Alas! for him who gave the word; Derived from earth or heaven, Which here was freely given? Where, for the love-lorn maiden's wound, Will now so readily be found A balm of expectation? Anxious for far-off children, where And not unfelt will prove the loss And each day's shallow grief; If still the reckless change we mourn, To harm that might lurk here, Not Fortune's slave is Man: our state On wishes just and wise. Of heaven-ward enterprise. So taught, so trained, we boldly face That truth informing mind and heart, Ungrieved, with charm and spell; Shall bid a kind farewell! A JEWISH FAMILY 30 40 50 60 IN A SMALL VALLEY OPPOSITE ST. GOAR, UPON THE RHINE 1828. 1835 Coleridge, my daughter, and I, in 1828, passed a fortnight upon the banks of the Rhine, prin cipally under the hospitable roof of Mr. Aders of Gotesburg, but two days of the time we spent at St. Goar in rambles among the neighbouring valleys. It was at St. Goar that I saw the Jewish family here described. Though exceedingly poor, and in rags, they were not less beautiful than I have endeavoured to make them appear. We had taken a little dinner with us in a basket, and invited them to partake of it, which the mother refused to do, both for herself and children, saying it was with them a fast-day; adding diffidently, that whether such observances were right or wrong, she felt it her duty to keep them strictly. The Jews, who are numerous on this part of the Rhine, greatly surpass the German peasantry in the beauty of their features and in the intelligence of their countenances. But the lower classes of the German peasantry have, here at least, the air of people grievously opprest. Nursing mothers, at the age of seven or eight and twenty, often look haggard and far more decayed and withered than women of Cumberland and Westmoreland twice their age. This comes from being underfed and overworked in their vineyards in a hot and glaring sun. GENIUS of Raphael! if thy wings Might bear thee to this glen, With faithful memory left of things Thou would'st forego the neighbouring Rhine, This poem was first printed in the Annual called the Keepsake. The painter's name I am not sure of, but I think it was Holmes. THAT happy gleam of vernal eyes, To scenes Arcadian, whispering, through soft air, Of bliss that grows without a care, What mortal form, what earthly face ΤΟ 20 For had thy charge been idle flowers, 'Mid that soft air, those long-lost bowers, The sweet illusion might have hung, for hours. Thanks to this tell-tale sheaf of corn, That touchingly bespeaks thee born Life's daily tasks with them to share Who, whether from their lowly bed They rise, or rest the weary head, Ponder the blessing they entreat From Heaven, and feel what they repeat, While they give utterance to the prayer That asks for daily bread. ON THE POWER OF SOUND were new, 1828. 1835 30 Written at Rydal Mount. I have often regretted that my tour in Ireland, chiefly performed in the short days of October in a Carriage-and-four (I was with Mr. Marshall), supplied my memory with so few images that and with so little motive to write. The lines however in this poem, "Thou too be heard, lone eagle!" were suggested near the Giant's Causeway, or rather at the promontory of Fairhead, where a pair of eagles wheeled above our heads and darted off as if to hide themselves in a blaze of sky made by the setting sun. ARGUMENT The Ear addressed, as occupied by a spiritual functionary, in communion with sounds, individual, or combined in studied harmony Sources and effects of those sounds (to the close of 6th Stanza) - The power of music, whence proceeding, exemplified in the idiot Origin of music, and its effect in early ages How produced (to the middle of 10th Stanza) The mind recalled to sounds acting casually and severally-Wish uttered (11th Stanza) that these could be united into a scheme or system for moral interests and intellectual contemplation - (Stanza 12th) The Pythagorean theory of numbers and music, with their supposed power over the motions of the universe Imaginations consonant with such a theory Wish expressed (in 11th Stanza) realised, in some degree, by the representation of all sounds under the form of thanksgiving to the Creator (Last Stanza) The destruction of earth and the planetary system - The survival of audible harmony, and its support in the Divine Nature, as revealed in Holy Writ. |