Produced by Karin Spence, Tim Lindell and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/Canadian Libraries) [Illustration] COME HITHER [Illustration: COME HITHER A COLLECTION OF RHYMES AND POEMS FOR THE YOUNG OF ALL AGES MADE BY WALTER DE LA MARE AND EMBELLISHED BY ALEC BUCKELS CONSTABLE & CO LONDON BOMBAY SYDNEY MCMXXIII. ] PRINTED IN GREAT BRITAIN BY ROBERT MACLEHOSE AND CO. LTD. THE UNIVERSITY PRESS, GLASGOW [Illustration: TO LAURA COLTMAN IN LOVE AND GRATITUDE ] [Illustration] TABLE OF CONTENTS PAGE THE STORY OF THIS BOOK vii MORNING AND MAY 1 MOTHER, HOME, AND SWEETHEART 19 FEASTS: FAIRS: BEGGARS: GIPSIES 63 BEASTS OF THE FIELD: FOWLS OF THE AIR 87 OUPH: ELPHIN: FAY 117 SUMMER: GREENWOOD: SOLITUDE 135 WAR 165 DANCE, MUSIC AND BELLS 195 AUTUMN LEAVES: WINTER SNOW 217 "LIKE STARS UPON SOME GLOOMY GROVE" 249 FAR 289 "LILY BRIGHT AND SHINE-A" 343 "ECHO THEN SHALL AGAIN TELL HER I FOLLOW" 371 OLD TALES AND BALLADRY 413 EVENING AND DREAM 447 THE GARDEN 479 ABOUT AND ROUNDABOUT 495 ACKNOWLEDGMENTS 671 INDEX OF AUTHORS 677 INDEX OF POEMS 683 [Illustration] THE STORY OF THIS BOOK In my rovings and ramblings as a boy I had often skirted the old stone house in the hollow. But my first clear remembrance of it is of a hot summer's day. I had climbed to the crest of a hill till then unknown to me, and stood there, hot and breathless in the bright slippery grass, looking down on its grey walls and chimneys as if out of a dream. And as if out of a dream already familiar to me. My real intention in setting out from home that morning had been to get to a place called East Dene. My mother had often spoken to me of East Dene--of its trees and waters and green pastures, and the rare birds and flowers to be found there. Ages ago, she had told me, an ancestor of our family had dwelt in this place. But she smiled a little strangely when I asked her to take me there. "All in good time, my dear," she whispered into my ear, "all in very good time! Just follow your small nose." What kind of time, I wondered, was _very good time_. And _follow my nose_--how far? Such reflections indeed only made me the more anxious to be gone. Early that morning, then, I had started out when the dew was still sparkling, and the night mists had but just lifted. But my young legs soon tired of the steep, boulder-strown hills, the chalky ravines, and burning sun, and having, as I say, come into view of the house in the valley, I went no further. Instead, I sat down on the hot turf--the sweet smell of thyme in the air, a few harebells nodding around me--and stared, down and down. After that first visit, scarcely a week passed but that I found myself on this hill again. The remembrance of the house stayed in my mind; would keep returning to me, like a bird to its nest. Sometimes even in the middle of the night I would wake up and lie unable to sleep again for thinking of it--seeing it in my head; solemn, secret, strange. There is a little flickering lizard called the Chameleon which, they say, changes its colour according to the place where it happens to be. So with this house. It was never the same for two hours together. I have seen it gathered close up in its hollow in the livid and coppery gloom of storm; crouched like a hare in winter under a mask of snow; dark and silent beneath the changing sparkle of the stars; and like a palace out of an Arabian tale in the milky radiance of the moon. THRAE was the name inscribed on its gateway, but in letters so faint and faded as to be almost illegible. In a sense I was, I suppose, a trespasser in this Thrae; until at least I became acquainted with Miss Taroone, the lady who lived in it. For I made pretty free with her valley, paddled and fished in its stream, and now and then helped myself to a windfall in her green bird-haunted orchards, where grew a particularly sharp and bright-rinded apple of which I have never heard the name. As custom gave me confidence, I ventured nearer and nearer to the house and would sometimes take a rest squatting on a manger in the big empty barn, looking out into the sunshine. The wings of the flies shone like glass in its shafts of light, and the robins whistled under its timber roof so shrill as almost to deafen one's ears. Few strangers passed that way. Now and then I saw in the distance what might have been a beggar. To judge from his bundle he must have done pretty well at the house. Once, as I turned out of a little wood of birches, I met a dreadful-faced man in the lane who lifted up his hand at sight of me, and with white glaring eyes, uttered a horrible imprecation. He was chewing some fruit stolen out of the orchard, and at the very sight of him I ran like Wat himself. Once, too, as my head looked over the hill-crest, there stood an old carriage and a drowsy horse drawn up beside the porch--with its slender wooden pillars and a kind of tray above, on which rambled winter jasmine, tufts of self-sown weeds and Traveller's Joy. I edged near enough to see there was a crown emblazoned on the panel of the carriage door. Nobody sat inside, and the coachman asleep on the box made me feel more solitary and inquisitive than ever. Yet in its time the old house must have seen plenty of company. Friends of later years have spoken to me of it. Indeed, not far distant from Thrae as the crow flies, there was a crossing of high roads, so that any traveller from elsewhere not in haste could turn aside and examine the place if