The View from Castri: From a Painting by Williams
There have been bright and glorious pageants here,Where now gray stones and moss-grown columns lie;There have been words, which earth grew pale to hear,Breathed from the cavern’s misty chambers nigh:There have been voices through the sunny sky,And the pine-woods, their choral hymn-notes sending,And reeds and lyres, their Dorian melodyWith incense-clouds around the temple blending,And throngs with laurel-boughs before the altar bending.
There have been treasures of the seas and islesBrought to the Day-god’s now-forsaken throne;Thunders have peal’d along the rock-defiles,When the far-echoing battle-horn made knownThat foes were on their way! The deep wind’s moanHath chill’d th’ invader’s heart with secret fear;And from the Sibyl-grottoes, wild and lone,Storms have gone forth, which, in their fierce career,From his bold hand have struck the banner and the spear.
The shrine hath sunk!--but thou unchanged art there!Mount of the voice and vision, robed with dreams!Unchanged--and rising through the radiant air,With thy dark waving pines, and flashing streams,And all thy founts of song! Their bright course teemsWith inspiration yet; and each dim haze,Or golden cloud which floats around thee, seemsAs with its mantle veiling from our gazeThe mysteries of the past, the gods of elder days!
Away, vain fantasies!--doth less of powerDwell round thy summit, or thy cliffs invest,Though, in deep stillness, now the ruin’s flowerWave o’er the pillars mouldering on thy breast?--Lift through the free blue heavens thine arrowy crest!Let the great rocks their solitude regain!No Delphian lyres now break thy noontide restWith their full chords:--but silent be the strain!Thou hast a mightier voice to speak th’ Eternal’s reign!
Words in this poem 16
- glorious a.
- Exhibiting attributes, qualities, or acts that are worthy of or receive glory; noble; praiseworthy; excellent; splendid; illustrious; inspiring admiration; as, glorious deeds. [OF. glorios, glorious, F. glorieux, fr. L. gloriosus. See Glory, n.]
- sunny a.
- Of or pertaining to the sun; proceeding from, or resembling the sun; hence, shining; bright; brilliant; radiant.
- choral a.
- Of or pertaining to a choir or chorus; singing, sung, or adapted to be sung, in chorus or harmony. Choral service, a service of song. [LL. choralis, fr. L. chorus. See Chorus.]
- dorian a.
- Of or pertaining to the ancient Greeks of Doris; Doric; as, a Dorian fashion.
- blending n.
- The act of mingling.
- peal v. i.
- To appeal. Spencer.
- invader n.
- One who invades; an assailant; an encroacher; an intruder.
- sibyl n.
- A woman supposed to be endowed with a spirit of prophecy.
- lone n.
- A lane. See Loanin.
- career n.
- A race course: the ground run over. [F. carrière race course, high road, street, fr. L. carrus wagon. See Car.]
- veiling n.
- A veil; a thin covering; also, material for making veils.
- dwell v. i.
- To delay; to linger. [OE. dwellen, dwelien, to err, linger, AS. dwellan to deceive, hinder, delay, dwelian to err; akin to Icel. dvelja to delay, tarry, Sw. dväljas to dwell, Dan. dv]
- stillness n.
- The quality or state of being still; quietness; silence; calmness; inactivity.
- arrowy a.
- Consisting of arrows.
- noontide n.
- The time of noon; midday. [From noon + tide time; cf. AS. n the ninth hour.]
- hast
- , 2d pers. sing. pres. of. Fave, contr. of havest.
Definitions and etymologies from Webster's Unabridged Dictionary, 1913.
About this text
The View from Castri: From a Painting by Williams is in the public domain. This text is taken from The Poems of Felicia Hemans, Project Gutenberg ebook #66785; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.
Cite as: Felicia Hemans, The View from Castri: From a Painting by Williams, in Poems (1808–1835), text of Project Gutenberg ebook #66785, Laurel, https://laurelpoetry.com/poem/hemans-poems/the-view-from-castri-from-a-painting-by-williams.html, id L19304.
Form and metre
The View from Castri: From a Painting by Williams is 36 lines in 4 stanzas of 9 lines each. The rhyme scheme is ABABBCBCC, complete in 3 of its 4 stanzas; the stanza is the Spenserian stanza. The metre is iambic pentameter, measured from the stress the words themselves fix (confidence 86%).
