Somewhere buried under the floorboards of this splendidly devious novel is a real-life event. In 1794, a young Englishman, William Henry Ireland, came across something astonishing that he hurried to show his father: an old mortgage deed, with its seal intact, signed by none other than William Shakespeare.
THE TRAGEDY OF ARTHUR
By Arthur Phillips
368 pp. Random House. $26.
The young man’s father, Samuel, an antiquarian and a passionate Shakespeare enthusiast, was thrilled, and still more thrilled when from the same mysterious source — an old chest in the possession of a reclusive aristocrat who wished his identity to remain secret — his son came up with a series of further discoveries. These included contracts; theatrical receipts; correspondence between Shakespeare and his patron, the Earl of Southampton; a letter to Shakespeare from Queen Elizabeth herself; a “profession of faith” in Shakespeare’s own hand, proving once and for all that he was a good Protestant; and the playwright’s own manuscript of “King Lear.” Alerted to the news, people crowded into Ireland’s house. James Boswell fell to his knees to kiss the great playwright’s relics. Against his son’s vehement objections, the proud Samuel hurried most of these stupendous finds into print. But he held in reserve the best of them all, until they could be returned in glory to the stage where they belonged: two full-length plays by Shakespeare, both hitherto unknown, “Vortigern and Rowena” and “Henry II.”
The discoveries aroused a predictable mixture of popular excitement and learned skepticism. On March 31, 1796, Edmond Malone, the greatest Shakespeare scholar of the age, published a 400-page book examining each of the documents Ireland had printed and enumerating in numbing detail their historical inaccuracies and manifold flaws in handwriting, diction and the like. Two days later, “Vortigern and Rowena” opened at the Drury Lane Theater to a sold-out house. The audience listened raptly to the opening words of Constantius, the king of the Britons — “Good Vortigern! as peace doth bless our isle, / And the loud din of war no more affrights us” — but by the third act its mood had shifted. Whispered criticisms turned into catcalls, wags shouted rude jokes and the audience laughed so uproariously that the performance had to come to a halt until order was restored. The actors gamely limped through to the close, but the play was not performed again. Shortly thereafter, William Henry Ireland confessed that he had forged “Vortigern” and the rest of the documents. But in a strange twist, his father continued to insist that they were authentic. Disgraced and ridiculed, estranged from his son, shortly before his death he printed the plays with a preface in which he declared that neither Malone’s refutation “nor any declaration since made from a quarter once domestic to this Editor . . . can induce him to believe that great mass of papers in his possession are the fabrication of any individual, or set of men of the present day.”
The last 111 pages of Arthur Phillips’s new novel, “The Tragedy of Arthur,” consist of a five-act play, for the most part in blank verse and replete with Elizabethan diction and syntax, entitled “The Tragedy of Arthur by William Shakespeare.” The play bears a striking resemblance to “Vortigern and Rowena.” Both are tales of ancient British monarchs, and the tangled plots in both cases are drawn from Shakespeare’s favorite historical source, Holinshed’s “Chronicles.” Both blend military adventure, political maneuvering and romantic love. And both demonstrate an uncanny grasp of certain of Shakespeare’s characteristic tics: the plumping up of some lines to fill out the syllables of the iambic pentameter; the contractions used to make other lines metrically correct; the sharing of a single line between two or even three speakers; the taste for difficult words; the staging of glittering figures of legend who interweave the portentous and the ordinary.
This signature style, captured by someone who deeply grasps how Shakespeare would sound if an assiduous imitator had mastered all his tricks without commanding a shred of his genius, is precisely the effect of Phillips’s play:
This dandled king was ne’er a martial lord,
His brows do frown on those who counsel arms.
He longs for heaven’s peace brought down to earth,
And does beguile himself to credit too
That England’s enemies should find delight
To sit and mazèd wonder at his arts,
Whilst all our forces till and sell and sleep,
And will in battle’s heat abrook no pains.