he cared for its looks and was in need of a night's lodging. Yet I do not think many such travellers--if they were men merely of the Town--can have _chosen_ to lift that knocker or to set ringing that bell. To any one already lost and benighted its looks must have been forbidding. Well, as I say, again and again, my lessons done, morning or evening would find me either on the grass slopes above Thrae, or actually in its valley. If I was tired, I would watch from a good distance off its small dark windows in their stone embrasures, and up above them the round greenish tower or turret over which a winged weather-vane twirled with the wind. I might watch: but the only person that I ever actually observed at the windows was an old maid with flaps to her cap, who would sometimes shake a duster out into the air as if for a signal to someone up in the hills. Apart from her, I had occasionally seen Miss Taroone herself in the overgrown garden, with her immense shears, or with her trencher of bread-crumbs and other provender, feeding the birds. And I once stole near enough under a hedge to watch this sight. They hopped and pecked in a multitude beneath her hands, tits and robins, starlings and blackbirds, and other much wilder and rarer birds, as if they had no need here for wings, or were under an enchantment more powerful than that of mere crumbs of bread. The meal done, the platter empty, Miss Taroone would clap her hands, and off they would fly with a skirring of wings, with shrill cries and snatches of song to their haunts. She seemed to mind no weather; standing bare-headed in heavy rain or scorching sunlight. And I confess the sight of her never failed to alarm me. But I made up my mind always to keep my wits about me and my eyes open; and never to be _caught_ trespassing. Then one day, as I slid down from the roof of the barn from amid the branches of a chestnut tree, green with its spiky balls of fruit, I found Miss Taroone standing there in the entry, looking out on me as if out of a frame, or like a stone figure in the niche of a church. She made no stir herself, but her eyes did. Clear cold eyes of the colour of pebbly water, in which I seemed to be of no more importance than a boat floating on the sea. I could neither speak nor run away. I could only gawk at her, my pockets bulging with the unripe chestnuts I had pilfered, and a handsome slit in one leg of my breeches. She asked me what I did there; my name; why I was not at school; where I lived; and did I eat the chestnuts. It appeared she had more often seen me--I suppose from her windows--than I had seen her. She made no movement, never even smiled while I stammered out answers to her questions, but merely kept her eyes steadily fixed on me, while her own lips just opened enough to let the words out of her mouth. She listened to me with a severe face, and said, "Well, if you are happy to be here with the rest, so much the better." It was a relief when she turned away, bidding me follow her--and a foolish figure I must have cut as I clattered after her across the cobbled yard under the old red-brick arch and so through the porch and into the house. When I was sat down in one of the shaded rooms within the house, she summoned the tall gaunt old maid with the cap-flaps I had seen at the windows, and bade her bring me some fruit and a dish of cream. Miss Taroone watched me while I ate it. And uncommonly good it was, though I would rather have been enjoying it alone. From the way she looked at me it might have been supposed it was a bird or a small animal that was sitting up at her table. The last spoonful finished, she asked me yet more questions and appeared to be not displeased with my rambling answers, for she invited me to come again and watched me take up my cap and retire. This was the first time I was ever in Miss Taroone's house--within its solid walls I mean; and what a multitude of rooms, with their coffers and presses and cabinets, containing I knew not what treasures and wonders! But Thrae was not Miss Taroone's only house, for more than once she spoke of another--named SURE VINE, as if of a family mansion and estate, very ancient and magnificent. When, thinking of my mother, I myself ventured a question about East Dene, her green-grey eyes oddly settled on mine a moment, but she made no answer. I noticed this particularly. Soon I was almost as free and familiar in Miss Taroone's old house as in my own father's. Yet I cannot say that she was ever anything else than curt with me in her manner. It was a long time before I became accustomed to the still, secret way she had of looking at me. I liked best being in her company when she appeared, as was usually so, not to be aware that she was not alone. She had again asked me my name "for a sign" as she said, "to know you by"; though she always afterwards addressed me as Simon. Certainly in those days I was "simple" enough. My next friend was the woman whom I had seen shaking her duster out of the upper windows. She, I discovered, was called Linnet Sara Queek or Quek or Cuec or Cueque, I don't know how to spell it. She was an exceedingly curious woman and looked as if she had never been any different, though, of course, she must once have been young and have grown up. She was bony, awkward, and angular, and when you spoke to her, she turned on you with a look that was at the same time vacant and piercing. At first she greeted me sourly, but