The Scholar-Gipsy (Matthew Arnold)

Go, for they call you, shepherd, from the hill;
Go, shepherd, and untie the wattled cotes!
No longer leave thy wistful flock unfed,
Nor let thy bawling fellows rack their throats,
Nor the cropp'd herbage shoot another head.
But when the fields are still,
And the tired men and dogs all gone to rest,
And only the white sheep are sometimes seen
Cross and recross the strips of moon-blanch'd green,
Come, shepherd, and again begin the quest!

Here, where the reaper was at work of late—
In this high field's dark corner, where he leaves
His coat, his basket, and his earthen cruse,
And in the sun all morning binds the sheaves,
Then here, at noon, comes back his stores to use—
Here will I sit and wait,
While to my ear from uplands far away
The bleating of the folded flocks is borne,
With distant cries of reapers in the corn—
All the live murmur of a summer's day.

Screen'd is this nook o'er the high, half-reap'd field,
And here till sun-down, shepherd! will I be.
Through the thick corn the scarlet poppies peep,
And round green roots and yellowing stalks I see
Pale pink convolvulus in tendrils creep;
And air-swept lindens yield
Their scent, and rustle down their perfumed showers
Of bloom on the bent grass where I am laid,
And bower me from the August sun with shade;
And the eye travels down to Oxford's towers.

And near me on the grass lies Glanvil's book—
Come, let me read the oft-read tale again!
The story of the Oxford scholar poor,
Of pregnant parts and quick inventive brain,
Who, tired of knocking at preferment's door,
One summer-morn forsook
His friends, and went to learn the gipsy-lore,
And roam'd the world with that wild brotherhood,
And came, as most men deem'd, to little good,
But came to Oxford and his friends no more.

But once, years after, in the country-lanes,
Two scholars, whom at college erst he knew,
Met him, and of his way of life enquired;
Whereat he answer'd, that the gipsy-crew,
His mates, had arts to rule as they desired
The workings of men's brains,
And they can bind them to what thoughts they will.
"And I," he said, "the secret of their art,
When fully learn'd, will to the world impart;
But it needs heaven-sent moments for this skill."

This said, he left them, and return'd no more.—
But rumours hung about the country-side,
That the lost Scholar long was seen to stray,
Seen by rare glimpses, pensive and tongue-tied,
In hat of antique shape, and cloak of grey,
The same the gipsies wore.
Shepherds had met him on the Hurst in spring;
At some lone alehouse in the Berkshire moors,
On the warm ingle-bench, the smock-frock'd boors
Had found him seated at their entering,

But, 'mid their drink and clatter, he would fly.
And I myself seem half to know thy looks,
And put the shepherds, wanderer! on thy trace;
And boys who in lone wheatfields scare the rooks
I ask if thou hast pass'd their quiet place;
Or in my boat I lie
Moor'd to the cool bank in the summer-heats,
'Mid wide grass meadows which the sunshine fills,
And watch the warm, green-muffled Cumner hills,
And wonder if thou haunt'st their shy retreats.

For most, I know, thou lov'st retired ground!
Thee at the ferry Oxford riders blithe,
Returning home on summer-nights, have met
Crossing the stripling Thames at Bab-lock-hithe,
Trailing in the cool stream thy fingers wet,
As the punt's rope chops round;
And leaning backward in a pensive dream,
And fostering in thy lap a heap of flowers
Pluck'd in shy fields and distant Wychwood bowers,
And thine eyes resting on the moonlit stream.

And then they land, and thou art seen no more!—
Maidens, who from the distant hamlets come
To dance around the Fyfield elm in May,
Oft through the darkening fields have seen thee roam,
Or cross a stile into the public way.
Oft thou hast given them store
Of flowers—the frail-leaf'd, white anemony,
Dark bluebells drench'd with dews of summer eves,
And purple orchises with spotted leaves—
But none hath words she can report of thee.

And, above Godstow Bridge, when hay-time's here
In June, and many a scythe in sunshine flames,
Men who through those wide fields of breezy grass
Where black-wing'd swallows haunt the glittering Thames,
To bathe in the abandon'd lasher pass,
Have often pass'd thee near
Sitting upon the river bank o'ergrown;
Mark'd thine outlandish garb, thy figure spare,
Thy dark vague eyes, and soft abstracted air—
But, when they came from bathing, thou wast gone!

At some lone homestead in the Cumner hills,
Where at her open door the housewife darns,
Thou hast been seen, or hanging on a gate
To watch the threshers in the mossy barns.
Children, who early range these slopes and late
For cresses from the rills,
Have known thee eyeing, all an April-day,
The springing pasture and the feeding kine;
And mark'd thee, when the stars come out and shine,
Through the long dewy grass move slow away.

In autumn, on the skirts of Bagley Wood—
Where most the gipsies by the turf-edged way
Pitch their smoked tents, and every bush you see
With scarlet patches tagg'd and shreds of grey,
Above the forest-ground called Thessaly—
The blackbird, picking food,
Sees thee, nor stops his meal, nor fears at all;
So often has he known thee past him stray,
Rapt, twirling in thy hand a wither'd spray,
And waiting for the spark from heaven to fall.

And once, in winter, on the causeway chill
Where home through flooded fields foot-travellers go,
Have I not pass'd thee on the wooden bridge,
Wrapt in thy cloak and battling with the snow,
Thy face tow'rd Hinksey and its wintry ridge?
And thou has climb'd the hill,
And gain'd the white brow of the Cumner range;
Turn'd once to watch, while thick the snowflakes fall,
The line of festal light in Christ-Church hall—
Then sought thy straw in some sequester'd grange.

