Canto III
Yet to the wondrous St. Peter's, and yet to the solemn Rotunda,Mingling with heroes and gods, yet to the Vatican Walls,Yet may we go, and recline, while a whole mighty world seems above us,Gathered and fixed to all time into one roofing supreme;Yet may we, thinking on these things, exclude what is meaner around us;Yet, at the worst of the worst, books and a chamber remain;Yet may we think, and forget, and possess our souls in resistance.--Ah, but away from the stir, shouting, and gossip of war,Where, upon Apennine slope, with the chestnut the oak-trees immingle,Where, amid odorous copse bridle-paths wander and wind,Where, under mulberry-branches, the diligent rivulet sparkles,Or amid cotton and maize peasants their water-works ply,Where, over fig-tree and orange in tier upon tier still repeated,Garden on garden upreared, balconies step to the sky,--Ah, that I were far away from the crowd and the streets of the city,Under the vine-trellis laid, O my beloved, with thee!
Why doesn't Mr. Claude come with us? you ask.--We don't know,You should know better than we. He talked of the Vatican marbles;But I can't wholly believe that this was the actual reason,--He was so ready before, when we asked him to come and escort us.Certainly he is odd, my dear Miss Roper. To change soSuddenly, just for a whim, was not quite fair to the party,--Not quite right. I declare, I really almost am offended:I, his great friend, as you say, have doubtless a title to be so.Not that I greatly regret it, for dear Georgina distinctlyWishes for nothing so much as to show her adroitness. But, oh, myPen will not write any more;--let us say nothing further about it.Yes, my dear Miss Roper, I certainly called him repulsive;So I think him, but cannot be sure I have used the expressionQuite as your pupil should; yet he does most truly repel me.Was it to you I made use of the word? or who was it told you?Yes, repulsive; observe, it is but when he talks of ideasThat he is quite unaffected, and free, and expansive, and easy;I could pronounce him simply a cold intellectual being.--When does he make advances?--He thinks that women should woo him;Yet, if a girl should do so, would be but alarmed and disgusted.She that should love him must look for small love in return,--like the ivyOn the stone wall, must expect but a rigid and niggard support, andE'en to get that must go searching all round with her humble embraces.
Words in this poem
- wondrous adv.
- In a wonderful or surprising manner or degree; wonderfully. [OE. wonders, adv. (later also adj.). See Wonder, n., and cf. -wards.]
- vatican n.
- A magnificent assemblage of buildings at Rome, near the church of St. Peter, including the pope's palace, a museum, a library, a famous chapel, etc. [L. Vaticanus, mons, or collis, Vaticanus, the Vatican hill, in Rome, on the western bank of the Tiber: cf. F. Vatican, It. Vaticano.]
- apennine a.
- Of, pertaining to, or designating, the Apennines, a chain of mountains extending through Italy. [L. Apenninus, fr. Celtic pen, or ben, peak, mountain.]
- immingle v. t.
- To mingle; to mix; to unite; to blend. Thomson.
- amid prep.
- In the midst or middle of; surrounded or encompassed by; among. [OE. amidde, amiddes, on midden, AS. on middan, in the middle, fr. midde the middle. The s is an adverbial ending, originally marking the genitive; the t is a la]
- copse n.
- A wood of small growth; a thicket of brushwood. See Coppice. [Contr. from coppice.]
- roper n.
- A maker of ropes. P. Plowman.
- doubtless a.
- Free from fear or suspicion.
- adroitness n.
- The quality of being adroit; skill and readiness; dexterity.
- unaffected a.
- Not affected or moved; destitute of affection or emotion; uninfluenced.
- expect v. t.
- To wait for; to await. [L. expectatum, to look out for, await, expect; ex + out spectare to look at. See Spectacle.]
Definitions and etymologies from Webster's Unabridged Dictionary, 1913.
About this text
Canto III is in the public domain. This text is taken from Amours De Voyage, Project Gutenberg ebook #1393; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.
Cite as: Arthur Hugh Clough, Canto III, in Amours de Voyage (1858), text of Project Gutenberg ebook #1393, Laurel, https://laurelpoetry.com/poem/clough-amours/canto-iii.html, id L01596.
Form and metre
Canto III is 39 lines in 2 stanzas. 68% of its stressed syllables fall where the metre puts the beat. The lines average 15.7 syllables. 19 lines end on an unstressed syllable, a feminine ending. 18% of the lines run on without a stop at the line end.
Measured by Laurel's pipeline, not copied from a handbook: how stress and metre are counted, how rhyme is lettered, how a drifted rhyme is found. Where the dictionary cannot confirm a rhyme the letter is withheld, not guessed.
Rhyme words, stanza by stanza
The word that ends each line, lettered by the rhyme it makes; a dash is a line whose rhyme the dictionary could not confirm.
