The Project Gutenberg eBook of Pucell Ode and other Poems, by Robert Bridges.

By
Robert Bridges

Chicago
Way & Williams
1896
[iv]

Copyright
By Way & Williams
MDCCCXCVI

University Press:
John Wilson and Son, Cambridge, U. S. A.
[v]

Two Hundred Copies printed on Van Gelder paper.

PREFACE

The words of the Ode as here given differ slightly from those which appeared with Dr. Parry’s Cantata, sung at the Leeds Festival and at the Purcell Commemoration in London last year.

Since the poem was never perfected as a musical ode,—and I was not in every particular responsible for it,—I have tried to make it more presentable to readers, and in so doing have disregarded somewhat its original intention. But it must still ask indulgence, because it still betrays the liberties and restrictions which seemed to me proper in an attempt to meet the requirements of modern music.

It is a current idea that, by adopting a sort of declamatory treatment, it is possible to give[x] to almost any poem a satisfactory musical setting;[1] whence it would follow that a non-literary form is a needless extravagance. From this general condemnation I wish to defend my poem, or rather my judgment, for I do not intend to discuss or defend my poem in detail, nor to try to explain what I hoped to accomplish when I engaged in the work; it is still further from my intention that anything which I shall say should be taken as applying to the music with which my ode was, far beyond its deserts, honored and beautified. But I am concerned in combating the general proposition that modern music, by virtue of a declamatory method, is able satisfactorily to interpret almost any kind of good poetry.

Such questions are generally left to the musician, and it should not be unwelcome to hear what may be said on the literary side. I shall therefore state what appear to me to be impedi[xi]ments in the way of this announced happy marriage of music and poetry, and enumerate some of the difficulties which, it seems to me, must especially beset the musician who would attempt to interpret pure literature by musical declamation.

First, the repetitions in music and poetry are incompatible. Though some simple forms dependent on repetition are common to both, yet the general laws are in the two arts contraries. In poetry repetition is avoided, in music it is looked for. A musical phrase has its force and significance increased by repetition, and is often in danger of losing its significance unless it be repeated; whereas such a repetition in poetry is likely to endanger the whole effect of the original statement. And when reiterations that can be compared occur in both, then the second occurrence will in music be generally the strongest, but in poetry the weakest; and the intensity of the repetitions goes on decreasing in music, and increasing for some time in poetry, till both become intolerable.

Secondly, the difficulty which this difference[xii] occasions is much increased by the method of declamatory exposition. Musical declamation must mean that the musical phrase is not chosen, as the earlier musicians might have chosen or invented it, chiefly for the sake of its own musical beauty, in correspondence with the mood[2] of the words, and merely fitting the syllables, but that it is invented also to follow the verbal phrase in correspondence with some notion of rhetorical utterance, or natural inflection of speech enforcing the sense, and in so far with lesser regard to its[xiii] own purely musical value. Such a musical phrase will therefore, in proportion to its success, be more closely associated with the words, and cannot well be repeated unless the words are repeated, which the declamation forbids.

Thirdly, when a declamatory musical movement is once started, the musician has very few means of bringing it to a conclusion. There is the method of repetition, which does not suit the Ode,[3] and which on his own theory he is almost forbidden to use; and there is the method of rising to a climax, which is perhaps the most usual device: but few poems can offer occasion for the recurrence of climax, and its employment would break up an ode into artificial sections, which the poet must repudiate. In pure music the musician has invented many beautiful devices, but in choral music he has not yet shown, so far as I know, any power to match the poet’s lib[xiv]erty in this respect, whose resources are as various as numerous, and are comparable to the freedom and caprices of a dancer, who can at any moment surprise by a gesture, and be still.

