WILLIAM SHARP (FIONA MACLEOD) A MEMOIR COMPILED BY HIS WIFE ELIZABETH A. SHARP by ELIZABETH A. SHARP (best ebook reader ubuntu txt) đ
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good in them is owing to your gratefully remembered personal influence
and kindness, as well as your own beautiful work.â
His kindly critic answered:
Jan., 1881.
MY DEAR SHARP,
I have only this evening read your poems, and am quite amazed at the
vast gain in distinction and reality upon anything I had seen of yours
before. I read âMotherhoodâ first and think it best on the whole. It is
full of fine things and strange variety. âThe Dead Bridegroomâ is less
equal, but some touches are extremely fine. The close after the crisis
strikes me as done with a certain difficulty and wants some pointing. As
a narrative poem, I do not yet think it quite distinct enough, though it
always rises at the right moment. The execution of your work needs some
reform in detail. The adjectives, especially when monosyllabic, are too
crowded. There are continual assonances of _ings_, _ants_, _ows_, etc.,
midway in the lines. However, the sonorousness is sometimes striking
and the grip of the phrases complete at its best. I am sure you have
benefited much by association with Philip Marston, though I do not mean
to say that such things as these can have their mainspring elsewhere
than in native gift.
I will keep the poems a few days yet and then return them.
Yours sincerely,
G. ROSSETTI.
A letter from the younger poet, written a few days later, reached me in
Rome:
24: 1: 81.
âWell, last Friday was a âred-letterâ day to me. I went to Rossettiâs at
six, dined about 7.30, and stayed there all night. We had a jolly talk
before dinner, and then Shields the painter came in and stayed till
about 11 oâclock: after that Rossetti read me all his unpublished poems,
some of which are magnificentâtalked, etc.âand we did not go to bed till
about three in the morning. I did not go to the Bank next day, as I did
not feel well: however, I wrote hard at poetry, etc., all day till seven
oâclock, managing to keep myself up with tea. I was quite taken aback
by the extent of Rossettiâs praise. He said he did not say much in his
letter because writing so often looks âgushingâ but he considered I was
able to take a foremost place among the younger poets of the dayâand
that many signs in my writings pointed to a first-class poetâthat the
opening of âThe Dead Bridegroomâ was worthy of Keatsâthat âMotherhoodâ
was in every sense of the word a memorable poemâthat I must have great
productive power, and broad and fine imaginationâand many other things
which made me very glad and proud.â
âThe Dead Bridegroomâ was never published, but in a letter to a friend
who raised objections to the treatment of the poem âMotherhoodââhe
wrote in explanation:
âYou seem to think my object in writing was to describe the actual
initial act of Motherhoodâwhereas such acts were only used incidentally
to the idea. I entirely agree with you in thinking such a _motif_ unfit
for poetic treatmentâand more, I think the choice of such would be in
very bad taste and wanting in true delicacy. My aim was something very
far from thisâand what made me see you had not grasped it were the
wordsââBesides, is not your type of civilised woman degraded by being
associated with the savage and the wild beast?â
âOf course, what I was endeavouring to work out was just the opposite
of this. âMotherhoodâ was written from a deep conviction of the beauty
of the state of Motherhood itself, of the holy, strangely similar bond
of union it gave to all created things, and how it, as it were, forged
the links whereby the chain of life reached unbroken from the polyp
depths we do see to the God whom we do not see. Looking at it as I did,
I saw it transfigured to the Seal of Unity: I saw the bestial life touch
the savage, and the latterâs low existence edge complete nobility of
womanhood, asâin the spiritâI see this last again merge into fuller
spiritual periods beyond the present sphere of human life. In embodying
this idea I determined to take refuge in no vague transcendentalism,
or from any false feeling shirk what I knew to be noble in its mystic
wonder and significance: and I came to the conclusion that the
philosophic idea could be best embodied and made apparent by moulding it
into three typical instances of motherhood, representing the brute, the
savage, and the civilised woman. From this point of view, I considered
the making choice of the initial act of motherhoodâof birthâentirely
justifiable, and beyond reach of reproach of impurity, or even
unfitness. As to the artistic working out of these typical _motives_, I
gave to the first glow and colour, to the second mystery and weirdness,
to the third what dignity and solemnity I could.
âThese were my aims and views, and I have not yet seen anything to make
me change them....
âSo much for âMotherhood.â As to âThe Dead Bridegroom,â I quite admit
that the advisability of choosing such subjects is a very debatable
one. It is the only one of mine (in my opinion) which could incur the
charge of doubtful âfitness.â As a poem, moreover, it is inferior in
workmanship to âMotherhood.ââ
To E. A. S.:
â4: 2: 81.
âI have written one of my best poems (in its own way) since writing
you last. It was on Tuesday night: I did not get back till about
seven oâclock, and began at once to write. Your letter came an hour
or so afterward but it had to lie waiting till after midnight, when I
finished, having written and polished a complete poem of thirty verses
in that short time. It is a ballad. The story itself is a very tragic
one. Perhaps the kind of verse would be clear to you if I were to quote
a verse as a specimen:
âAnd I saw thy face wax flushâd, then pale,
And thy lips grow blue like black-ice hail,
With eyes on fire with the soulâs fierce bale,
Son of Allan!
âI may have been pale, and may be redâ
But this night shall one lie white and dead.
