"Peacock Pie" having now been published in this country it is seasonable to kindle8 an altar fire for this most fanciful and delightful9 of present-day poets. It is curious that his work is so little known over here, for his first book, "Songs of Childhood," was published in England in 1902. Besides, poetry he has written novels and essays, all shot through with a phosphorescent sparkle of imagination and charm. He has the knack10 of "words set in delightful proportion"; and "Peacock Pie" is the most authentic11 knapsack of fairy gold since the "Child's Garden of Verses."
I am tempted12 to think that Mr. de la Mare is the kind of poet more likely to grow in England than America. The gracious and fine-spun fabric13 of his verse, so delicate in music, so quaint14 and haunting in imaginative simplicity15, is the gift of a land and life where rewards and fames are not wholly passed away. Emily Dickinson and Vachel Lindsay are among our contributors to the songs of gramarye: but one has only to open "The Congo" side by side with "Peacock Pie" to see how the seductions of ragtime16 and the clashing crockery of the Poetry Society's dinners are coarsening the fibres of Mr. Lindsay's marvellous talent as compared with the dainty horns of elfin that echo in Mr. de la Mare. And it is a long Pullman ride from Spoon River to the bee-droned gardens where De la Mare's old women sit and sew. Over here we have to wait for Barrie or Yeats or Padraic Colum to tell us about the fairies, and Cecil Sharp to drill us in their dances and songs. The gentry17 are not native in our hearts, and we might as well admit it.
To say that Mr. de la Mare's verse is distilled18 in fairyland suggests perhaps a delicate and absent-minded figure, at a loss in the hurly burly of this world; the kind of poet who loses his rubbers in the subway, drops his glasses in the trolley19 car, and is found wandering blithely20 in Central Park while the Women's Athenaeum of the Tenderloin is waiting four hundred strong for him to lecture. But Mr. de la Mare is the more modern figure who might readily (I hope I speak without offense) be mistaken for a New York stock broker21, or a member of the Boston Chamber22 of Commerce. Perhaps he even belongs to the newer order of poets who do not wear rubbers.
One's first thought (if one begins at the beginning, but who reads a book of poetry that way?) is that "Peacock Pie" is a collection of poems for children. But it is not that, any more than "The Masses" is a paper for the proletariat. Before you have gone very far you will find that the imaginary child you set out with has been magicked into a changeling. The wee folk have been at work and bewitched the pudding—the pie rather. The fire dies on the hearth23, the candle channels in its socket24, but still you read on. Some of the poems bring you the cauld grue of Thrawn Janet. When at last you go up to bed, it will be with the shuddering25 sigh of one thrilled through and through with the sad little beauties of the world. You will want to put out a bowl of fresh milk on the doorstep to appease26 the banshee—did you not know that the janitor27 of your Belshazzar Court would get it in the morning.
One of the secrets of Mr. de la Mare's singular charm is his utter simplicity, linked with a delicately tripping music that intrigues28 the memory unawares and plays high jinks with you forever after. Who can read "Off the Ground" and not strum the dainty jig29 over and over in his head whenever he takes a bath, whenever he shaves, whenever the moon is young? I challenge you to resist the jolly madness of its infection:
Three jolly Farmers
Once bet a pound
Each dance the others would
Off the ground.
Out of their coats
They slipped right soon,
And neat and nicesome,
Put each his shoon.
One—Two—Three—
And away they go,
Not too fast,
And not too slow;
Out from the elm-tree's
Noonday shadow,
Into the sun
And across the meadow.
Past the schoolroom,
Fingers a-flicking,
They dancing went....
The sensible map's quarrel with the proponents32 of free verse is not that they write such good prose; not that they espouse33 the natural rhythms of the rain, the brook5, the wind-grieved tree; this is all to the best, even if as old as Solomon. It is that they affect to disdain34 the superlative harmonies of artificed and ordered rhythms; that knowing not a spondee from a tribrach they vapour about prosody36, of which they know nothing, and imagine to be new what antedates37 the Upanishads. The haunting beauty of Mr. de la Mare's delicate art springs from an ear of superlative tenderness and sophistication. The daintiest alternation of iambus and trochee is joined to the serpent's cunning in swiftly tripping dactyls. Probably this artifice35 is greatly unconscious, the meed of the trained musician; but let no singer think to upraise his voice before the Lord ere he master the axioms of prosody. Imagist journals please copy.
One may well despair of conveying in a few rough paragraphs the gist38 of this quaint, fanciful, brooding charm. There is something fey about much of the book: it peers behind the curtains of twilight39 and sees strange things. In its love of children, its inspired simplicity, its sparkle of whim40 and ?sopian brevity, I know nothing finer. Let me just cut for you one more slice of this rarely seasoned pastry41.
THE LITTLE BIRD
For to bring my Mammie to,
In a hat with a long feather,
And a trailing gown of blue;
And a company of fiddlers
Danced the clock round to the morning,
In a gay house-warming then.
And when all the guests were gone, and
All was still as still can be,
Wee small bird: and that was Me.
"Peacock Pie" is immortal46 diet indeed, as Sir Walter said of his scrip of joy. Annealed as we are, I think it will discompose the most callous47. It is a sweet feverfew for the heats of the spirit, It is full of outlets48 of sky.
