Pythagoras and the poets

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PYTHAGORAS AND THE POETS. PYTHAGORAS AND THE POETS. your poet, certainly. Gentle Shakspere, who played Troubadour and Bonnibel on his own account, in spite of the many wicked satires he wrote sumption, or another Colin, the text discloseth not. 463 She leaves, however, a blank not only in his faithful breast, but in the lovely scenes by which against poor wistful lovers, thus addressed his mistress in “ The Passionhe is surrounded. ate Pilgrim :"— played (reader, it was in their salad days) with the young (spring) lamb, A how happy that time, when spring love and beauty (and salad, and per- + Tow oft when thou, my music, music play’st.” Elsewhere he says, “The fae of Imogen.” When formerly Pha:be and he, in sportful innocence, haps mint sauce) were all in their prime? But now in their frolics, when hy him (Colin) they pass, he (reckless creature) flings at their fleeces a A laterpoet speaks of — “The musi breathing from Zuleika’s face ;” handful of grass! He also, I am sorry to say, further indulges his cruel propensities“by beating his dog with his crook, an animal who, in another and Wordsworth very happily,— verse, discloses quite a sentimental Tray in his character,—at last our * Bewuty born of murmuring sound Colin hits on the graceful compliment VARA almost gives the semblance of Shall pass into her face.” In the following description of “ Evangeline ” this fancy is deliciously expressed :— poetry to his doleful plaint:— “But now sheis absent; though still they sing on, The words are but lonely, the melody's gone !" “But a celestial brightness, a more ethereal beauty, Shone in her face, and invested Mr. Pope, in a mawkish composition not much better than that from her voice, when, after confession, Homeward serenely she walk’ with God's benediction upon her; which I have quoted, repeats the same idea :— And where she Aud pussd, it seem’ like the ceasing of exquisite music.” She is gone trom you, but the tones vibrate yet,—linger in your ear like the recollection of a sweet melody long after the world and its hard necessities have placed vou apart. lus! life is made up of sterner stuff “Fair Daphne's dead,—and music is no more | The manner of a woman's walk—a dignified, easy gait, regulating the natural elasticity which sound health and perfect form is sure to give, and much more vulgur purposes for the most of us, than to pass any of it which does not unduly disturb that engaging repose belonging to the in the pleasant melodious dalliances our poets sing of. most supreme beauty of person—has invariably been the subject of poetic There is truly no more delicate way of expressing the warmest passion than by comparing its influence to melody. The tenderness of a kind look; the mere stirring of lips with the timid, haif-spoken words of fondadmiration and enthusiasm, A goddess in mortal guise might be discovered by the unconscious dignity of her footsteps, Southey’s Kailyal, in the gorgeous Oriental epic of Kehama,— ness fluttering about, aud vet afraid to leave them; all the dear conccits of that wild and improbable dream, which go to make np the old, old tale, find their fittess utremince iu music, and their meaning is best interpreted by <nwith it; “Moved graceful as the dark-eyed nymphs of heaven, Such harmony to her steps was given." That dear old “Talking Oak ” of Alfred Tennyson's, worth all the pastoral beech trees that ever nodded above the loose-kirtled shepherdesses ol We wilh talk ustil thought's aeoh nly Poole Tan Steet up utteratito, aha 1 ie, be LIV ANI an erds whieh dar of Arcady, thus gallantly describes a little favourite of his:— " With thrilling tones into the valcelea lwart.” si Li Even these * Yet, since | first could cast a shade, uf i È; rsyehid wut , coldehearted wits of the days of Lagwigs, rutiles, and swords, were obligedta seek their best types of womanhood in the prim landscape gardens of Arcadia| constructód so as not to offend by fray le verdure). Even they were sensible of a similitudo Phebe, and the clasts of musie. between Chloe or In No, 603 of the Sprelalor there is à speclinen Pastoral With an air of sly satire about it) whieh contains an : example of ihis Colla Kniekerbockers, lulu who in old pictures is generally drawn witle playing on a Mole, and serrounded by numerous sheep, whose appe amuees are rilietlou-ly suggestive of well. atullial Lolsters hay dosi los Male, Whether chu went off with n cone Did never creature pass So slightly, nuesical?n made, So light upon the grass.” A broken heart (who does not recolleet the “ Broken Heart” of the “ Annuals" of forty vears ago, with the guitar, the high-bodied dress, and the air of a sea-sick Lydia Languish ?} shows itself on the blank, wearied face, with a sense of a dead, complete silence, Some weight of care or ‚ (lianppointment has stopped the vibration of all music there. Do we not meet with faces vivacious and sprightly as a gallopade, andjust for a moment capable of wearing the more. thoughtful cadenee of a waltz? There are those also whou we cun never regard without involuntarily