There is no playing for laughs; the wit of “The Tragedy of Arthur” is its deadpan seriousness. In the manner of modern Shakespeare editions, the words “dandled,” “mazèd” and “abrook” are glossed by an editor — identified as one Roland Verre — who has been hired to help the common reader understand the text’s meanings and savor its felicities. Hundreds of notes scrupulously document the Bard’s occasional anachronisms and contemporary allusions, signal his borrowings from Elizabethan sources, weigh difficult cruxes, tease out multiple puns and offer options for performance. The whole enterprise is unrelentingly faux-Shakespearean from the opening hunt scene — “Arthur, by noble right your prey now waits” — to the closing couplets: “Raise sepulchres for both great queen and king / And for their souls, and ours, raise voice and sing.” Exeunt.
We are dealing then not with parody but with something else: fraud. This is a full-length fake. It is a surprisingly good fake, too. I was unable to detect any obvious blunders in language. Shakespeare would probably never have written a line quite as bad as “And does beguile himself to credit too,” but much of “The Tragedy of Arthur” actually sounds as if it could have been written by the author not of “Hamlet,” to be sure, but of “The True Tragedy of Richard, Duke of York.” This is no trivial achievement; it is the work of a very gifted forger.
That forger is the subject of Phillips’s novel — or rather, of the mesmerizing 256-page “introduction” that precedes the text of “The Tragedy of Arthur by William Shakespeare.” The introduction is written by a character named Arthur Phillips, a 46-year-old novelist who bears such a striking resemblance to the real novelist named Arthur Phillips that it seems pointless to try to differentiate them, and who chronicles the life of his father, who also happened to be named Arthur Phillips. The elder Phillips, who has recently died, spent most of his adult life behind bars for a succession of frauds: forged pictures here, forged grocery coupons there, all seemingly indistinguishable from the real thing and yet all doomed to failure. The novel then is the account (reminiscent of Geoffrey Wolff’s memoir, “The Duke of Deception”) of an excruciatingly unstable childhood, one haunted by a charming, gifted and utterly unreliable parent with a penchant for criminality.
The form of Phillips’s novel — what in Shakespeare’s time would have been called its “conceit” — is an argument between the author and his publisher, Random House. The novelist, whose previous works include “Prague” and “The Song Is You,” has contracted to write an introduction to a newly discovered tragedy by Shakespeare. Phillips has come to believe that the play is another of his father’s frauds, but Random House, which has paid handsomely for the rights and stands to make a fortune if it is Shakespeare’s, is insisting on the terms of the contract. Having spent his life struggling to keep himself from being corrupted by his father’s schemes, Phillips is using the introduction to assert his moral integrity by exposing the forgery. But the forgery is so impeccably good that he can only expose it by providing a convincing account of his father’s wiles and his own lifelong resistance.
That resistance includes healthy skepticism about the overheated cult of Shakespeare that his father has attempted to inculcate in him and in his twin sister, Dana. Nothing that Phillips Sr. tells the twins can be taken as straightforward truth; no promise he makes is securely kept; no solemn assurance is worth a shred of trust. But irrepressibly imaginative, the master forger has managed to draw both of his children into his magic circle of fraudulence and wonder. Though wiser and more balanced than her brother, Dana clings to her belief that “The Tragedy of Arthur” is the real thing. The doubting Arthur is not willing to be taken in, but in his introduction to the play his father has fobbed off as Shakespeare’s, he discloses the devastating extent to which his own psychological life — his deep, unresolved ambivalence toward his father, his failed marriage, his relation to his beloved sister and to his sister’s lesbian lover, whom he recklessly seduces — is bound up with varieties of deception. The epitome of his tainted inheritance, as he himself comes to realize, is his vocation. For the novelist’s art is a cunning ability to lure the reader into treating counterfeit bills as if they were current. And this particular novel — a fictional memoir posing as a fraudulent introduction to a forged play — is a spectacular instance of the confidence game. It is a tribute to Arthur Phillips’s singular skill that his work leaves the reader not with resentment at having been tricked but rather with gratitude for the gift of feigned wonder.