But what—I dream! Two hundred years are flown
Since first thy story ran through Oxford halls,
And the grave Glanvil did the tale inscribe
That thou wert wander'd from the studious walls
To learn strange arts, and join a gipsy-tribe;
And thou from earth art gone
Long since, and in some quiet churchyard laid—
Some country-nook, where o'er thy unknown grave
Tall grasses and white flowering nettles wave,
Under a dark, red-fruited yew-tree's shade.

—No, no, thou hast not felt the lapse of hours!
For what wears out the life of mortal men?
'Tis that from change to change their being rolls;
'Tis that repeated shocks, again, again,
Exhaust the energy of strongest souls
And numb the elastic powers.
Till having used our nerves with bliss and teen,
And tired upon a thousand schemes our wit,
To the just-pausing Genius we remit
Our worn-out life, and are—what we have been.

Thou hast not lived, why should'st thou perish, so?
Thou hadst one aim, one business, one desire;
Else wert thou long since number'd with the dead!
Else hadst thou spent, like other men, thy fire!
The generations of thy peers are fled,
And we ourselves shall go;
But thou possessest an immortal lot,
And we imagine thee exempt from age
And living as thou liv'st on Glanvil's page,
Because thou hadst—what we, alas! have not.

For early didst thou leave the world, with powers
Fresh, undiverted to the world without,
Firm to their mark, not spent on other things;
Free from the sick fatigue, the languid doubt,
Which much to have tried, in much been baffled, brings.
O life unlike to ours!
Who fluctuate idly without term or scope,
Of whom each strives, nor knows for what he strives,
And each half lives a hundred different lives;
Who wait like thee, but not, like thee, in hope.

Thou waitest for the spark from heaven! and we,
Light half-believers of our casual creeds,
Who never deeply felt, nor clearly will'd,
Whose insight never has borne fruit in deeds,
Whose vague resolves never have been fulfill'd;
For whom each year we see
Breeds new beginnings, disappointments new;
Who hesitate and falter life away,
And lose to-morrow the ground won to-day—
Ah! do not we, wanderer! await it too?

Yes, we await it!—but it still delays,
And then we suffer! and amongst us one,
Who most has suffer'd, takes dejectedly
His seat upon the intellectual throne;
And all his store of sad experience he
Lays bare of wretched days;
Tells us his misery's birth and growth and signs,
And how the dying spark of hope was fed,
And how the breast was soothed, and how the head,
And all his hourly varied anodynes.

This for our wisest! and we others pine,
And wish the long unhappy dream would end,
And waive all claim to bliss, and try to bear;
With close-lipp'd patience for our only friend,
Sad patience, too near neighbour to despair—
But none has hope like thine!
Thou through the fields and through the woods dost stray,
Roaming the country-side, a truant boy,
Nursing thy project in unclouded joy,
And every doubt long blown by time away.

O born in days when wits were fresh and clear,
And life ran gaily as the sparkling Thames;
Before this strange disease of modern life,
With its sick hurry, its divided aims,
Its heads o'ertax'd, its palsied hearts, was rife—
Fly hence, our contact fear!
Still fly, plunge deeper in the bowering wood!
Averse, as Dido did with gesture stern
From her false friend's approach in Hades turn,
Wave us away, and keep thy solitude!

Still nursing the unconquerable hope,
Still clutching the inviolable shade,
With a free, onward impulse brushing through,
By night, the silver'd branches of the glade—
Far on the forest-skirts, where none pursue,
On some mild pastoral slope
Emerge, and resting on the moonlit pales
Freshen thy flowers as in former years
With dew, or listen with enchanted ears,
From the dark tingles, to the nightingales!

But fly our paths, our feverish contact fly!
For strong the infection of our mental strife,
Which, though it gives no bliss, yet spoils for rest;
And we should win thee from thy own fair life,
Like us distracted, and like us unblest.
Soon, soon thy cheer would die,
Thy hopes grow timorous, and unfix'd thy powers,
And thy clear aims be cross and shifting made;
And then thy glad perennial youth would fade,
Fade and grow old at last, and die like ours.

Then fly our greetings, fly our speech and smiles!
—As some grave Tyrian trader, from the sea,
Descried at sunrise an emerging prow
Lifting the cool-hair'd creepers stealthily,
The fringes of a southward-facing brow
Among the Ægæan Isles;
And saw the merry Grecian coaster come,
Freighted with amber grapes, and Chian wine,
Green, bursting figs, and tunnies steep'd in brine—
And knew the intruders on his ancient home,

The young light-hearted masters of the waves—
And snatch'd his rudder, and shook out more sail;
And day and night held on indignantly
O'er the blue Midland waters with the gale,
Betwixt the Syrtes and soft Sicily,
To where the Atlantic raves
Outside the western straits; and unbent sails
There, where down cloudy cliffs, through sheets of foam,
Shy traffickers, the dark Iberians come;
And on the beach undid his corded bales.

'On Wenlock Edge the wood's in trouble' (A.E. Housman)

On Wenlock Edge the wood's in trouble;
His forest fleece the Wrekin heaves;
The gale, it plies the saplings double,
And thick on Severn snow the leaves. 

'Twould blow like this through holt and hanger
When Uricon the city stood:
'Tis the old wind in the old anger,
But then it threshed another wood. 

Then, 'twas before my time, the Roman
At yonder heaving hill would stare:
The blood that warms an English yeoman,
The thoughts that hurt him, they were there. 

There, like the wind through woods in riot,
Through him the gale of life blew high;
The tree of man was never quiet:
Then 'twas the Roman, now 'tis I.