Fourthly, the very rhythms of poetry and choral music are different in kind. The rhythms and balances of verse are unbarred, the rhythms of choral music are barred. Even the universally recognized fitness of the interpretation of a common measure in verse by the corresponding common measure in music depends much more on the power and satisfying completeness of the musical form in itself than on any right relation which obtains between words and music under these conditions. Where the poetry has a more elaborated rhythm there are two extremes, between which the musician’s manner of setting must lie. One extreme, the musical, is that he should disregard the poetic rhythm for the sake of new musical ideas, which must of course add beauty and not do violence to the words: the other is that he should follow the elaborate poetic rhythm as nearly as possible. The method[xv] of declamation takes this latter extreme; it forbids musical independence, and prefers to identify itself with the poetic rhythm, which in good poetry represents an ideal cadence of speech: but this interpretation is really a convention and a make-believe, and at best only an ingenious translation; and though it may often be desirable, and the occasion of true musical beauty, yet its exclusive use is an abnegation of musical spontaneity for the sake of a secondary, mediate form, conspicuously dependent on something extraneous, and giving prominence to ingenuity rather than to pure æsthetic beauty, so as to provoke criticism rather than unquestioning delight.

Fifthly, the most beautiful effects in poetry are obtained by suggestion. A certain disposition of ideas in words produces a whole result quite out of proportion to the parts; and if it is asked what music can do best, it is something in this same way of indefinite suggestion. Poetry is here the stronger, in that its suggestion is more definitely directed; Music is the stronger in the greater force of the emotion raised. It would[xvi] seem, therefore, that music could have no more fit and congenial task than to heighten the emotion of some great poetic beauty, the direction of which is supplied by the words. But if it seeks to do this by a method of declamation, it makes this double mistake. First it tries to enforce the poetic means, which it may be assumed are already on full strain, and in exact balance, and will not bear the least disturbance; and secondly, it renounces its own highest power of stirring emotion, because that resides in pure musical beauty, and is dependent on its mysterious quality: for one may say that its power is in proportion to its remoteness from common direct understanding, and that just so far as its sounds are understood to mean something definite they lose their highest emotional power. It would follow from this that the best musical treatment of passages of great poetic beauty is not to declaim them, but, as it were, to woo them and court them and caress them, and deck them with fresh musical beauties, approaching them tenderly now on one side, now on another,[xvii] and to keep a delicate reserve which shall leave their proper unity unmolested.

Sixthly, if this is true of the highest poetic beauty, how will the declamatory method fare when it has to deal with the commonplaces and bare or even ugly words which are the weaknesses and unkindnesses of language? Just when the poet must deplore that his material is not more musical, it cannot be the musician’s triumph to insist on the defect. The ordinary monosyllabic exclamations are a sufficient example; there is absolutely no declamatory rendering of these which is at all worthy of the emotion which they must often be employed to convey. What can be made of them by a purely musical treatment is seen in the long-drawn melodious sighs with which Carissimi or Purcell interpreted the Ohs and Ahs.

Seventhly, this leads to the more general remark that the inflections of all speech are much more limited in character, number, and scope than those of the trained singing voice. Whence it comes that the imitations of speech in declam[xviii]atory music have a tendency to fall into a comparatively small number of forms, which, even when most skilfully disguised, are easily recognized by an attentive ear, and soon weary with their sameness. The basis of declamatory music is in fact no broader than that of the old recitativo secco, and it would seem unreasonable to hope that any ingenuity in the superstructure can long disguise this, or save itself ultimately from the same condemnation.

Eighthly, in consideration of the commonest difficulties which arise in setting to music words which have not been specially contrived for it, it appears that, compared with a more purely musical way, the declamatory method is absolutely at a disadvantage. It can do nothing with parentheses or dependent clauses. The weak polysyllables, which have fit place in the diction and rhythm of verse, may be helped out by convention or by pure musical distraction; but declamation can only make them ugly. And as those for their weakness of sound, so other words unable for their sense to bear the stress of singing,—such as metaphorical[xix] words of slight meaning, which in poetry contribute but a part of themselves to the main idea,—these declamation would make ridiculous. Nor, on the other hand, with the words and phrases which are generally held most suitable for music is the declamatory method any richer or happier: these are the well-sounding words of broad meaning and their common collocations, which require a fresh imagination to revivify them. But the musician was always at his ease with these words, because his music was free to adorn them with any quantity of enrichment; and this commanded the attention the more completely when the words required none. Now, if they are to be declaimed, they must return to their old prosaic nakedness; and since the attention is to be called to them, they will be even worse off than ever.