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The First Voice
He trilled a carol fresh and free,
He laughed aloud for very glee:
There came a breeze from off the sea:
It passed athwart the glooming flat -
It fanned his forehead as he sat -
It lightly bore away his hat,
All to the feet of one who stood
Like maid enchanted in a wood,
Frowning as darkly as she could.
With huge umbrella, lank and brown,
Unerringly she pinned it down,
Right through the centre of the crown.
Then, with an aspect cold and grim,
Regardless of its battered rim,
She took it up and gave it him.
A while like one in dreams he stood,
Then faltered forth his gratitude
In words just short of being rude:
For it had lost its shape and shine,
And it had cost him four-and-nine,
And he was going out to dine.
"To dine!" she sneered in acid tone.
"To bend thy being to a bone
Clothed in a radiance not its own!"
The tear-drop trickled to his chin:
There was a meaning in her grin
That made him feel on fire within.
"Term it not 'radiance,'" said he:
"'Tis solid nutriment to me.
Dinner is Dinner: Tea is Tea."
And she "Yea so? Yet wherefore cease?
Let thy scant knowledge find increase.
Say 'Men are Men, and Geese are Geese.'"
He moaned: he knew not what to say.
The thought "That I could get away!"
Strove with the thought "But I must stay.
"To dine!" she shrieked in dragon-wrath.
"To swallow wines all foam and froth!
To simper at a table-cloth!
"Say, can thy noble spirit stoop
To join the gormandising troup
Who find a solace in the soup?
"Canst thou desire or pie or puff?
Thy well-bred manners were enough,
Without such gross material stuff."
"Yet well-bred men," he faintly said,
"Are not willing to be fed:
Nor are they well without the bread."
Her visage scorched him ere she spoke:
"There are," she said, "a kind of folk
Who have no horror of a joke.
"Such wretches live: they take their share
Of common earth and common air:
We come across them here and there:
"We grant them--there is no escape -
A sort of semi-human shape
Suggestive of the man-like Ape."
"In all such theories," said he,
"One fixed exception there must be.
That is, the Present Company."
Baffled, she gave a wolfish bark:
He, aiming blindly in the dark,
With random shaft had pierced the mark.
She felt that her defeat was plain,
Yet madly strove with might and main
To get the upper hand again.
Fixing her eyes upon the beach,
As though unconscious of his speech,
She said "Each gives to more than each."
He could not answer yea or nay:
He faltered "Gifts may pass away."
Yet knew not what he meant to say.
"If that be so," she straight replied,
"Each heart with each doth coincide.
What boots it? For the world is wide."
"The world is but a Thought," said he:
"The vast unfathomable sea
Is but a Notion--unto me."
And darkly fell her answer dread
Upon his unresisting head,
Like half a hundredweight of lead.
"The Good and Great must ever shun
That reckless and abandoned one
Who stoops to perpetrate a pun.
"The man that smokes--that reads the Times -
That goes to Christmas Pantomimes -
Is capable of ANY crimes!"
He felt it was his turn to speak,
And, with a shamed and crimson cheek,
Moaned "This is harder than Bezique!"
But when she asked him "Wherefore so?"
He felt his very whiskers glow,
And frankly owned "I do not know."
While, like broad waves of golden grain,
Or sunlit hues on cloistered pane,
His colour came and went again.
Pitying his obvious distress,
Yet with a tinge of bitterness,
She said "The More exceeds the Less."
"A truth of such undoubted weight,"
He urged, "and so extreme in date,
It were superfluous to state."
Roused into sudden passion, she
In tone of cold malignity:
"To others, yea: but not to thee."
But when she saw him quail and quake,
And when he urged "For pity's sake!"
Once more in gentle tones she spake.
"Thought in the mind doth still abide
That is by Intellect supplied,
And within that Idea doth hide:
"And he, that yearns the truth to know,
Still further inwardly may go,
And find Idea from Notion flow:
"And thus the chain, that sages sought,
Is to a glorious circle wrought,
For Notion hath its source in Thought."
So passed they on with even pace:
Yet gradually one might trace
A shadow growing on his face.
