Armgart: Scene IV, Two Hours Later
WALPURGA. Armgart, dear Armgart (kneeling and taking her hands), only speak to me,Your poor Walpurga. Oh, your hands are cold.Clasp mine, and warm them! I will kiss them warm.
DOCTOR. News! stirring news to-day! wonders come thick—
ARMGART. (starting up at the first sound of his voice, and speaking vehemently) Yes, thick, thick, thick! and you have murdered it!Murdered my voice—poisoned the soul in me,And kept me living.You never told me that your cruel curesWere clogging films—a mouldy, dead'ning blight—A lava-mud to crust and bury me,Yet hold me living in a deep, deep tomb,Crying unheard forever! Oh, your curesAre devil's triumphs: you can rob, maim, slay,And keep a hell on the other side your cureWhere you can see your victim quiveringBetween the teeth of torture—see a soulMade keen by loss—all anguish with a goodOnce known and gone! (Turns and sinks back on her chair.)O misery, misery!You might have killed me, might have let me sleepAfter my happy day, and wake—not here!In some new unremembered world,—not here,Where all is faded, flat—a feast broke off—Banners all meaningless—exulting wordsDull, dull—a drum that lingers in the air,Beating to melody which no man hears.
DOCTOR. (after a moment's silence) A sudden check has shaken you, poor child!All things seem livid, tottering to your sense.From inward tumult. Stricken by a threat,You see your terrors only. Tell me, Leo:'Tis not such utter loss.The freshest bloom,Merely, has left the fruit; the fruit itself . . .
ARMGART. Is ruined, withered, is a thing to hideAway from scorn or pity. Oh, you standAnd look compassionate now, but when Death cameWith mercy in his hands, you hindered him.I did not choose to live and have your pity.You never told me, never gave me choiceTo die a singer, lightning-struck, unmaimed,Or live what you would make me with your cures—A self accursed with consciousness of change,A mind that lives in nought but members lopped,A power turned to pain—as meaninglessAs letters fallen asunder that once madeA Hymn of rapture. Oh, I had meaning once,Like day and sweetest air. What am I now?The millionth woman in superfluous herds.Why should I be, do, think? 'Tis thistle-seed,That grows and grows to feed the rubbish-heap,Leave me alone!
DOCTOR. Well, I will come again;Send for me when you will, though but to rate me.That is medicinal—a letting blood.
ARMGART. Oh, there is one physician, only one,Who cures and never spoils. Him I shall send for;He comes readily.
DOCTOR. (to WALPURGA) One word, dear Fräulein.
Words in this poem
- clogging n.
- Anything which clogs. Dr. H. More.
- mouldy a.
- Overgrown with, or containing, mold; as, moldy cheese or bread. [From Mold the growth of fungi.]
- unheard a.
- Not heard; not perceived by the ear; as, words unheard by those present.
- broke v. i.
- To transact business for another. Brome. [See Broker, and cf. Brook.]
- exulting a.
- Rejoicing triumphantly or exceedingly; exultant.
- stricken p. p.
- Struck; smitten; wounded; as, the stricken deer.
- shall v. i.
- To owe; to be under obligation for. [OE. shal, schal, imp. sholde, scholde, AS. scal, sceal, I am obliged, imp. scolde, sceolde, inf. sculan; akin to OS. skulan, pres. skal, imp. skolda, D. zullen,]
Definitions and etymologies from Webster's Unabridged Dictionary, 1913.
About this text
Armgart: Scene IV, Two Hours Later is in the public domain. This text is taken from The Legend of Jubal and Other Poems (ten poems from The poems of George Eliot, Crowell, 1884, on Wikisource; four from The Spanish Gypsy; The Legend of Jubal and Other Poems, Old and New, Worthington, 1890, Internet Archive spanishgypsylege00elio), Wikisource and Internet Archive; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.
Cite as: George Eliot, Armgart: Scene IV, Two Hours Later, in The Legend of Jubal and Other Poems (1874), text of Wikisource and Internet Archive, Laurel, https://laurelpoetry.com/poem/eliot-poems/armgart-scene-iv.html, id L29771.
Form and metre
Armgart: Scene IV, Two Hours Later is 58 lines in 8 stanzas. The metre is iambic pentameter, measured from the stress the words themselves fix (confidence 87%).
See other poems in iambic pentameter.
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.
