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61
I, 55, Thy lord the summer is good to follow
And fair the feet of thy lover the spring:
But what wilt thou say to the spring thy lover?
141, Set a word in thy lips to stand before God with a
word in thy mouth.
227, My stature was a strong man’s length:
My neck was like a place of strength
Built with white walls, even and hard.
From classical literature the following images probably
derive their origin:
I, 63, ... behold
Cast forth of heaven with feet of awful gold
And plumeless wings that make the bright air blind
Lightning . . .
III, 309, For as wild mares in Thessaly grow great
With child of ravishing winds, that violate
Their leaping length of limb with manes like fire
And eyes outburning heaven’s
With fires more violent than the burning levin’s
And breath drained out and desperate of desire,
Even so the spirit in him, when winds grew strong,
Grew great with child of song.
IV, 31, Then as the fuller-feathered hours grew long
He holp to speed their warm soft feet with song.
The personifications of the literature of classical
antiquity and that of the Renaissance were adopted to a large
extent by Swinburne: especially was this the case during
the first period of his poetry.
I, 2, Then Fear said: I am Pity that was dead.
And Shame said: I am Sorrow comforted.
And Lust said: I am Love.
II, 231, [the soul] Sees force take dovverless fraud to wife
And fear from fraud’s incestuous bed
Crawl forth and smite his father dead;
232, Sees death made drunk with war, sees time
Weave many-coloured crime with crime.
It is a matter of course that where such images and
allusions prevail the intelligibility of the poem will be
risked in a high degree. Thus, when ’Our Lady of Pain’
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