The Second Voice
They walked beside the wave-worn beach;
Her tongue was very apt to teach,
And now and then he did beseech
She would abate her dulcet tone,
Because the talk was all her own,
And he was dull as any drone.
She urged "No cheese is made of chalk":
And ceaseless flowed her dreary talk,
Tuned to the footfall of a walk.
Her voice was very full and rich,
And, when at length she asked him "Which?"
It mounted to its highest pitch.
He a bewildered answer gave,
Drowned in the sullen moaning wave,
Lost in the echoes of the cave.
He answered her he knew not what:
Like shaft from bow at random shot,
He spoke, but she regarded not.
She waited not for his reply,
But with a downward leaden eye
Went on as if he were not by
Sound argument and grave defence,
Strange questions raised on "Why?" and "Whence?"
And wildly tangled evidence.
When he, with racked and whirling brain,
Feebly implored her to explain,
She simply said it all again.
Wrenched with an agony intense,
He spake, neglecting Sound and Sense,
And careless of all consequence:
"Mind--I believe--is Essence--Ent -
Abstract--that is--an Accident -
Which we--that is to say--I meant--"
When, with quick breath and cheeks all flushed,
At length his speech was somewhat hushed,
She looked at him, and he was crushed.
It needed not her calm reply:
She fixed him with a stony eye,
And he could neither fight nor fly.
While she dissected, word by word,
His speech, half guessed at and half heard,
As might a cat a little bird.
Then, having wholly overthrown
His views, and stripped them to the bone,
Proceeded to unfold her own.
"Shall Man be Man? And shall he miss
Of other thoughts no thought but this,
Harmonious dews of sober bliss?
"What boots it? Shall his fevered eye
Through towering nothingness descry
The grisly phantom hurry by?
"And hear dumb shrieks that fill the air;
See mouths that gape, and eyes that stare
And redden in the dusky glare?
"The meadows breathing amber light,
The darkness toppling from the height,
The feathery train of granite Night?
"Shall he, grown gray among his peers,
Through the thick curtain of his tears
Catch glimpses of his earlier years,
"And hear the sounds he knew of yore,
Old shufflings on the sanded floor,
Old knuckles tapping at the door?
"Yet still before him as he flies
One pallid form shall ever rise,
And, bodying forth in glassy eyes
"The vision of a vanished good,
Low peering through the tangled wood,
Shall freeze the current of his blood."
Still from each fact, with skill uncouth
And savage rapture, like a tooth
She wrenched some slow reluctant truth.
Till, like a silent water-mill,
When summer suns have dried the rill,
She reached a full stop, and was still.
Dead calm succeeded to the fuss,
As when the loaded omnibus
Has reached the railway terminus:
When, for the tumult of the street,
Is heard the engine's stifled beat,
The velvet tread of porters' feet.
With glance that ever sought the ground,
She moved her lips without a sound,
And every now and then she frowned.
He gazed upon the sleeping sea,
And joyed in its tranquillity,
And in that silence dead, but she
To muse a little space did seem,
Then, like the echo of a dream,
Harked back upon her threadbare theme.
Still an attentive ear he lent
But could not fathom what she meant:
She was not deep, nor eloquent.
He marked the ripple on the sand:
The even swaying of her hand
Was all that he could understand.
He saw in dreams a drawing-room,
Where thirteen wretches sat in gloom,
Waiting--he thought he knew for whom:
He saw them drooping here and there,
Each feebly huddled on a chair,
In attitudes of blank despair:
Oysters were not more mute than they,
For all their brains were pumped away,
And they had nothing more to say -
Save one, who groaned "Three hours are gone!"
Who shrieked "We'll wait no longer, John!
Tell them to set the dinner on!"
The vision passed: the ghosts were fled:
He saw once more that woman dread:
He heard once more the words she said.
He left her, and he turned aside:
He sat and watched the coming tide
Across the shores so newly dried.
He wondered at the waters clear,
The breeze that whispered in his ear,
The billows heaving far and near,
And why he had so long preferred
To hang upon her every word:
"In truth," he said, "it was absurd."