- 1 --A-A------B-B-B rotunda · walls · usA · supreme · usA · remain · resistance · war · immingle · wind · sparkles · plyB · repeated · skyB · city · theeB
- 2 A---A--A-B---B--------- knowA · marbles · reason · us · soA · party · offended · soA · distinctly · myB · it · repulsive · expression · meB · you · ideas · easy · being · him · disgusted · ivy · and · embraces
Scansion, line by line
Each line with its syllable count and the stresses the words themselves fix: / stressed, ˘ unstressed, · a syllable the word leaves free and the metre decides. How this is done.
| Line | Syl. | Stress |
|---|---|---|
| Yet to the wondrous St. Peter's, and yet to the solemn Rotunda, | 17 | ···/˘·/˘····/˘˘/˘ |
| Mingling with heroes and gods, yet to the Vatican Walls, | 15 | /˘˘·/˘·····/˘˘· |
| Yet may we go, and recline, while a whole mighty world seems above us, | 17 | ·····˘/···/˘····· |
| Gathered and fixed to all time into one roofing supreme; | 14 | /˘········/˘˘/ |
| Yet may we, thinking on these things, exclude what is meaner around us; | 17 | ···/˘···˘/··/˘··· |
| Yet, at the worst of the worst, books and a chamber remain; | 14 | ··········/˘˘/ |
| Yet may we think, and forget, and possess our souls in resistance.-- | 17 | ·····˘/·˘//˘··˘/˘ |
| Ah, but away from the stir, shouting, and gossip of war, | 14 | ··˘/···/˘·/˘·· |
| Where, upon Apennine slope, with the chestnut the oak-trees immingle, | 17 | ···/˘····/····˘/˘ |
| Where, amid odorous copse bridle-paths wander and wind, | 14 | ·˘//˘˘·/˘·/˘·· |
| Where, under mulberry-branches, the diligent rivulet sparkles, | 17 | ···/·˘/˘·/˘˘/˘˘/˘ |
| Or amid cotton and maize peasants their water-works ply, | 14 | ·˘//˘··/˘·/˘·· |
| Where, over fig-tree and orange in tier upon tier still repeated, | 17 | ······/˘······˘/˘ |
| Garden on garden upreared, balconies step to the sky,-- | 14 | /˘·/˘··/˘˘···· |
| Ah, that I were far away from the crowd and the streets of the city, | 17 | ·····˘/········/˘ |
| Under the vine-trellis laid, O my beloved, with thee! | 13 | ····/˘···˘/·· |
| Why doesn't Mr. Claude come with us? you ask.--We don't know, | 14 | ·/˘/˘········· |
| You should know better than we. He talked of the Vatican marbles; | 16 | ···/˘······/˘˘/˘ |
| But I can't wholly believe that this was the actual reason,-- | 16 | ···/˘˘/····/˘˘/˘ |
| He was so ready before, when we asked him to come and escort us. | 17 | ···/˘·········˘/· |
| Certainly he is odd, my dear Miss Roper. To change so | 14 | /˘˘······/˘··· |
| Suddenly, just for a whim, was not quite fair to the party,-- | 15 | /˘˘··········/˘ |
| Not quite right. I declare, I really almost am offended: | 15 | ····˘/·/˘/··˘/˘ |
| I, his great friend, as you say, have doubtless a title to be so. | 16 | ········/˘·/˘··· |
| Not that I greatly regret it, for dear Georgina distinctly | 16 | ···/˘˘/····/˘˘/˘ |
| Wishes for nothing so much as to show her adroitness. But, oh, my | 17 | /˘·/˘······˘/˘··· |
| Pen will not write any more;--let us say nothing further about it. | 17 | ····/˘····/˘/˘··· |
| Yes, my dear Miss Roper, I certainly called him repulsive; | 15 | ····/˘·/˘˘··˘/˘ |
| So I think him, but cannot be sure I have used the expression | 16 | ·····/˘······˘/˘ |
| Quite as your pupil should; yet he does most truly repel me. | 15 | ···/˘·····/˘˘/· |
| Was it to you I made use of the word? or who was it told you? | 16 | ················ |
| Yes, repulsive; observe, it is but when he talks of ideas | 16 | ·˘/˘˘/·······˘/˘ |
| That he is quite unaffected, and free, and expansive, and easy; | 17 | ·····˘/˘···˘/˘·/˘ |
| I could pronounce him simply a cold intellectual being.-- | 16 | ··˘/·/˘···˘/˘˘/˘ |
| When does he make advances?--He thinks that women should woo him; | 15 | ····˘/˘···/˘··· |
| Yet, if a girl should do so, would be but alarmed and disgusted. | 16 | ··········˘/·˘/˘ |
| She that should love him must look for small love in return,--like the ivy | 17 | ···········˘/··/˘ |
| On the stone wall, must expect but a rigid and niggard support, and | 17 | ·····˘/··/˘·/˘˘/· |
| E'en to get that must go searching all round with her humble embraces. | 17 | ······/˘····/˘˘/˘ |
The reader shows the same poem with its rhymes coloured and a stress row above each line, the notes beside their stanzas, and any word's definition on a tap; the analysis page takes the whole book apart. How every part of this site was made.