The Blue Poetry Book

Various

The Blue Poetry Book 7th. Ed

INTRODUCTION

The purpose of this Collection is to put before children, and young people, poems which are good in themselves, and especially fitted to live, as Theocritus says, ‘on the lips of the young.’ The Editor has been guided to a great extent, in making his choice, by recollections of what particularly pleased himself in youth. As a rule, the beginner in poetry likes what is called ‘objective’ art – verse with a story in it, the more vigorous the story the better. The old ballads satisfy this taste, and the Editor would gladly have added more of them, but for two reasons. First, there are parents who would see harm, where children see none, in ‘Tamlane’ and ‘Clerk Saunders.’ Next, there was reason to dread that the volume might become entirely too Scottish. It is certainly a curious thing that, in Mr. Palgrave’s Golden Treasury, where some seventy poets are represented, scarcely more than a tenth of the number were born north of Tweed. In this book, however, intended for lads and lassies, the poems by Campbell, by Sir Walter Scott, by Burns, by the Scottish song-writers, and the Scottish minstrels of the ballad, are in an unexpectedly large proportion to the poems by English authors. The Editor believes that this predominance of Northern verse is not due to any exorbitant local patriotism of his own. The singers of the North, for some reason or other, do excel in poems of action and of adventure, or to him they seem to excel. He is acquainted with no modern ballad by a Southern Englishman, setting aside ‘Christabel’ and the ‘Ancient Mariner– ’ poems hardly to be called ballads – which equals ‘The Eve of St. John.’ For spirit-stirring martial strains few Englishmen since Drayton have been rivals of Campbell, of Scott, of Burns, of Hogg with his song of ‘Donald McDonald.’ Two names, indeed, might be mentioned here: the names of the late Sir Francis Doyle and of Lord Tennyson. But the scheme of this book excludes a choice from contemporary poets. It is not necessary to dwell on the reasons for this decision. But the Editor believes that some anthologist of the future will find in the poetry of living English authors, or of English authors recently dead, a very considerable garden of that kind of verse which is good both for young and old. To think for a moment of this abundance is to conceive more highly of Victorian poetry. There must still, after all, be youth and mettle in the nation which could produce ‘The Ballad of the Revenge,’ ‘Lucknow,’ ‘The Red Thread of Honour,’ ‘The Loss of the Birkenhead,’ ‘The Forsaken Merman,’ ‘How they brought the Good News from Ghent to Aix,’ ‘The Pied Piper of Hamelin,’ and many a song of Charles Kingley’s, not to mention here the work of still later authors. But we only glean the fields of men long dead.

For this reason, then – namely, because certain admirable contemporary poems, like ‘Lucknow’ and ‘The Red Thread of Honour,’ are unavoidably excluded – the poems of action, of war, of adventure, chance to be mainly from Scottish hands. Thus Campbell and Scott may seem to hold a pre-eminence which would not have been so marked had the works of living poets, or of poets recently dead, been available. Yet in any circumstances these authors must have occupied a great deal of the field: Campbell for the vigour which the unfriendly Leyden had to recognise; Scott for that Homeric quality which, since Homer, no man has displayed in the same degree. Extracts from his long poems do not come within the scope of this selection. But, estimated even by his lyrics, Scott seems, to the Editor, to justify his right, now occasionally disdained, to rank among the great poets of his country. He has music, speed, and gaiety, as in ‘The Hunting Song’ or in ‘Nora’s Vow:’

For all the gold, for all the gear,For all the lands both far and nearThat ever valour lost or won,I would not wed the Earlie’s son!

Lines like these sing themselves naturally in a child’s memory, while there is a woodland freshness and a daring note in

O, Brignall banks are wild and fair,And Greta woods are green.

‘Young Lochinvar’ goes ‘as dauntingly as wantonly’ to his bridal, as the heir of Macpherson’s Rant to his death, in a wonderful swing and gallop of verse; while still, out of dim years of childhood far away, one hears how all the bells are ringing in Dunfermline town for the wedding of Alice Brand. From childhood, too, one remembers the quietism of Lucy Ashton’s song, and the monotone of the measure —

Vacant heart and hand and eye,Easy live and quiet die.