The Third Voice
Not long this transport held its place:
Within a little moment's space
Quick tears were raining down his face
His heart stood still, aghast with fear;
A wordless voice, nor far nor near,
He seemed to hear and not to hear.
"Tears kindle not the doubtful spark.
If so, why not? Of this remark
The bearings are profoundly dark."
"Her speech," he said, "hath caused this pain.
Easier I count it to explain
The jargon of the howling main,
"Or, stretched beside some babbling brook,
To con, with inexpressive look,
An unintelligible book."
Low spake the voice within his head,
In words imagined more than said,
Soundless as ghost's intended tread:
"If thou art duller than before,
Why quittedst thou the voice of lore?
Why not endure, expecting more?"
"Rather than that," he groaned aghast,
"I'd writhe in depths of cavern vast,
Some loathly vampire's rich repast."
"'Twere hard," it answered, "themes immense
To coop within the narrow fence
That rings THY scant intelligence."
"Not so," he urged, "nor once alone:
But there was something in her tone
That chilled me to the very bone.
"Her style was anything but clear,
And most unpleasantly severe;
Her epithets were very queer.
"And yet, so grand were her replies,
I could not choose but deem her wise;
I did not dare to criticise;
"Nor did I leave her, till she went
So deep in tangled argument
That all my powers of thought were spent."
A little whisper inly slid,
"Yet truth is truth: you know you did."
A little wink beneath the lid.
And, sickened with excess of dread,
Prone to the dust he bent his head,
And lay like one three-quarters dead
The whisper left him--like a breeze
Lost in the depths of leafy trees -
Left him by no means at his ease.
Once more he weltered in despair,
With hands, through denser-matted hair,
More tightly clenched than then they were.
When, bathed in Dawn of living red,
Majestic frowned the mountain head,
"Tell me my fault," was all he said.
When, at high Noon, the blazing sky
Scorched in his head each haggard eye,
Then keenest rose his weary cry.
And when at Eve the unpitying sun
Smiled grimly on the solemn fun,
"Alack," he sighed, "what HAVE I done?"
But saddest, darkest was the sight,
When the cold grasp of leaden Night
Dashed him to earth, and held him tight.
Tortured, unaided, and alone,
Thunders were silence to his groan,
Bagpipes sweet music to its tone:
"What? Ever thus, in dismal round,
Shall Pain and Mystery profound
Pursue me like a sleepless hound,
"With crimson-dashed and eager jaws,
Me, still in ignorance of the cause,
Unknowing what I broke of laws?"
The whisper to his ear did seem
Like echoed flow of silent stream,
Or shadow of forgotten dream,
The whisper trembling in the wind:
"Her fate with thine was intertwined,"
So spake it in his inner mind:
"Each orbed on each a baleful star:
Each proved the other's blight and bar:
Each unto each were best, most far:
Eat worms and such wretchedness.Chaucer.
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Matthew Arnold
(1822-1888)
Let the long contention cease!
Geese are swans, and swans are geese.
Let them have it how they will!
Thou art tired: best be still.
They out-talked thee, hissed thee, tore thee?
Better men fared thus before thee;
Fired their ringing shot and passed,
Hotly charged - and sank at last.
Charge once more, then, and be dumb!
Let the victors, when they come,
When the forts of folly fall,
Find thy body by the wall!
First published in 1842, reprinted in all the subsequent editions of the poems but with no alterations in the text, except that in eighth line from the end "my" was substituted for "mine" in 1846. Tennyson informed a friend that it was not from the 'Acta Sanctorum', but from Hone's 'Every-Day Book', vol. i., pp. 35-36, that he got the material for this poem, and a comparison with the narrative in Hone and the poem seems to show that this was the case.