As for Mr. de la Mare himself, he is a modest man and keeps behind his songs. Recently he paid his first visit to America, and we may hope that even on Fifth Avenue he saw some fairies. He lectured at some of our universities and endured the grotesque49 plaudits of dowagers and professors who doubtless pretended to have read his work. Although he is forty-four, and has been publishing for nearly sixteen years, he has evaded50 "Who's Who." He lives in London, is married, and has four children. For a number of years he worked for the Anglo-American Oil Company. Truly the Muse51 sometimes lends to her favourites a merciful hardiness52.
点击收听单词发音
1 tingle | |
vi.感到刺痛,感到激动;n.刺痛,激动 | |
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2 spinal | |
adj.针的,尖刺的,尖刺状突起的;adj.脊骨的,脊髓的 | |
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3 marrow | |
n.骨髓;精华;活力 | |
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4 vibrations | |
n.摆动( vibration的名词复数 );震动;感受;(偏离平衡位置的)一次性往复振动 | |
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5 brook | |
n.小河,溪;v.忍受,容让 | |
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6 notch | |
n.(V字形)槽口,缺口,等级 | |
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7 mare | |
n.母马,母驴 | |
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8 kindle | |
v.点燃,着火 | |
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9 delightful | |
adj.令人高兴的,使人快乐的 | |
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10 knack | |
n.诀窍,做事情的灵巧的,便利的方法 | |
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11 authentic | |
a.真的,真正的;可靠的,可信的,有根据的 | |
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12 tempted | |
v.怂恿(某人)干不正当的事;冒…的险(tempt的过去分词) | |
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13 fabric | |
n.织物,织品,布;构造,结构,组织 | |
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14 quaint | |
adj.古雅的,离奇有趣的,奇怪的 | |
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15 simplicity | |
n.简单,简易;朴素;直率,单纯 | |
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16 ragtime | |
n.拉格泰姆音乐 | |
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17 gentry | |
n.绅士阶级,上层阶级 | |
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18 distilled | |
adj.由蒸馏得来的v.蒸馏( distil的过去式和过去分词 );从…提取精华 | |
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19 trolley | |
n.手推车,台车;无轨电车;有轨电车 | |
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20 blithely | |
adv.欢乐地,快活地,无挂虑地 | |
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21 broker | |
n.中间人,经纪人;v.作为中间人来安排 | |
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22 chamber | |
n.房间,寝室;会议厅;议院;会所 | |
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23 hearth | |
n.壁炉炉床,壁炉地面 | |
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24 socket | |
n.窝,穴,孔,插座,插口 | |
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25 shuddering | |
v.战栗( shudder的现在分词 );发抖;(机器、车辆等)突然震动;颤动 | |
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26 appease | |
v.安抚,缓和,平息,满足 | |
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27 janitor | |
n.看门人,管门人 | |
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28 intrigues | |
n.密谋策划( intrigue的名词复数 );神秘气氛;引人入胜的复杂情节v.搞阴谋诡计( intrigue的第三人称单数 );激起…的好奇心 | |
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29 jig | |
n.快步舞(曲);v.上下晃动;用夹具辅助加工;蹦蹦跳跳 | |
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30 bent | |
n.爱好,癖好;adj.弯的;决心的,一心的 | |
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31 hilarious | |
adj.充满笑声的,欢闹的;[反]depressed | |
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32 proponents | |
n.(某事业、理论等的)支持者,拥护者( proponent的名词复数 ) | |
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33 espouse | |
v.支持,赞成,嫁娶 | |
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34 disdain | |
n.鄙视,轻视;v.轻视,鄙视,不屑 | |
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35 artifice | |
n.妙计,高明的手段;狡诈,诡计 | |
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36 prosody | |
n.诗体论,作诗法 | |
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37 antedates | |
v.(在历史上)比…为早( antedate的第三人称单数 );先于;早于;(在信、支票等上)填写比实际日期早的日期 | |
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38 gist | |
n.要旨;梗概 | |
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39 twilight | |
n.暮光,黄昏;暮年,晚期,衰落时期 | |
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40 whim | |
n.一时的兴致,突然的念头;奇想,幻想 | |
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41 pastry | |
n.油酥面团,酥皮糕点 | |
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42 mansion | |
n.大厦,大楼;宅第 | |
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43 rout | |
n.溃退,溃败;v.击溃,打垮 | |
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44 ivy | |
n.常青藤,常春藤 | |
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45 hopped | |
跳上[下]( hop的过去式和过去分词 ); 单足蹦跳; 齐足(或双足)跳行; 摘葎草花 | |
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46 immortal | |
adj.不朽的;永生的,不死的;神的 | |
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47 callous | |
adj.无情的,冷淡的,硬结的,起老茧的 | |
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48 outlets | |
n.出口( outlet的名词复数 );经销店;插座;廉价经销店 | |
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49 grotesque | |
adj.怪诞的,丑陋的;n.怪诞的图案,怪人(物) | |
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50 evaded | |
逃避( evade的过去式和过去分词 ); 避开; 回避; 想不出 | |
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51 muse | |
n.缪斯(希腊神话中的女神),创作灵感 | |
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52 hardiness | |
n.耐劳性,强壮;勇气,胆子 | |
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