intense relish for joyous existence, it must have been a severe trial, in an age of bustle and chivalry, to pass the spring-time of his years in monotonous captivity. It was the good fortune of James, however, to be gifted with a powerful poetic fancy, and to be visited in his prison by the choicest inspirations of the muse. Some minds corrode, and grow inactive, under the loss of personal liberty; others grow morbid and irritable; but it is the nature of the poet to become tender and imaginative in the loneliness of confinement. He banquets upon the honey of his own thoughts, and, like the captive bird, pours forth his soul in melody.
Have you not seen the nightingale,
A pilgrim coop’d into a cage,
How doth she chant her wonted tale,
In that her lonely hermitage!
Even there her charming melody doth prove
That all her boughs are trees, her cage a grove.
Indeed, it is the divine attribute of the imagination, that it is irrepressible, unconfinable – that when the real world is shut out, it can create a world for itself, and, with a necromantic power, can conjure up glorious shapes and forms and brilliant visions, to make solitude populous, and irradiate the gloom of the dungeon. Such was the world of pomp and pageant that lived round Tasso in his dismal cell at Ferrara, when he conceived the splendid scenes of his Jerusalem; and we may consider The King’s Quair,5 composed by James during his captivity at Windsor, as another of those beautiful breakings forth of the soul from the restraint and gloom of the prison-house.
The subject of the poem is his love for the lady Jane Beaufort, daughter of the Earl of Somerset, and a princess of the blood-royal of England, of whom he became enamoured in the course of his captivity. What gives it a peculiar value, is, that it may be considered a transcript of the royal bard’s true feelings, and the story of his real loves and fortunes. It is not often that sovereigns write poetry or that poets deal in fact. It is gratifying to the pride of a common man, to find a monarch thus suing, as it were, for admission into his closet, and seeking to win his favor by administering to his pleasures. It is a proof of the honest equality of intellectual competition, which strips off all the trappings of factitious dignity, brings the candidate down to a level with his fellow-men, and obliges him to depend on his own native powers for distinction. It is curious, too, to get at the history of a monarch’s heart, and to find the simple affections of human nature throbbing under the ermine. But James had learnt to be a poet before he was a king; he was schooled in adversity, and reared in the company of his own thoughts. Monarchs have seldom time to parley with their hearts or to meditate their minds into poetry; and had James been brought up amidst the adulation and gayety of a court, we should never, in all probability, have had such a poem as the Quair.
I have been particularly interested by those parts of the poem which breathe his immediate thoughts concerning his situation, or which are connected with the apartment in the Tower. They have thus a personal and local charm, and are given with such circumstantial truth as to make the reader present with the captive in his prison and the companion of his meditations.
Such is the account which he gives of his weariness of spirit, and of the incident which first suggested the idea of writing the poem. It was the still mid-watch of a clear moonlight night; the stars, he says, were twinkling as fire in the high vault of heaven, and “Cynthia rinsing her golden locks in Aquarius.” He lay in bed wakeful and restless, and took a book to beguile the tedious hours. The book he chose was Boetius’ Consolations of Philosophy, a work popular among the writers of that day, and which had been translated by his great prototype, Chaucer. From the high eulogium in which he indulges, it is evident this was one of his favorite volumes while in prison; and indeed it is an admirable text-book for meditation under adversity. It is the legacy of a noble and enduring spirit, purified by sorrow and suffering, bequeathing to its successors in calamity the maxims of sweet morality, and the trains of eloquent but simple reasoning, by which it was enabled to bear up against the various ills of life. It is a talisman, which the unfortunate may treasure up in his bosom, or, like the good King James, lay upon his nightly pillow.
After closing the volume he turns its contents over in his mind, and gradually falls into a fit of musing on the fickleness of fortune, the vicissitudes of his own life, and the evils that had overtaken him even in his tender youth. Suddenly he hears the bell ringing to matins, but its sound, chiming in with his melancholy fancies, seems to him like a voice exhorting him to write his story. In the spirit of poetic errantry he determines to comply with this intimation; he therefore takes pen in hand, makes with it a sign of the cross to implore a benediction, and sallies forth into the fairy-land of poetry. There is something extremely fanciful in all this, and it is interesting as furnishing a striking and beautiful instance of the simple manner in which whole trains of poetical thought are sometimes awakened and literary enterprises suggested to the mind.
In the course of his poem, he more than once bewails the peculiar hardness of his fate, thus doomed to lonely and inactive life, and shut up from the freedom and pleasure of the world in which the meanest animal indulges unrestrained. There is a sweetness, however, in his very complaints; they are the lamentations of an amiable and social spirit at being denied the indulgence of its kind and generous propensities; there is nothing in them harsh nor exaggerated; they flow with a natural and touching pathos, and are perhaps rendered more touching by their simple brevity. They contrast finely with those elaborate and iterated repinings which we sometimes meet with in poetry, the effusions of morbid minds sickening under miseries of their own creating, and venting their bitterness upon an unoffending world. James speaks of his privations with acute sensibility, but having mentioned them passes on, as if his manly mind disdained to brood over unavoidable calamities. When such a spirit breaks forth into complaint, however brief, we are aware how great must be the suffering that extorts the murmur. We sympathize with James, a romantic, active, and accomplished prince, cut off in the lustihood of youth from all the enterprise, the noble uses, and vigorous delights of life, as we do with Milton, alive to all the beauties of nature and glories of art, when he breathes forth brief but deep-toned lamentations over his perpetual blindness.
Had not James evinced a deficiency of poetic artifice, we might almost have suspected that these lowerings of gloomy reflection were meant as preparative to the brightest scene of his story, and to contrast with that refulgence of light and loveliness, that exhilarating accompaniment of bird and song, and foliage and flower, and all the revel of, the year, with which he ushers in the lady of his heart. It is this scene, in particular, which throws all the magic of romance about the old castle keep. He had risen, he says, at daybreak, according to custom, to escape from the dreary meditations of a sleepless pillow. “Bewailing in his chamber thus alone,” despairing of all joy and remedy, “for, tired of thought, and woe-begone,” he had wandered to the window to indulge the captive’s miserable solace, of gazing wistfully upon the world from which he is excluded. The window looked forth upon a small garden which lay at the foot of the tower. It was a quiet, sheltered spot, adorned with arbors and green alleys, and protected from the passing gaze by trees and hawthorn hedges.
Now was there made fast by the tower’s wall,
A garden faire, and in the corners set
An arbour green with wandis long and small
Railed about, and so with leaves beset
Was all the place and hawthorn hedges knet,
That lyf6 was none, walkyng there forbye,
That might within scarce any wight espye.
So thick the branches and the leves grene,
Beshaded all the alleys that there were,
And midst of every arbour might be seen,
The sharpe, grene, swete juniper,
Growing so fair with branches here and there,
That as it seemed to a lyf without,
The boughs did
Quair, an old term for book.
Lyf, Person.