soon became friendlier, and would allow me to sit in her huge kitchen with her parrot, her sleek tabby cat, and perhaps a dainty or two out of her larder. She was continually muttering--though I could never quite catch what she said; never idle; and though slow and awkward in her movements, she did a vast deal of work. With small short-sighted eyes fixed on her mortar she would stand pounding and pounding; or stewing and seething things in pots--strange-looking roots and fruits and fungi. Her pantry was crammed with pans, jars, bottles, and phials, all labelled in her queer handwriting. An extraordinary place--especially when the sunbeams of evening struck into it from a high window in its white-washed wall. Linnet she might be called, but her voice was no bird's, unless the crow's; and you would have guessed at once, at sight of her standing in front of the vast open hearth, stooping a little, her long gaunt arms beside her, that her other name was Sara. But she could tell curious and rambling stories (as true as she could make them); and many of them were about the old days in Thrae, older days in Sure Vine, and about Miss Taroone, in whose service she had been since she was a small child. She told me, too, some specially good tales--as good as Grimm--about some villages she knew of called the Ten Laps; and gave me a custard when I asked for more. I once mentioned East Dene to her, too, and she said there was a short cut to it (though it seemed to me a long way about) through the quarry, by the pits, and that way round. "And then you come to a Wall," she said, staring at me. "And you climb over." "Did _you_?" said I, laughing; and at that she was huffed. Boy though I was, it occurred to me that in this immense house there must be a great deal more work than Sara could manage unaided. Something gave me the fancy that other hands must lend their help; but if any maids actually came in to Thrae from East Dene, or from elsewhere, they must have come and gone very late, or early. It seemed bad manners to be too curious. On the other hand, I rarely saw much of the back parts of the house. I have sometimes wondered if Thrae had not once in fact lain within the borders of East Dene, and that being so, if Miss Taroone, like myself, was unaware of it. It may have been merely pride that closed her lips, for one day, she showed me, with a curious smile, how Thrae's architect, centuries before, had planned its site. She herself led me from room to room; and she talked as she had never talked before. Its southernmost window looked on a valley, beyond which on clear still days was visible the sea, and perhaps a brig or a schooner on its surface--placid blue as turquoise. Sheer against its easternmost window the sun mounted to his summer solstice from in between a cleft of the hills--like a large topaz between the forks of a catapult. On one side of this cleft valley was a windmill, its sails lanking up into the sky, and sometimes spinning in the wind with an audible faint clatter. Who owned the mill and what he ground I never heard. Northwards, through a round bull's-eye window you could see, past a maze of coppices and hills, and in the distance, the cock of a cathedral spire. And to the west stood a wood of yew, its pool partially greened over, grey with willows, and the haunt of rare birds. On the one side of this pool spread exceedingly calm meadows; and on the other, in a hollow, the graveyard lay. The stones and bones in it were all apparently of Miss Taroone's kinsfolk. At least Linnet Sara told me so. Nor was she mournful about it. She seemed to have nobody to care for but her mistress; working for love, whatever her wages might be. It is an odd thing to say, but though I usually tried to avoid meeting Miss Taroone, and was a little afraid of her, there was a most curious happiness at times in being in her company. She never once asked me about my character, never warned me of anything, never said "You must"; and yet I knew well that if in stupidity or carelessness I did anything in her house which she did not approve of, my punishment would come. She once told me, "Simon, you have, I see, the beginnings of a bad feverish cold. It is because you were stupid enough yesterday to stand with the sweat on your face talking to me in a draught. It will probably be severe." And so it was. She never said anything affectionate; she never lost her temper. I never saw her show any pity or meanness or revenge. "Well, Simon," she would say, "Good morning"; or "Good evening" (as the case might be); "you are always welcome. Have a good look about you. Don't waste your time here. Even when all is said, you will not see too much of me and mine. But don't believe _everything_ you may hear in the kitchen. Linnet Sara is a good servant, but still a groper." Not the least notion of what she meant occurred to me. But I peacocked about for a while as if she had paid me a compliment. An evening or two afterwards, and soon after sunset, I found her sitting in her westward window. Perhaps because rain was coming, the crouching head-stones under the hill looked to be furlongs nearer. "Sleeping, waking; waking, sleeping, Simon;" she said, "sing while you can." Like a little owl I fixed sober eyes on the yew-wood, but again I hadn't any inkling of what she meant. She would sit patiently listening to me as long as I cared to unbosom myself to her. Her calm, severe, and yet, I think, beautiful