The Pilgrims of the Rhine

Thoughts of such pathos as had beggared song.

VIII

HENCE IN HOPE, MEMORY, AND PRAYER, ALL OF US ARE POETS

Yes, while thou hopest, music fills the air,
While thou rememberest, life reclothes the clod;
While thou canst feel the electric chain of prayer,
Breathe but a thought, and be a soul with God!
Let not these forms of matter bound thine eye.
He who the vanishing point of Human things
Lifts from the landscape, lost amidst the sky,
Has found the Ideal which the poet sings,
Has pierced the pall around the senses thrown,
And is himself a poet, though unknown.

IX

APPLICATION OF THE POEM TO THE TALE TO WHICH IT IS PREFIXED.—THE

RHINE,—ITS IDEAL CHARACTER IN ITS HISTORICAL AND LEGENDARY ASSOCIATIONS

Eno’!—my song is closing, and to thee,
Land of the North, I dedicate its lay;
As I have done the simple tale to be
The drama of this prelude!
Faraway
Rolls the swift Rhine beneath the starry ray;
But to my ear its haunted waters sigh;
Its moonlight mountains glimmer on my eye;
On wave, on marge, as on a wizard’s glass,
Imperial ghosts in dim procession pass;
Lords of the wild, the first great Father-men,
Their fane the hill-top, and their home the glen;
Frowning they fade; a bridge of steel appears
With frank-eyed Caesar smiling through the spears;
The march moves onwards, and the mirror brings
The Gothic crowns of Carlovingian kings
Vanished alike!  The Hermit rears his Cross,
And barbs neigh shrill, and plumes in tumult toss,
While (knighthood’s sole sweet conquest from the Moor)
Sings to Arabian lutes the Tourbadour.
Not yet, not yet; still glide some lingering shades,
Still breathe some murmurs as the starlight fades,
Still from her rock I hear the Siren call,
And see the tender ghost in Roland’s mouldering hall!

X

APPLICATION OF THE POEM CONTINUED.—THE IDEAL LENDS ITS AID TO THE MOST FAMILIAR AND THE MOST ACTUAL SORROW OF LIFE.—FICTION COMPARED TO SLEEP,—IT STRENGTHENS WHILE IT SOOTHES

Trite were the tale I tell of love and doom,
(Whose life hath loved not, whose not mourned a tomb?)
But fiction draws a poetry from grief,
As art its healing from the withered leaf.
Play thou, sweet Fancy, round the sombre truth,
Crown the sad Genius ere it lower the torch!
When death the altar and the victim youth,
Flutes fill the air, and garlands deck the porch.
As down the river drifts the Pilgrim sail,
Clothe the rude hill-tops, lull the Northern gale;
With childlike lore the fatal course beguile,
And brighten death with Love’s untiring smile.
Along the banks let fairy forms be seen
“By fountain clear, or spangled starlike sheen.”[5 - “Midsummer Night’s Dream.”]
Let sound and shape to which the sense is dull
Haunt the soul opening on the Beautiful.
And when at length, the symbol voyage done,
Surviving Grief shrinks lonely from the sun,
By tender types show Grief what memories bloom
From lost delight, what fairies guard the tomb.
Scorn not the dream, O world-worn; pause a while,
New strength shall nerve thee as the dreams beguile,
Stung by the rest, less far shall seem the goal!
As sleep to life, so fiction to the soul.

THE PILGRIMS OF THE RHINE

CHAPTER I. IN WHICH THE READER IS INTRODUCED TO QUEEN NYMPHALIN

IN one of those green woods which belong so peculiarly to our island (for the Continent has its forests, but England its woods) there lived, a short time ago, a charming little fairy called Nymphalin. I believe she is descended from a younger branch of the house of Mab; but perhaps that may only be a genealogical fable, for your fairies are very susceptible to the pride of ancestry, and it is impossible to deny that they fall somewhat reluctantly into the liberal opinions so much in vogue at the present day.

However that may be, it is quite certain that all the courtiers in Nymphalin’s domain (for she was a queen fairy) made a point of asserting her right to this illustrious descent; and accordingly she quartered the Mab arms with her own,—three acorns vert, with a grasshopper rampant. It was as merry a little court as could possibly be conceived, and on a fine midsummer night it would have been worth while attending the queen’s balls; that is to say, if you could have got a ticket, a favour not obtained without great interest.

But, unhappily, until both men and fairies adopt Mr. Owen’s proposition, and live in parallelograms, they will always be the victims of ennui. And Nymphalin, who had been disappointed in love, and was still unmarried, had for the last five or six months been exceedingly tired even of giving balls. She yawned very frequently, and consequently yawning became a fashion.

“But why don’t we have some new dances, my Pipalee?” said Nymphalin to her favourite maid of honour; “these waltzes are very old-fashioned.”

“Very old-fashioned,” said Pipalee.

The queen gaped, and Pipalee did the same.

It was a gala night; the court was held in a lone and beautiful hollow, with the wild brake closing round it on every side, so that no human step could easily gain the spot. Wherever the shadows fell upon the brake a glow-worm made a point of exhibiting itself, and the bright August moon sailed slowly above, pleased to look down upon so charming a scene of merriment; for they wrong the moon who assert that she has an objection to mirth,—with the mirth of fairies she has all possible sympathy. Here and there in the thicket the scarce honeysuckles—in August honeysuckles are somewhat out of season—hung their rich festoons, and at that moment they were crowded with the elderly fairies, who had given up dancing and taken to scandal. Besides the honeysuckle you might see the hawkweed and the white convolvulus, varying the soft verdure of the thicket; and mushrooms in abundance had sprung up in the circle, glittering in the silver moonlight, and acceptable beyond measure to the dancers: every one knows how agreeable a thing tents are in a fete champetre! I was mistaken in saying that the brake closed the circle entirely round; for there was one gap, scarcely apparent to mortals, through which a fairy at least might catch a view of a brook that was close at hand, rippling in the stars, and checkered at intervals by the rich weeds floating on the surface, interspersed with the delicate arrowhead and the silver water-lily. Then the trees themselves, in their prodigal variety of hues,—the blue, the purple, the yellowing tint, the tender and silvery verdure, and the deep mass of shade frowning into black; the willow, the elm, the ash, the fir, and the lime, “and, best of all, Old England’s haunted oak;” these hues were broken again into a thousand minor and subtler shades as the twinkling stars pierced the foliage, or the moon slept with a richer light upon some favoured glade.

It was a gala night; the elderly fairies, as I said before, were chatting among the honeysuckles; the young were flirting, and dancing, and making love; the middle-aged talked politics under the mushrooms; and the queen herself and half-a-dozen of her favourites were yawning their pleasure from a little mound covered with the thickest moss.

“It has been very dull, madam, ever since Prince Fayzenheim left us,” said the fairy Nip.

The queen sighed.