170 The Lotos-Eaters

Published 1832. The important revisions in 1842 were the addition of ll. 114–32 and the rewriting of ll. 150–73. Written 1830–32 (Mem. i 86); T. dated ll. 8, 11, 42, as 1830. T.’s letter to W. H. Brookfield, mid-March 1832 (Letters i 70–1) has many filaments to the poem: ‘Hollo! Brooks, Brooks! for shame! what are you about – musing, and brooding and dreaming and opiumeating yourself out of this life into the next? … I think you mentioned a renewal of your acquaintance with the fishermen, which may possibly occur if you will leave off the aforesaid drug, if you do not I can foresee nothing for you but stupefaction, aneurism, confusion, horror and death’ (cp. ll. 105, 110, 128: ‘Eating the Lotos day by day / … To muse and brood and live again in memory / … There is confusion worse than death’). The main source was Odyssey ix 82–104: ‘We set foot on the land of the Lotus-eaters, who eat a flowery food. … So they went straightway and mingled with the Lotus-eaters, and the Lotus-eaters did not plan death for my comrades, but gave them of the lotus to taste. And whosoever of them ate of the honey-sweet fruit of the lotus, had no longer any wish to bring back word or to return, but there they were fain to abide among the Lotus-eaters, feeding on the lotus, and forgetful of their homeward way. These men, therefore, I brought back perforce to the ships, weeping.’ T. jotted in H.Nbk 4 (1831–2): ‘Alzerbe’s isle / Where dwelt the folk that lotos eat erewhile.’ From Fairfax’s translation of Tasso, Jerusalem Delivered XV xviii. T. was influenced by Washington Irving’s Columbus (1828), the source of Anacaona (I 308); Irving describes the idyllic life on Haiti. For T.’s interest in Islands of the Blest, see Paden (pp. 141–3). Cp. The Hesperides (I 461), which mentions the lotusflute’; and The Sea-Fairies (I 278). Spenser was the major influence on the style and tone; note in particular the cave of Morpheus, Faerie Queene I i st. 41; the blandishments of Despair, I ix st. 40; the ‘Idle lake’ and its enervating island, II vi st. 10; and the mermaids and the Bower of Bliss, II xii st. 32. There are a few touches from James Thomson’s Spenserian imitation, The Castle of Indolence I v–vi: ‘And up the hills, on either side, a wood / Of blackening pines, ay waving to and fro, / Sent forth a sleepy horror through the blood; / And where this valley winded out, below, / The murmuring main was heard, and scarcely heard, to flow. // A pleasing land of drowsyhed it was: / Of dreams that wave before the half-shut eye; / And of gay castles in the clouds that pass, / For ever flushing round a summer sky: / There eke the soft delights, that witchingly / Instil a wanton sweetness through the breast, / And the calm pleasures always hovered nigh; / But whate’er smacked of noyance, or unrest, / Was far far off expelled from this delicious nest.’ The earliest MS is H.Nbk 3, which breaks off at l. 98 (all variants are below, A). H.Lpr 131 (B) is likewise not in T.’s hand. There is a copy in Arthur Hallam’s hand at the University of Hawaii. E. Griffiths suggests as one source Horace, Odes II xi, quoted by T. in his earliest surviving letter (Oct. 1821?; Letters i 2): ‘Of which this is a free Translation “Why lie we not at random, under the shade of the plantain (sub platano) having our hoary head perfumed with rose-water”’ (Cambridge Review, 28 Jan. 1983).

‘Courage!’ he said, and pointed toward the land,

‘This mounting wave will roll us shoreward soon.’

In the afternoon they came unto a land

In which it seemèd always afternoon.

All round the coast the languid air did swoon,

Breathing like one that hath a weary dream.

Full-faced above the valley stood the moon;

And like a downward smoke, the slender stream

Along the cliff to fall and pause and fall did seem.

A land of streams! some, like a downward smoke,

Slow-dropping veils of thinnest lawn, did go;

And some through wavering lights and shadows broke,

Rolling a slumbrous sheet of foam below.