face is clear in my memory. It resembles a little the figure in Albrecht DÃ¼rer's picture of a woman sitting beneath the wall of a house, with a hound couched beside her, an inclined ladder, the rain-bowed sea in the distance, and a bat--a tablet of magic numbers and a pent-housed bell over her head. Sometimes I would be questioned at home about my solitary wanderings, but I never mentioned Miss Taroone's name, and spoke of her house a little deceitfully, since I did not confess how much I loved being in it. One evening--and it was already growing late--Miss Taroone, after steadily gazing into my eyes for a few moments, asked me if I liked pictures. I professed that I did, though I had never spent much time in looking at the queer portraits and charts and mementoes that hung thick and closely on her own walls. "Well," she replied, "if you like pictures I must first tell you about Nahum." I could not at first make head or tail of Mr. Nahum. Even now I am uncertain whether he was Miss Taroone's brother or her nephew or a cousin many times removed; or whether perhaps she was really and truly Mrs. Taroone and he her only son; or she still Miss Taroone and he an adopted one. I am not sure even whether or not she had much love for him, though she appeared to speak of him with pride. What I do know is that Miss Taroone had nurtured him from his cradle, and had taught him all the knowledge that was not already his by right of birth. Before he was come even to be my own age, she told me, Nahum Taroone had loved "exploring." As a boy he had ranged over the countryside for miles around. I never dared ask her if he had sat on Linnet Sara's "Wall"! He had scrawled plans and charts and maps, marking on them all his wanderings. And not only the roads, paths, chaces, and tracks, the springs and streams, but the rarer birds' nesting-places and the rarer wild flowers, the eatable or poisonous fruits, trees, animal lairs, withies for whips, clay for modelling, elder shoots for pitch pipes, pebbles for his catapult, flint arrows, and everything of that kind. He was a night-boy too; could guide himself by the stars, was a walking almanac of the moon; and could decoy owls and nightjars, and find any fox's or badger's earth he was after, even in a dense mist. I came to know Mr. Nahum pretty well--so far at any rate as one can know anybody from hearsay--before Miss Taroone referred to the pictures again. And I became curious about him, and hoped to see this strange traveller, and frequently hung about Thrae in mere chance of that. Strangely enough, by the looks on her face and the tones of her voice, Miss Taroone was inclined to mock a little at Mr. Nahum because of his restlessness. She didn't seem to approve of his leaving her so much--though she herself had come from Sure Vine. Her keys would jangle at her chatelaine as if they said, "Ours secrets enough." And she would stand listening, and mute, as if in expectation of voices or a footfall. Then as secretly as I could, I would get away. All old memories resemble a dream. And so too do these of Miss Taroone and Thrae. When I was most busy and happy and engrossed in it, it seemed to be a house which might at any moment vanish before your eyes, showing itself to be but the outer shell or hiding place of an abode still more enchanting. This sounds nonsensical. But if you have ever sat and watched a Transformation Scene in a pantomime, did you suppose, just before the harlequin slapped with his wand on what looked like a plain brick-and-mortar wall, that it would instantly after dissolve into a radiant coloured scene of trees and fountains and hidden beings--growing lovelier in their own showing as the splendour spread and their haunts were revealed? Well, so at times I used to feel in _Thrae_. At last, one late evening in early summer, beckoning me with her finger, Miss Taroone lit a candle in an old brass stick and bade me follow her down a long narrow corridor and up a steep winding stone staircase. "You have heard, Simon, of Mr. Nahum's round room; now you shall see it." On the wider step at the top, before a squat oak door, she stayed, lifted her candle, and looked at me. "You will remember," she said, "that what I am about to admit you into is Mr. Nahum's room; not mine. You may look at the pictures, you may examine anything that interests you, you may compose yourself to the view. But replace what you look at, have a care in your handling, do nothing out of _idle_ curiosity, and come away when you are tired. Remember that Mr. Nahum may be returning at any hour. He would be pleased to find you here. But hasten away out of his room the very instant you feel you have no right, lot or pleasure to be in it. Hasten away, I mean, so that you may return to it with a better mind and courage." She laid two fingers on my shoulder, cast another look into my face under her candle, turned the key in the lock, gently thrust me beyond the door, shut it: and left me to my own devices. What first I noticed, being for awhile a little alarmed at this strange proceeding, was the evening light that poured in on the room from the encircling windows. Below, by walking some little distance from room to room, corridor to corridor, you could get (as I have said) a single narrow view out north, south, east or west. Here, you could stand in the middle, and turning slowly like a top on your heels, could watch float by one after the other, hill and