It is not easy to identify the St. Simeon Stylites of Hone's narrative and Tennyson's poem, whether he is to be identified with St. Simeon the Elder, of whom there are three memoirs given in the 'Acta Sanctorum', tom. i., 5th January, 261-286, or with St. Simeon Stylites, Junior, of whom there is an elaborate biography in Greek by Nicephorus printed with a Latin translation and notes in the 'Acta Sanctorum', tom. v., 24th May, 298-401. It seems clear that whoever compiled the account popularised by Hone had read both and amalgamated them. The main lines in the story of both saints are exactly the same. Both stood on columns, both tortured themselves in the same ways, both wrought miracles, and both died at their posts of penance. St. Simeon the Elder was born at Sisan in Syria about A.D. 390, and was buried at Antioch in A.D. 459 or 460. The Simeon the Younger was born at Antioch A. D. 521 and died in A.D. 592. His life, which is of singular interest, is much more elaborately related.
This poem is not simply a dramatic study. It bears very directly on Tennyson's philosophy of life. In these early poems he has given us four studies in the morbid anatomy of character: 'The Palace of Art', which illustrates the abuse of aesthetic and intellectual enjoyment of self; 'The Vision of Sin', which illustrates the effects of similar indulgence in the grosser pleasures of the senses; 'The Two Voices', which illustrates the mischief of despondent self-absorption, while the present poem illustrates the equally pernicious indulgence in an opposite extreme, asceticism affected for the mere gratification of personal vanity.
Altho' I be the basest of mankind,
From scalp to sole one slough and crust of sin,
Unfit for earth, unfit for heaven, scarce meet
For troops of devils, mad with blasphemy,
I will not cease to grasp the hope I hold
Of saintdom, and to clamour, morn and sob,
Battering the gates of heaven with storms of prayer,
Have mercy, Lord, and take away my sin.
Let this avail, just, dreadful, mighty God,
This not be all in vain that thrice ten years,
Thrice multiplied by superhuman pangs,
In hungers and in thirsts, fevers and cold,
In coughs, aches, stitches, ulcerous throes and cramps,
A sign betwixt the meadow and the cloud,
Patient on this tall pillar I have borne
Rain, wind, frost, heat, hail, damp, and sleet, and snow;
And I had hoped that ere this period closed
Thou wouldst have caught me up into Thy rest,
Denying not these weather-beaten limbs
The meed of saints, the white robe and the palm.
O take the meaning, Lord: I do not breathe,
Not whisper, any murmur of complaint.
Pain heap'd ten-hundred-fold to this, were still
Less burthen, by ten-hundred-fold, to bear,
Than were those lead-like tons of sin, that crush'd
My spirit flat before thee. O Lord, Lord,
Thou knowest I bore this better at the first,
For I was strong and hale of body then;
And tho' my teeth, which now are dropt away,
Would chatter with the cold, and all my beard
Was tagg'd with icy fringes in the moon,
I drown'd the whoopings of the owl with sound
Of pious hymns and psalms, and sometimes saw
An angel stand and watch me, as I sang.
Now am I feeble grown; my end draws nigh;
I hope my end draws nigh: half deaf I am,
So that I scarce can hear the people hum
About the column's base, and almost blind,
And scarce can recognise the fields I know;
And both my thighs are rotted with the dew;
Yet cease I not to clamour and to cry,
While my stiff spine can hold my weary head,
Till all my limbs drop piecemeal from the stone,
Have mercy, mercy: take away my sin.
O Jesus, if thou wilt not save my soul,
Who may be saved? who is it may be saved?
Who may be made a saint, if I fail here?
Show me the man hath suffered more than I.
For did not all thy martyrs die one death?
For either they were stoned, or crucified,
Or burn'd in fire, or boil'd in oil, or sawn
In twain beneath the ribs; but I die here
To-day, and whole years long, a life of death.
Bear witness, if I could have found a way
(And heedfully I sifted all my thought)
More slowly-painful to subdue this home
Of sin, my flesh, which I despise and hate,
I had not stinted practice, O my God.
For not alone this pillar-punishment, [1]
Not this alone I bore: but while I lived
In the white convent down the valley there,
For many weeks about my loins I wore
The rope that haled the buckets from the well,
Twisted as tight as I could knot the noose;
And spake not of it to a single soul,
Until the ulcer, eating thro' my skin,
Betray'd my secret penance, so that all
My brethren marvell'd greatly. More than this
I bore, whereof, O God, thou knowest all.[2]
Three winters, that my soul might grow to thee,
I lived up there on yonder mountain side.
