Various - Blackwood's Edinburgh Magazine, Volume 70, No. 433, November 1851
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- Название:Blackwood's Edinburgh Magazine, Volume 70, No. 433, November 1851
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Blackwood's Edinburgh Magazine, Volume 70, No. 433, November 1851: краткое содержание, описание и аннотация
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Between the first and second parts is a poem in rhyme, called "The Lay of Elena." This introduces us to the lady who is to be the heroine of the second part of the drama. All the information it gives, might, we think, have been better conveyed in a few lines of blank verse, added to that vindication of herself which Elena pours forth in the first act, when Sir Fleureant of Heurlée comes to reclaim her on the part of the Duke of Bourbon. This poem is no favourite of ours; but the worst compliment we would pay it implies, in one point of view, a certain fitness and propriety – we were glad to return to the blank verse of our author, in which we find both more music and more pathos than in these rhymes.
If we are tempted to suspect, whilst reading the first part of this drama, that the character of Philip Van Artevelde combines in a quite ideal perfection the man of thought with the man of action, we, at all events, cannot accuse the author, in this second part, of representing an ideal or superhuman happiness as the result of this perfect combination. It is a very truthful sad-coloured destiny that he portrays. The gloomy passionate sunset of life has been a favourite subject with poets; but what other author has chosen the clouded afternoon of life, the cheerless twilight, and the sun setting behind cold and dark clouds? It was a bold attempt. It has been successfully achieved. But no amount of talent legitimately expended on it could make this second part as attractive as the first. When the heroic man has accomplished his heroic action, life assumes to him, more than to any other, a most ordinary aspect: his later years bring dwarfish hopes and projects, or none at all; they bring desires no longer "gay," and welcomed only for such poor life as they may have in them. Philip Van Artevelde is now the Regent of Flanders, and, like other regents, has to hold his own: Adriana he has lost; her place is supplied by one still fair but faded, and who, though she deserved a better fate, must still be described as lately the mistress of the Duke of Bourbon. It is the hero still, but he has descended into the commonplace of courts and politics.
That it is the same Philip Van Artevelde we are in company with, the manner in which he enters into this new love will abundantly testify. He has been describing to Elena his former wife, Adriana. The description is very beautiful and touching. He then proceeds with his wooing thus: —
" Artev. … Well, well – she's gone,
And I have tamed my sorrow. Pain and grief
Are transitory things no less than joy,
And though they leave us not the men we were,
Yet they do leave us. You behold me here
A man bereaved, with something of a blight
Upon the early blossoms of his life
And its first verdure, having not the less
A living root, drawing from the earth
Its vital juices, from the air its powers:
And surely as man's health and strength are whole,
His appetites regerminate, his heart
Reopens, and his objects and desires
Shoot up renewed. What blank I found before me,
From what is said you partly may surmise;
How I have hoped to fill it, may I tell?
Elena. I fear, my lord, that cannot be.
Artev. Indeed!
Then am I doubly hopeless…
Elena. I said I feared another could not fill
The place of her you lost, being so fair
And perfect as you give her out."
In fine, Elena is conquered, or rather led to confess a conquest already achieved.
" Elena. I cannot – no —
I cannot give you what you've had so long;
Nor need I tell you what you know so well.
I must be gone.
Artev. Nay, sweetest, why these tears?
Elena. No, let me go – I cannot tell – no – no —
I want to be alone —
Oh! Artevelde, for God's love let me go! [ Exit.
Artev. ( after a pause. ) The night is far advanced upon the morrow,
– Yes, I have wasted half a summer's night .
Was it well spent? Successfully it was.
How little flattering is a woman's love!
Worth to the heart, come how it may, a world;
Worth to men's measures of their own deserts,
If weighed in wisdom's balance, merely nothing.
The few hours left are precious – who is there?
Ho! Nieuverkerchen! – when we think upon it,
How little flattering is a woman's love!
Given commonly to whosoe'er is nearest
And propped with most advantage; outward grace
Nor inward light is needful; day by day
Men wanting both are mated with the best
And loftiest of God's feminine creation.
Ho! Nieuverkerchen! – what, then, do we sleep?
Are none of you awake? – and as for me,
The world says Philip is a famous man —
What is there woman will not love, so taught?
Ho! Ellert! by your leave though, you must wake.
( Enter an officer. )
Have me a gallows built upon the mount,
And let Van Kortz be hung at break of day."
It is worth noticing, as a characteristic trait, that Philip Van Artevelde speaks more like the patriot, harangues more on the cause of freedom, now that he is Regent of Flanders, opposed to the feudal nobility, and to the monarchy of France, and soliciting aid from England, than when he headed the people of Ghent, strong only in their own love of independence. "Bear in mind," he says, answering the herald who brings a hostile message from France and Burgundy —
"Bear in mind
Against what rule my father and myself
Have been insurgent: whom did we supplant?
There was a time, so ancient records tell,
There were communities, scarce known by name
In these degenerate days, but once far famed,
Where liberty and justice, hand in hand,
Ordered the common weal; where great men grew
Up to their natural eminence, and none,
Saving the wise, just, eloquent, were great.
… But now, I ask,
Where is there on God's earth that polity
Which it is not, by consequence converse,
A treason against nature to uphold?
Whom may we now call free? whom great? whom wise?
Whom innocent? – the free are only they
Whom power makes free to execute all ills
Their hearts imagine; they alone are great
Whose passions nurse them from their cradles up
In luxury and lewdness, – whom to see
Is to despise, whose aspects put to scorn
Their station's eminence…
… What then remains
But in the cause of nature to stand forth,
And turn this frame of things the right side up?
For this the hour is come, the sword is drawn,
And tell your masters vainly they resist."
We regret to be compelled to garble in our extract so fine a passage of writing. Meanwhile our patriot Regent sends Father John to England to solicit aid – most assuredly not to overthrow feudalism, but to support the Regent against France. His ambition is dragging, willingly or unwillingly, in the old rut of politics. When Father John returns from this embassy, he is scandalised at the union formed between Artevelde and Elena. Here, too, is another sad descent. Our hero has to hear rebuke, and, with a half-confession, submit to be told by the good friar of his "sins." He answers bravely, yet with a consciousness that he stands not where he did, and cannot challenge the same respect from the friar that he could formerly have done.
" Artev. You, Father John,
I blame not, nor myself will justify;
But call my weakness what you will, the time
Is past for reparation. Now to cast off
The partner of my sin were further sin;
'Twere with her first to sin, and then against her.
And for the army, if their trust in me
Be sliding, let it go: I know my course;
And be it armies, cities, people, priests,
That quarrel with my love – wise men or fools,
Friends, foes, or factions – they may swear their oaths,
And make their murmur – rave and fret and fear,
Suspect, admonish – they but waste their rage,
Their wits, their words, their counsel: here I stand,
Upon the deep foundations of my faith
To this fair outcast plighted; and the storm
That princes from their palaces shake out,
Though it should turn and head me, should not strain
The seeming silken texture of this tie."
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