windmill, ocean, distant city, dark yew-wood. The crooning of doves was audible on the roof, swallows were coursing in the placid and rosy air, the whole world seemed to be turning softly out of the day's sunshine, stretching long dark shadows across hill and valley as if in delight to be on the verge of rest and slumber again, now that the heats of full summer were so near. But I believe my first _thought_ was--What a boiling hot and glaring place to sit in in the middle of the morning. And then I noticed that heavy curtains hung on either side each rounded window, for shade, concealment and solitude. As soon, however, as my eyes were accustomed to the dazzle, I spent little time upon the great view, but immediately peered about me at what was in this curious chamber. Never have I seen in any room--and this was none so large--such a hugger-mugger of strange objects--odd-shaped coloured shells, fragments of quartz, thunderbolts and fossils; skins of brilliant birds; outlandish shoes; heads, faces, masks of stone, wood, glass, wax, and metal; pots, images, glass shapes, and what not; lanterns and bells; bits of harness and ornament and weapons. There were, besides, two or three ships of different rigs in glass cases, and one in a green bottle; peculiar tools, little machines; silent clocks, instruments of music, skulls and bones of beasts, frowsy bunches of linen or silk queerly marked, and a mummied cat (I think). And partly concealed, as I twisted my head, there, dangling in an alcove, I caught sight of a full-length skeleton, one hollow eye-hole concealed by a curtain looped to the floor from the ceiling. I just cast my glance round on all these objects without of course seeing them one by one. The air was clear as water in the evening light, a little dust had fallen; all was in order, though at that first hasty glance there seemed none. Last, but not least, there was row on row of painted pictures. Wherever there was space on the walls free of books, this round tower room was hung with them as close as their frames and nails allowed. There I stood, hearing faintly the birds, conscious of the pouring sunlight, the only live creature amidst this departed traveller's treasures and possessions. I was so much taken aback by it all, so mystified by Miss Taroone's ways, so cold at sight of the harmless bones above me, and felt so suddenly out of my familiars, that without a moment's hesitation I turned about, flung open the door and went helter skelter clattering down the stairs--out of the glare into the gloom. There was no sign of Miss Taroone as I crossed through the house and sneaked off hastily through the garden. And not until the barn had shut me out from the lower windows behind me did I look back at the upper ones of Mr. Nahum's tower. Until that moment I did not know how frightened I had been. Yet why, or at what, I cannot even now decide. But I soon overcame this folly. Miss Taroone made no inquiry how I had fared on this first visit to Mr. Nahum's fortress. As I have said, she seldom asked questions--except with her eyes, expressions, and hands. But some time afterwards, and after two or three spells of exploration, I myself began to talk to her of the strange things up there. "I have looked at a good many, Miss Taroone. But the pictures! Some of them are of places I _believe_ I know. I wish I could be a traveller and see what the others are of. Did Mr. Nahum paint them all himself?" Miss Taroone was sitting bolt upright in a high-backed chair, her eyes and face very intent, as always happened when Mr. Nahum's name was mentioned. "I know very little about them, Simon. When Nahum was younger he used to make pictures of Thrae, and of the woods and valleys hereabouts. There are boxfulls put away. Others are pictures brought back from foreign parts, but many of them, as I believe," she turned her face and looked into a shadowy corner of the room, "are pictures of nothing on earth. He has his two worlds. Take your time. Some day you too, I dare say, will go off on your travels. Remember that, like Nahum, you are as old as the hills which neither spend nor waste time, but dwell in it for ages, as if it were light or sunshine. Some day perhaps Nahum will shake himself free of Thrae altogether. I don't _know_, myself, Simon. This house is enough for me, and what I remember of Sure Vine, compared with which Thrae is but the smallest of bubbles in a large glass." I do not profess to have understood one half of what Miss Taroone meant in these remarks. It was in English and yet in a hidden tongue. But by this time I had grown to be bolder in her company, and pounced on this:--"What, please Miss Taroone, do you mean by the 'two worlds'? Or shall I ask downstairs?" I added the latter question because now and then in the past Miss Taroone had bidden me go down to Linnet Sara for my answers. She now appeared at first not to have heard it. "Now I must say to you, Simon," she replied at last, folding her hands on her knee, "wherever you may be in that body of yours, you feel you look out of it, do you not?" I nodded. "Yes, Miss Taroone." "Now think, then, of Mr. Nahum's round room; where is that?" "Up there," said I, pointing up a rambling finger. "Ah!" cried Miss Taroone, "so it may be. But even if to-morrow you are thousands of miles distant from here on the other side of this great Ball, or in its bowels, or flying free--you will still carry a picture of it, will