The above remarks are sufficient for my purpose; but so many negations may provoke the reader to look for some positive indication of the writer’s opinion as to what sort of words are best suited for music, and what sort of setting they should have. This question is far too wide to be treated[xx] summarily; and if it has not been given to me to assist in solving it practically, I cannot venture to meddle with it further. I had hoped, as a matter of fact, to contrive something; but it seems to me that the musician’s difficulty in advancing towards a solution is much increased by the necessity of pleasing large audiences. It is certain that the final appeal is not to the first hearing of any large audience in this country. What sort of music is really in request may be judged from the repertories of our military bands and the programmes of the Royal concerts. Even the highest class concerts I have seen interlarded with unworthy items, which were rapturously received by the fashionable hearers who did not recognize the trap.

It is possible enough that an audience may enjoy having commonplaces vociferated at them with orchestral accompaniment; but this is nothing. To the musician the poet will say that he is sur[xxi]prised to find a term which is considered a reproach in poetry esteemed as the expression of the best means of its interpretation. To call a poem declamatory or rhetorical is to condemn it; and music is naturally less rhetorical than speech; so that in a declamatory interpretation of poetry Music would seem to abnegate its own excellence for the sake of a quality foreign to itself and repudiated by the art which it is seeking to heighten.

He will not be satisfied by the assurance that the method will serve to introduce and explain poetry to some people who are generally indifferent to it; it will seem to him that the musician is laboring to introduce into pure vocal music the old dramatic crux,—that awkwardness from which it has, in its best forms, been beautifully free. Because in the musical drama that must be sung which should be spoken, why try to make that seem to be spoken which should be sung? [xxiii]

ANALYSIS OF ODE.

I. An invitation to Music to return to England: that is, in the sense that England should be again pre-eminent for music above other European nations, as she was in the sixteenth century. The three English graces are Liberty, Poetry, and Music.

III. Music invited in the name of Poetry: the idea of Poetry associated with pastoral scenes and husbandry.

IV. The Sea introduced as the type of Love; isolating our patriotism, and making our bond with the rest of the world.

V. The national intention gives way to wider human sympathies. Music here considered as the voice of Universal Love, calling and responding throughout the world. A national meaning also underlies, in respect of our world-wide colonization.[xxiv]

VI. Sorrow now invites Music; asserting her need to be the chiefest. The occasion being the celebration of Purcell’s genius, her complaint implies a call for some musical lament for his untimely death.

VII. Music replies with a DIRGE for the dead artist; offering no consolation beyond the expression of woe.

VIII. The chorus consoled, praise dead artists, and pronounce them happy and immortal.

X. The invocation repeated, with the idea of responsibility of our colonization.[xxv]

ODE TO MUSIC

Written for the Bicentenary Commemoration
of

HENRY PURCELL

ODE TO MUSIC

Written for the Bicentenary Commemoration of Henry Purcell.

II.

Turn, oh, return! In merry England
Foster’d thou wert with infant Liberty.
Her hallowed oaks that stand
With trembling leaves and giant heart
Drinking in beauty from the summer moon,
Her wildwood, once was dear to thee.

There the birds with tiny art
Earth’s immemorial cradle-tune
Warble at dawn to fern and fawn,
In the budding thickets making merry;
And for their love the primrose faint
Floods the green shade with youthful scent.

Come, thy jocund spring renew
By hyacinthine lakes of blue:
Thy beauty shall enchant the buxom May;
And all the summer months shall strew thy way,
And rose and honeysuckle rear
Their flowery screens, till under fruit and berry
The tall brake groweth golden with the year.
[31]

III.

IV.

II.

III.

II.

VI.

II.

VII.

DIRGE.

II.

III.

VIII.

IX.

Open for me the gates of delight,
The gates of the garden of man’s desire;
Where spirits touched by heavenly fire
Have planted the trees of life.
Their branches in beauty are spread,
Their fruit divine
To the nations is given for bread
And crushed into wine.

To thee, O man, the sun his truth hath given;
The moon hath whispered in love her silvery dreams;
Night hath unlockt the starry heaven,
The sea the trust of his streams;
And the rapture of woodland spring
Is stayed in its flying,
And Death cannot sting
Its beauty undying.

