A subject overwrought, like the sermon of a
Calvin, must verge on the satanic. The poem of
“Sister Helen” escapes this only through the pangs
of hate being mollified in every verse by the despairing,
heart-broken utterance of a refrain addressed
to the Virgin Mother, and poured out in the agony
of a once-religious, still-believing, soul, wailing with
a bitterness which nothing can soften—an eternal
hatred of her seducer; nothing short of seeing him
in the flames of hell,—willing herself to suffer in
them a torment that is only less than her thirst
of revenue.
That she should breathe forth all this in a
subdued voice of sorrow in the ear of the blessed
Mary Mother is almost too touching for perusal;
yet the pathos of the situation is even further
enhanced by the tender and sad replies she gives
to her innocent little brother, from whom she
struggles to conceal, almost vainly, the anguish of
her heart and its wicked aim. The refrains, for
the most part full, are not always equal to the
occasion, but might easily have been so rendered
by so feeling a writer.
Of course the time must come when the poetry
of England is melted down and merged into an
anthology, and it is probable that the “Sister Helen,”
as being the strongest emotional poem, as yet, in
the language, will be among the most lasting works,
and escape dissolution for a long time to come;
perhaps will survive all change. And here a very
remarkable fact thrusts itself before the mind; a
representative one, which is that if Rossetti had
written not another line besides this poem, his genius
would have appeared all the greater: for lesser
work is a fatal commentary on greater.
All suffer from this comparison with themselves
except Gray, who wrote so little; and even he, after
his Elegy, is scarcely saved the self-reproach.
Rossetti, in his writings, did not exercise much
imagination, and none of the philosophic kind, by
means of which the idea ascends, metaphor above
metaphor, as high as the perspective of thought can
attain. He did not look to musical sonance in his
metre and his choice of words. He did not realize
that love, to be acceptable in verse to the higher
orders of mind, must be spiritual and chaste, that
when carnal we possess it only in common with the
beasts of the field. He could not have put on
canvas the scenery of his fifth sonnet for exhibition,
except in contravention of Lord Campbell’s Act.
From what I have read of his sonnets in his first
edition, the vehicle of expression which such composition
should formulate was beyond his reach.
Above all other forms it demands the philosophic
imagination, which scarcely any poet has enjoyed,
because its possessors revert to science, as being
within their compass, and as subject to higher
reward. In Rossetti’s sonnet the expression of the
thought rises no higher than its first statement, it
has no grand climacteric. His imagination, in fact,
was introspective rather than retrospective, and was
scarcely prospective at all.
Rossetti was a charming companion: he spoke
well and freely on all subjects, literary and artistic,
and with much knowledge of contemporary writings.
His studio was a favourite resort of men whose
names were on title pages, to whom he showed the
work he had in progress; and, to his intimate friends,
he would sometimes read a poem in a rich and
sonorous voice. He had a very just mind. When
an author was discussed, whatever might be said
against him, he would insist on his merits being
remembered. From rivalship and its jealousies he
was absolutely free, and his hospitality was without
limit. Above all, he was ready at all times to serve
a friend, and to exert his influence to that end.
Interesting as Rossetti must always be to a large
section of society, I have not considered myself
justified in entering at any length on his domestic
life, intimately as at one time it was mixed up with
my own. Still, without impropriety, I may rest
lightly on it, in such manner as to contribute some
touches towards the picture of a man whose influence
on art will last longer than the canvas on which his
ideas are so brilliantly spread. I, therefore, propose
to myself the task of narrating my visits to him, in
Perthshire, and afterwards at Kelmscott, and at
Bognor.
One morning I visited him at Cheyne Walk,
when I saw that the restlessness of the past night
had pursued him into daytime. Qualifying his
request with an expression of great regard, he asked
me not to stay. His medical attendants were consulting
in another room: I joined them there, and
told them that my house at Roehampton was open
to Rossetti if they decided that he needed change.
On the same evening, in company with his
brother and Mr. Madox Brown, he came to
Roehampton, and I remember well his saying, as
he sat in my quiet drawing-room, that he was
enjoying what he had so long ceased to feel, and
that was peace. He sat up late in conversation
with his brother on various family matters, but his
night was the most troubled one that he had hitherto
passed through. The next day he was visited by
his mother, and other members of his family, his
medical attendant from town preceding them. Miss
Rossetti, the gifted author of “The Shadow of
Dante,” and her brother, took a walk with me in
Richmond Park, while the mother remained with
her son.
Mr. Madox Brown joined us later, and the party
left the invalid in the evening.
But when the mind is restless, a sick man
imagines there is relief to be found in change, and,
after a few days, Rossetti returned to town, not to
his own house, but to that of Madox Brown, where
I saw him again, his restlessness unrelieved.
He had a good friend in Mr. Graham, the
member for Glasgow. That gentleman rented two
sporting seats in Perthshire, and he placed them at
the disposal of Rossetti, who then went to Scotland.