(O Mother of God! whose eyes
Watch men lie dead âneath midnight skies.)â
âBoth story and verse I invented myself: and I think you will think it
equal to anything I have done in power. It was a good lot to do at a
sitting, wasnât it? I will read it to you when you come home again....
I enjoyed my stay with Rossetti immensely. We did not breakfast till
one oâclock on Tuesdayâpretty late, wasnât it? (I told you I had a
holiday, didnât I?) He told me again that he considered âMotherhoodâ
fit to take the foremost place in recent poetry. He has such a fine
house, though much of it is shut up, and full of fine things: he showed
me some of it that hardly any one ever sees. He has asked me to come
to him again next Sunday. Isnât it splendid?âand arânât you glad for
my sake? He told Philip that he thought I âhad such a sweet genial
happy nature.â Isnât it nice to be told of that. My intense delight in
little things seems also to be a great charm to himâwhether in a stray
line of verse, or some new author, or a cloudlet, or patch of blue sky,
or chocolate-drops, etc., etc. Have you noticed this in me? I am half
gratified and half amused to hear myself so delineated, as I did not
know my nature was so palpable to comparative strangers. And now I am
going to crown my horrid vanity by telling you that Mrs. Garnet met
Philip a short time ago, and asked after the health of his friend, the
âhandsome young poet!â There now, amnât I horridly conceited? (N. B.âIâm
pleased all the same, you know!)
âI wrote a little lyric yesterday which is one of the most musical I
have ever done. To-day, I was âtookâ by a writing mood in the midst
of business hours, and despite all the distracting and unpoetical
surroundings, managed to hastily jot down the accompanying lyric. It is
the general end of young _unknowing_ love....
âI had a splendid evening last night, and Rossetti read a lot more of
his latest work. Splendid as his published work is, it is surpassed
by what has yet to be published. The more I look into and hear his
poems the more I am struck with the incomparable power and depth of
his geniusâhis almost magical perfection and mastery of languageâhis
magnificent spiritual strength and subtlety. He read some things last
night, lines in which almost took my breath away. No sonnet-writer in
the past has equalled him, and it is almost inconceivable to imagine any
one doing so in the future. His influence is already deep and strong,
but I believe in time to come he will be looked back to as we now
look to Shakespeare, to Milton, and in one sense to Keats. I can find
no language to express my admiration of his supreme gifts, and it is
with an almost painful ecstasy that I receive from time to time fresh
revelations of his intellectual, spiritual, and artistic splendour.
I fancy one needs to be an actual poet to feel this to the full, but
every one, however dim and stagnant or coldly intellectual his or her
soul, must feel more or less the marvellous beauty of this wedding of
the spirit of emotional thought and the spirit of language, and the
child thereofâdivine, perfect expression. Our language in Rossettiâs
hands is more solemn than Spanish, more majestic than Latin, deeper
than German, sweeter than Italian, more divine than Greek. I know of
nothing comparable to it. He told me to call him Rossetti and not âMr.
Rossetti,â as disparity in age disappears in close friendship, wasnât it
nice of him? It makes me both very proud and humble to be so liked and
praised by the greatest master in Englandâproud to have so far satisfied
his fastidious critical taste and to have excited such strong belief in
my powers, and humble in that I fall so far short of him as to make the
gulf seem impassable.â
In Italy I was making a careful study of the old masters in painting,
and found that my correspondent took but lukewarm interest in my
enthusiasm. Until that date he had had little opportunity of studying
Painting; and at no time did the _cinquecento_ and earlier painters
really attract him. I regretted his indifference, and asked him,
banteringly, if his dislike extended equally to the early masters of
the pen and to those of the brush.
He replied: âYou ask me, if I dislike the Old Masters of Poetry as
much as I do those of Painting? and I reply Certainly not, but at the
same time the comparison is not fair. Most of the old poets are not
only poets of their time but have special beauties at the present
day, and can be read with as much or almost as much pleasure now as
centuries ago. Their imagination, their scope, their detail is endless.
On the other hand the Old Masters of Painting are (to me, of course,
and speaking generally) utterly uninteresting in their subjects, in
the way they treat them, and in the meaning that is conveyed. If it
were not for the richness and beauty of their colour I would never
go into another gallery _from pleasure_, but colour alone could not
always satisfy me. But take the âOld Mastersâ of Poetry! Homer of
Greece, Virgil and Dante of Italy, Theocritus of Sicily, and in England
Chaucer, Shakespeare, Ben Jonson, Webster, Ford, Massinger, Marlowe,
Milton!
âThe poetry of these men is beautiful in itself apart from the relation
they bear to their times. We may not care for Dryden (though I do)
or Prior or Cowley, because in the verse of these latter there is
nothing to withstand the ages, nothing that rises above their times.
In looking at Rubens, or Leonardo da Vinci, or Fra Angelico, we must
school ourselves to admiration by saying âHow wonderful for their time,
what a near attempt at a perspective, what a near success in drawing
natureâexternal and human!â Would you, or any one, care for a painting
of Angelicoâs if executed in exactly the same style and in equally soft
and harmonious colours at the present day? Could you enjoy and enter
into it apart from its relation to such-and-such a period of early
Christian Art? It may be possible, but I doubt it. On the other hand
take up the Old Masters of Poetry and judge them by the present high
standard. Take up Homerâwho has his width and space? Danteâwho has his
fiery repressed intensity? Theocritus, who has sung sweeter
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