The wisdom of it is as perceptible to a child as that other lesson of Scott’s, which rings like a clarion:

To all the sensual world proclaimOne glorious hour of crowded lifeIs worth an age without a name.

Then there are his martial pieces, as the ‘Gathering Song of Donald Dhu’ and ‘The Cavalier,’ and there is the inimitable simplicity and sadness of ‘Proud Maisie,’ like the dirge for Clearista by Meleager, but with a deeper tone, a stronger magic; and there is the song, which the Fates might sing in a Greek chorus, the song which Meg Merrilies sang,

Twist ye, twine ye, even so!

These are but a few examples of Scott’s variety, his spontaneity, his hardly conscious mastery of his art. Like Phemius of Ithaca, he might say ‘none has taught me but myself, and the God has put into my heart all manner of lays’ – all but the conscious and elaborate ‘manner of lays,’ which has now such power over some young critics that they talk of Scott’s redeeming his bad verse by his good novels. The taste of childhood and of maturity is simpler and more pure.

In the development of a love of poetry it is probable that simple, natural, and adventurous poetry like Scott’s comes first, and that it is followed later – followed but not superseded – by admiration of such reflective poetry as is plain and even obvious, like that of Longfellow, from whom a number of examples are given. But, to the Editor at least, it seems that a child who cares for poetry is hardly ever too young to delight in mere beauty of words, in the music of metre and rhyme, even when the meaning is perhaps still obscure and little considered. A child, one is convinced, would take great pleasure in Mr. Swinburne’s choruses in ‘Atalanta,’ such as and in Shelley’s ‘Cloud’ and his ‘Arethusa.’ For this reason a number of pieces of Edgar Poe’s are given, and we have not shrunk even from including the faulty ‘Ulalume,’ because of the mere sound of it, apart from the sense. The three most famous poems of Coleridge may be above a child’s full comprehension, but they lead him into a world not realised, ‘an unsubstantial fairy place,’ bright in a morning mist, like our memories of childhood.

Before the beginning of years,

It is probably later, in most lives, that the mind wakens to delight in the less obvious magic of style, and the less ringing, the more intimate melody of poets like Keats and Lord Tennyson. The songs of Shakespeare, of course, are for all ages, and the needs of youth comparatively mature are met in Dryden’s ‘Ode on Alexander’s Feast,’ and in ‘Lycidas’ and the ‘Hymn for the Nativity.’

It does not appear to the Editor that poems about children, or especially intended for children, are those which a child likes best. A child’s imaginative life is much spent in the unknown future, and in the romantic past. He is the contemporary of Leonidas, of Agincourt, of Bannockburn, of the ‘45; he is living in an heroic age of his own, in a Phæacia where the Gods walk visibly. The poems written for and about children, like Blake’s and some of Wordsworth’s, rather appeal to the old, whose own childhood is now to them a distant fairy world, as the man’s life is to the child. The Editor can remember having been more mystified and puzzled by ‘Lucy Gray’ than by the ‘Eve of St. John,’ at a very early age. He is convinced that Blake’s ‘Nurse’s Song,’ for example, which brings back to him the long, the endless evenings of the Northern summer, when one had to go to bed while the hills beyond Ettrick were still clear in the silver light, speaks more intimately to the grown man than to the little boy or girl. Hood’s ‘I remember, I remember,’ in the same way, brings in the burden of reflection on that which the child cannot possibly reflect upon – namely, a childhood which is past. There is the same tone in Mr. Stevenson’s ‘Child’s Garden of Verse,’ which can hardly be read without tears – tears that do not come and should not come to the eyes of childhood. For, beyond the child and his actual experience of the world as the ballads and poems of battle are, he can forecast the years, and anticipate the passions. What he cannot anticipate is his own age, himself, his pleasures and griefs, as the grown man sees them in memory, and with a sympathy for the thing that he has been, and can never be again. It is his excursions into the untravelled world which the child enjoys, and this is what makes Shakespeare so dear to him – Shakespeare who has written so little on childhood. In The Midsummer Night’s Dream the child can lose himself in a world familiar to him, in the fairy age, and can derive such pleasure from Puck, or from Ariel, as his later taste can scarce recover in the same measure. Falstaff is his playfellow, ‘a child’s Falstaff, an innocent creature,’ as Dickens says of Tom Jones in David Copperfield.

