhile beneath the sun, may roll
The rainbow hues of heaven about it—
There!
The colour'd bubble bursts above the abyss
Of Darkness, utter Lethe.
The colour'd bubble bursts above the abyss
Of Darkness, utter Lethe.
Is it so?
Her sad eyes plead for my own fame with me
To make it dearer.
Her sad eyes plead for my own fame with me
To make it dearer.
Look, the sun has risen
To flame along another dreary day.
Your hand. How bright you keep your marriage ring!
Raise me. I thank you.
To flame along another dreary day.
101
Raise me. I thank you.
Has your opiate then
Bred this black mood? or am I conscious, more
Than other Masters, of the chasm between
Work and Ideal? Or does the gloom of Age
And suffering cloud the height I stand upon
Even from myself? stand? stood . . . no more.
Bred this black mood? or am I conscious, more
Than other Masters, of the chasm between
Work and Ideal? Or does the gloom of Age
And suffering cloud the height I stand upon
Even from myself? stand? stood . . . no more.
And yet
The world would lose, if such a wife as you
Should vanish unrecorded. Might I crave
One favour? I am bankrupt of all claim
On your obedience, and my strongest wish
Falls flat before your least unwillingness.
Still would you—if it please you—sit to me?
I dream'd last night of that clear summer noon,
When seated on a rock, and foot to foot
With your own shadow in the placid lake,
You claspt our infant daughter, heart to heart.
I had been among the hills, and brought you down
A length of staghorn-moss, and this you twined
About her cap. I see the picture yet,
Mother and child. A sound from far away,
No louder than a bee among the flowers,
A fall of water lull'd the noon asleep.
You still'd it for the moment with a song
Which often echo'd in me, while I stood
Before the great Madonna-masterpieces
Of ancient Art in Paris, or in Rome.
Mary, my crayons! if I can, I will.
You should have been—I might have made you once,
Had I but known you as I know you now—
The true Alcestis of the time. Your song—
Sit, listen! I remember it, a proof
That I—even I—at times remember'd you.
The world would lose, if such a wife as you
Should vanish unrecorded. Might I crave
One favour? I am bankrupt of all claim
On your obedience, and my strongest wish
Falls flat before your least unwillingness.
Still would you—if it please you—sit to me?
I dream'd last night of that clear summer noon,
When seated on a rock, and foot to foot
With your own shadow in the placid lake,
You claspt our infant daughter, heart to heart.
I had been among the hills, and brought you down
A length of staghorn-moss, and this you twined
About her cap. I see the picture yet,
Mother and child. A sound from far away,
No louder than a bee among the flowers,
A fall of water lull'd the noon asleep.
102
Which often echo'd in me, while I stood
Before the great Madonna-masterpieces
Of ancient Art in Paris, or in Rome.
Mary, my crayons! if I can, I will.
You should have been—I might have made you once,
Had I but known you as I know you now—
The true Alcestis of the time. Your song—
Sit, listen! I remember it, a proof
That I—even I—at times remember'd you.
‘Beat upon mine, little heart! beat, beat!
Beat upon mine! you are mine, my sweet!
All mine from your pretty blue eyes to your feet,
My sweet.’
Beat upon mine! you are mine, my sweet!
All mine from your pretty blue eyes to your feet,
My sweet.’
Less profile! turn to me—three-quarter face.
‘Sleep, little blossom, my honey, my bliss!
For I give you this, and I give you this!
And I blind your pretty blue eyes with a kiss!
Sleep!’
For I give you this, and I give you this!
And I blind your pretty blue eyes with a kiss!
Sleep!’
Too early blinded by the kiss of death—
‘Father and Mother will watch you grow’—
You watch'd not I, she did not grow, she died.
‘Father and Mother will watch you grow’—
You watch'd not I, she did not grow, she died.
‘Father and Mother will watch you grow,
And gather the roses whenever they blow,
And find the white heather wherever you go,
My sweet.’
And gather the roses whenever they blow,
103
My sweet.’
Ah, my white heather only blooms in heaven
With Milton's amaranth.
