England's Antiphon

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THE DAWNING.

Ah! what time wilt thou come? When shall that cry, The Bridegroom's coming, fill the sky? Shall it in the evening run
When our words and works are done? Or will thy all-surprising light
Break at midnight,
When either sleep or some dark pleasure Possesseth mad man without measure? Or shail these early, fragrant hours Unlock thy bowers,[151]
And with their blush of light descry Thy locks crowned with eternity?
Indeed, it is the only time
That with thy glory doth best chime: All now are stirring; every field
Full hymns doth yield;
The whole creation shakes off night, And for thy shadow looks the light;[152] Stars now vanish without number;
Sleepy planets set and slumber;
The pursy clouds disband and scatter;-- All expect some sudden matter;
Not one beam triumphs, but, from far, That morning-star.

O, at what time soever thou,
Unknown to us, the heavens wilt bow, And, with thy angels in the van,
Descend to judge poor careless man, Grant I may not like puddle lie
In a corrupt security,
Where, if a traveller water crave, He finds it dead, and in a grave;
But as this restless, vocal spring All day and night doth run and sing, And though here born, yet is acquainted Elsewhere, and, flowing, keeps untainted, So let me all my busy age
In thy free services engage;
And though, while here, of force,[153] I must Have commerce sometimes with poor dust,[154] And in my flesh, though vile and low, As this doth in her channel, flow, Yet let my course, my aim, my love, And chief acquaintance be above.
So when that day and hour shall come, In which thyself will be the sun,
Thou'lt find me drest and on my way, Watching the break of thy great day.

I do not think that description of the dawn has ever been surpassed. The verse "All expect some sudden matter," is wondrously fine. The water "dead and in a grave," because stagnant, is a true fancy; and the "acquainted elsewhere" of the running stream, is a masterly phrase. I need not point out the symbolism of the poem.

I do not know a writer, Wordsworth not excepted, who reveals more delight in the visions of Nature than Henry Vaughan. He is a true forerunner of Wordsworth, inasmuch as the latter sets forth with only greater profundity and more art than he, the relations between Nature and Human Nature; while, on the other hand, he is the forerunner as well of some one that must yet do what Wordsworth has left almost unattempted, namely--set forth the sympathy of Nature with the aspirations of the spirit that is born of God, born again, I mean, in the recognition of the child's relation to the Father. Both Herbert and Vaughan have thus read Nature, the latter turning many leaves which few besides have turned. In this he has struck upon a deeper and richer lode than even Wordsworth, although he has not wrought it with half his skill. In any history of the development of the love of the present age for Nature, Vaughan, although I fear his influence would be found to have been small as yet, must be represented as the Phosphor of coming dawn. Beside him, Thomson is cold, artistic, and gray: although larger in scope, he is not to be compared with him in sympathetic sight. It is this insight that makes Vaughan a mystic. He can see one thing everywhere, and all things the same--yet each with a thousand sides that radiate crossing lights, even as the airy particles around us. For him everything is the expression of, and points back to, some fact in the Divine Thought. Along the line of every ray he looks towards its radiating centre--the heart of the Maker.

I could give many instances of Vaughan's power in reading the heart of Nature, but I may not dwell upon this phase. Almost all the poems I give and have given will afford such.

I walked the other day, to spend my hour,

Into a field,

Where I sometimes had seen the soil to yield

A gallant flower;

But

winter now had ruffled all the bower And curious store

I knew there heretofore.

Yet

I whose search loved not to peep and peer I' th' face of things,

Thought with myself, there might be other springs

Besides this here,

Which, like cold friends, sees us but once a year;

And so the flower

Might have some other bower.

Then taking up what I could nearest spy,

I digged about

That place where I had seen him to grow out;

And by and by

I saw the warm recluse alone to lie,

Where fresh and green

He lived of us unseen.

Many a question intricate and rare

Did I there strow;

But

all I could extort was, that he now Did there repair

Such losses as befell him in this air,

And would ere long

Come forth most fair and young.

This past, I threw the clothes quite o'er his head;

And, stung with fear

Of my own frailty, dropped down many a tear

Upon his bed;

Then sighing, whispered, Happy are the dead!

What peace doth now

Rock him asleep below!

And

yet, how few believe such doctrine springs From a poor root

Which all the winter sleeps here under foot,

And hath no wings

To raise it to the truth and light of things,

But is still trod

By every wandering clod!

O thou, whose spirit did at first inflame

And warm the dead!

And

by a sacred incubation fed
With life this frame,

Which once had neither being, form, nor name!

Grant I may so

Thy steps track here below,

That in these masks and shadows I may see

Thy sacred way;

And

by those hid ascents climb to that day Which breaks from thee,

Who

art in all things, though invisibly: Show me thy peace,

Thy mercy, love, and ease.

And

from this care, where dreams and sorrows reign, Lead me above,

Where light, joy, leisure, and true comforts move

Without all pain:

There, hid in thee, show me his life again

At whose dumb urn

Thus all the year I mourn.

There are several amongst his poems lamenting, like this, the death of some dear friend--perhaps his twin-brother, whom he outlived thirty years.

According to what a man is capable of seeing in nature, he becomes either a man of appliance, a man of science, a mystic, or a poet.

I must now give two that are simple in thought, construction, and music. The latter ought to be popular, from the nature of its rhythmic movement, and the holy merriment it carries. But in the former, note how the major key of gladness changes in the third stanza to the minor key of aspiration, which has always some sadness in it; a sadness which deepens to grief in the next stanza at the consciousness of unfitness for Christ's company, but is lifted by hope almost again to gladness in the last.

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