My right leg chain'd into the crag, I lay
Pent in a roofless close of ragged stones;
Inswathed sometimes in wandering mist, and twice
Black'd with thy branding thunder, and sometimes
Sucking the damps for drink, and eating not,
Except the spare chance-gift of those that came
To touch my body and be heal'd, and live:
And they say then that I work'd miracles,
Whereof my fame is loud amongst mankind,
Cured lameness, palsies, cancers. Thou, O God,
Knowest alone whether this was or no.
Have mercy, mercy; cover all my sin.
Then, that I might be more alone with thee, [3]
Three years I lived upon a pillar, high
Six cubits, and three years on one of twelve;
And twice three years I crouch'd on one that rose
Twenty by measure; last of all, I grew
Twice ten long weary weary years to this,
That numbers forty cubits from the soil.
I think that I have borne as much as this--
Or else I dream--and for so long a time,
If I may measure time by yon slow light,
And this high dial, which my sorrow crowns--
So much--even so. And yet I know not well,
For that the evil ones comes here, and say,
"Fall down, O Simeon: thou hast suffer'd long
For ages and for ages!" then they prate
Of penances I cannot have gone thro',
Perplexing me with lies; and oft I fall,
Maybe for months, in such blind lethargies,
That Heaven, and Earth, and Time are choked. But yet
Bethink thee, Lord, while thou and all the saints
Enjoy themselves in Heaven, and men on earth
House in the shade of comfortable roofs,
Sit with their wives by fires, eat wholesome food,
And wear warm clothes, and even beasts have stalls,
I, 'tween the spring and downfall of the light,
Bow down one thousand and two hundred times,
To Christ, the Virgin Mother, and the Saints;
Or in the night, after a little sleep,
I wake: the chill stars sparkle; I am wet
With drenching dews, or stiff with crackling frost.
I wear an undress'd goatskin on my back;
A grazing iron collar grinds my neck;
And in my weak, lean arms I lift the cross,
And strive and wrestle with thee till I die:
O mercy, mercy! wash away my sin.
O Lord, thou knowest what a man I am;
A sinful man, conceived and born in sin:
'Tis their own doing; this is none of mine;
Lay it not to me. Am I to blame for this,
That here come those that worship me? Ha! ha!
They think that I am somewhat. What am I?
The silly people take me for a saint,
And bring me offerings of fruit and flowers:
And I, in truth (thou wilt bear witness here)
Have all in all endured as much, and more
Than many just and holy men, whose names
Are register'd and calendar'd for saints.
Good people, you do ill to kneel to me.
What is it I can have done to merit this?
I am a sinner viler than you all.
It may be I have wrought some miracles, [4]
And cured some halt and maim'd; but what of that?
It may be, no one, even among the saints,
May match his pains with mine; but what of that?
Yet do not rise: for you may look on me,
And in your looking you may kneel to God.
Speak! is there any of you halt or maim'd?
I think you know I have some power with Heaven
From my long penance: let him speak his wish.
Yes, I can heal. Power goes forth from me.
They say that they are heal'd. Ah, hark! they shout
"St. Simeon Stylites". Why, if so,
God reaps a harvest in me. O my soul,
God reaps a harvest in thee. If this be,
Can I work miracles and not be saved?
This is not told of any. They were saints.
It cannot be but that I shall be saved;
Yea, crown'd a saint. They shout, "Behold a saint!"
And lower voices saint me from above.
Courage, St. Simeon! This dull chrysalis
Cracks into shining wings, and hope ere death
Spreads more and more and more, that God hath now
Sponged and made blank of crimeful record all
My mortal archives. O my sons, my sons,
I, Simeon of the pillar, by surname Stylites, among men;
I, Simeon, The watcher on the column till the end;
I, Simeon, whose brain the sunshine bakes;
I, whose bald brows in silent hours become
Unnaturally hoar with rime, do now
From my high nest of penance here proclaim
That Pontius and Iscariot by my side
Show'd like fair seraphs. On the coals I lay,
A vessel full of sin: all hell beneath
Made me boil over. Devils pluck'd my sleeve; [5]
Abaddon and Asmodeus caught at me.
