When I first conceived the plan of the Palace of Art, I intended to
have introduced both sculptures and paintings into it; but it is the
most difficult of all things to 'devise' a statue in verse.
have introduced both sculptures and paintings into it; but it is the
most difficult of all things to 'devise' a statue in verse.
Tennyson
]
[Footnote 5: After this stanza in 1833 this, deleted in 1842:--
"And richly feast within thy palace hall,
Like to the dainty bird that sups,
Lodged in the lustrous crown-imperial,
Draining the honey cups. "]
[Footnote 6: In 1833 these eight stanzas were inserted after the stanza
beginning, "I take possession of men's minds and deeds"; in 1842 they
were transferred, greatly altered, to their present position. For the
alterations on them see 'infra. ']
[Footnote 7: 1833.
Gloom,
Roofed with thick plates of green and orange glass
Ending in stately rooms. ]
[Footnote 8: 1833.
All various, all beautiful,
Looking all ways, fitted to every mood. ]
[Footnote 9: Here in 1833 was inserted the stanza, "One showed an
English home," afterwards transferred to its present position 85-88. ]
[Footnote 10: 1833.
Some were all dark and red, a glimmering land
Lit with a low round moon,
Among brown rocks a man upon the sand
Went weeping all alone. ]
[Footnote 11: These three stanzas were added in 1842. ]
[Footnote 12: Thus in 1833:--
One seemed a foreground black with stones and slags,
Below sun-smitten icy spires
Rose striped with long white cloud the scornful crags,
Deep trenched with thunder fires. ]
[Footnote 13: Not inserted here in 1833, but the following in its
place:--
Some showed far-off thick woods mounted with towers,
Nearer, a flood of mild sunshine
Poured on long walks and lawns and beds and bowers
Trellised with bunchy vine. ]
[Footnote 14: Inserted in 1842. ]
[Footnote 15: Thus in 1833, followed by the note:--
Or the maid-mother by a crucifix,
In yellow pastures sunny-warm,
Beneath branch-work of costly sardonyx,
Sat smiling, babe in arm.
When I first conceived the plan of the Palace of Art, I intended to
have introduced both sculptures and paintings into it; but it is the
most difficult of all things to 'devise' a statue in verse. Judge
whether I have succeeded in the statues of Elijah and Olympias.
One was the Tishbite whom the raven fed,
As when he stood on Carmel steeps,
With one arm stretched out bare, and mocked and said,
"Come cry aloud-he sleeps".
Tall, eager, lean and strong, his cloak wind-borne
Behind, his forehead heavenly bright
From the clear marble pouring glorious scorn,
Lit as with inner light.
One, was Olympias: the floating snake
Rolled round her ancles, round her waist
Knotted, and folded once about her neck,
Her perfect lips to taste.
Round by the shoulder moved: she seeming blythe
Declined her head: on every side
The dragon's curves melted and mingled with
The woman's youthful pride
Of rounded limbs.
Or Venus in a snowy shell alone,
Deep-shadowed in the glassy brine,
Moonlike glowed double on the blue, and shone
A naked shape divine. ]
[Footnote 16: Inserted in 1842. ]
[Footnote 17: Thus in 1833:--
Or that deep-wounded child of Pendragon
Mid misty woods on sloping greens
Dozed in the valley of Avilion,
Tended by crowned queens.
The present reading is that of 1842. The reference is, of course, to
King Arthur, the supposed son of Uther Pendragon.
In 1833 the following stanza, excised in 1842, followed:--
Or blue-eyed Kriemhilt from a craggy hold,
Athwart the light-green rows of vine,
Poured blazing hoards of Nibelungen gold,
Down to the gulfy Rhine. ]
[Footnote 18: Inserted in 1842 thus:--
Or hollowing one hand against his ear,
To listen for a footfall, ere he saw
The wood-nymph, stay'd the Tuscan king to hear
Of wisdom and of law.
List a footfall, 1843. Ausonian for Tuscan, 1850. The reference is to
Egeria and Numa Pompilius.
[Footnote 5: After this stanza in 1833 this, deleted in 1842:--
"And richly feast within thy palace hall,
Like to the dainty bird that sups,
Lodged in the lustrous crown-imperial,
Draining the honey cups. "]
[Footnote 6: In 1833 these eight stanzas were inserted after the stanza
beginning, "I take possession of men's minds and deeds"; in 1842 they
were transferred, greatly altered, to their present position. For the
alterations on them see 'infra. ']
[Footnote 7: 1833.
Gloom,
Roofed with thick plates of green and orange glass
Ending in stately rooms. ]
[Footnote 8: 1833.
All various, all beautiful,
Looking all ways, fitted to every mood. ]
[Footnote 9: Here in 1833 was inserted the stanza, "One showed an
English home," afterwards transferred to its present position 85-88. ]
[Footnote 10: 1833.
Some were all dark and red, a glimmering land
Lit with a low round moon,
Among brown rocks a man upon the sand
Went weeping all alone. ]
[Footnote 11: These three stanzas were added in 1842. ]
[Footnote 12: Thus in 1833:--
One seemed a foreground black with stones and slags,
Below sun-smitten icy spires
Rose striped with long white cloud the scornful crags,
Deep trenched with thunder fires. ]
[Footnote 13: Not inserted here in 1833, but the following in its
place:--
Some showed far-off thick woods mounted with towers,
Nearer, a flood of mild sunshine
Poured on long walks and lawns and beds and bowers
Trellised with bunchy vine. ]
[Footnote 14: Inserted in 1842. ]
[Footnote 15: Thus in 1833, followed by the note:--
Or the maid-mother by a crucifix,
In yellow pastures sunny-warm,
Beneath branch-work of costly sardonyx,
Sat smiling, babe in arm.
When I first conceived the plan of the Palace of Art, I intended to
have introduced both sculptures and paintings into it; but it is the
most difficult of all things to 'devise' a statue in verse. Judge
whether I have succeeded in the statues of Elijah and Olympias.
One was the Tishbite whom the raven fed,
As when he stood on Carmel steeps,
With one arm stretched out bare, and mocked and said,
"Come cry aloud-he sleeps".
Tall, eager, lean and strong, his cloak wind-borne
Behind, his forehead heavenly bright
From the clear marble pouring glorious scorn,
Lit as with inner light.
One, was Olympias: the floating snake
Rolled round her ancles, round her waist
Knotted, and folded once about her neck,
Her perfect lips to taste.
Round by the shoulder moved: she seeming blythe
Declined her head: on every side
The dragon's curves melted and mingled with
The woman's youthful pride
Of rounded limbs.
Or Venus in a snowy shell alone,
Deep-shadowed in the glassy brine,
Moonlike glowed double on the blue, and shone
A naked shape divine. ]
[Footnote 16: Inserted in 1842. ]
[Footnote 17: Thus in 1833:--
Or that deep-wounded child of Pendragon
Mid misty woods on sloping greens
Dozed in the valley of Avilion,
Tended by crowned queens.
The present reading is that of 1842. The reference is, of course, to
King Arthur, the supposed son of Uther Pendragon.
In 1833 the following stanza, excised in 1842, followed:--
Or blue-eyed Kriemhilt from a craggy hold,
Athwart the light-green rows of vine,
Poured blazing hoards of Nibelungen gold,
Down to the gulfy Rhine. ]
[Footnote 18: Inserted in 1842 thus:--
Or hollowing one hand against his ear,
To listen for a footfall, ere he saw
The wood-nymph, stay'd the Tuscan king to hear
Of wisdom and of law.
List a footfall, 1843. Ausonian for Tuscan, 1850. The reference is to
Egeria and Numa Pompilius.
