Poems — A Reader’s Guide
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These were the days Of story and song, When Hope had a meaning And Faith was strong. "Life will be long, And lit with Love's gleamings;" Such were my dreamings, But, ah, how wrong!
Youth's illusions, One by one, Have passed like clouds That the sun looked on. While morning shone, How purple their fringes! How ashy their tinges When that was gone!
Darkness that cometh Ere morn has fled-- Boughs that wither Ere fruits are shed-- Death bells instead Of a bridal's pealings-- Such are my feelings, Since Hope is dead!
Sad is the knowledge That cometh with years-- Bitter the tree That is watered with tears; Truth appears, With his wise predictions, Then vanish the fictions Of boyhood's years.
As fire-flies fade When the nights are damp-- As meteors are quenched In a stagnant swamp-- Thus Charlemagne's camp, Where the Paladins rally, And the Diamond Valley, And Wonderful Lamp,
And all the wonders Of Ganges and Nile, And Haroun's rambles, And Crusoe's isle, And Princes who smile On the Genii's daughters 'Neath the Orient waters Full many a mile,
And all that the pen Of Fancy can write Must vanish In manhood's misty light-- Squire and knight, And damosels' glances, Sunny romances So pure and bright!
These have vanished, And what remains?-- Life's budding garlands Have turned to chains; Its beams and rains Feed but docks and thistles, And sorrow whistles O'er desert plains!
The dove will fly From a ruined nest, Love will not dwell In a troubled breast; The heart has no zest To sweeten life's dolour-- If Love, the Consoler, Be not its guest!
The dream is over, The vision has flown; Dead leaves are lying Where roses have blown; Wither'd and strown Are the hopes I cherished,-- All hath perished But grief alone!
THE BRIDAL OF THE YEAR.
Yes! the Summer is returning, Warmer, brighter beams are burning Golden mornings, purple evenings, Come to glad the world once more. Nature from her long sojourning In the Winter-House of Mourning, With the light of hope outpeeping, From those eyes that late were weeping, Cometh dancing o'er the waters To our distant shore. On the boughs the birds are singing, Never idle, For the bridal Goes the frolic breeze a-ringing All the green bells on the branches, Which the soul of man doth hear; Music-shaken, It doth waken, Half in hope, and half in fear, And dons its festal garments for the Bridal of the Year!
For the Year is sempiternal, Never wintry, never vernal, Still the same through all the changes That our wondering eyes behold. Spring is but his time of wooing-- Summer but the sweet renewing Of the vows he utters yearly, Ever fondly and sincerely, To the young bride that he weddeth, When to heaven departs the old, For it is her fate to perish, Having brought him, In the Autumn, Children for his heart to cherish. Summer, like a human mother, Dies in bringing forth her young; Sorrow blinds him, Winter finds him Childless, too, their graves among, Till May returns once more, and the bridal hymns are sung.
Thrice the great Betroth'ed naming, Thrice the mystic banns proclaiming, February, March, and April, Spread the tidings far and wide; Thrice they questioned each new-comer, "Know ye, why the sweet-faced Summer, With her rich imperial dower, Golden fruit and diamond flower, And her pearly raindrop trinkets, Should not be the green Earth's Bride?" All things vocal spoke elated (Nor the voiceless Did rejoice less)-- "Be the heavenly lovers mated!" All the many murmuring voices Of the music-breathing Spring, Young birds twittering, Streamlets glittering, Insects on transparent wing-- All hailed the Summer nuptials of their King!
Now the rosy East gives warning, 'Tis the wished-for nuptial morning. Sweetest truant from Elysium, Golden morning of the May! All the guests are in their places-- Lilies with pale, high-bred faces-- Hawthorns in white wedding favours, Scented with celestial savours-- Daisies, like sweet country maidens, Wear white scolloped frills to-day; 'Neath her hat of straw the Peasant Primrose sitteth, Nor permitteth Any of her kindred present, Specially the milk-sweet cowslip, E'er to leave the tranquil shade; By the hedges, Or the edges Of some stream or grassy glade, They look upon the scene half wistful, half afraid.
Denis Florence MacCarthy's Poems (1882) gathers work from earlier volumes alongside new odes for O'Connell and Moore, plus translations such as the episode of Ferdiah from the Táin Bó Cuailgne. The collection is marked by a persistent tension between personal grief and collective Irish identity. In 'The Bell-Founder,' an old man wanders from Florence to Limerick, seeking the lost bells of his church—a journey that maps emotional desolation onto geography. The poem's sensory details, like 'lemon-hued air' over the Shannon, anchor abstract longing in specific Irish terrain.
Bells as Anchors of Memory
Bells recur across the collection as objects of both attachment and absence. In 'The Bell-Founder,' the protagonist's search for his church's bells becomes a pilgrimage through Italy and Spain, only to find their echo in Limerick's St. Mary's tower. The poem contrasts the 'sweet-sounding bells' of Florence with the 'harsh' tones of Roman campanili, suggesting that sound is inseparable from place and personal history. Elsewhere, 'Those Shandon Bells' likely celebrates the famous bells of Cork, though the excerpt does not include that poem. The pattern establishes bells as a symbol of home, faith, and irrecoverable past—a motif that ties the poet's Irish Catholic identity to a broader European tradition of sacred music.
Landscapes of Loss and Longing
MacCarthy frequently sets personal grief against Irish landscapes. In 'The Bell-Founder,' the old man's sorrow is framed by the Shannon's 'smooth and still' waters and the 'green mountains of Clare.' The natural world offers solace but also sharpens loss: the beauty of Scattery Island and Carrigaholt contrasts with the protagonist's blindness to everything except St. Mary's tower. Similarly, poems like 'The Vale of Shanganah' and 'The Pillar Towers of Ireland' (from the contents) likely use place as a vessel for national memory. The excerpt's description of the Shannon as 'rich' and 'lemon-hued' shows MacCarthy's eye for color and light, yet these details serve to heighten the emotional weight of the narrative.
Translation and National Epic
The inclusion of 'Ferdiah: an Episode from the Tain Bó Cuailgné' signals MacCarthy's engagement with early Irish literature. This translation from the Ulster Cycle places him among 19th-century Irish scholars who sought to recover native epic traditions. The preface notes that the volume also contains odes for O'Connell and Moore, linking literary work to political and cultural commemoration. The national poems and songs section, with titles like 'Ireland's Vow' and 'The Dead Tribune,' suggests a deliberate intertwining of poetic craft and patriotic sentiment. MacCarthy's translations and original works together construct a vision of Irish identity that is both ancient and contemporary, drawing on myth to address modern concerns.
Readers approaching this collection will find a poet who moves between intimate lyric and public ode, between Irish landscapes and European travels. The recurring motifs of bells, seasons, and exile reward attention across poems. Because the excerpts are incomplete, the full range of MacCarthy's sonnets and miscellaneous pieces remains to be explored, but the patterns visible here offer a coherent entry into his work.
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