you not? And that will be within you?" "Yes, in my mind, Miss Taroone?" I answered rather sheepishly. "In your mind," she echoed me, but not as if she were particularly pleased at the fact. "Well, many of the pictures I take it in Mr. Nahum's round tower are of _that_ world. His MIND. I have never examined them. My duties are elsewhere. Your duty is to keep your senses, heart and courage and to go where you are called. And in black strange places you will at times lose yourself and find yourself, Simon. Now Mr. Nahum is calling. Don't think of me too much. I have great faith in him. Sit up there with him then. Share your eyes with his pictures. And having seen them, compare them if you will. Say, This is this, and that is that. And make of all that he has exactly what use you can." With this counsel in my head I once more groped my way up the corkscrew stone staircase, and once more passed on from picture to picture; in my engrossment actually knocking my head against the dangling foot-bones of Mr. Nahum's treasured and now unalarming skeleton. The pictures were of all kinds and sizes--in water colour, in chalks, and in oil. Some I liked for their vivid colours and deep shadows, and some I did not like at all. Nor could I always be sure even what they were intended to represent. Many of them completely perplexed me. A few of them seemed to me to be absurd; some made me stupidly ashamed; and one or two of them terrified me. But I went on examining them when I felt inclined, and a week or so after, as I was lifting out one of them into the sunshine, by chance it twisted on its cord and disclosed its wooden back. And there, pasted on to it, was a scrap of yellowing paper with the letters BLAKE, followed by a number--CXLVII, in Roman figures. As with this one, so with the others. Each had its name and a number. And even as I stood pondering what this might mean, my eyes rested on a lower shelf of one of Mr. Nahum's cases of books--book-cases which I have forgotten to say stood all round the lower part of the room. I had already discovered that many of these books were the writings of travellers in every part of the globe. One whole book-case consisted of what Mr. Nahum appeared to call Kitchen Work. But the one on a lower shelf which had now taken my attention was new to me--an enormous, thick, home-made-looking volume covered in a greenish shagreen or shark-skin. Scrawled in ungainly capitals on the strip of vellum pasted to the back of this book was its title: THEOTHERWORLDE. Would you believe it?--at first I was stupid enough to suppose this title was one word, a word in a strange tongue, which I pronounced to myself as best I could, THEEOTHAWORLDIE--saying the TH as in _thimble_. And that is what, merely for old sake's sake, I have continued to call the book in my mind to this day! I glanced out of the window. The upper boughs of the yew-wood and the stones this side of it among the bright green grasses were impurpled by the reflected sunlight. Nothing there but motionless shadows. I stood looking vacantly out for a moment or two; then stooped and lugged out the ponderous fusty old volume on to the floor and raised its clumsy cover. To my surprise and pleasure, I found, that attached within was the drawing of a boy of about my own age, but dressed like a traveller, whose face faintly resembled a portrait I had noticed on the walls downstairs, though this child had wings painted to his shoulders and there was a half circle of stars around his head. Beneath this portrait in the book, in small letters, was scrawled in a faded handwriting, NAHUM TARUNE. This, then, was Mr. Nahum when he was a boy. It pleased me to find that he was no better a speller than myself. He had not even got his own name right! I liked his face. He looked out from under his stars at me, full in the eyes. Next--after I had searched his looks and clothes and what he carried pretty closely--I turned over a few of the stiff leaves and found more of his writing with a big VII scrawled on the top. On page one of this book you will find the writing. I should have been a stupider boy even than I was if I had not at once turned over the pictures till I came to that with VII on the label on the back of it. This picture was of a Maze outlined in gaudy colours which faded towards the middle--a sort of oasis in which grew a tree. Fabulous-looking animals and creatures with wings sprawled around its margins. After repeated attempts I found to my disappointment that your only way out of the oasis and the maze was, after long groping, by the way you went in. Underneath it was written "_This is the key._" And above it in green letters stood this:--Behold upon the mountains the feet of him that bringeth good tidings, that publisheth peace! It was unfortunate that so little more of daylight was now left dying in the sky that evening; for as yet I had not the confidence to kindle the wax candles that stood in their brass sticks in the round tower. It was high time for me to be getting home. In my haste to be off I nearly collided with Miss Taroone, who happened to be standing in the dusklight looking out from under her porch. Too much excited even to beg her pardon, I blurted out: "Miss Taroone, I have found out what the pictures are of. It's a Book. _Theeothaworldie._ Mr. Nahum's portrait's in it, but they've put wings to him; and it's all in his writing--rhymes." She looked down at me, though I could