I smote them with the cross; they swarm'd again.
In bed like monstrous apes they crush'd my chest:
They flapp'd my light out as I read: I saw
Their faces grow between me and my book:
With colt-like whinny and with hoggish whine
They burst my prayer. Yet this way was left,
And by this way I'scaped them. Mortify
Your flesh, like me, with scourges and with thorns;
Smite, shrink not, spare not. If it may be, fast
Whole Lents, and pray. I hardly, with slow steps,
With slow, faint steps, and much exceeding pain,
Have scrambled past those pits of fire, that still
Sing in mine ears. But yield not me the praise:
God only thro' his bounty hath thought fit,
Among the powers and princes of this world,
To make me an example to mankind,
Which few can reach to. Yet I do not say
But that a time may come--yea, even now,
Now, now, his footsteps smite the threshold stairs
Of life--I say, that time is at the doors
When you may worship me without reproach;
For I will leave my relics in your land,
And you may carve a shrine about my dust,
And burn a fragrant lamp before my bones,
When I am gather'd to the glorious saints.
While I spake then, a sting of shrewdest pain
Ran shrivelling thro' me, and a cloudlike change,
In passing, with a grosser film made thick
These heavy, horny eyes. The end! the end!
Surely the end! What's here? a shape, a shade,
A flash of light. Is that the angel there
That holds a crown? Come, blessed brother, come,
I know thy glittering face. I waited long;
My brows are ready. What! deny it now?
Nay, draw, draw, draw nigh. So I clutch it. Christ!
'Tis gone: 'tis here again; the crown! the crown! [6]
So now 'tis fitted on and grows to me,
And from it melt the dews of Paradise,
Sweet! sweet! spikenard, and balm, and frankincense.
Ah! let me not be fool'd, sweet saints: I trust
That I am whole, and clean, and meet for Heaven.
Speak, if there be a priest, a man of God,
Among you there, and let him presently
Approach, and lean a ladder on the shaft,
And climbing up into my airy home,
Deliver me the blessed sacrament;
For by the warning of the Holy Ghost,
I prophesy that I shall die to-night,
A quarter before twelve. [7] But thou, O Lord,
Aid all this foolish people; let them take
Example, pattern: lead them to thy light.
[Footnote 1: For this incident 'cf. Acta', v., 317:
"Petit aliquando ab aliquo ad se invisente funem, acceptumque circa corpus convolvit constringitque tarn arete ut, exesâ carne, quæ istuc mollis admodum ac tenera est, nudæ costæ exstarent".
The same is told also of the younger Stylites, where the incident of concealing the torture is added, 'Acta', i., 265.]
[Footnote 2: For this retirement to a mountain see 'Acta', i., 270, and it is referred to in the other lives:
"Post hæc egressus occulte perrexit in montem non longe a monasterio, ibique sibi clausulam de siccâ petrâ fecit, et stetit sic annos tres."]
[Footnote 3: In accurate accordance with the third life, 'Acta', i., 277:
"Primum quidem columna ad sex erecta cubitos est, deinde ad duodecim, post ad vigenti extensa est";
but for the thirty-six cubits which is assigned as the height of the last column Tennyson's authority, drawing on another account ('Id'., 271), substitutes forty:
"Fecerunt illi columnam habentem cubitos quadraginta".]
[Footnote 4: For the miracles wrought by him see all the lives.]
[Footnote 5: These details seem taken from the well-known stories about Luther and Bunyan. All that the 'Acta' say about St. Simeon is that he was pestered by devils.]
[Footnote 6: The 'Acta' say nothing about the crown, but dwell on the supernatural fragrance which exhaled from the saint.]
[Footnote 7: Tennyson has given a very poor substitute for the beautifully pathetic account given of the death of St. Simeon in 'Acta', i., 168, and again in the ninth chapter of the second Life, 'Ibid'., 273. But this is to be explained perhaps by the moral purpose of the poem.]