A boy prefers the wild Prince and Poins to Barbara Lewthwaite, the little girl who moralised to the lamb. We make a mistake when we ‘write down’ to children; still more do we err when we tell a child not to read this or that because he cannot understand it. He understands far more than we give him credit for, but nothing that can harm him. The half-understanding of it, too, the sense of a margin beyond, as in a wood full of unknown glades, and birds, and flowers unfamiliar, is great part of a child’s pleasure in reading. For this reason many poems are included here in which the Editor does not suppose that the readers will be able to pass an examination. For another reason a few pieces of no great excellence as poetry are included. Though they may appear full of obviousness to us, there is an age of dawning reflection to which they are not obvious. Longfellow, especially, seems to the Editor to be a kind of teacher to bring readers to the more reflective poetry of Wordsworth, while he has a sort of simple charm in which there is a foretaste of the charm of Tennyson and Keats. But everyone who attempts to make such a collection must inevitably be guided by his own recollections of childhood, of his childish likings, and the development of the love of poetry in himself. We have really no other criterion, for children are such kind and good-natured critics that they will take pleasure in whatever is given or read to them, and it is hard for us to discern where the pleasure is keenest and most natural.

The Editor trusts that this book may be a guide into romance and fairyland to many children. Of a child’s enthusiasm for poetry, and the life which he leads by himself in poetry, it is very difficult to speak. Words cannot easily bring back the pleasure of it, now discerned in the far past like a dream, full of witchery, and music, and adventure. Some children, perhaps the majority, are of such a nature that they weave this dream for themselves, out of their own imaginings, with no aid or with little aid from the poets. Others, possibly less imaginative, if more bookish, gladly accept the poet’s help, and are his most flattering readers. There are moments in that remote life which remain always vividly present to memory, as when first we followed the chase with Fitz-James, or first learned how ‘The Baron of Smaylho’me rose with day,’ or first heard how

All day long the noise of battle roll’dAmong the mountains by the winter sea.

Almost the happiest of such moments were those lulled by the sleepy music of ‘The Castle of Indolence,’ a poem now perhaps seldom read, at least by the young. Yet they may do worse than visit the drowsy castle of him who wrote

So when a shepherd of the Hebrid islesPlaced far amid the melancholy main.

Childhood is the age when a love of poetry may be born and strengthened – a taste which grows rarer and more rare in our age, when examinations spring up and choke the good seed. By way of lending no aid to what is called Education, very few notes have been added. The child does not want everything to be explained; in the unexplained is great pleasure. Nothing, perhaps, crushes the love of poetry more surely and swiftly than the use of poems as school-books. They are at once associated in the mind with lessons, with long, with endless hours in school, with puzzling questions and the agony of an imperfect memory, with grammar and etymology, and everything that is the enemy of joy. We may cause children to hate Shakespeare or Spenser as Byron hated Horace, by inflicting poets on them, not for their poetry, but for the valuable information in the notes. This danger, at least, it is not difficult to avoid in the Blue Poetry Book.

NURSE’S SONG

When the voices of children are heard on the greenAnd laughing is heard on the hill,My heart is at rest within my breast,And everything else is still.Then come home, my children, the sun is gone down,And the dews of night arise;Come, come, leave off play, and let us awayTill the morning appears in the skies.No, no, let us play, for it is yet day,And we cannot go to sleep;Besides in the sky the little birds fly,And the hills are all covered with sheep.Well, well, go and play till the light fades away,And then go home to bed.The little ones leap’d and shouted and laugh’d;And all the hills echoèd.W. Blake.