not quite see her face. "Then, good-night to you, Simon; and happy dreams," she said, in her unfriendly voice. "I like the round room better and better," I replied as heartily as I could. "That picture of Mr. Nahum--and there are lots more, I think--is a _little_ bit like an uncle of mine who died in Russia; my Uncle John." "John's as good a name, I suppose, as any other, Simon," said Miss Taroone. She stood looking out on the dusky country scene. "There's a heavy dew tonight, and the owls are busy." They were indeed. Their screechings sounded on all sides of me as I ran off homewards, chanting over to myself the words that had somehow stuck in my memory. Well, at last I began to read in Mr. Nahum's book--I won't say page by page, but as the fancy took me. It consisted chiefly of rhymes and poems, and some of them had pictured capitals and were decorated in clear bright colours like the pages of the old books illuminated by monks centuries ago. Apart from the poems were here and there pieces of prose. These, I found, always had some bearing on the poems, and, like them, many of them were queerly spelt. Occasionally Mr. Nahum had jotted down his own thoughts in the margin. But the pictures were my first concern. Sometimes I went off to them from the book in order to find the particular one I wanted. And sometimes the other way round: I would have a good long stare at a picture, then single out the proper rhyme in the book. Often, either in one way or the other, I failed. For there were far fewer pictures than there were pages in the book, and for scores of pages I found no picture at all. It seemed Mr. Nahum had made paintings only of those he liked best. The book itself, I found, was the first of three, the other two being similar to itself but much thicker and heavier. Into these I dipped occasionally, but found that the rhymes in them interested me less or were less easily understandable. Even some of those in the first book were a little beyond my wits at the time. But experience seems to be like the shining of a bright lantern. It suddenly makes clear in the mind what was already there perhaps, but dim. And often though I immediately liked what I read, long years were to go by before I really understood it, made it my own. There would come a moment, something would happen; and I would say to myself:--"Oh, that, then, is what _that_ meant!" Before going any further I must confess that I was exceedingly slow over Mr. Nahum's writings. Even over Volume I. When first I opened its pages I had had a poor liking for poetry because of a sort of contempt for it. "Poetry!" I would scoff to myself, and would shut up the covers of any such book with a kind of yawn inside me. Some of it had come my way in lesson books. This I could gabble off like a parrot, and with as much understanding; and I had just begun to grind out a little Latin verse for my father. But I had never troubled to think about it; to share my Self with it; to examine it in order to see whether or not it was true; or to ask why it was written in this one way and in no other way. But apart from this, there were many old rhymes in Mr. Nahum's book--nursery things--which I had known since I knew anything. And I still have an old childish love for rhymes and jingles like them. But what about the others? I began to ponder. After being so many hours alone in Mr. Nahum's room, among his secret belongings, I almost felt his presence there. When your mind is sunk in study, it is as if you were in a dream. But you cannot tell where, or in whose company, you may wake out of a dream. I remember one sultry afternoon being startled out of my wits by a sudden clap of thunder. I looked up, to find the whole room black, zigzag, and strange, and for a moment I fancied Mr. Nahum was actually there behind me; and not a friendly Mr. Nahum. That is mere fancy; though in other ways he became so real to me at last that I would do things as if he had asked me to do them. For this reason, I think, I persevered with his book, swallowing some of the poems as if they were physic, simply because he had written them there. But the more I read, the more I came to enjoy them for their own sakes. Not all of them, of course. But I did see this, that like a carpenter who makes a table, a man who has written a poem has written it like that _on purpose_. With this thought in my head I tried one day to alter the words of one or two of the simple and easy poems; or to put the words in a different order. And I found by so doing that you not only altered the sound of the poem, but that even the slightest alteration in the sound a little changed the sense. Either you lost something of the tune and runningness; or the words did not clash right; or you blurred the picture the words gave you; or some half-hidden meaning vanished away. I don't mean that every poem is perfect; but only that when I changed them it was almost always very much for the worse. I was very slow in all this; but, still, I went on. No. III, I remember, was the old nursery jingle, "Old King Cole":-- Old King Cole was a merry old soul, And a merry old soul was he; He called for his pipe, And he called for his bowl, And he called for his fiddlers three.... Now, suppose, instead of these four lines of the rhyme you put:-- Old King Cole was a jolly old man, The jolliest old man alive; He called for his cup, and he called for a pipe And he called for his fiddlers five. By