The gale, it plies the saplings double,
It blows so hard, 'twill soon be gone:
To-day the Roman and his trouble
Are ashes under Uricon.

from My Ántonia, book III, Lena Lingard, chapter II

I propped my book open and stared listlessly at the page of the 'Georgics' where to-morrow's lesson began. It opened with the melancholy reflection that, in the lives of mortals, the best days are the first to flee. 'Optima dies . . . prima fugit.' I turned back to the beginning of the third book, which we had read in class that morning. 'Primus ego in patriam mecum . . . deducam Musas'; 'for I shall be the first, if I live, to bring the Muse into my country.' Cleric had explained to us that 'patria' here meant, not a nation or even a province, but the little rural neighbourhood on the Mincio where the poet was born. This was not a boast, but a hope, at once bold and devoutly humble, that he might bring the Muse (but lately come to Italy from her cloudy Grecian mountains), not to the capital, the palatia Romana, but to his own little 'country'; to his father's fields, 'sloping down to the river and to the old beech trees with broken tops.'

Cleric said he thought Virgil, when he was dying at Brindisi, must have remembered that passage. After he had faced the bitter fact that he was to leave the 'Aeneid' unfinished, and had decreed that the great canvas, crowded with figures of gods and men, should be burned rather than survive him unperfected, then his mind must have gone back to the perfect utterance of the 'Georgics,' where the pen was fitted to the matter as the plough is to the furrow; and he must have said to himself, with the thankfulness of a good man, 'I was the first to bring the Muse into my country.'

We left the classroom quietly, conscious that we had been brushed by the wing of a great feeling, though perhaps I alone knew Cleric intimately enough to guess what that feeling was.  In the evening, as I sat staring at my book, the fervour of his voice stirred through the quantities on the page before  me. I was wondering whether that particular rocky strip of New England coast about which he had so often told me was Cleric's patria.  Before I had got far with my reading, I was disturbed by a knock. I hurried to the door and when I opened it saw a woman standing in the dark hall.

from Clover, chapter VII, Making Acquaintance (Susan Coolidge)

The sun was very hot; but there was a delicious breeze, and the dryness and elasticity of the air made the heat easy to bear.

The way lay across and down the southern slope of the plateau on which the town was built. Then they came to splendid fields of grain and 'afalfa, - a cereal quite new to them, with broad, very green leaves. The roadside was gay with flowers, - gillias and mountain balm; high pink and purple spikes, like foxgloves, which they were told were pentstemons; painters' brush, whose green tips seemed dipped in liquid vermilion, and masses of the splendid wild poppies. They crossed a foaming little river; and a sharp turn brought them into a narrower and wilder road, which ran straight toward the mountain side. This was overhung by trees, whose shade was grateful after the hot sun.

Narrower and narrower grew the road, more and more sharp the turns. They were at the entrance of a deep defile, up which the road wound and wound, following the links of the river, which they crossed and recrossed repeatedly. Such a wonderful and perfect little river, with water clear as air and cold as ice, flowing over a bed of smooth granite, here slipping noiselessly down long slopes of rock like thin films of glass, there deepening into pools of translucent blue-green like aqua-marine or beryl, again plunging down in mimic waterfalls, a sheet of iridescent foam. The sound of its rush and its ripple was like a laugh. Never was such happy water, Clover thought, as it curved and bent and swayed this way and that on its downward course as if moved by some merry, capricious instinct, like a child dancing as it goes. Regiments or great ferns grew along its banks, and immense thickets of wild roses of all shades, from deep Jacqueminot red to pale blush-white. Here and there rose a lonely spike of yucca, and in the little ravines to right and left grew in the crevices of the rocks clumps of superb straw-colored columbines four feet high.

Looking up, Clover saw above the tree-tops strange pinnacles and spires and obelisks which seemed air-hung, of purple-red and orange-tawny and pale pinkish gray and terra cotta, in which the sunshine and the cloud-shadows broke in a multiplicity of wonderful half-tints. Above them was the dazzling blue of the Colorado sky. She drew a long, long breath.

'So this is a canyon,' she said. 'How glad I am that I have lived to see one.'

Dover Beach (Matthew Arnold)

The sea is calm tonight.
The tide is full, the moon lies fair
Upon the straits; on the French coast the light
Gleams and is gone; the cliffs of England stand,
Glimmering and vast, out in the tranquil bay.
Come to the window, sweet is the night-air!
Only, from the long line of spray
Where the sea meets the moon-blanched land,
Listen! you hear the grating roar
Of pebbles which the waves draw back, and fling,
At their return, up the high strand,
Begin, and cease, and then again begin,
With tremulous cadence slow, and bring
The eternal note of sadness in. 

Sophocles long ago
Heard it on the Ægean, and it brought
Into his mind the turbid ebb and flow
Of human misery; we
Find also in the sound a thought,
Hearing it by this distant northern sea. 

The Sea of Faith
Was once, too, at the full, and round earth’s shore
Lay like the folds of a bright girdle furled.
But now I only hear
Its melancholy, long, withdrawing roar,
Retreating, to the breath
Of the night-wind, down the vast edges drear
And naked shingles of the world. 

Ah, love, let us be true
To one another! for the world, which seems
To lie before us like a land of dreams,
So various, so beautiful, so new,
Hath really neither joy, nor love, nor light,
Nor certitude, nor peace, nor help for pain;
And we are here as on a darkling plain
Swept with confused alarms of struggle and flight,
Where ignorant armies clash by night.