But he soon moved from one of these mansions to
Stobbs Castle, the other, a place belonging to Lady
Willouby de Eresby. While there he felt the want
of my assistance, and urgently requested that I
would leave without delay. I had a garden-party
for the next day from London; this I left to my
housekeeper and sons to conduct, and went by the
next train.
W. B. Scott and Madox Brown, two faithful
friends, were at the castle, ministering to their
brother artist. My son George, who had finished
his terms at Oxford, and had no present engagement,
was there too, and I found all so far satisfactory
that Rossetti was contented, enjoying the
quiet which was not to be found in his own home.
Stobbs Hall is an ancient inheritance of the
Drummonds, a solitude on the heights over-reaching
the Tay, with a parapet wall and a Dutch garden,
in which is a sundial erected on masonry, which
might have been there before the invention of
clocks. Below and to the right is a fine reach of
the river; on the opposite side is a vast plain of
cornfield, planted at intervals, and stretching on
northwards to the forest and Grampian hills. On
that side, the lords Mansfield enjoy the salmon
fisheries; their lands extending eastward to Scone
Palace. The two families take it by turns to fish
both sides of the river.
Any one wishing to read an account of this
scenery in poetic form, can turn to a sonnet called
“Rest,” in “New Symbols.”
Scott and Brown soon left the castle, a place
with not too much furnished accommodation. Over
the mantelpiece, in the one sitting-room, hung a
framed set of verses by Drummond, the Scotch
poet.
It was not very long before Rossetti’s occupation
of the place came to a close. He was fast improving
in health; he took long walks, but without
any enjoyment of the scenery which was made
romantic by water-fall and splashed leaves, ever
fresh, the elastic boughs bending under the weight
of a torrent. So far recovered, he desired to remain
in Perthshire, but still craved for the utmost solitude.
In search of such a home I took the train to Perth,
visited St. Andrews, returned to Perth, and proceeded
to Crieff, where I remained for some days
and scoured the environs. At last it occurred to
me to call on the leading practitioner, Dr. Gairdner,
and was directed by him to a farm-house two or
three miles from the town, on the river side. The
house had every requirement, and was kept by a
lady-farmer, whose manner and person had every
agreeable trait. On this, I telegraphed to Rossetti
and my son to follow me at once to Crieff, and at
the right time I met them at the station there, and
we drove to the new home.
It was a pleasant spot, with a walk into Crieff
by the river-side, down to a wilderness of waters.
There was plenty of mountain scenery in view, with
pine forest to the summits, and lake not remote;
not to forget the sky-threading mists and the
abundance of water from above. Descriptive of
this aspect is my sonnet called “Unrest.” Rossetti
rapidly improved in health, stumping his way over
long areas of path and road, with his thick stick in
hand, but holding no intercourse with Nature. It
was not long before he summoned his assistant,
with the implements of his art, and he was once
more happy.
At this time he made a chalk drawing of me,
and one of my son.
The first of these was reproduced in a volume
of sonnets, called by me, “The New Day.”
The portrait of George was somewhat peculiar;
the neck was outstretched, and the expression was
heightened by the face being free of hair, which
elicited from Latham one of his quaint remarks.
He gazed at it for some time with his head like
a connoisseur’s on one side; then said, “Yes, a
South American slave-driver, who had returned to
Portugal to be shaved.”
There are very few male portraits by Rossetti:
the only three others are one of Mr. Stillman; one
of a youth, in his large picture of Dante’s Dream;
and one of Theodore Watts, which is a very good
one, but more vivacious than the original, and
there is more of the military air than was ever
assumed by that peaceful citizen, which makes him
look at least a lieutenant-colonel.
As a domestic trait, I would mention that
Rossetti was very hearty at all times over his
meals. He would wear out three knives and forks
to my one; and to me, whose breakfast seldom
exceeded one cup of coffee, his plate of bacon,
surrounded by eggs that overlapped the rim, was
amazing. I may further truly say that he, not
being a believer in physiological things, did not
regard tea as possessing the attributes of Totality.
While at this farm residence, he read with great
eagerness and delight the newly published life of
Edmund Kean.
By a careful treatment of him I procured him
good nights, effecting this object chiefly by remaining
at his bedside and draining my memory of
every anecdote I had ever heard, and relating to
him every amusing incident that I had encountered
during life in my intercourse with the world.
Finding him so well recovered, I left him in the
hands of his assistant and of my son, after an
absence of many weeks.
Towards the end of the year—it was 1872—Rossetti,
with my son, left Scotland and proceeded
to Kelmscott Manorhouse, which he tenanted with
his friend Mr. Morris. I visited him there, and
found him in good health and spirits, after a journey
spent, as I heard, with great joviality, the travellers
taking a third-class carriage to themselves. He was
already settled down to his art in a pleasant studio,
loving to talk while he painted; at other times deep
in the works of Dumas. In the afternoon he took
vigorous walks in the meadows which one after
another stretch out in front of the mansion.
