Fleurs De Lys, and Other Poems — Reading Notes

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Weir, Arthur, 1864-1902 Project Gutenberg 2004 Not confirmed
Canadian poetry -- 19th century Readers of public-domain and historical texts
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Words 19,395
Reading time 85 min
Text sections 3

For Fleurs De Lys, and Other Poems — Reading Notes, the stored edition analysis reports 19,395 words, 1 hr 25 min estimated reading time, and 3 detected text sections.

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Project Gutenberg metadata also associates the work with “Canadian poetry -- 19th century,” connecting these edition facts with the source record’s subject description.

Arthur Weir's 1887 collection pairs Canadian historical poems with lyrical verses, using recurring motifs of light, flight, and transformation to explore love, nature, and national memory.
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There was one who saw it floating, and within his heart of fire, Beating in a Frenchman's bosom, rose at once a fierce desire, That the riven flag thus resting on the broad St. Lawrence tide Should, for years to come, betoken how France humbled England's pride. As the stag leaps down the mountain, with the baying hounds in chase, So the hero, swift descending, sought Cape Diamond's rugged base, And within the water, whitened by the bullets' deadly hail, Springing, swam towards the ensign with a stroke that could not fail. From the shore and from the fortress we looked on with bated breath, For around him closer, closer, fell the messengers of death, And as nearer, ever nearer, to the floating flag he drew, Thicker round his head undaunted still the English bullets flew. He has reached and seized the trophy. Ah! what cheering rent the skies, Mingled with deep English curses, as he shoreward brought his prize! Slowly, slowly, almost sinking, still he struggled to the land, And we hurried down to meet him, as he reached the welcome strand. Proudly up the rock we bore him, with the flag that he had won, And that night the English vessels left us with the setting sun.

He had been with the Indians all the day, But sat with us at eve, Chatting and laughing in his genial way, Till came the hour to leave; And then he rose, we with him, for we loved Our good old parish priest, Who all his lifetime in our midst had moved At death-bed and at feast.

He raised his hand for silence, and each head Was bowed as though in prayer, Expectant of his blessing, but instead He stood in silence there. Thrice he essayed to speak, and thrice in vain, And then his voice came back, Vibrating in a deep, triumphal strain That it was wont to lack.

"My children, we must part. My task is done. God calls me to His rest, And though my labors seem scarce yet begun, Surely He knoweth best. I have grown old in laboring for Him, My hair with age is white, My footsteps feeble, and my eyesight dim-- But all shall change to-night.

"When strikes the hour of twelve, my weary soul On earth shall cease to dwell, As sign of which the chapel bell shall toll Its slow funereal knell. Then seek me, if you will, and you shall find Upon the altar stair The prison-house my soul will leave behind, Kneeling as though in prayer.

"Seek, then, Père Compain, on the Isle aux Coudres, Nor fear the rising gale, For Heaven will guide you through the angry flood, And it shall not prevail. He will be waiting for you on the sands, Amid the morning gloom, To be your comrade, and, with kindly hands Consign me to my tomb."

He ceased, and left us, as though turned to stone, All motionless and still: And faintly fell his footsteps, as alone He slowly climbed the hill. Then we awoke, and all so wondrous seemed, His words so strange at best, We almost fancied we had slept and dreamed That he had been our guest.

We turned unto our merriment anew, With some kind thoughts for him; Yet as the hour of midnight nearer drew, And waxed the hearth fire dim, A silence fell upon us, and in fear We stopped and held our breath, As though more clearly through the gloom to hear The promised knell of death.

There had been something in his face that night That thrilled our hearts with fear, An undefinable, mysterious light, Which told us Heaven was near. He had a deeper lustre in his eyes, His smile had seemed more bright, Till, looking in his face, all Paradise Seemed opened to our sight.

Soon chimed the clock. And scarcely had it ceased, Than tolled the chapel bell, As though for some long-suffering soul released, Its slow funereal knell, And on its ebon wings the rising gale Swept landward from the sea, And mingled with the chapel bell's long wail Its own sad symphony.

We found him lying lifeless, as he said, Before the altar, prone, Nor laid our sinful hands upon the dead, But left him there alone, And launched our frail canoe upon the tide, Not marvelling to behold Before our prow the billows fall aside, Like the Red Sea of old.

On every hand the screaming waters flung Their great, white arms on high, And over all the thundering storm-clouds hung And battled in the sky. Yet fearless we sailed on, until when day Broke, panting, through the night, The fertile Isle aux Coudres before us lay, Its beach with breakers white.