See other poems in the Spenserian stanza, 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.
- 1 ABABBC-CC hereA · lieB · hearA · nighB · skyB · sendingC · melody · blendingC · bendingC
- 2 ABABBCBCC islesA · throneB · defilesA · knownB · moanB · fearC · loneB · careerC · spearC
- 3 ABABBCBCC thereA · dreamsB · airA · streamsB · teemsB · hazeC · seemsB · gazeC · daysC
- 4 ABABBCBCC powerA · investB · flowerA · breastB · crestB · regainC · restB · strainC · reignC
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 |
|---|---|---|
| There have been bright and glorious pageants here, | 10 | ·····/˘/˘· |
| Where now gray stones and moss-grown columns lie; | 10 | ·······/˘· |
| There have been words, which earth grew pale to hear, | 10 | ·········· |
| Breathed from the cavern’s misty chambers nigh: | 10 | ···/˘/˘/˘· |
| There have been voices through the sunny sky, | 10 | ···/˘··/˘· |
| And the pine-woods, their choral hymn-notes sending, | 11 | ·····/˘··/˘ |
| And reeds and lyres, their Dorian melody | 11 | ·····/˘˘/˘˘ |
| With incense-clouds around the temple blending, | 11 | ·/·····/˘/˘ |
| And throngs with laurel-boughs before the altar bending. | 13 | ···/˘····/˘/˘ |
| There have been treasures of the seas and isles | 10 | ···/˘····· |
| Brought to the Day-god’s now-forsaken throne; | 10 | ······˘/˘· |
| Thunders have peal’d along the rock-defiles, | 10 | /˘··˘/···· |
| When the far-echoing battle-horn made known | 10 | ···/˘/˘··· |
| That foes were on their way! The deep wind’s moan | 10 | ·········· |
| Hath chill’d th’ invader’s heart with secret fear; | 10 | ··˘/˘··/˘· |
| And from the Sibyl-grottoes, wild and lone, | 10 | ···/˘/···· |
| Storms have gone forth, which, in their fierce career, | 10 | ········˘/ |
| From his bold hand have struck the banner and the spear. | 12 | ·······/˘··· |
| The shrine hath sunk!--but thou unchanged art there! | 10 | ······˘/·· |
| Mount of the voice and vision, robed with dreams! | 10 | ·····/˘··· |
| Unchanged--and rising through the radiant air, | 10 | ˘/·/˘··/˘· |
| With thy dark waving pines, and flashing streams, | 10 | ···/˘··/˘· |
| And all thy founts of song! Their bright course teems | 10 | ·········· |
| With inspiration yet; and each dim haze, | 10 | ··˘/˘····· |
| Or golden cloud which floats around thee, seems | 10 | ·/˘······· |
| As with its mantle veiling from our gaze | 10 | ···/˘/˘·/· |
| The mysteries of the past, the gods of elder days! | 12 | ·/˘······/˘· |
| Away, vain fantasies!--doth less of power | 11 | ˘/·/˘˘···/˘ |
| Dwell round thy summit, or thy cliffs invest, | 10 | ···/˘···˘/ |
| Though, in deep stillness, now the ruin’s flower | 11 | ···/˘··/˘/˘ |
| Wave o’er the pillars mouldering on thy breast? | 10 | ···/˘/˘··· |
| --Lift through the free blue heavens thine arrowy crest! | 12 | ·····/˘·/˘˘· |
| Let the great rocks their solitude regain! | 10 | ·····/˘·˘/ |
| No Delphian lyres now break thy noontide rest | 10 | ·/˘····/˘· |
| With their full chords:--but silent be the strain! | 10 | ·····/˘··· |
| Thou hast a mightier voice to speak th’ Eternal’s reign! | 12 | ···/˘···˘/˘· |
Notes from the edition 1
Notes from The Poems of Felicia Hemans (Project Gutenberg #66785), largely Mrs Hemans's own.
- Stanza 4, line 9 This, with the preceding, and several of the following pieces, first appeared in the Edinburgh Magazine.
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.