As the Team's Head-Brass (Edward Thomas)

As the team's head-brass flashed out on the turn
The lovers disappeared into the wood.
I sat among the boughs of the fallen elm
That strewed the angle of the fallow, and
Watched the plough narrowing a yellow square
Of charlock. Every time the horses turned
Instead of treading me down, the ploughman leaned
Upon the handles to say or ask a word,
About the weather, next about the war.
Scraping the share he faced towards the wood,
And screwed along the furrow till the brass flashed
Once more.
                The blizzard felled the elm whose crest
I sat in, by a woodpecker's round hole,
The ploughman said. 'When will they take it away? '
'When the war's over.' So the talk began –
One minute and an interval of ten,
A minute more and the same interval.
'Have you been out? ' 'No.' 'And don't want to, perhaps? '
'If I could only come back again, I should.
I could spare an arm, I shouldn't want to lose
A leg. If I should lose my head, why, so,
I should want nothing more ... Have many gone
From here? ' 'Yes.' 'Many lost? ' 'Yes, a good few.
Only two teams work on the farm this year.
One of my mates is dead. The second day
In France they killed him. It was back in March,
The very night of the blizzard, too. Now if
He had stayed here we should have moved the tree.'
'And I should not have sat here. Everything
Would have been different. For it would have been
Another world.' 'Ay, and a better, though
If we could see all all might seem good.' Then
The lovers came out of the wood again:
The horses started and for the last time
I watched the clods crumble and topple over
After the ploughshare and the stumbling team.

from Zuleika Dobson, chapter 12 (Max Beerbohm)

Clearly it was vain to seek distraction in my old College. I floated out into the untenanted meadows. Over them was the usual coverlet of white vapour, trailed from the Isis right up to Merton Wall. The scent of these meadows' moisture is the scent of Oxford. Even in hottest noon, one feels that the sun has not dried them. Always there is moisture drifting across them, drifting into the Colleges. It, one suspects, must have had much to do with the evocation of what is called the Oxford spirit—that gentlest spirit, so lingering and searching, so dear to them who as youths were brought into ken of it, so exasperating to them who were not. Yes, certainly, it is this mild, miasmal air, not less than the grey beauty and gravity of the buildings, that has helped Oxford to produce, and foster eternally, her peculiar race of artist-scholars, scholar-artists. The undergraduate, in his brief periods of residence, is too buoyant to be mastered by the spirit of the place. He does but salute it, and catch the manner. It is on him who stays to spend his maturity here that the spirit will in its fulness gradually descend. The buildings and their traditions keep astir in his mind whatsoever is gracious; the climate, enfolding and enfeebling him, lulling him, keeps him careless of the sharp, harsh, exigent realities of the outer world. Careless? Not utterly. These realities may be seen by him. He may study them, be amused or touched by them. But they cannot fire him. Oxford is too damp for that. The 'movements' made there have been no more than protests against the mobility of others. They have been without the dynamic quality implied in their name. They have been no more than the sighs of men gazing at what other men had left behind them; faint, impossible appeals to the god of retrogression, uttered for their own sake and ritual, rather than with any intent that they should be heard. Oxford, that lotus-land, saps the will-power, the power of action. But, in doing so, it clarifies the mind, makes larger the vision, gives, above all, that playful and caressing suavity of manner which comes of a conviction that nothing matters, except ideas, and that not even ideas are worth dying for, inasmuch as the ghosts of them slain seem worthy of yet more piously elaborate homage than can be given to them in their heyday. If the Colleges could be transferred to the dry and bracing top of some hill, doubtless they would be more evidently useful to the nation. But let us be glad there is no engineer or enchanter to compass that task. Egomet, I would liefer have the rest of England subside into the sea than have Oxford set on a salubrious level. For there is nothing in England to be matched with what lurks in the vapours of these meadows, and in the shadows of these spires - that mysterious, inenubilable spirit, spirit of Oxford. Oxford! The very sight of the word printed, or sound of it spoken, is fraught for me with most actual magic.

from The Tale of Mrs Tiggy-Winkle (Beatrix Potter)

Once upon a time there was a little girl called Lucie, who lived at a farm called Little-town. She was a good little girl - only she was always losing her pocket-handkerchiefs!

One day little Lucie came into the farm-yard crying - oh, she did cry so! 'I've lost my pocket-handkin! Three handkins and a pinny! Have you seen them, Tabby Kitten?'

The Kitten went on washing her white paws; so Lucie asked a speckled hen -

'Sally Henny-penny, have you found three pocket-handkins?'

But the speckled hen ran into a barn, clucking -

'I go barefoot, barefoot, barefoot!'

And then Lucie asked Cock Robin sitting on a twig.

Cock Robin looked sideways at Lucie with his bright black eye, and he flew over a stile and away.

Lucie climbed upon the stile and looked up at the hill behind Little-town - a hill that goes up - up - into the clouds as though it had no top!

And a great way up the hill-side she thought she saw some white things spread upon the grass.

Lucie scrambled up the hill as fast as her stout legs would carry her; she ran along a steep path-way - up and up - until Little-town was right away down below - she could have dropped a pebble down the chimney!

from The Case of the Gilded Fly, chapter 1, Prologue in Railway Trains (Edmund Crispin)

To the unwary traveller, Didcot signifies the imminence of his arrival at Oxford; to the more experienced, another half-hour at least of frustration.   And travellers in general are divided into these two classes; the first apologetically haul down their luggage from the racks on to the seats, where it remains until the end of the journey, an encumbrance and a mass of sharp, unexpected edges; the second continue to stare gloomily out of the window at the waste of woods and fields into which, by some witless godling, the station has been inexplicably dumped, and at the lines of goods trucks from all parts of the country, assembled like the isle of lost ships of current myth, in the middle of a Sargasso Sea.  A persistent accompaniment of dark muttering and shouting, together with a brisk tearing of wood and metal reminiscent of early Walpurgis Night in a local cemetery, suggest to the more imaginative of the passengers that the engine is being dismantled and put together again.  The delay in Didcot station amounts as a rule to twenty minutes or more.