A BOY’S SONG

Where the pools are bright and deep,Where the grey trout lies asleep,Up the river and o’er the lea,That’s the way for Billy and me.Where the blackbird sings the latest,Where the hawthorn blooms the sweetestWhere the nestlings chirp and flee,That’s the way for Billy and me.Where the mowers mow the cleanest,Where the hay lies thick and greenest;There to trace the homeward bee,That’s the way for Billy and me.Where the hazel bank is steepest,Where the shadow falls the deepest,Where the clustering nuts fall free,That’s the way for Billy and me.Why the boys should drive awayLittle sweet maidens from the play,Or love to banter and fight so well,That’s the thing I never could tell.But this I know, I love to play,Through the meadow, among the hay;Up the water and o’er the lea,That’s the way for Billy and me.J. Hogg.

I REMEMBER, I REMEMBER

II remember, I rememberThe house where I was born,The little window where the sunCame peeping in at morn;He never came a wink too soon,Nor brought too long a day,But now, I often wish the nightHad borne my breath away!III remember, I rememberThe roses, red and white,The vi’lets, and the lily-cups,Those flowers made of light!The lilacs where the robin built,And where my brother setThe laburnum on his birthday, —The tree is living yet!IIII remember, I rememberWhere I was used to swing,And thought the air must rush as freshTo swallows on the wing;My spirit flew in feathers then,That is so heavy now,And summer pools could hardly coolThe fever on my brow!IVI remember, I rememberThe fir trees dark and high;I used to think their slender topsWere close against the sky:It was a childish ignorance,But now ‘tis little joyTo know I’m farther off from heav’nThan when I was a boy.T. Hood.

THE LAMB

Little Lamb, who made thee?Dost thou know who made thee,Gave thee life, and bid thee feedBy the stream and o’er the mead;Gave thee clothing of delight,Softest clothing, woolly, bright;Gave thee such a tender voiceMaking all the vales rejoice;Little Lamb, who made thee?Dost thou know who made thee?Little Lamb, I’ll tell thee.Little Lamb, I’ll tell thee.He is called by thy name,For He calls Himself a Lamb: —He is meek and He is mild;He became a little child.I a child, and thou a lamb,We are called by His name.Little Lamb, God bless thee;Little Lamb, God bless thee.W. Blake.

NIGHT

The sun descending in the west,The evening star does shine;The birds are silent in their nest,And I must seek for mine.The moon, like a flowerIn heaven’s high bower,With silent delightSits and smiles on the night.Farewell, green fields and happy groves,Where flocks have ta’en delight;Where lambs have nibbled, silent movesThe feet of angels bright;Unseen, they pour blessing,And joy without ceasing,On each bud and blossom,And each sleeping bosom.They look in every thoughtless nest,Where birds are cover’d warm,They visit caves of every beast,To keep them all from harm: —If they see any weepingThat should have been sleeping,They pour sleep on their head,And sit down by their bed.W. Blake.

ON A SPANIEL CALLED ‘BEAU’ KILLING A YOUNG BIRD

A spaniel, Beau, that fares like you,Well fed, and at his ease,Should wiser be than to pursueEach trifle that he sees.But you have killed a tiny bird,Which flew not till to-day,Against my orders, whom you heardForbidding you the prey.Nor did you kill that you might eat,And ease a doggish pain,For him, though chased with furious heat,You left where he was slain.Nor was he of the thievish sort,Or one whom blood allures,But innocent was all his sportWhom you have torn for yours.My dog! what remedy remains,Since, teach you all I can,I see you, after all my pains,So much resemble man?BEAU’S REPLYSir, when I flew to seize the birdIn spite of your command,A louder voice than yours I heard,And harder to withstand.You cried – ‘Forbear!’ – but in my breastA mightier cried – ‘Proceed!’ —‘Twas Nature, sir, whose strong behestImpell’d me to the deed.Yet much as Nature I respect,I ventured once to break(As you perhaps may recollect)Her precept for your sake;And when your linnet on a day,Passing his prison door,Had flutter’d all his strength away,And panting pressed the floor;Well knowing him a sacred thing,Not destined to my tooth,I only kiss’d his ruffled wing,And lick’d the feathers smooth.Let my obedience then excuseMy disobedience now,Nor some reproof yourself refuseFrom your aggrieved Bow-wow;If killing birds be such a crime,(Which I can hardly see),What think you, sir, of killing TimeWith verse address’d to me?W. Cowper.