Fear and Pity discontinue
Their aching beams in colors fine;[41]
Pain and woe forego their might.
After darkness thy leaping sight,
After dumbness thy dancing sound,
After fainting thy heavenly flight,
After sorrow thy pleasure crowned:
Oh, enter the garden of thy delight,
Thy solace is found.

THE FAIR BRASS.

An effigy of brass,
Trodden by careless feet
Of worshippers that pass,
Beautiful and complete,

Lieth in the sombre aisle
Of this old church unwreckt,
And still from modern style
Shielded by kind neglect.

It shows a warrior armed:
Across his iron breast
His hands by death are charmed
To leave his sword at rest,

Wherewith he led his men
O’er sea, and smote to hell
The astonisht Saracen,
Nor doubted he did well.[43]

Would we could teach our sons
His trust in face of doom,
Or give our bravest ones
A comparable tomb:

Such as to look on shrives
The heart of half its care,
So in each line survives
The spirit that made it fair;

So fair the characters
With which the dusky scroll
That tells his title stirs
A requiem for his soul.

Yet dearer far to me,
And brave as he, are they
Who fight by land and sea
For England at this day;

Whose vile memorials,
In mournful marbles gilt,
Deface the beauteous walls
By growing glory built.[44]

Heirs of our antique shrines,
Sires of our future fame,
Whose starry honor shines
In many a noble name

Across the deathful days,
Linked in the brotherhood
That loves our country’s praise
And lives for heavenly good.
[45]

NOVEMBER.

The lonely season in lonely lands, when fled
Are half the birds, and mists lie low, and the sun
Is rarely seen, nor strayeth far from his bed;
The short days pass unwelcomed one by one.

Out by the ricks the mantled engine stands
Crestfall’n, deserted,—for now all hands
Are told to the plough,—and ere it is dawn appear
The teams following and crossing far and near,
As hour by hour they broaden the brown bands
Of the striped fields; and behind them firk and prance
The heavy rooks, and daws gray-pated dance:[46]
Or awhile, surmounting a crest, against the sky
Pictured a whole team stands, or now near by
Above the lane they shout, lifting the share,
By the trim hedgerow bloomed with purple air;
Where, under the thorns, dead leaves in huddle lie
Packed by the gales of Autumn, and in and out
The small wrens glide
With a happy note of cheer,
And yellow amorets flutter above and about,
Gay, familiar in fear.

II.

And now, if the night shall be cold, across the sky
Linnets and twites, in small flocks helter-skelter,
All the afternoon to the gardens fly,
From thistle-pastures hurrying to gain the shelter[47]
Of American rhododendron or cherry-laurel;
And here and there, near chilly setting of sun,
In an isolated tree a congregation
Of starlings chatter and chide,
Thickset as summer leaves, in garrulous quarrel.
Suddenly they hush as one,—
The tree-top springs,—
And off, with a whirr of wings,
They fly by the score
To the holly-thicket, and there with myriads more
Dispute for the roosts; and from the unseen nation
A babel of tongues, like running water unceasing,
Makes live the wood, the flocking cries increasing,
Wrangling discordantly, incessantly,
While falls the night on them self-occupied,—
The long, dark night, that lengthens slow,
Deepening with winter to starve grass and tree,
And soon to bury in snow[48]
The earth, that, sleeping ’neath her frozen stole,
Shall dream a dream crept from the sunless pole
Of how her end shall be.
[49]

THE SOUTH WIND.

The south wind rose at dusk of the winter day,
The warm breath of the western sea
Circling wrapped the isle with his cloak of cloud,
And it now reached even to me, at dusk of the day,
And moaned in the branches aloud:
While here and there, in patches of dark space,
A star shone forth from its heavenly place,
As a spark that is borne in the smoky chase;
And, looking up, there fell on my face—
Could it be drops of rain,
Soft as the wind, that fell on my face?
Gossamers light as threads of the summer dawn,[50]
Sucked by the sun from midmost calms of the main,
From groves of coral islands secretly drawn,
O’er half the round of earth to be driven,
Now to fall on my face
In silky skeins spun from the mists of heaven.

II.