Then there are about three fausses sorties, involving a tremendous crashing and jolting of machinery which buffets the passengers into a state of abject submission.  With infinite reluctance, the cortège gets on the move at last, carrying its unhappy cargo in an extremely leisurely manner through the flat landscape.  There are quite a surprising number of wayside stations and halts before you arrive at Oxford, and it misses none of these, often lingering at them beyond all reason, since no one gets either in or out; but perhaps the guard has seen someone hurrying belatedly down the station road, or has observed a local inhabitant asleep in his corner and is reluctant to wake him; perhaps there is a cow on the line, or the signal is against us - investigation, however, proves that there is no cow, nor even any signal, pro or contra.

Towards Oxford matters become a little more cheerful, within sight of the canal, say, or Tom Tower.  An atmosphere of purposefulness begins to be felt; it requires the utmost strength of will to remain seated, and hatless, and coatless, with one's luggage still in the rack and one's ticket still in an inside pocket; and the more hopeful occupants are already clambering into the corridors.  But sure enough, the train stops just outside the station, the monolithic apparitions of a gas-works on one side, a cemetery on the other, by which the engine lingers with ghoulish insistence, emitting sporadic shrieks and groans of necrophilous delight.  A sense of wild, itching frustration sets in; there is Oxford, there, a few yards away, is the station, and here is the train, and passengers are not allowed to walk along the line, even if any of them had the initiative to do so; it is the whole torture of Tantalus in hell.  This interlude of memento mori, during which the railway company reminds the golden lads and girls in its charge of their inevitable coming to dust, goes on usually for about ten minutes, after which the train proceeds grudgingly into that station so aptly called by Max Beerbohm 'the last relic of the Middle Ages'.

But if any traveller imagines that this is the end, he is mistaken.  Upon arrival there, when even the most sceptical have begun to shift about, it is at once discovered that the train is not at a platform at all, but on one of the centre lines.  On either side, waiting friends and relations, balked at the eleventh hour of their re-union, rush hither and thither waving and uttering little cries, or stand with glum, anxious faces trying to catch a glimpse of those they are supposed to be meeting.  It is as if Charon's boat were to become inextricably marooned in the middle of the Styx, unable either to proceed towards the dead or to return to the living.  Meanwhile, internal shudderings of seismic magnitude occur which throw the passengers and their luggage into impotent shouting heaps on the floors of the corridors.  In a few moments, those on the station are surprised to see the train disappearing in the direction of Manchester, with a cloud of smoke and an evil smell.  In due time it returns backwards, and miraculously, the journey is over.

The passengers surge self-consciously through the ticket-barrier and disperse in search of taxis, which in wartime collect fares without regard of rank, age or precedence, but according to some strictly-adhered-to logic of their own.  They thin out and disappear into the warren of relics, memorials, churches, colleges, libraries, hotels, pubs, tailors and bookshops which is Oxford, the wiser looking for an immediate drink, the more obstinate battling through to their ultimate destination.  Of this agon there eventually remain only a solitary few who have got out to change, and who dawdle unhappily on the platform among the milk-cans.

from The Towers of Trebizond, chapter 18 (Rose Macaulay)

I went to a travel agent and got a passage to Istanbul on a cargo ship that sailed from Haifa in ten days, so I had these days in which to see Israel, which is a very beautiful country indeed.  I went to Acre, and spent a night in an inn that looked as if the Crusaders might have spent their last night in it before fleeing from the Holy Land to Cyprus in 1291, and I bathed in a blue and green sea outside the citadel.  I went to Nazareth, which was full of tourists and touting guides and fake holy places, and I went on to the Sea of Galilee, and this was so beautiful that I stayed by it for several days, stumbling about the ruins of old Tiberias and going out with the fishermen in their boats while they cast their nets, fishing alone from the shore, sleeping in a small Franciscan guest-house above the lake, with a balcony from which I could every morning watch the sun rise over the wild brown and mauve mountains on the Syrian shore.  The days were very hot.  I rode the camel up the shore, to Magdala and the ruins of Capernaum, and the little bays beyond, where I swam in buoyant blue water.  Every place along the Genesaret shore was in the Gospels; Magdala, and the ruined Capernaum synagogue, and the sermon on the mount, and the feeding of the five thousand on the opposite shore, and the rowing on the lake, and the drafts of fishes, and the healings, and the floutings of Pharisees and sabbatarians, and the vision in the dawn to Peter and the rest as they fished, and the calling of the disciples in turn to leave their work and follow.  St Matthew, people think, sat at the receipt of customs on the quay of Capernaum, taking the dues from those who landed there.  When he arose and followed, did he have time to hand over his job to someone else, or did he just take up his cash-box and go, so that for a time people landed and departed without paying anything?  There is nothing at the customs now but the black basalt quay stones lying about, and the little waves of the Sea of Galilee lapping among reeds.

In all these places that I go through, I thought, he once was, he once taught and talked, and drew people after him like a magnet, as he is now drawing me.  And I thought that if David had been with me and had asked me again what he had asked me in the cloister of St. George's Cathedral, I would have answered him rather differently, for by the sea of Galilee Christianity seemed local and temporal and personal after all, though it included Hagia Sophia and all the humanities and Oriens, sol justitiae, that has lighted every man who has come into the world.

