216. Yule-log: The great log, sometimes the root of a tree, burned in the huge fireplace on Christmas eve, with special ceremonies and merrymakings. It was lighted with a brand preserved from the last year"s log, and connected with its burning were many quaint superst.i.tions and customs. The celebration is a survival through our Scandinavian ancestors of the winter festival in honor of the G.o.d Thor. Herrick describes it trippingly in one of his songs:
"Come, bring with a noise, My merrie, merrie boys, The Christmas log to the firing; While my good dame, she Bids ye all be free, And drink to your heart"s desiring."
219. Like a locust, etc.: Only one who has heard both sounds frequently can appreciate the close truth of this simile. The metaphors and similes in this stanza are deserving of special study.
226. Harp: Prof. William Vaughn Moody questions whether "the use of Sir Launfal"s hair as a "harp" for the wind to play a Christmas carol on" is not "a bit grotesque." Does the picture of Sir Launfal in these two stanzas belong in the Prelude or in the story in Part Second?
230. Carol of its own: Contrasted with the carols that are being sung inside the castle.
231. Burden: The burden or refrain is the part repeated at the end of each stanza of a ballad or song, expressing the main theme or sentiment. _Still_ is in the sense of always, ever.
233. Seneschal: An officer of the castle who had charge of feasts and ceremonies, like the modern Lord Chamberlain of the King"s palace.
Note the effect of the striking figure in this line.
237. Window-slits: Narrow perpendicular openings in the wall, serving both as windows and as loopholes from which to fire at an enemy.
238. Build out its piers: The beams of light are like the piers or jetties that extend out from sh.o.r.e into the water to protect ships.
Such piers are also built out to protect the sh.o.r.e from the violent wash of the ocean. The poet may possibly, however, have had in mind the piers of a bridge that support the arches and stand against the sweep of the stream.
243. In this line instead of "the weaver Winter" the original has "the frost"s swift shuttles." Was the change an improvement?
244. A single crow: Note the effect of introducing this lone crow into the bleak landscape.
250. It must not be forgotten that this old Sir Launfal is only in the dream of the real Sir Launfal, who is still lying on the rushes within his own castle. As the poor had often been turned away with cold, heartless selfishness, so he is now turned away from his own "hard gate."
251. Sate: The use of this archaic form adds to the antique flavor of the poem. So with the use of the word "tree" for cross, in line 281 below. Lowell was pa.s.sionately fond of the old poets and the quaint language of the early centuries of English literature, and loved to introduce into his own poetry words and phrases from these sources. Of this habit he says:
"If some small savor creep into my rhyme Of the old poets, if some words I use, Neglected long, which have the l.u.s.ty thews Of that gold-haired and earnest-hearted time, Whose loving joy and sorrow all sublime Have given our tongue its starry eminence,-- It is not pride, G.o.d knows, but reverence Which hath grown in me since my childhood"s prime."
254. Recked: Cared for.
255. Surcoat: A long flowing garment worn over the armor, on which was "emblazoned" the coat of arms. If the knight were a crusader, a red cross was embroidered thus on the surcoat.
256. The sign: The sign of the cross, the symbol of humility and love. This is the first real intimation, the keynote, of the transformation that has taken place in Sir Launfal"s soul.
259. Idle mail: Useless, ineffectual protection. This figure carries us back to the "gilded mail," line 131, in which Sir Launfal "flashed forth" at the beginning of his quest. The poem is full of these minor ant.i.theses, which should be traced by the student.
264-272. He sees, etc.: This description is not only beautiful in itself, but it serves an important purpose in the plan of the poem. It is a kind of condensation or symbolic expression of Sir Launfal"s many years of wandering in oriental lands. The hint or brief outline is given, which must be expanded by the imagination of the reader.
Otherwise the story would be inconsistent and incomplete. Notice how deftly the picture is introduced.
272. Signal of palms: A group of palm trees seen afar off over the desert is a welcome signal of an oasis with water for the relief of the suffering traveler. Some critics have objected that so small a spring could not have "waved" so large a signal!
273. Notice the abruptness with which the leper is here introduced, just as before at the beginning of the story. The vision of "a sunnier clime" is quickly swept away. The shock of surprise now has a very different effect upon Sir Launfal.
275. This line at first read: "But Sir Launfal sees naught save the grewsome thing."
278. White: "And, behold, Miriam became leprous, white as snow."
(_Numbers_ xii, 10.)
279. Desolate horror: The adjective suggests the outcast, isolated condition of lepers. They were permitted no contact with other people.
The ten lepers who met Jesus in Samaria "stood afar off and lifted up their voices."
281. On the tree: On the cross. "Whom they slew and hanged on a tree, Him G.o.d raised up the third day." (_Acts_ x, 39.) This use of the word is common in early literature, especially in the ballads.
285. See _John_ xx, 25-27.
287. Through him: The leper. Note that the address is changed in these two lines. Compare _Matthew_ xxv, 34-40. This gift to the leper differs how from the gift in Part First?
291. Leprosie: The antiquated spelling is used for the perfect rhyme and to secure the antique flavor.
292. Girt: The original word here was "caged."
294. Ashes and dust: Explain the metaphor. Compare with "sackcloth and ashes." See _Esther_ iv, 3; _Jonah_ iii, 6; _Job_ ii, 8.
300, 301. The figurative character of the lines is emphasized by the word "soul" at the end. The miracle of Cana seems to have been in the poet"s mind.
304, 305. The leper is transfigured and Christ himself appears in the vision of the sleeping Sir Launfal.
307. The Beautiful Gate: "The gate of the temple which is called Beautiful," where Peter healed the lame man. (_Acts_ iii, 2.)
308. Himself the Gate: See _John_ x, 7, 9: "I am the door."
310. Temple of G.o.d: "Know ye not that ye are the temple of G.o.d, and that the spirit of G.o.d dwelleth in you?" (_I Corinthians_ iii, 16, 17; vi, 19.)
312. This line at first began with "which."
313. s.h.a.ggy: Is this term applicable to Sir Launfal"s present condition, or is the whole simile carried a little beyond the point of true likeness?
314. Softer: Lowell originally wrote "calmer" here. The change increased the effect of the alliteration. Was it otherwise an improvement?
315. Lo, it is I: _John_ vi, 20.
316. Without avail: Was Sir Launfal"s long quest entirely without avail? Compare the last lines of Tennyson"s _Holy Grail_, where Arthur complains that his knights who went upon the Holy Quest have followed "wandering fires, lost in the quagmire," and "leaving human wrongs to right themselves."
320, 321. _Matthew_ xxvi, 26-28; _Mark_ xiv, 22-24.
322. Holy Supper: The Last Supper of Christ and his disciples, upon which is inst.i.tuted the communion service of the churches. The spirit of the Holy Supper, the communion of true brotherhood, is realized when the Christ-like spirit triumphs in the man. "Inasmuch as ye have done it unto one of the least of these, my brethren, ye have done it unto me." (_Matthew_ xxv, 40.)
326. The original has "bestows" for "gives."
328. Swound: The antiquated form of _swoon_.
332, 333. Interpret the lines. Did the poet have in mind the spiritual armor described in _Ephesians_ vi, 11-17?
336. Hangbird: The oriole, so called from its hanging nest; one of Lowell"s most beloved "garden acquaintances" at Elmwood. In a letter he says: "They build a pendulous nest, and so flash in the sun that our literal rustics call them fire hang-birds." See the description in _Under the Willows_ beginning:
"My oriole, my glance of summer fire."