Charles Lamb - The Collected Works of Charles Lamb and Mary Lamb

When the ground was therefore curst;—

And hence this barren wood!

Kangaroo, Kangaroo!

Tho' at first sight we should say,

In thy nature that there may

Contradiction be involv'd,

Yet, like discord well resolv'd,

It is quickly harmoniz'd.

Sphynx or mermaid realiz'd,

Or centaur unfabulous,

Would scarce be more prodigious,

[Or labyrinthine minotaur

With which great Theseus did war,]

Or Pegasus poetical,

Or hippogriff—chimeras all!

But, what Nature would compile,

Nature knows to reconcile;

And Wisdom, ever at her side,

Of all her children's justified.

She had made the squirrel fragile;

She had made the bounding hart;

But a third so strong and agile

Was beyond ev'n Nature's art.

So she join'd the former two

In thee, Kangaroo!

To describe thee, it is hard:

Converse of the camélopard,

Which beginneth camel-wise,

But endeth of the panther size,

Thy fore half, it would appear,

Had belong'd to "some small deer,"

Such as liveth in a tree;

By thy hinder, thou should'st be

A large animal of chase,

Bounding o'er the forest's space;—

Join'd by some divine mistake,

None but Nature's hand can make—

Nature, in her wisdom's play,

On Creation's holiday.

For howso'er anomalous,

Thou yet art not incongruous,

Repugnant or preposterous.

Better-proportion'd animal,

More graceful or ethereal,

Was never follow'd by the hound,

With fifty steps to thy one bound.

Thou canst not be amended: no;

Be as thou art; thou best art so.

When sooty swans are once more rare,

And duck-moles [39]the museum's care, Be still the glory of this land, Happiest work of finest hand!

[39]The cygnus niger of Juvenal is no rara avis in Australia; and time has here given ample proof of the ornithorynchus paradoxus . [Barron Field's note.]

Table of Contents

(1820)

Lamia, Isabella, The Eve of Saint Agnes, and Other Poems. By John Keats. Author of Endymion

A casement high and triple-arch'd there was,

All garlanded with carven imag'ries

Of fruits, and flowers, and bunches of knot-grass,

And diamonded with panes of quaint device,

Innumerable of stains and splendid dyes,

As are the tiger-moth's deep damask'd wings;

And in the midst, 'mong thousand heraldries,

And twilight saints, and dim emblazonings,

A shield'd scutcheon blush'd with blood of Queens and Kings.

Full on this casement shone the wintry moon,

And threw warm gules on Madeline's fair breast,

As down she knelt for heaven's grace and boon;

Rose-bloom fell on her hands, together prest,

And on her silver cross soft amethyst,

And on her hair a glory, like a saint:

She seem'd a splendid angel, newly drest,

Save wings, for heaven [:—Porphyro grew faint,

She knelt, so pure a thing, so free from mortal taint

Anon his heart revives:] her vespers done,

Of all its wreathed pearls her hair she frees;

Unclasps her warmed jewels one by one;

Loosens her fragrant boddice; by degrees

Her rich attire creeps rustling to her knees:

Half-hidden, like a mermaid in sea-weed,

Pensive awhile she dreams awake, and sees,

In fancy, fair Saint Agnes in her bed,

But dares not look behind, or all the charm is fled.

Soon, trembling in her soft and chilly nest,

In sort of wakeful swoon, perplex'd she lay,

Until the poppied warmth of sleep oppress'd

Her soothed limbs, and soul fatigued away;

Flown, like a thought, until the morrow-day;

Blissfully haven'd both from joy and pain;

Clasp'd like a missal where swart Paynims pray;

Blinded alike from sunshine and from rain,

As though a rose should shut, and be a bud again.

Such is the description which Mr. Keats has given us, with a delicacy worthy of Christabel, of a high-born damsel, in one of the apartments of a baronial castle, laying herself down devoutly to dream, on the charmed Eve of St. Agnes; and like the radiance, which comes from those old windows upon the limbs and garments of the damsel, is the almost Chaucer-like painting, with which this poet illumes every subject he touches. We have scarcely any thing like it in modern description. It brings us back to ancient days, and

Beauty making-beautiful old rhymes.

The finest thing in the volume is the paraphrase of Boccaccio's story of the Pot of Basil. Two Florentines, merchants, discovering that their sister Isabella has placed her affections upon Lorenzo, a young factor in their employ, when they had hopes of procuring for her a noble match, decoy Lorenzo, under pretence of a ride, into a wood, where they suddenly stab and bury him. The anticipation of the assassination is wonderfully conceived in one epithet, in the narration of the ride—

So the two brothers, and their murder'd man, Rode past fair Florence, to where Arno's stream Gurgles——

Returning to their sister, they delude her with a story of their having sent Lorenzo abroad to look after their merchandises; but the spirit of her lover appears to Isabella in a dream, and discovers how and where he was stabbed, and the spot where they have buried him. To ascertain the truth of the vision, she sets out to the place, accompanied by her old nurse, ignorant as yet of her wild purpose. Her arrival at it, and digging for the body, is described in the following stanzas, than which there is nothing more awfully simple in diction, more nakedly grand and moving in sentiment, in Dante, in Chaucer, or in Spenser:—

She gaz'd into the fresh-thrown mould, as though

One glance did fully all its secrets tell;

Clearly she saw, as other eyes would know

Pale limbs at bottom of a crystal well;

Upon the murderous spot she seem'd to grow

Like to a native lily of the dell:

Then with her knife, all sudden, she began

To dig more fervently than misers can.

Soon she turn'd up a soiled glove, whereon

Her silk had play'd in purple fantasies,

She kiss'd it with a lip more chill than stone,

And put it in her bosom, where it dries

And freezes utterly unto the bone

Those dainties made to still an infant's cries:

Then 'gan she work again; nor stay'd her care,

But to throw back at times her veiling hair.

That old nurse stood beside her wondering,

Until her heart felt pity to the core

At sight of such a dismal labouring,

And so she kneeled, with her locks all hoar,

And put her lean hands to the horrid thing:

Three hours they labour'd at this travail sore;

At last they felt the kernel of the grave,

And Isabella did not stamp and rave.

To pursue the story in prose:—They find the body, and with their joint strengths sever from it the head, which Isabella takes home, and wrapping it in a silken scarf, entombs it in a garden-pot, covers it with mould, and over it she plants sweet basil, which, watered with her tears, thrives so that no other basil tufts in all Florence throve like her basil. How her brothers, suspecting something mysterious in this herb, which she watched day and night, at length discover the head, and secretly convey the basil from her; and how from the day that she loses her basil she pines away, and at last dies [—for this], we must refer our readers to the poem, or to the divine germ of it in Boccaccio. It is a great while ago since we read the original; and in this affecting revival of it we do but

Weep again a long-forgotten woe.

More exuberantly rich in imagery and painting is the story of the Lamia. It is of as gorgeous stuff as ever romance was composed of. Her first appearance in serpentine form—