They saw the gleaming river seaward flow

From the inner land: far off, three mountain-tops,

Three silent pinnacles of agèd snow,

Stood sunset-flushed: and, dewed with showery drops,

Up-clomb the shadowy pine above the woven copse.

The charmèd sunset lingered low adown

In the red West: through mountain clefts the dale

Was seen far inland, and the yellow down

Bordered with palm, and many a winding vale

And meadow, set with slender galingale;

A land where all things always seemed the same!

And round about the keel with faces pale,

Dark faces pale against that rosy flame,

The mild-eyed melancholy Lotos-eaters came.

Branches they bore of that enchanted stem,

Laden with flower and fruit, whereof they gave

To each, but whoso did receive of them,

And taste, to him the gushing of the wave

Far far away did seem to mourn and rave

On alien shores; and if his fellow spake,

His voice was thin, as voices from the grave;

And deep-asleep he seemed, yet all awake,

And music in his ears his beating heart did make.

They sat them down upon the yellow sand,

Between the sun and moon upon the shore;

And sweet it was to dream of Fatherland,

Of child, and wife, and slave; but evermore

Most weary seemed the sea, weary the oar,

Weary the wandering fields of barren foam.

Then some one said, ‘We will return no more;’

And all at once they sang, ‘Our island home

Is far beyond the wave; we will no longer roam.’

CHORIC SONG

I

There is sweet music here that softer falls

Than petals from blown roses on the grass,

Or night-dews on still waters between walls

Of shadowy granite, in a gleaming pass;

Music that gentlier on the spirit lies,

Than tired eyelids upon tired eyes;

Music that brings sweet sleep down from the blissful skies.

Here are cool mosses deep,

And through the moss the ivies creep,

And in the stream the long-leaved flowers weep,

And from the craggy ledge the poppy hangs in sleep.

II

Why are we weighed upon with heaviness,

And utterly consumed with sharp distress,

While all things else have rest from weariness?

All things have rest: why should we toil alone,

We only toil, who are the first of things,

And make perpetual moan,

Still from one sorrow to another thrown:

Nor ever fold our wings,

And cease from wanderings,

Nor steep our brows in slumber’s holy balm;

Nor harken what the inner spirit sings,

‘There is no joy but calm!’

Why should we only toil, the roof and crown of things?

III

Lo! in the middle of the wood,

The folded leaf is wooed from out the bud

With winds upon the branch, and there

Grows green and broad, and takes no care,

Sun-steeped at noon, and in the moon

Nightly dew-fed; and turning yellow

Falls, and floats adown the air.

Lo! sweetened with the summer light,

The full-juiced apple, waxing over-mellow,

Drops in a silent autumn night.

All its allotted length of days,

The flower ripens in its place,

Ripens and fades, and falls, and hath no toil,

Fast-rooted in the fruitful soil.

IV

Hateful is the dark-blue sky,

Vaulted o’er the dark-blue sea.

Death is the end of life; ah, why

Should life all labour be?

Let us alone. Time driveth onward fast,

And in a little while our lips are dumb.

Let us alone. What is it that will last?

All things are taken from us, and become

Portions and parcels of the dreadful Past.

Let us alone. What pleasure can we have

To war with evil? Is there any peace

In ever climbing up the climbing wave?

All things have rest, and ripen toward the grave

In silence; ripen, fall and cease:

Give us long rest or death, dark death, or dreamful ease.

V

How sweet it were, hearing the downward stream,

With half-shut eyes ever to seem

Falling asleep in a half-dream!

To dream and dream, like yonder amber light,

Which will not leave the myrrh-bush on the height;

To hear each other’s whispered speech;

Eating the Lotos day by day,

To watch the crisping ripples on the beach,

And tender curving lines of creamy spray;

To lend our hearts and spirits wholly

To the influence of mild-minded melancholy;

To muse and brood and live again in memory,

With those old faces of our infancy

Heaped over with a mound of grass,

Two handfuls of white dust, shut in an urn of brass!

