Mother and Daughter- Sonnet Sequence



I
Young laughters, and my music! Aye till now
The voice can reach no blending minors near;
'Tis the bird's trill because the spring is here
And spring means trilling on a blossomy bough;
'Tis the spring joy that has no why or how,
But sees the sun and hopes not nor can fear--
Spring is so sweet and spring seems all the year.
Dear voice, the first-come birds but trill as thou.

Oh music of my heart, be thus for long:
Too soon the spring bird learns the later song;
Too soon a sadder sweetness slays content
Too soon! There comes new light on onward day,
There comes new perfume o'er a rosier way:
Comes not again the young spring joy that went.
ROME, November 1881.

II
That she is beautiful is not delight,
As some think mothers joy, by pride of her,
To witness questing eyes caught prisoner
And hear her praised the livelong dancing night;
But the glad impulse that makes painters sight
Bids me note her and grow the happier;
And love that finds me as her worshipper
Reveals me each best loveliness aright.

Oh goddess head! Oh innocent brave eyes!
Oh curved and parted lips where smiles are rare
And sweetness ever! Oh smooth shadowy hair
Gathered around the silence of her brow!
Child, I'd needs love thy beauty stranger-wise:
And oh the beauty of it, being thou!

III
I watch the sweet grave face in timorous thought
Lest I should see it dawn to some unrest
And read that in her heart is youth's ill guest,
The querulous young sadness, born of nought,
That wearies of the strife it has not fought,
And finds the life it has not had unblest,
And asks it knows not what that should be best,
And till Love come has never what it sought.

But she is still. A full and crystal lake
So gives it skies their passage to its deeps
In an unruffled morn where no winds wake,
And, strong and fretless, 'stirs not, nor yet sleeps.
My darling smiles and 'tis for gladness' sake;
She hears a woe, 'tis simple tears she weeps.

IV
'Tis but a child. The quiet Juno gaze
Breaks at a trifle into mirth and glow,
Changed as a folded bud bursts into blow,
And she springs, buoyant, on some busy craze,
Or, in the rhythm of her girlish plays,
Like light upon swift waves floats to and fro,
And, whatsoe'er's her mirth, needs me to know,
And keeps me young by her young innocent ways.

Just now she and her kitten raced and sprang
To catch the daisy ball she tossed about;
Then they grew grave, and found a shady tree,
And kitty tried to see the notes she sang:
Now she flies hitherward--'Mother! Quick! Come see!
Two hyacinths in my garden almost out!'

V
Last night the broad blue lightnings flamed the sky;
We watched, our breaths caught as each burst its way,
And through its fire out-leaped the sharp white ray,
And sudden dark re-closed when it went by:
But she, that where we are will needs be nigh,
Had tired with hunting orchids half the day.
Her father thought she called us; he and I,
Half anxious, reached the bedroom where she lay.

Oh lily face upon the whiteness blent!
How calm she lay in her unconscious grace!
A peal crashed on the silence ere we went;
She stirred in sleep, a little changed her place,
'Mother,' she breathed, a smile grew on her face:
'Mother,' my darling breathed, and slept content.

VI
Sometimes, as young things will, she vexes me,
Wayward, or too unheeding, or too blind.
Like aimless birds that, flying on a wind,
Strike slant against their own familiar tree;
Like venturous children pacing with the sea,
That turn but when the breaker spurts behind
Outreaching them with spray: she in such kind
Is borne against some fault, or does not flee.

And so, may be, I blame her for her wrong,
And she will frown and lightly plead her part,
And then I bid her go. But 'tis not long:
Then comes she lip to ear and heart to heart.
And thus forgiven her love seems newly strong,
And, oh my penitent, how dear thou art!

VII
Her father lessons me I at times am hard,
Chiding a moment's fault as too grave ill,
And let some little blot my vision fill,
Scanning her with a narrow near regard.
True. Love's unresting gaze is self-debarred
From all sweet ignorance, and learns a skill,
Not painless, of such signs as hurt love's will,
That would not have its prize one tittle marred.

Alas! Who rears and loves a dawning rose
Starts at a speck upon one petal's rim:
Who sees a dusk creep in the shrined pearl's glows,
I
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Submitted on May 13, 2011

Modified on April 30, 2023

4:05 min read
151

Quick analysis:

Scheme Abcxbbccb ddeffeg ahgghhgce ijjbib akllekelk mimnmn opqqppqqp rstrts oaffaafaf eueuue atvvttvvt dwdwdw oxyyxeyyx zxzA
Closest metre Iambic pentameter
Characters 4,298
Words 808
Stanzas 14
Stanza Lengths 9, 7, 9, 6, 9, 6, 9, 6, 9, 6, 9, 6, 9, 4

Augusta Davies Webster

Augusta Webster born in Poole, Dorset as Julia Augusta Davies, was an English poet, dramatist, essayist, and translator. The daughter of Vice-admiral George Davies and Julia Hume, she spent her younger years on board the ship he was stationed, the Griper. She studied Greek at home, taking a particular interest in Greek drama, and went on to study at the Cambridge School of Art. She published her first volume of poetry in 1860 under the pen name Cecil Homes. In 1863, she married Thomas Webster, a fellow at Trinity College, Cambridge. They had a daughter, Augusta Georgiana, who married Reverend George Theobald Bourke, a younger son of the Joseph Bourke, 3rd Earl of Mayo. Much of Webster's writing explored the condition of women, and she was a strong advocate of women's right to vote, working for the London branch of the National Committee for Women's Suffrage. She was the first female writer to hold elective office, having been elected to the London School Board in 1879 and 1885. In 1885 she travelled to Italy in an attempt to improve her failing health. She died on 5 September 1894, aged 57. During her lifetime her writing was acclaimed and she was considered by some the successor to Elizabeth Barrett Browning. After her death, however, her reputation quickly declined. Since the mid-1990s she has gained increasing critical attention from scholars such as Isobel Armstrong, Angela Leighton, and Christine Sutphin. Her best-known poems include three long dramatic monologues spoken by women: A Castaway, Circe, and The Happiest Girl In The World, as well as a posthumously published sonnet-sequence, "Mother and Daughter". more…

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