I would have liked to spend a long time in Galilee, fishing and rowing and swimming and riding about the hills and trying to paint the changing colours of the water and of the mountains across it on the Syrian shore, and everywhere coming on fragments of Rome and of Greece.  But I had to leave it, and I did not think I should come back, it was too subversive, it filled me with notions and feelings that were dangerous to my life.  I did not want Vere to come there, though Vere had not my brand of flimsy and broken-backed but incurable religion, of which I have always been ashamed, so it might work out all right.

from 'Subject Reviews: Roman Literature', Greece & Rome 39 (1992) (Don Fowler)

The lack of detailed modern commentaries on the second half of the Aeneid has also long been felt, and is at last being addressed.  Oxford now offer us Book 10, and Cambridge Book 11.  Steven Harrison’s **^BVergil, Aeneid 10² is a revision of his doctoral dissertation supervised by Nisbet and Horsfall, and it is a fine piece of work.  Like other recent volumes in the Oxford Classical Monographs series, it offers a translation as well as a text, plus an introduction, detailed commentary, and an appendix ‘Some Aspects of Vergilian Style’.  The overall interpretation is broadly Augustan, though Harrison’s earlier days in Balliol have not been entirely expunged: the ‘glorification of Augustus’, we are told, is ‘full-hearted and unambiguous’ (p. xxiv) but much more ambiguity is admitted in the presentation of Aeneas and Jupiter (see, e.g., the excellent note on the Aegaeon simile for Aeneas at 565-70, where he rightly resists Gordon Williams’s attempt to defuse the simile with an assumption of embedded focalization, or the discussion of Jupiter’s ‘insincere temporizing’ on 111-12).  Even if one admits that there ‘need not be a full typological analogy between literary and historical characters’ (p. xxvi) this is a difficult line to hold, and I think the Aeneid is more disturbing of Augustan order than Harrison admits.  In Vergilian studies, I am a great believer in Solon on civil war (frr. 350-7 Martina): this is all a bit sane for me.  The commentary especially is stuffed with really excellent points, but they are not always developed enough and can be expressed with a blandness which belies their interest.  In the appendix, for instance, we are told that Vergil ‘colours his narrative’ with colloquialisms, the sort of metaphor which usually signals moronic Edwardianism: but Harrison’s discussion of register in the commentary is first-rate, with, for instance, the exact observation on the use of capillos at 832 that it is a touch of ‘pathetic realism’.  Similarly in the appendix, we are told that the pastoral language used of Cycnus and Mezentius ‘provides variation and contrast with the world of epic’, but on the latter passage (835-6) he observes, more exactly, that the locus amoenus description ‘provides a pointed contrast with the surrounding sufferings of battle’.  If only he hadn’t brought in variety, another concept whose use inevitably signals an uninteresting critic, as if the Aeneid was the London Palladium.  If there is one pressing need at my alma mater it is to kill off Oxford ‘elegance’, which is like the miasma that seeps up from the Thames on wet November evenings and rots the brains.  ‘\flameoff\’ as they say on the computer nets: this is too good a commentary to be used for sermonizing.  It is a major contribution to Vergilian studies which we shall all find ourselves using constantly.  I hope a paperback will be produced at some stage to make it available to poorer scholars; if so, someone in OUP might like to check what happened to the final proof of p. 179.

Kubla Khan, or, A Vision in a Dream, a Fragment (Samuel Taylor Coleridge)

The following fragment is here published at the request of a poet of great and deserved celebrity, and, as far as the Author's own opinions are concerned, rather as a psychological curiosity, than on the grounds of any supposed poetic merits.

In the summer of the year 1797, the Author, then in ill health, had retired to a lonely farm-house between Porlock and Linton, on the Exmoor confines of Somerset and Devonshire. In consequence of a slight indisposition, an anodyne had been prescribed, from the effects of which he fell asleep in his chair at the moment that he was reading the following sentence, or words of the same substance, in 'Purchas's Pilgrimage': 'Here the Khan Kubla commanded a palace to be built, and a stately garden thereunto. And thus ten miles of fertile ground were inclosed with a wall.' The Author continued for about three hours in a profound sleep, at least of the external senses, during which time he has the most vivid confidence, that he could not have composed less than from two to three hundred lines; if that indeed can be called composition in which all the images rose up before him as things, with a parallel production of the correspondent expressions, without any sensation or consciousness of effort. On awaking he appeared to himself to have a distinct recollection of the whole, and taking his pen, ink, and paper, instantly and eagerly wrote down the lines that are here preserved. At this moment he was unforunately called out by a person on business from Porlock, and detained by him above an hour, and on his return to his room, found, to his no small surprise and mortification, that though he still retained some vague and dim recollection of the general purport of the vision, yet, with the exception of some eight or ten scattered lines and images, all the rest had passed away like the images on the surface of a stream into which a stone has been cast, but, alas! without the after restoration of the latter!

In Xanadu did KubIa Khan
A stately pleasure dome decree:
Where Alph, the sacred river, ran
Through caverns measureless to man
Down to a sunless sea.
So twice five miles of fertile ground
With walls and towers were girdled round:
And there were gardens bright with sinuous rills,
Where blossomed many an incense-bearing tree;
And here were forests ancient as the hills,
Enfolding sunny spots of greenery.