VI

Dear is the memory of our wedded lives,

And dear the last embraces of our wives

And their warm tears: but all hath suffered change:

For surely now our household hearths are cold:

Our sons inherit us: our looks are strange:

And we should come like ghosts to trouble joy.

Or else the island princes over-bold

Have eat our substance, and the minstrel sings

Before them of the ten years’ war in Troy,

And our great deeds, as half-forgotten things.

Is there confusion in the little isle?

Let what is broken so remain.

The Gods are hard to reconcile:

’Tis hard to settle order once again.

There is confusion worse than death,

Trouble on trouble, pain on pain,

Long labour unto agèd breath,

Sore task to hearts worn out by many wars

And eyes grown dim with gazing on the pilot-stars.

VII

But, propt on beds of amaranth and moly,

How sweet (while warm airs lull us, blowing lowly)

With half-dropt eyelid still,

Beneath a heaven dark and holy,

To watch the long bright river drawing slowly

His waters from the purple hill –

To hear the dewy echoes calling

From cave to cave through the thick-twinèd vine –

To watch the emerald-coloured water falling

Through many a woven acanthus-wreath divine!

Only to hear and see the far-off sparkling brine,

Only to hear were sweet, stretched out beneath the pine.

VIII

The Lotos blooms below the barren peak:

The Lotos blows by every winding creek:

All day the wind breathes low with mellower tone:

Through every hollow cave and alley lone

Round and round the spicy downs the yellow
Lotos-dust is blown.

We have had enough of action, and of motion we,

Rolled to starboard, rolled to larboard, when the surge was seething free,

Where the wallowing monster spouted his foam-fountains in the sea.

Let us swear an oath, and keep it with an equal mind,

In the hollow Lotos-land to live and lie reclined

On the hills like Gods together, careless of mankind.

For they lie beside their nectar, and the bolts are hurled

Far below them in the valleys, and the clouds are lightly curled

Round their golden houses, girdled with the gleaming world:

Where they smile in secret, looking over wasted lands,

Blight and famine, plague and earthquake, roaring deeps and fiery sands,

Clanging fights, and flaming towns, and sinking ships, and praying hands.

But they smile, they find a music centred in a doleful song

Steaming up, a lamentation and an ancient tale of wrong,

Like a tale of little meaning though the words are strong;

Chanted from an ill-used race of men that cleave the soil,

Sow the seed, and reap the harvest with enduring toil,

Storing yearly little dues of wheat, and wine and oil;

Till they perish and they suffer – some, ‘tis whispered – down in hell

Suffer endless anguish, others in Elysian valleys dwell,

Resting weary limbs at last on beds of asphodel.

Surely, surely, slumber is more sweet than toil, the shore

Than labour in the deep mid-ocean, wind and wave and oar;

Oh rest ye, brother mariners, we will not wander more.

 

¶170. 1. Turner (p. 67): ‘the note of heroism sounds in the first word, “‘Courage!’”, which refers to the fact that the “mariners” have been driven about in a storm for the last nine days.’

3. T. says: ‘“The strand” was, I think, my first reading, but the no rhyme of “land” and “land” was lazier.’

4. seemèd always] always seemèd A.

7] 1842 and A; Above the valley burned the golden moon; 1832. J. M. Kemble wrote to W. B. Donne, 22 June 1833: ‘Some d-friend or other told him that the full moon was never seen while the sunset lingered in the West; which is a lie, for I have seen it in Spain, and in the Lotos Land too!’ W. B. Donne, ed. C. B. Johnson (1905) p. 16. Cp. The Hesperides 99: ‘the fullfaced sunset’.

8. T. says: ‘Taken from the waterfall at Gavarnie, in the Pyrenees, when I was 20 or 21‘, as was l. 11.

10–18] Not A.

11. ‘When I printed this, a critic informed me that “lawn” was the material used in theatres to imitate a waterfall, and graciously added, “Mr T. should not go to the boards of a theatre but to Nature herself for his suggestions.” And I had gone to Nature herself (Mem. i 259). Cp. Herrick, Upon Julia’s Washing Herself in the River 5–6: ‘As in the River Julia did, / Halfe with a Lawne of water hid.’