Who art thou, in wind and darkness and soft rain
Thyself that robest, that bendest in sighing pines
To whisper thy truth? that usest for signs
A hurried glimpse of the moon, the glance of a star
In the rifted sky?
Who art thou, that with thee I
Woo and am wooed?
That, robing thyself in darkness and soft rain,
Choosest my chosen solitude,
Coming so far
To tell thy secret again,
As a mother her child on her folding arm,
Of a winter night by a flickering fire,[51]
Telleth the same tale o’er and o’er
With gentle voice, and I never tire,
So imperceptibly changeth the charm,
As Love on buried ecstasy buildeth his tower,
Like as the stem that beareth the flower
By trembling is knit to power.
Ah! long ago
In thy first rapture I renounced my lot,
The vanity, the despondency, and the woe,
And seeking thee to know,
Well was’t for me, and evermore
I am thine, I know not what.

III.

WINTER NIGHTFALL.

The day begins to droop,—
Its course is done;
But nothing tells the place
Of the setting sun.

The hazy darkness deepens,
And up the lane
You may hear, but cannot see,
The homing wain.

An engine pants and hums
In the farm hard by:
Its lowering smoke is lost
In the lowering sky.

The soaking branches drip,
And all night through
The dropping will not cease
In the avenue.[54]

A tall man there in the house
Must keep his chair:
He knows he will never again
Breathe the spring air.

His heart is worn with work;
He is giddy and sick
If he rise to go as far
As the nearest rick.

He thinks of his morn of life,
His hale, strong years;
And braves as he may the night
Of darkness and tears.
[55]

FOOTNOTES:

[1] For example, there is a passage in Dr. Parry’s recent work, “The Art of Music,” which will illustrate what I mean. It is in the chapter on Modern Tendencies. See especially, page 311.

[2] I omit the idea, the musical suggestion of which is a feat of genius, independent of style. The apprehension and exhibition of the mood is generally considered a simple matter, but really it affords a wide field for subtlety of interpretation. I have, for the sake of simplicity, assumed that in their choral music the older musicians altogether disregarded the speech inflection of the phrase; but this is not quite true, and since, especially in such words as they usually set, the speech inflection is often uncertain and unimportant, or altogether a nonentity, and would very well correspond with almost any simple musical expression of the mood, this distinction between ancients and moderns cannot always be seen, or will appear only as a difference of degree.

[3] Throughout these remarks I speak chiefly of the Ode. It is necessary in so wide a subject to aim at a definite mark, and while an ode happens to be in question, the Ode is also the example which is taken by Dr. Parry in the passage to which I have referred the reader.

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	Page
Ode to Music	29
The Fair Brass	42
November	45
The South Wind	49
Winter Nightfall	53

The Project Gutenberg eBook of Purcell Ode, and Other Poems

Purcell Ode

And Other Poems

CONTENTS

PREFACE

ANALYSIS OF ODE.

ODE TO MUSIC

Written for the Bicentenary Commemoration
of

HENRY PURCELL

ODE TO MUSIC

Written for the Bicentenary Commemoration of Henry Purcell.

I.

II.

III.

IV.

I.

II.

III.

V.

I.

II.

VI.

I.

II.

VII.

DIRGE.

I.

II.

III.

VIII.

IX.

X.

THE FAIR BRASS.

NOVEMBER.

I.

II.

THE SOUTH WIND.

I.

II.

III.

WINTER NIGHTFALL.

THE FULL PROJECT GUTENBERG LICENSE

The Project Gutenberg eBook of Purcell Ode, and Other Poems

Purcell Ode And Other Poems

CONTENTS

PREFACE

ANALYSIS OF ODE.

ODE TO MUSIC Written for the Bicentenary Commemoration of HENRY PURCELL

ODE TO MUSIC Written for the Bicentenary Commemoration of Henry Purcell.

I.

II.

III.

IV.

I.

II.

III.

V.

I.

II.

VI.

I.

II.

VII.

DIRGE.

I.

II.

III.

VIII.

IX.

X.

THE FAIR BRASS.

NOVEMBER.

I.

II.

THE SOUTH WIND.

I.

II.

III.

WINTER NIGHTFALL.

THE FULL PROJECT GUTENBERG LICENSE

Purcell Ode

And Other Poems

ODE TO MUSIC

Written for the Bicentenary Commemoration
of

HENRY PURCELL

ODE TO MUSIC

Written for the Bicentenary Commemoration of Henry Purcell.