But oh! that deep romantic chasm which slanted
Down the green hill athwart a cedarn cover!
A savage place! as holy and enchanted
As e'er beneath a waning moon was haunted
By woman wailing for her demon lover!
And from this chasm, with ceaseless turmoil seething,
As if this earth in fast thick pants were breathing,
A mighty fountain momently was forced:
Amid whose swift half-intermitted burst
Huge fragments vaulted like rebounding hail,
Or chafly grain beneath the thresher's flail:
And 'mid these dancing rocks at once and ever
It flung up momently the sacred river.
Five miles meandering with a mazy motion
Through wood and dale the sacred river ran,
Then reached the caverns measureless to man,
And sank in tumult to a lifeless ocean:
And 'mid this tumult KubIa heard from far
Ancestral voices prophesying war!
The shadow of the dome of pleasure
Floated midway on the waves;
Where was heard the mingled measure
From the fountain and the caves.
It was a miracle of rare device,
A sunny pleasure dome with caves of ice!

A damsel with a dulcimer
In a vision once I saw:
It was an Abyssinian maid,
And on her dulcimer she played,
Singing of Mount Abora.
Could I revive within me
Her symphony and song,
To such a deep delight 'twould win me,
That with music loud and long,
I would build that dome in air,
That sunny dome! those caves of ice!
And all who heard should see them there,
And all should cry, Beware! Beware!
His flashing eyes, his floating hair!
Weave a circle round him thrice,
And close your eyes with holy dread,
For he on honeydew hath fed,
And drunk the milk of Paradise.

from The Wild Places, chapter 13, Saltmarsh (Robert Macfarlane)

Northern European myth tells of an event called 'The Wild Hunt'.  On tempestuous nights, Wodan would lead across the land the troop of warriors who had died in battle, accompanied by their war-hounds.  Travellers who found themselves in the path of the Wild Hunt were advised to lie face down.  In this way only the cold feet of the black dogs who ran with the hunt would touch them, and they would not be harmed.  The purpose of the Hunt was to collect the souls of the recently deceased; its riders were the summoners of the dead.  Many different versions of the Hunt exist: in a Christian form of the myth, it was said to occur when Gabriel rallied his angels into battle.  The Anglo-Saxon Chronicle detailed how, on 6 February 1127, the Wild Hunt galloped through the deer part of Peterborough and then through the woods up to Stamford: a 'furious host' rushing through the dark forest paths, across the heaths, over the fells, along the coast, and between the places of 'mirk'.  Gervase of Tilbury recorded in the thirteenth century that Arthur and his knights still led a Wild Hunt along the holloway that ran between Cadbury and Glastonbury.

The ur-myth of the Wild Hunt was almost certainly an explanation of the autumn migrations of wild geese - brent, snow, Canada.  Most years, the geese travel in skeins, in groups of fewer than a hundred birds.  Some years, however, they fly low and in large numbers, and when they pass overhead in the darkness, the noise of their wings is so loud that it can resemble a plane or - to pre-aviation ears - a war-host of angels.  An eerie German soldiers' song, composed in the trenches in 1917, spoke of how 'The Wild Geese rush through the night | With shrill cries to the North. | Beware, beware this dangerous flight | For death is all around us.'

Beeny Cliff (Thomas Hardy)

I

O the opal and the sapphire of that wandering western sea,
And the woman riding high above with bright hair flapping free -
The woman whom I loved so, and who loyally loved me.


II

The pale mews plained below us, and the waves seemed far away
In a nether sky, engrossed in saying their ceaseless babbling say,
As we laughed light-heartedly aloft on that clear-sunned March day.


III

A little cloud then cloaked us, and there flew an irised rain,
And the Atlantic dyed its levels with a dull misfeatured stain,
And then the sun burst out again, and purples prinked the main.


IV

- Still in all its chasmal beauty bulks old Beeny to the sky,
And shall she and I not go there once again now March is nigh,
And the sweet things said in that March say anew there by and by?


V

What if still in chasmal beauty looms that wild weird western shore,
The woman now is - elsewhere - whom the ambling pony bore,
And nor knows nor cares for Beeny, and will laugh there nevermore.

from Sohrab and Rustum (Matthew Arnold)

As, in the country, on a morn in June,
When the dew glistens on the pearled ears,
A shiver runs through the deep corn for joy -
So, when they heard what Peran-Wisa said,
A thrill through all the Tartar squadrons ran
Of pride and hope for Sohrab, whom they loved.

But as a troop of pedlars, from Cabool,
Cross underneath the Indian Caucasus,
That vast sky-neighbouring mountain of milk snow;
Crossing so high, that, as they mount, they pass
Long flocks of travelling birds dead on the snow,
Choked by the air, and scarce can they themselves
Slake their parch'd throats with sugar'd mulberries -
In single file they move, and stop their breath,
For fear they should dislodge the o'erhanging snows -
So the pale Persians held their breath with fear.

Advent Calendar (Rowan Williams)

He will come like last leaf's fall.
One night when the November wind
has flayed the trees to bone, and earth
wakes choking on the mould,
the soft shroud's folding.

He will come like frost.
One morning when the shrinking earth
opens on mist, to find itself
arrested in the net
of alien, sword-set beauty.

He will come like dark.
One evening when the bursting red
December sun draws up the sheet
and penny-masks its eye to yield
the star-snowed fields of sky.

He will come, will come,
will come like crying in the night,
like blood, like breaking,
as the earth writhes to toss him free.
He will come like child.

from True at First Light (Ernest Hemingway)

'Everybody was so serious,' Miss Mary said. 'I never saw all of you joke people get so serious.'

'Honey, it would have been awful if I had had to kill her. And I was worried about you.'

'Everybody so serious,' she said. 'And everybody holding on to my arm. I knew how to get back to the car. Nobody had to hold on to my arm.'