PYTHAGORAS AND THE POETS PYTHAGORAS AND THE POETS. thinking of silly polkas, and other mere hop-and-turu-sbout tunes, seeming pre-established barmony.” 466 The poetic effort is ever to comprehend and not to possess auy power of changing to a graver mood or more serious fully recognize this harmony, and give expression to it, measure, endeavour that the objective world yields to the poetic representation. Such countenances are really dumb of themselves, but can echo dance musie faithfully enough, every feature being alive and in play It is in this It is the production of Wordsworth’s definition of the inspired art,—the at the sound of the flutes and fiddles, but dropping to a dull, noiseless description of things, not as they are, but as they seem, and, it might be vacanex nt the final twirl of the orahestra. added, as we would wish them to be, Others, again, carry a tune of The old philosophers, Pythagoras (like that sort of music which the French term classique), and Plato for instance, formed their theories in this poetical kind; for their and if your ear be defective, or your taste uncultivated, it is very likely philosophy was, after all, only poetry in disguise. Pythagoras, with his music of the spheres ; Plato, with his sad recollections of a happier state of false sentiment vou will be deveived into believing that the wretched trash is a real The various clever movements, heing, both exemplify the identity of feeling which formerly existed the dying falls, the startling chords. the brilliant meretricious roulades, between those who loved wisdom and those who sought the beantiful; and this alliance between poetry and philosophy is not yet broken off. The points of contact where they meet are daily becoming multiplied; the expression of pure and worthy fancies, —the whole symphony, indeed, made up of dangerous surprises, half truthful, half sensunl, and completely mischievous, form the ogling stock in trade, the neds and wreathed smiles of Miss Blanche Amory and her workers in the field of science often find themselves almost unconsciously syren comuinions, following a track garked with the footsteps of the poet. Amorss, Mur they are exceptions, those Miss Sharps and Miss or Ufa would be a very burden, every man having to plug his cars like | ivsses. 19 4 ous le There sre women of sweet, maidenly natures, growing practice of Kinduesses, of tender household duties, of simple, tas, and of genial, pleasant accomplishments,— Both are dealing with things of which at best they can know “ only in part, and prophesy in part.” The poor Greek strove to hear that music which man hath never heard, nor can ever hear while in this vesture of clay. But the inspiration of his thought was a noble one, and it was no mean legacy that Pythagoras left to the Poets. "+ Till, at the last, they set themselves to man, W. B. Like perfect music into noble words." Thee: + no ctile, no sensation tricks about them. They do not wear pe tue lus or archery leggings. What a lovable lady is this that Bulwer vere gee op dis Duchess of Valliére""! in musical terms, too, which is to ve 4 VSL.\X sufficient excuse for making the quotation :— * In the maze Ler Warmonions ieanties, Slolesty, nt Sie setter pin: POP TO We STOP, that leads the choit Ory PA Motor, raten to sith ehaste charm,’ Kur PARTIE, apa do with mach guste by southes in the * Doctor, * tells hub thay Doter sex shoul be deseribed after the manner of a song :— + lag ofthe nature of wenn, and Chen the song Shall be full of « ryity— old erötehets, Atel ont sweet loses. ft shall be humorous, » Grave, lintastie, ataerous, melancholy, sprightly, Ute ite all, ated ol! in one." Schelling Manstux. whose curious «neenlations into the rather misty regions of traaseendentahem have been trustial of many strange and recondite truths, rues In whet männer our mental faeuities are subjeci to the influences of ‘he misrerini natures aie! how again we can make the objective world itself sel 10 our own ceptesetituions here had not obtain, iu = AAMESS MAGAZINE , “This could never be,” he says, “if between the seal worhl aud the real world, a sort of MER. AGE