- 3 -A-B-A-B-----C--DD--C- it · meA · living · curesB · blight · meA · tomb · curesB · slay · cure · quivering · soul · good · chairC · misery · sleep · hereD · hereD · off · words · airC · hears
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. Read against iambic pentameter. How this is done.
| Line | Syl. | Stress |
|---|---|---|
| WALPURGA. Armgart, dear Armgart (kneeling and taking her hands), only speak to me, | 20 | ········/˘·/˘··/˘··· |
| Your poor Walpurga. Oh, your hands are cold. | 10 | ·········· |
| Clasp mine, and warm them! I will kiss them warm. | 10 | ·········· |
| DOCTOR. News! stirring news to-day! wonders come thick— | 12 | /˘·/˘···/˘·· |
| ARMGART. (starting up at the first sound of his voice, and speaking vehemently) Yes, thick, thick, thick! and you have murdered it! | 27 | ··/˘·········/˘/˘·······/˘· |
| Murdered my voice—poisoned the soul in me, | 10 | /˘··/˘···· |
| And kept me living. | 5 | ···/˘ |
| You never told me that your cruel cures | 10 | ·/˘····/˘· |
| Were clogging films—a mouldy, dead'ning blight— | 10 | ·/˘··/˘··· |
| A lava-mud to crust and bury me, | 10 | ·/˘····/˘· |
| Yet hold me living in a deep, deep tomb, | 10 | ···/˘····· |
| Crying unheard forever! Oh, your cures | 10 | /˘˘/˘/˘··· |
| Are devil's triumphs: you can rob, maim, slay, | 10 | ·/˘/˘····· |
| And keep a hell on the other side your cure | 11 | ······/˘··· |
| Where you can see your victim quivering | 10 | ·····/˘/˘˘ |
| Between the teeth of torture—see a soul | 10 | ·····/˘··· |
| Made keen by loss—all anguish with a good | 10 | ·····/˘··· |
| Once known and gone! (Turns and sinks back on her chair.) | 11 | ··········· |
| O misery, misery! | 7 | ·/˘˘/˘˘ |
| You might have killed me, might have let me sleep | 10 | ·········· |
| After my happy day, and wake—not here! | 10 | ···/˘····· |
| In some new unremembered world,—not here, | 10 | ·········· |
| Where all is faded, flat—a feast broke off— | 10 | ···/˘····· |
| Banners all meaningless—exulting words | 10 | /˘·/˘˘˘/˘· |
| Dull, dull—a drum that lingers in the air, | 10 | ·····/˘··· |
| Beating to melody which no man hears. | 10 | /˘·/˘˘···· |
| DOCTOR. (after a moment's silence) A sudden check has shaken you, poor child! | 19 | /˘···/˘/˘·/˘··/˘··· |
| All things seem livid, tottering to your sense. | 10 | ···/˘/˘··· |
| From inward tumult. Stricken by a threat, | 10 | ·/˘/˘/˘··· |
| You see your terrors only. Tell me, Leo: | 11 | ···/˘/˘··/˘ |
| 'Tis not such utter loss. | 6 | ···/˘· |
| The freshest bloom, | 4 | ·/˘· |
| Merely, has left the fruit; the fruit itself . . . | 10 | /˘······˘/ |
| ARMGART. Is ruined, withered, is a thing to hide | 12 | ···/˘/˘····· |
| Away from scorn or pity. Oh, you stand | 10 | ˘/···/˘··· |
| And look compassionate now, but when Death came | 10 | ··˘/˘····· |
| With mercy in his hands, you hindered him. | 10 | ·/˘····/˘· |
| I did not choose to live and have your pity. | 11 | ·········/˘ |
| You never told me, never gave me choice | 10 | ·/˘··/˘··· |
| To die a singer, lightning-struck, unmaimed, | 10 | ···/˘/˘··· |
| Or live what you would make me with your cures— | 10 | ·········· |
| A self accursed with consciousness of change, | 10 | ·····/˘˘·· |
| A mind that lives in nought but members lopped, | 10 | ·······/˘· |
| A power turned to pain—as meaningless | 10 | ·/˘····/˘˘ |
| As letters fallen asunder that once made | 11 | ·/˘/˘˘/˘··· |
| A Hymn of rapture. Oh, I had meaning once, | 11 | ···/˘···/˘· |
| Like day and sweetest air. What am I now? | 10 | ···/˘····· |
| The millionth woman in superfluous herds. | 10 | ·/˘/˘·/˘·· |
| Why should I be, do, think? 'Tis thistle-seed, | 10 | ·······/˘· |
| That grows and grows to feed the rubbish-heap, | 10 | ·······/˘· |
| Leave me alone! | 4 | ··˘/ |
| DOCTOR. Well, I will come again; | 8 | /˘····˘/ |
| Send for me when you will, though but to rate me. | 11 | ··········· |
| That is medicinal—a letting blood. | 10 | ··˘/˘˘·/˘· |
| ARMGART. Oh, there is one physician, only one, | 12 | ······˘/˘/˘· |
| Who cures and never spoils. Him I shall send for; | 10 | ···/······ |
| He comes readily. | 5 | ··/˘˘ |
| DOCTOR. (to WALPURGA) One word, dear Fräulein. | 11 | /˘········· |
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.