so doing you have actually added two extra fiddlers; and yet somehow you have taken away some of the old three's music. Or you may put:-- 'Cole the First was now a monarch advanced in age, and of a convivial temperament. On any festive occasion he would bid his retainers bring him his goblet and smoking materials, and would command his musicians to entertain him on their violins: which they did.' Well, all the _facts_ are there and many more words, but scarcely a trace of _my_ old King Cole, and not a single tweedle-eedle of the fiddling. Would anyone trouble to learn that by heart? Now underneath this rhyme Mr. Nahum had written a sort of historical account of King Cole, a good deal of it in German and other languages. All I could make out of it was this: if ever a King Cole inhabited the world, he probably had another name; that he lived too far back in history for anyone to make sure when he had lived or that he had lived at all; and that his "pipe" and "bowl" probably stand for objects much more mysterious and far less common. Having the rhyme quite free to myself, I didn't mind reading this; but if ever I have to give up either, I shall keep the rhyme. Having discovered, then, that every poem must have been written as it was written, on purpose, I took a little more pains with those I cared for least. In some even then I could not quite piece out the meaning; in others I could not easily catch the beat and rhythm and tune. But I learned to read them very slowly, so as fully and quietly to fill up the time allowed for each line and to listen to its music, and to see and hear all that the words were saying. Then, too, what Miss Taroone had said came back to my mind. Even when Mr. Nahum's poems were about real things and places and people, they were still only of places and people the words made for me in my _mind_. I must, that is, myself imagine all they told. And I found that the mention in a poem even of quite common and familiar things--such as a star, or a buttercup, or a beetle--did not bring into the mind quite the same kind of images of them as the things and creatures themselves do in the naked eye. Now the day is over, Night is drawing nigh; Shadows of the evening Steal across the sky.... This was one of the earliest poems in Mr. Nahum's book. I had often, of course, seen the shadows of evening--every grass-blade or pebble casts its own; but these words not only called them vividly into my mind, but set shadows there (shadows across the sky) that I had never really seen at all--with my own eyes I mean. I discovered afterwards, also, that shadows are only the absence of light, though light is needed to make them visible. Just the same, again, with the sailors in the same poem: Guard the sailors tossing On the deep blue sea.... They are plain and common words, but their _order_ here is the poem's only, and the effect they had on me, and still have, is different from the effect of any other words on the same subject. Though, too, like Mr. Nahum, I have now seen something of the world (have been seasick and nearly drowned) I have never forgotten those imaginary sailors, or that imaginary sea; can still hear the waves lapping against that (unmentioned) ship's thin wooden walls, as if I myself were sleeping there, down below. So what I then read has remained a clear and single remembrance, as if I myself had seen it in a world made different, or in a kind of vision or dream. And I think Mr. Nahum had chosen such poems in Volume I. as carried away the imagination like that; either into the past, or into another mind, or into the all-but-forgotten; at times as if into another world. And this kind has been my choice in this book. Not that his picture to a particular poem was always the picture I should have made of it. Take for example another nursery jingle in his book: 'How many miles to Babylon?' 'Three score and ten.' 'Can I get there by candle-light?' 'Ay, and back again.' Mr. Nahum's corresponding picture was not of Babylon or of a candle, or of a traveller at all, but of a stone tomb, On its thick upper slab he had drawn-in an old earthen lamp, with a serpent for handle--its wick alight, and shining up on a small owl perched in the lower branches of the thick tree above. That is one of the pleasures of reading--you may make any picture out of the words you can and will; and a poem may have as many different meanings as there are different minds. There I would sit, then, and Mr. Nahum's book made of "one little room an everywhere." And though I was naturally rather stupid and dense, I did in time realise that "rare poems ask rare friends," and that even the simplest ones may have secrets which will need a pretty close searching out. Of course I could not copy out all of the poems even in THEEOTHAWORLDIE, Volume I., and I took very few from Volumes II. and III. I chose what I liked best--those that, when I read them, never failed to carry me away, as if on a Magic Carpet, or in Seven League Boots, into a region of their own. When the nightingale sings, other birds, it is said, will sit and listen to him: and I remember very well hearing a nightingale so singing on a spray in a dewy hedge, and there were many small birds perched mute and quiet near. The cock crows at midnight; and for miles around his kinsmen answer.
{'title': 'Come Hither: A Collection of Rhymes and Poems for the Young of All Ages', 'source': 'Project Gutenberg', 'lang': 'en'}