England's Antiphon. George MacDonald

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England's Antiphon - George MacDonald

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fruitful dews down on it raining,

        That storehouse-like her lap enfoldeth

          Assuréd hope of ploughman's gaining:

        Thy flowing streams her drought doth temper so,

        That buried seed through yielding grave doth grow.

        Drunk is each ridge of thy cup drinking;

          Each clod relenteth at thy dressing; groweth soft.

        Thy cloud-borne waters inly sinking,

          Fair spring sprouts forth, blest with thy blessing.

        The fertile year is with thy bounty crowned;

        And where thou go'st, thy goings fat the ground.

        Plenty bedews the desert places;

          A hedge of mirth the hills encloseth;

        The fields with flocks have hid their faces;

          A robe of corn the valleys clotheth.

        Deserts, and hills, and fields, and valleys all,

        Rejoice, shout, sing, and on thy name do call.

      The first stanza seems to me very fine, especially the verse, "Return possessed of what they pray thee." The third stanza might have been written after the Spanish Philip's Armada, but both King David and Sir Philip Sidney were dead before God brake that archer's bow.66 The fourth line of the next stanza is a noteworthy instance of the sense gathering to itself the sound, and is in lovely contrast with the closing line of the same stanza.

      One of the most remarkable specimens I know of the play with words of which I have already spoken as common even in the serious writings of this century, is to be found in the next line: "Where earth doth end with endless ending." David, regarding the world as a flat disc, speaks of the ends of the earth: Sidney, knowing it to be a globe, uses the word of the Psalmist, but re-moulds and changes the form of it, with a power fantastic, almost capricious in its wilfulness, yet causing it to express the fact with a marvel of precision. We see that the earth ends; we cannot reach the end we see; therefore the "earth doth end with endless ending." It is a case of that contradiction in the form of the words used, which brings out a truth in another plane as it were;—a paradox in words, not in meaning, for the words can bear no meaning but the one which reveals its own reality.

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      1

      The rhymes of the first and second and of the fourth and fifth lines throughout the stanzas, are all, I think, what the French call feminine rhymes, as in the words "sleeping," "weeping." This I think it better not to attempt retaining, because the final unaccented syllable is generally one of those e's which, having first become mute, have since been dropped from our spelling altogether.

      2

      For the grammatical interpretation of this line, I am indebted to Mr. Richard Morris. Shall is here used, as it often is, in the sense of must, and rede is a noun; the paraphrase of the whole being, "Son, what must be to me for counsel?" "What counsel must I follow?"

      3

      "Do not blame me, it is my nature."

      4

      Mon is used for man or woman: human being. It is so used in Lancashire still: they say mon to a woman.

      5

      "They weep quietly and becomingly." I think there must be in this word something of the sense of gently,-uncomplainingly.

      6

      "And are shrunken (clung with fear) like the clay." So here is the same as as. For this interpretation I am indebted to Mr. Morris.

      7

      "It is no wonder though it pleases me very ill."

      8

      I think the poet, wisely anxious to keep his last line just what it is, was perplexed for a rhyme, and fell on the odd device of saying, for "both day and night," "both day and the other."

      9

      "All as if it were not never, I wis."

      10

      "So that many men say—True it is, all goeth but God's will."

      11

      I conjecture "All that grain (me) groweth green."

      12

      Not is a contraction for ne wat, know not. "For I know not whither I must go, nor how long here I dwell." I think y is omitted by mistake before duelle.

      13

      This is very poor compared with the original.

      14

      I owe almost all my information on the history of these plays to Mr.Collier's well-known work on English Dramatic Poetry.

      15

      Able to suffer, deserving, subject to, obnoxious to, liable to death and vengeance.

      16

      The word harry is still used in Scotland, but only in regard to a bird's nest.

      17

      Do-well, Do-better, and Do-best.

      18

      Complexion.

      19

      Ruddiness—complexion.

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<p>66</p>

There has been some blundering in the transcription of the last two lines of this stanza. In the former of the two I have substituted doth for dost, evidently wrong. In the latter, the word cradle is doubtful. I suggest cradled, but am not satisfied with it. The meaning is, however, plain enough.