14. river] 1842; river’s 1832.

16] 1842; Three thundercloven thrones of oldest snow, 1832.

20. red] flushed A.

23] Thickset with lavender and galingale – A.

24. Lucretius iii 945: eadem sunt omnia semper. See l. 155n. Turner (pp. 67–8) notes that in Lucretius the phrase is ‘used by Nature in a prolonged attempt (iii 931–62) to make death seem acceptable, and life seem not worth living’.

26] Pale in the steady sunset’s rosy flame, A.

34. His] The A. Cp. the ghosts, Aeneid vi 492: pars tollere vocem exiguam.

40. but] that A.

41–2. Cp. Home 3–4: ‘the weary sea, / Leagues of sounding foam’.

42. T. comments: ‘Made by me on a voyage from Bordeaux to Dublin (1830)’.

44. sang] sung A.

48. still] smooth A.

51. tired eyelids] heavy eyelids A. T. comments: ‘tiërd’; but also adds ‘making the word neither monosyllabic nor disyllabic, but a dreamy child of the two’.

52. down from the] from the dark A.

53–4] Here are cool springs and mosses deep, A.

53–6. The effect of the rhymes, and the subject-matter, suggest the end of Marvel’s Thyrsis and Dorinda, which – after 44 lines of couplets – concludes: ‘Then let us give Carillo charge o’ th Sheep, / And thou and I’le pick poppies and them steep / In wine, and drink on’t even till we weep, / So shall we smoothly pass away in sleep.’

57. Cp. The Lover’s Tale, MS (Appendix A, III 588), draft iii 146–7: ‘weighed upon / With this lovelethargy’.

60–9. Cp. Faerie Queene II vi st. 17, on the relaxing island: ‘Why then dost thou, O man, that of them all / Art Lord, and eke of nature Soveraine, / Wilfully make thy selfe a wretched thrall, / And wast thy joyous houres in needlesse paine, / Seeking for daunger and adventures vaine?’

60–1. we … We [rom.] 1842; [ital.] 1832.

62. moan] moaning A (slip?).

65] Not A; [wings] Of thought from wanderings, B.

70. Lo!] For A.

70–83. For Nature’s effortlessness, cp. Faerie Queene (again the island, II vi st. 15): ‘Behold, O man, that toilesome paines doest take, / The flowres, the fields, and all that pleasant growes … / They spring, they bud, they blossome fresh and faire … / Yet no man for them taketh paines or care, / Yet no man to them can his carefull paines compare.’

72. winds … branch] dalliance of sweet winds A.

74–5] Nightly dew-steeped; and turning yellow A.

75–8. The rhyme yellow / mellow and the account of the apple recall The Hesperides 99–101 (I 466).

76. adown] upon A.

80. Cp.Psalm xxi 4: ‘He asked life of thee, and thou gavest it him, even length of days for ever and ever.’

82. E. Griffiths compares this passage with Matthew vi 28: ‘consider the lilies of the field, how they grow; they toil not, neither do they spin’.

84–5. Cp. Aeneid iv 451: taedet caeli convexa tueri.

85. Vaulted o’er] Wearisome A.

86. A commonplace, but note the context of Spenser’s ‘Death is the end of woes’: Despair’s easeful seductions, I ix st. 47; ll. 96–8 below are tinged with Spenser’s stanza 40: ‘Sleepe after toyle, port after stormie seas, / Ease after warre, death after life does greatly please.’

88–92] Not A.

94] In warring with mischances, or what peace A.

97. fall and cease: J. McCue notes King Lear V iii 266.

98] A breaks off here.

100–1. Cp. Thomson (headnote).

108–9. Adapted from ‘give up wholly / Thy spirit to mild-minded Melancholy’, Sonnet [Check every outflash], as is perhaps ‘dark and holy’, l. 136.

111. those] 1842; the 1832.