There, there, there! a child
Had shamed me at it—Down, you idle tools,
Stampt into dust—tremulous, all awry,
Blurr'd like a landskip in a ruffled pool,—
Not one stroke firm. This Art, that harlot-like
Seduced me from you, leaves me harlot-like,
Who love her still, and whimper, impotent
To win her back before I die—and then—
Then, in the loud world's bastard judgment-day,
One truth will damn me with the mindless mob,
Who feel no touch of my temptation, more
Than all the myriad lies, that blacken round
The corpse of every man that gains a name;
‘This model husband, this fine Artist’! Fool,
What matters? Six foot deep of burial mould
Will dull their comments! Ay, but when the shout
Of His descending peals from Heaven, and throbs
Thro' earth, and all her graves, if He should ask
‘Why left you wife and children? for my sake,
According to my word?’ and I replied
‘Nay, Lord, for Art,’ why, that would sound so mean
That all the dead, who wait the doom of Hell
For bolder sins than mine, adulteries,
Wife-murders,—nay, the ruthless Mussulman
Who flings his bowstrung Harem in the sea,
Would turn, and glare at me, and point and jeer,
And gibber at the worm, who, living, made
The wife of wives a widow-bride, and lost
Salvation for a sketch.
With Milton's amaranth.
“Lowly reverent
Towards either throne they bow, and to the ground
With solemn adoration down they cast
Their crowns inwove with amarant and gold,
Immortal amarant, a flower which once
In Paradise, fast by the Tree of Life,
Began to bloom; but, soon for Man's offence
To Heaven removed where first it grew, there grows
And flowers aloft, shading the Fount of Life,”
etc.Towards either throne they bow, and to the ground
With solemn adoration down they cast
Their crowns inwove with amarant and gold,
Immortal amarant, a flower which once
In Paradise, fast by the Tree of Life,
Began to bloom; but, soon for Man's offence
To Heaven removed where first it grew, there grows
And flowers aloft, shading the Fount of Life,”
Par. Lost, iii. 349-357.
Had shamed me at it—Down, you idle tools,
Stampt into dust—tremulous, all awry,
Blurr'd like a landskip in a ruffled pool,—
Not one stroke firm. This Art, that harlot-like
Seduced me from you, leaves me harlot-like,
Who love her still, and whimper, impotent
To win her back before I die—and then—
Then, in the loud world's bastard judgment-day,
One truth will damn me with the mindless mob,
Who feel no touch of my temptation, more
Than all the myriad lies, that blacken round
The corpse of every man that gains a name;
‘This model husband, this fine Artist’! Fool,
What matters? Six foot deep of burial mould
Will dull their comments! Ay, but when the shout
Of His descending peals from Heaven, and throbs
Thro' earth, and all her graves, if He should ask
‘Why left you wife and children? for my sake,
According to my word?’ and I replied
‘Nay, Lord, for Art,’ why, that would sound so mean
104
For bolder sins than mine, adulteries,
Wife-murders,—nay, the ruthless Mussulman
Who flings his bowstrung Harem in the sea,
Would turn, and glare at me, and point and jeer,
And gibber at the worm, who, living, made
The wife of wives a widow-bride, and lost
Salvation for a sketch.
I am wild again!
The coals of fire you heap upon my head
Have crazed me. Someone knocking there without?
No! Will my Indian brother come? to find
Me or my coffin? Should I know the man?
This worn-out Reason dying in her house
May leave the windows blinded, and if so,
Bid him farewell for me, and tell him—
The coals of fire you heap upon my head
Have crazed me. Someone knocking there without?
No! Will my Indian brother come? to find
Me or my coffin? Should I know the man?
This worn-out Reason dying in her house
May leave the windows blinded, and if so,
Bid him farewell for me, and tell him—
Hope!
I hear a death-bed Angel whisper ‘Hope.’
“The miserable have no medicine
But only Hope!” He said it . . . in the play.
His crime was of the senses; of the mind
Mine; worse, cold, calculated.
I hear a death-bed Angel whisper ‘Hope.’
“The miserable have no medicine
But only Hope!” He said it . . . in the play.
His crime was of the senses; of the mind
Mine; worse, cold, calculated.
Tell my son—
O let me lean my head upon your breast.
‘Beat little heart’ on this fool brain of mine.
I once had friends—and many—none like you.
I love you more than when we married. Hope!
O yes, I hope, or fancy that, perhaps,
Human forgiveness touches heaven, and thence—
For you forgive me, you are sure of that—
Reflected, sends a light on the forgiven.
O let me lean my head upon your breast.
‘Beat little heart’ on this fool brain of mine.
105
I love you more than when we married. Hope!
O yes, I hope, or fancy that, perhaps,
Human forgiveness touches heaven, and thence—
For you forgive me, you are sure of that—
Reflected, sends a light on the forgiven.
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