Arthur Weir's Fleurs De Lys, and Other Poems (1887) opens with an ode for Queen Victoria's Jubilee, then shifts abruptly to the Canadian wilderness. The collection is divided into three sections: 'Fleurs De Lys,' treating French-Canadian history; 'Red Roses,' love lyrics; and 'Other Poems,' a miscellany. Weir's preface warns that these are early works, 'a bud rather than a flower,' and the poems bear out that self-assessment—earnest, metrically regular, and heavily reliant on conventional imagery. Yet the volume holds interest for its deliberate structure: the historical poems are anchored in specific places and events, while the love poems drift into abstraction. The notes at the end, promised to clarify allusions, suggest Weir anticipated a readership unfamiliar with Canadian history.

The Fleur de Lys Section: History as Pageant

The first section, 'Fleurs De Lys,' treats episodes from seventeenth-century New France. Weir's method is tableau-like: 'Champlain' presents the explorer as a solitary visionary, while 'The Priest and the Minister' stages a doctrinal debate. The most striking poem, 'Père Brosse,' describes a missionary who 'listened till at last the happy strain / Died into discord'—a rare moment of psychological complexity. Weir relies on stock epithets ('white-haired, saintly sage') but occasionally achieves a concrete image, as in 'The Secret of the Saguenay,' where the river's depths become a metaphor for hidden knowledge. The section's title, borrowed from the French royal crest, signals Weir's interest in monarchical legacy, yet the poems themselves focus on individual actors rather than institutions.

Red Roses: The Conventions of Love

The 'Red Roses' section collects sonnets and lyrics on love and absence. Weir's voice here is more generic: 'Long Ago' and 'A Birthday' rely on the vocabulary of Victorian sentiment—'languid breeze,' 'dainty bee,' 'lily's chalice.' The sonnets are formally correct but rarely surprise. An exception is 'The Sea Shell,' where the shell's spiral becomes a figure for memory. The section's recurring image is the rose itself, but Weir uses it as a decorative emblem rather than a developing symbol. The poems are addressed to an unnamed beloved, and their emotional range is narrow: longing, devotion, mild melancholy. Weir's note that some poems were written at twenty suggests these are juvenilia, and the reader may find them most interesting as examples of late-Victorian poetic convention.

Other Poems: Myth, Nature, and Mortality

The final section ranges from classical myth ('Rhodope's Shoe') to nature lyrics ('At Rainbow Lake') to meditations on death ('The Grave and the Tree'). 'Rhodope's Shoe' retells the Cinderella story with an Egyptian setting, complete with an eagle that carries the shoe to the king—a fanciful conceit handled in ballad stanzas. 'Hope and Despair' contrasts two speakers: one loves 'the sun and the languid breeze,' the other 'the wind that unceasing roars.' This dialogic structure is unusual for Weir and gives the poem a dramatic tension absent elsewhere. 'Life in Nature' and 'Winter and Summer' treat seasonal change as moral allegory. The section closes with 'A Mother's Jewels,' a domestic poem that returns to the volume's opening concern with legacy.

Recurring Motifs: Light, Flight, and Transformation

Across the three sections, certain images recur: light breaking through darkness (the 'sunny height' of the epigraph), flight (the eagle in 'Rhodope's Shoe,' the 'gauze-winged' bee in 'Hope and Despair'), and sudden transformation (the king's love at first sight, the missionary's death). These motifs link the historical and personal poems, suggesting that Weir saw both love and history as processes of revelation. The movement between scenes—from the court of Louis XIV to the Saguenay River to an Egyptian palace—is abrupt, but the imagery of ascent and descent provides continuity. Weir's notes, though not included in this excerpt, likely clarify the historical references; the reader may wish to consult them to appreciate the poems' grounding in specific events.

Weir's collection rewards a patient reading that attends to its structural choices: the division into historical, amatory, and miscellaneous sections; the use of recurring images to unify disparate subjects; and the self-conscious framing of the poems as early work. Readers interested in Canadian literary history will find the 'Fleurs De Lys' poems a document of late-nineteenth-century nationalism, while those drawn to Victorian verse may appreciate the formal competence of the sonnets. The notes at the end are essential for understanding the historical allusions, and the reader is advised to consult them alongside the poems.

There’s a particular light in Weir’s verses—that early-evening glow where history feels close enough to touch. It lingers, long after the book is shut. I found myself thinking of that same hush while turning through Forty-Two Poems — A Closer Reading, as if some rooms simply hold the dusk better than others. A quiet companionship, that’s all.

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