114–32] 1842; not 1832.

116–19. A preoccupation of T.’s; cp. The Coach of Death 65–8 (I 88), In Memoriam xc (p. 433), and the story of Enoch Ardern.

120–1. Cp. Odyssey xi 115, the wooing of Penelope in Ithaca: ‘proud men that devour thy livelihood’.

131. by] 1865; with 1842–64.

132. Cp. The Lover’s Tale i 480–2, 1832 text: ‘whose eyes are dim / With gazing on the light’.

133. But, propt on] 1842; Or, propt on lavish 1832. amaranth: ‘the immortal flower of legend’ (T.), as in Milton’s Heaven, Paradise Lost iii 352; moly: ‘the sacred herb of mystical power, used as a charm by Odysseus against Circe’ mentioned in Comus 636.

134] Not B.

135. half-dropt eyelid] 1872; half-dropt eyelids 1832–70; half-shut eyelids B.

137. long bright] lacuna in B and Hawaii MS.

141. watch] 1851; hear 1832–50.

145. barren] 1851; flowery 1832–50.

149. yellow] Not B.

150–73] We have had enough of motion,

Weariness and wild alarm,

Tossing on the tossing ocean,

Where the tuskèd seahorse walloweth

In a stripe of grassgreen calm,

At noon tide beneath the lee;

And the monstrous narwhale swalloweth

His foamfountains in the sea.

Long enough the winedark wave our weary bark did carry.

This is lovelier and sweeter,

Men of Ithaca, this is meeter,

In the hollow rosy vale to tarry,

Like a dreamy Lotos-eater, a delirious Lotos-eater!

We will eat the Lotos, sweet

As the yellow honeycomb,

In the valley some, and some

On the ancient heights divine;

And no more roam,

On the loud hoar foam,

To the melancholy home

At the limit of the brine,

The little isle of Ithaca, beneath the day’s decline.

We’ll lift no more the shattered oar,

No more unfurl the straining sail;

With the blissful Lotoseaters pale

We will abide in the golden vale

Of the Lotos-land, till the Lotos fail;

We will not wander more.

Hark! how sweet the horned ewes bleat

On the solitary steeps,

And the merry lizard leaps,

And the foamwhite waters pour;

And the dark pine weeps,

And the lithe vine creeps,

And the heavy melon sleeps

On the level of the shore:

Oh! islanders of Ithaca, we will not wander more.

Surely, surely slumber is more sweet than toil, the shore

Than labour in the ocean, and rowing with the oar.

Oh! islanders of Ithaca, we will return no more. 1832

B has the following variants: l. [4] tuskèd] broadmaned. l. [9] winedark] weary. l. [12] rosy] golden. l. [16] Where the briar never clomb. l. [21] limit] limits. l. [28] We will return no more. l. [31] merry] rapid. l. [37] not wander] return no. l. [39] and] or. J. M. Kemble wrote (see l. 7n): ‘Then again what think you of the “tusked sea-horse” for the “broad-maned seahorse”? Here also some stumpf told him that the Walrus or sea-horse had no mane; as if he and you and I do not know very well that he never meant the Walrus or any such Northern Brute, but a good mythological, Neptunian charger! But Ælfred piques himself upon Natural History, for which may a sound rope’s end be his portion.’

155–70. The Gods are based on Lucretius’s account of Epicureanism. H.T. compares deos securum agere aevom v 82; and iii 18–22: apparet divum numen sedesque quietae / quas neque concutiunt venti nec nubila nimbis / aspergunt neque nix acri concreta pruina / cana cadens violat semperque innubilus aether / integit, et large diffuso lumine ridet. (‘Before me appear the gods in their majesty, and their peaceful abodes, which no winds ever shake nor clouds besprinkle with rain, which no snow congealed by the bitter frost mars with its white fall, but the air ever cloudless encompasses them and laughs with its light spread wide abroad’.) Cp. T.’s Lucretius 109–10: ‘Nor sound of human sorrow mounts to mar / Their sacred everlasting calm!’