LUCY GRAY; OR, SOLITUDE

Oft I had heard of Lucy Gray:And, when I crossed the wild,I chanced to see at break of dayThe solitary child.No mate, no comrade Lucy knew;She dwelt on a wide moor,– The sweetest thing that ever grewBeside a human door!You yet may spy the fawn at play,The hare upon the green;But the sweet face of Lucy GrayWill never more be seen.‘To-night will be a stormy night —You to the town must go;And take a lantern, Child, to lightYour mother through the snow.’‘That, Father! will I gladly do:‘Tis scarcely afternoon —The minster-clock has just struck two,And yonder is the moon!’At this the Father raised his hook,And snapped a faggot-band;He plied his work; – and Lucy tookThe lantern in her hand.Not blither is the mountain roe:With many a wanton strokeHer feet disperse the powdery snow,That rises up like smoke.The storm came on before its time:She wandered up and down;And many a hill did Lucy climb,But never reached the town.The wretched parents all that nightWent shouting far and wide;But there was neither sound nor sightTo serve them for a guide.At day-break on a hill they stoodThat overlooked the moor;And thence they saw the bridge of wood,A furlong from their door.They wept – and, turning homeward, cried,‘In heaven we all shall meet!’– When in the snow the mother spiedThe print of Lucy’s feet.Then downwards from the steep hill’s edgeThey tracked the footmarks small;And through the broken hawthorn hedge,And by the long stone wall;And then an open field they crossed:The marks were still the same;They tracked them on, nor ever lost;And to the bridge they came.They followed from the snowy bankThose footmarks, one by one,Into the middle of the plank;And further there were none!– Yet some maintain that to this dayShe is a living child;That you may see sweet Lucy GrayUpon the lonesome wild.O’er rough and smooth she trips along,And never looks behind;And sings a solitary songThat whistles in the wind.W. Wordsworth.

HUNTING SONG

Waken, lords and ladies gay!On the mountain dawns the day;All the jolly chase is here,With hawk, and horse, and hunting spear!Hounds are in their couples yelling,Hawks are whistling, horns are knelling;Merrily, merrily, mingle they,‘Waken, lords and ladies gay.’Waken, lords and ladies gay!The mist has left the mountain grey,Springlets in the dawn are steaming,Diamonds on the brake are gleaming;And foresters have busy been,To track the buck in thicket green;Now we come to chant our lay,‘Waken, lords and ladies gay.’Waken, lords and ladies gay!To the greenwood haste away;We can show you where he lies,Fleet of foot, and tall of size;We can show the marks he made,When ’gainst the oak his antlers fray’d;You shall see him brought to bay —‘Waken, lords and ladies gay.’Louder, louder chant the lay,Waken, lords and ladies gay!Tell them youth, and mirth, and glee,Run a course as well as we;Time, stern huntsman! who can baulk,Stanch as hound, and fleet as hawk?Think of this, and rise with day,Gentle lords and ladies gay!Sir W. Scott.

