Poems — Inside the Classic

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Cassels, Walter Richard, 1826-1907 Project Gutenberg 2003 Not confirmed
Poetry Readers of public-domain and historical texts
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Words 29,731
Reading time 130 min
Text sections 5

This digital edition of Poems — Inside the Classic is described by source-level measurements including 29,731 words, 2 hr 10 min estimated reading time, and 5 detected text sections.

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Walter R. Cassels' 1856 collection blends dramatic monologues, lyrical poems, and narrative sketches. The verse shifts between speculative philosophy in 'Mabel' and raw grief in 'Llewellyn,' where a father denies his child's death. Cassels' voice ranges from ornate dialogue to stark, repetitive denial.
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And was accounted mad before all men. But patience!--Winter bears within its breast The nascent seeds of golden harvest-time.

This only shall I tell you of my ways-- Straying, now here, now there, 'mid science' wealth, I have discover'd a vast hidden power-- A power that perfected shall surely work Great revolution in all human laws,-- Where stop its courses I as yet know not; 'Tis to me like the sun, that all the day Shines godlike in my vision, and, at night, Though darkness hide its brightness, still, I feel, Shines on in glory over other spheres; It is a power beneficent and good, That grants to spirit infinite control Over all matter, and that frees the soul From its flesh shackles, and its sensuous means. What else its influences, or for health, For happiness, or blessing, I say not-- Save that such glimpses of vast powers unknown Dawn on my wondering mind, that like a man Standing upon some giddy pinnacle, With a whole world seen faint and small below, I close mine eyes for very fear and joy. To her, my Mabel, do I bear in love Some first-fruits of my finding--make her rich, That, gazing through her eyes, I may behold How sweet is heaven, how dear is happiness. This is the sum of that I work on her; Then, though I thank you for your good intent, Leave me untroubled to my life of thought, Leave her all trustful in the arms of love.

You love her not, false man! your heart and soul Are steep'd in science till not e'en the heel, Achilles-like, is vulnerable left. Ay! wear thus feeling's semblance as you will, Pale visionary! no more shall I pause, But with strong hand arrest your mad career! Soon we return arm'd with a father's power, To snatch our sister from your fearful arts.

Oh! if you love her, Sir, as once you did-- If yet upon the dial of your life Her sun mark out the short sweet hours of joy, And all too swiftly on the shadows glide-- If yet you prize the loving heart you hold, From this most mad delusion waken up, That blindly blights her whom it seeks to bless; Cease your Utopian and unsafe essays, And rather turn your studious care to call The fading roses back into her cheeks, And shed health's gladness on her feeble frame; Reflect whilst yet you may, lest late Remorse Stalk, ghost-like, through the chambers of your soul, Haunting their gloomy void for evermore.

[_Exeunt Maurice and Roger_.

SCENE II.--_The Same_.

Not love her! O my God! thou knowest me-- Thou, looking through me as the sun at noon That searches through the being of the world-- Thou setting life against thy glory light, As men hold up a crystal 'gainst the sun, Making its frame as nothing in the blaze!

Lo! my heart was like a chaotic world, Still, silent, 'mid the dreary waste of time. Man there was not in all its desert bounds, But hoary ruins of past wondrous things, Old unbeliefs, fierce doubts, unsightly dreams, That wearing out their wild hot-breathing life, Wearily stretch'd their writhing shapes to die; Then came she moving o'er my awe-hush'd soul, Like God's own Spirit over earth's void waters, And there arose order and life through all. She was my sun, set high to rule the day, And make my world all bright and beautiful; She was my moon, amid the stilly night Subduing darkness with her quiet smiles, And stealing softly through my anxious dreams, A sweet-soul'd hostage for departed day; She was my summer, clothing all my life With fragrant blossoms of delight and joy.

Cassels' Poems opens with 'Mabel,' a dramatic sketch in which Oran, a 'Speculative Philosopher,' is accused of endangering his wife through 'dark magic' and 'strange motions.' The dialogue bristles with abstract accusations—'moonstruck thought,' 'forbidden ways'—and a defensive, almost playful retort from Oran: 'How oft a random shaft / Striketh King Truth betwixt the armour-joints!' This philosophical sparring sets a cerebral tone, but the collection soon pivots sharply.

In 'Llewellyn,' the voice fractures. A father, Llewellyn, insists his dead child is merely sleeping, even as a monk points to the 'clotted blood in crimson pools' of the hound Gelert. Cassels renders denial through repetition—'The child is sleeping'—and a desperate catalog of the boy's 'little tricks' and 'sweet treble.' The contrast between the two poems reveals Cassels' range: from measured debate to a grief that stutters and stalls.

From Debate to Denial: Two Voices

The collection's first excerpt, 'Mabel,' is built on symmetrical accusations and philosophical parry. Maurice and Roger charge Oran with 'dark and mystic aims' and 'moonstruck thought'; Oran replies with metaphors of wind and water-bells. The language is balanced, almost legalistic. By contrast, 'Llewellyn' abandons balance entirely. The monk speaks in plain, declarative sentences—'the child is dead'—while Llewellyn's replies loop back to the same phrase: 'The child is sleeping.' Cassels uses repetition not as rhetoric but as a tic of refusal. The shift from the study's 'books, pictures, and sculpture' to a floor 'crimson' with blood marks a change not just in setting but in the very texture of the verse.

The Weight of Small Details

Cassels grounds emotional crisis in physical particulars. In 'Llewellyn,' the father recalls how the boy 'crawled up' the knees of 'Beowolf the Curst' and 'toy'd him with his sword-hilt merrily.' The dog Gelert is remembered for his 'great mild head' and the boy 'twining his grisly neck with summer buds.' These details—a child's 'little saws and sentences,' the 'silvery stream' of his voice—accumulate to make the loss tangible. Cassels does not describe grief abstractly; he lists what is gone. The monk's counterpoint—'your heart is too much set / Upon the child'—only underscores how the poem's power lies in its inventory of affection.

Rhythm and the Unspoken

Cassels varies line length and meter to signal psychological pressure. In 'Mabel,' Oran's speeches are measured, often end-stopped: 'Well, well! and so ye deem I love her not.' The brothers' accusations fall in regular pentameter. In 'Llewellyn,' the father's lines grow fragmented: 'The hound?—the hound—Poor Gelert! well-a-day!' Dashes and exclamations break the meter. The monk's final speech—'Oh son, your woful faith moves all my heart'—returns to a smoother cadence, but Llewellyn's last line in the excerpt—'The child is sleeping—Ay! it must be so'—clings to the delusion with a halting, almost musical insistence. Cassels uses these rhythmic shifts to map the fault lines in his characters' minds.

Readers attentive to voice will find Cassels' collection a study in contrasts: the controlled, speculative tone of 'Mabel' versus the raw, repetitive grief of 'Llewellyn.' The poems reward attention to small, concrete details—a child's game, a dog's name—and to the way Cassels lets meter fracture under emotional weight. The excerpts offer only a partial view; the full volume includes shorter lyrics and sonnets that may extend or complicate these patterns. Approach the poems as a sequence of experiments in dramatic speech rather than a unified statement.

That rainy afternoon, Cassels’ Llewellyn stayed with me—the father’s stubborn denial felt less like verse and more like a held breath. I kept thinking about grief’s strange refusal to conform. Later, idly shelving books, my hand landed on A Reading of Life, with Other Poems — Background and Themes, and the same quiet ache seemed to echo there, almost by itself.

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