The next day we went over the house and
grounds. It is an old place, with its seven or
rather twelve gables—such a sample of antiquity
as you don’t meet with often. The windows are
square casements with stone mullions, and the walls
very thick. The garden has its yew-tree hedges,
cut into fantastic shapes. The river is flooded
like a lake, so that old Thames don’t know itself
again. It is a most primitive village that surrounds
the place—a few scattered free-stone habitations,
some ivy-covered. There are no neighbours to
interfere with the liberty of the subject.
George was a good boatman, and he often rowed
me up the river, which half-way was spanned by
an elegant arched bridge, and bounded further on
by a weir. The scenery was very satisfying: on
the left bank one overlooked a gay meadow, the
cattle crowding to the bank to stare us out of sight;
on the other side were lofty trees, while in midstream
we had often to cut our way through islands
of weed. The memory of this and of a later visit
to the place was embodied in a poem, which I
called “Reminiscence,” in which the scenery lives.
I found opportunities of talking with Rossetti
about Mr. Theodore Watts, whose acquaintance I
wished him to make more fully, for I had already
introduced them to each other. While leading a
country life Watts had not only acquired a knowledge
of books, but had written poetry, and had
thought out many literary problems for himself.
The Manorhouse was adequately furnished,
but some exquisite chalk drawings, one especially,
of female heads, gave it a charm. I thought that
no one ever could paint a woman’s eyes like Rossetti.
There was a softness, a delicacy, a life, a
soul in them, never seen elsewhere but in living
beings, and that how rarely!
Rossetti was unwilling to separate himself from
George, and I consented to his retaining him as his
secretary, for such a one was very necessary to him
at that time.
I saw Mr. Morris at Kelmscott, and afterwards
in society; he was inscrutable then, and has since
been inscrutability in his career. W. B. Scott was
also there, and when I left it was with him. Like
his countrymen, he practised an exemplary carefulness
in money matters, a habit which makes every
Scotchman well off. In the train he counted his
money with the dry remark, “One does not save
anything by making a visit to a friend!”
A letter from my son George, dated December
19, 1875, written at Aldwich Lodge, Bognor,
begins by a rejoicing to hear that I had accepted
Rossetti’s invitation to spend Christmas with him
at the seaside.
I sometimes look at the bottom of an antique
silver snuff-box, a reservoir more than two hundred
years old, the lid of elephant’s tooth, and I read—
“T. G. H.,
from
D. G. R.,
1875.”
A memorial to me of better things than an old-fashioned
Christmas gathering.
And I use this snuff-reservoir every day; it
affords me nasal recreation.
Snuff-taking did not go out with the pigtails,
but it is on the wane; it has given way to smoking:
and diminished is the number of gifts, such graceful
objects for monarchs to present to men like myself—if
they did but know me!—of platinum or golden
boxes set in diamonds. And would you know the
reason of my persistence in taking snuff? It not
only wakes up that torpor so prevalent between
the nose and the brain, making the wings of an
idea uncurl like those of a new-born butterfly,
but while others sneeze, and run at the eyes and
nose, my schneiderian membrane is impervious to
weather, or, to be explicit, I never take cold in my
head.
Bath was my tarrying-place when Rossetti’s
invitation came to me, and I went to Bognor. The
great poet-painter occupied a commodious villa and
grounds in a lane, west of the town, and near to the
roughest bit of beach on the Sussex coast.
Rossetti had packed his house. Mrs. Rossetti,
the mother; Miss Maria and Miss Christina, the
sisters; Misses Polidori, who were the aunts; and
Watts, who was the friend, were there, together
with my sons, Edmund and Henry, for the festive
week. The villa had good rooms; upstairs was a
gallery with bedchambers on both sides, and ending
in a large apartment which became a studio. There
Rossetti worked, and liked to be read to while he
improved his canvas, till the afternoon, when he
took a violent walk over the boulders by the sea,
towards Selsey Bay, among the ruined wooden
groynes which had become seaweed gardens,
hideous of aspect, as if invented and laid out by
fish made man.
I walked with Rossetti daily over this penal
shore, reflecting on absent pleasure, he unconscious
of present pain. He talked but little while his feet
crunched the boulders, and took no heed of the
aspects of the scene, but seemed to be stamping
health out of what was left unused for the six days’
creation.
Mrs. Rossetti was a sweet lady, and Christina,
who still lives, a higher poet than her brother, is of
the noblest brand. The family, one and all, are
almost purely Italian. The father, a poet, was a
Neapolitan; the mother was a Tuscan, with some
Scotch blood. Rossetti may be regarded, not as
English, but as one of those powerful leavens with
which the genius of one country sometimes ferments
that of another, to give it a new vitality.
Watts, who was now on terms of brotherly
intimacy with him, bore him through any passing
difficulties that needed only better guidance than
his own.
That holiday was made cheerful, less perhaps by
the host himself than by his guests. In truth, I saw
regretfully that Rossetti was much unstrung; as
so many do, even when in health, he got tired of
his visitors, and ere long the party dispersed.