LORD ULLIN’S DAUGHTER

A chieftain, to the Highlands bound,Cries, ‘Boatman, do not tarry!And I’ll give thee a silver pound,To row us o’er the ferry.’‘Now who be ye, would cross Lochgyle,This dark and stormy water?’’O, I’m the chief of Ulva’s isle,And this Lord Ullin’s daughter. —‘And fast before her father’s menThree days we’ve fled together,For should he find us in the glen,My blood would stain the heather.‘His horsemen hard behind us ride;Should they our steps discover,Then who will cheer my bonny brideWhen they have slain her lover?’Outspoke the hardy Highland wight,‘I’ll go, my chief – I’m ready;It is not for your silver bright,But for your winsome lady:‘And by my word! the bonny birdIn danger shall not tarry;So though the waves are raging white,I’ll row you o’er the ferry.’ —By this the storm grew loud apace,The water-wraith was shrieking;1And in the scowl of heaven each faceGrew dark as they were speaking.But still as wilder blew the wind,And as the night grew drearer,Adown the glen rode armèd men,Their trampling sounded nearer. —‘O haste thee, haste!’ the lady cries,‘Though tempests round us gather;I’ll meet the raging of the skies,But not an angry father.’ —The boat has left a stormy land,A stormy sea before her, —When, oh! too strong for human hand,The tempest gather’d o’er her.And still they row’d amidst the roarOf waters fast prevailing:Lord Ullin reach’d that fatal shore,His wrath was changed to wailing. —For sore dismay’d, through storm and shade,His child he did discover: —One lovely hand she stretch’d for aid,And one was round her lover.‘Come back! come back!’ he cried in grief,‘Across this stormy water:And I’ll forgive your Highland chief,My daughter! – oh my daughter!’ —‘Twas vain: the loud waves lashed the shore,Return or aid preventing; —The waters wild went o’er his child, —And he was left lamenting.T. Campbell.

THE CHIMNEY-SWEEPER

When my mother died I was very young,And my father sold me while yet my tongueCould scarcely cry, ‘’weep! ’weep! ’weep! ’weep!’So your chimneys I sweep, and in soot I sleep.There’s little Tom Dacre, who cried when his head,That curl’d like a lamb’s back, was shaved; so I said,‘Hush, Tom! never mind it, for when your head’s bare,You know that the soot cannot spoil your white hair.’And so he was quiet: and that very night,As Tom was a-sleeping, he had such a sight,That thousands of sweepers, Dick, Joe, Ned, and Jack,Were all of them lock’d up in coffins of black.And by came an angel, who had a bright key,And he open’d the coffins, and set them all free;Then down a green plain, leaping, laughing they run,And wash in a river, and shine in the sun.Then, naked and white, all their bags left behind,They rise upon clouds, and sport in the wind;And the angel told Tom, if he’d be a good boy,He’d have God for his father, and never want joy.And so Tom awoke; and we rose in the dark,And got with our bags and our brushes to work;Though the morning was cold, Tom was happy and warm:So, if all do their duty, they need not fear harm.W. Blake.

NORA’S VOW

IHear what Highland Nora said, —‘The Earlie’s son I will not wed,Should all the race of nature die,And none be left but he and I.For all the gold, for all the gear,And all the lands both far and near,That ever valour lost or won,I would not wed the Earlie’s son.’II‘A maiden’s vows,’ old Callum spoke,‘Are lightly made, and lightly broke;The heather on the mountain’s heightBegins to bloom in purple light;The frost-wind soon shall sweep awayThat lustre deep from glen and brae;Yet Nora, ere its bloom be gone,May blithely wed the Earlie’s son.’ —III‘The swan,’ she said, ‘the lake’s clear breastMay barter for the eagle’s nest;The Awe’s fierce stream may backward turn,Ben-Cruaichan fall, and crush Kilchurn;Our kilted clans, when blood is high,Before their foes may turn and fly;But I, were all these marvels done,Would never wed the Earlie’s son.’IVStill in the water-lily’s shadeHer wonted nest the wild-swan made;Ben-Cruaichan stands as fast as ever,Still downward foams the Awe’s fierce river;To shun the clash of foeman’s steel,No Highland brogue has turn’d the heel:But Nora’s heart is lost and won,– She’s wedded to the Earlie’s son!Sir W. Scott.