--

The day after a heavy rain is a splendid day for the propagation of religion while the time of the rain itself seems to turn men's minds from the beauty of their faith. All rain had stopped now and I was sitting by the fire drinking tea and looking out over the sodden country. Miss Mary was still sleeping soundly because there was no sun to wake her. Mwindi came to the table by the fire with a fresh pot of hot tea and poured me a cup.

'Plenty rain,' he said. 'Now finished.'

'Mwindi,' I said. 'You know what the Mahdi said. "We see plainly in the laws of nature that rain comes down from the heavens in the time of need. The greenness and verdure of the earth depend upon heavenly rain. If it ceases for a time the water in the upper strata of the earth gradually dries up. Thus we see that there is an attraction between the heavenly and the earthly waters. Revelation stands in the same relation to human reason as heavenly water does to the earthly water."'

'Too much rain for campi. Plenty good for Shamba,' Mwindi announced.

'"As with the cessation of heavenly water earthly water begins gradually to dry up; so also is the case of the human reason which without the heavenly revelation loses its purity and strength."'

'How I know that is Mahdi?' Mwindi said.

'Ask Charo.'

Mwindi grunted. He knew Charo was very devout but not a theologian.

--

Miss Mary was writing a great poem about Africa but the trouble was that she made it up in her head sometimes and forgot to write it down and then it would be gone like dreams. She wrote some of it down but she would not show it to anybody. We all had great faith in her poem about Africa and I still have but I would like it better if she would actually write it. We were all reading the Georgics then in the C. Day Lewis translation. We had two copies but they were always being lost or mislaid and I have never known a book to be more mis-layable. The only fault I could ever find with the Mantovan was that he made all normally intelligent people feel as though they too could write great poetry. Dante only made crazy people feel they could write great poetry. That was not true of course but then almost nothing was true and especially not in Africa. In Africa a thing is true at first light and a lie by noon and you have no more respect for it than for the lovely, perfect weed-fringed lake you see across the sun-baked salt plain. You have walked across that plain in the morning and you know that no such lake is there. But now it is there absolutely true, beautiful and believable.

--

That night Mary said she was very tired and she went to sleep in her own bed. I lay awake for a while and then went out to sit by the fire. In the chair watching the fire and thinking of Pop and how sad it was he was not immortal and how happy I was that he had been able to be with us so much and that we had been lucky to have three or four things together that were like the old days along with just the happiness of being together and talking and joking, I went to sleep.

Adlestrop (Edward Thomas)

Yes. I remember Adlestrop —
The name, because one afternoon
Of heat the express-train drew up there
Unwontedly. It was late June.

The steam hissed. Someone cleared his throat.
No one left and no one came
On the bare platform. What I saw
Was Adlestrop — only the name

And willows, willow-herb, and grass,
And meadowsweet, and haycocks dry,
No whit less still and lonely fair
Than the high cloudlets in the sky.

And for that minute a blackbird sang
Close by, and round him, mistier,
Farther and farther, all the birds
Of Oxfordshire and Gloucestershire.

from The Wind in the Willows, chapter I, The River Bank (Kenneth Grahame)

The Mole had been working very hard all the morning, spring-cleaning his little home. First with brooms, then with dusters; then on ladders and steps and chairs, with a brush and a pail of whitewash; till he had dust in his throat and eyes, and splashes of whitewash all over his black fur, and an aching back and weary arms. Spring was moving in the air above and in the earth below and around him, penetrating even his dark and lowly little house with its spirit of divine discontent and longing. It was small wonder, then, that he suddenly flung down his brush on the floor, said 'Bother!' and 'O blow!' and also 'Hang spring-cleaning!' and bolted out of the house without even waiting to put on his coat. Something up above was calling him imperiously, and he made for the steep little tunnel which answered in his case to the gravelled carriage-drive owned by animals whose residences are nearer to the sun and air. So he scraped and scratched and scrabbled and scrooged and then he scrooged again and scrabbled and scratched and scraped, working busily with his little paws and muttering to himself, 'Up we go! Up we go!' till at last, pop! his snout came out into the sunlight, and he found himself rolling in the warm grass of a great meadow.

'This is fine!' he said to himself. 'This is better than whitewashing!' The sunshine struck hot on his fur, soft breezes caressed his heated brow, and after the seclusion of the cellarage he had lived in so long the carol of happy birds fell on his dulled hearing almost like a shout. Jumping off all his four legs at once, in the joy of living and the delight of spring without its cleaning, he pursued his way across the meadow till he reached the hedge on the further side.

from Northanger Abbey, chapter 14 (Jane Austen)

'Consider - if reading had not been taught, Mrs Radcliffe would have written in vain - or perhaps might not have written at all.'

Catherine assented - and a very warm panegyric from her on that lady's merits closed the subject. The Tilneys were soon engaged in another on which she had nothing to say. They were viewing the country with the eyes of persons accustomed to drawing, and deciding on its capability of being formed into pictures, with all the eagerness of real taste. Here Catherine was quite lost. She knew nothing of drawing - nothing of taste: and she listened to them with an attention which brought her little profit, for they talked in phrases which conveyed scarcely any idea to her. The little which she could understand, however, appeared to contradict the very few notions she had entertained on the matter before. It seemed as if a good view were no longer to be taken from the top of an high hill, and that a clear blue sky was no longer a proof of a fine day. She was heartily ashamed of her ignorance. A misplaced shame. Where people wish to attach, they should always be ignorant. To come with a well-informed mind is to come with an inability of administering to the vanity of others, which a sensible person would always wish to avoid. A woman especially, if she have the misfortune of knowing anything, should conceal it as well as she can.