The Angel in the House: Book I: The Prologue
‘MINE is no horse with wings, to gainThe region of the spheral chime;He does but drag a rumbling wain,Cheer’d by the coupled bells of rhyme;And if at Fame’s bewitching noteMy homely Pegasus pricks an ear,The world’s cart-collar hugs his throat,And he’s too wise to prance or rear.’
Thus ever answer’d Vaughan his Wife,Who, more than he, desired his fame;But, in his heart, his thoughts were rifeHow for her sake to earn a name.With bays poetic three times crown’d,And other college honours won,He, if he chose, might be renown’d,He had but little doubt, she none;And in a loftier phrase he talk’dWith her, upon their Wedding-Day,(The eighth), while through the fields they walk’d,Their children shouting by the way.
‘Not careless of the gift of song,Nor out of love with noble fame,I, meditating much and longWhat I should sing, how win a name,Considering well what theme unsung,What reason worth the cost of rhyme,Remains to loose the poet’s tongueIn these last days, the dregs of time,Learn that to me, though born so late,There does, beyond desert, befall(May my great fortune make me great!)The first of themes, sung last of all.In green and undiscover’d ground,Yet near where many others sing,I have the very well-head foundWhence gushes the Pierian Spring.’
Then she: ‘What is it, Dear? The LifeOf Arthur, or Jerusalem’s Fall?’‘Neither: your gentle self, my Wife,And love, that grows from one to all.And if I faithfully proclaimOf these the exceeding worthiness,Surely the sweetest wreath of FameShall, to your hope, my brows caress;And if, by virtue of my choiceOf this, the most heart-touching themeThat ever tuned a poet’s voice,I live, as I am bold to dream,To be delight to many days,And into silence only ceaseWhen those are still, who shared their baysWith Laura and with Beatrice,Imagine, Love, how learned menWill deep-conceiv’d devices find,Beyond my purpose and my ken,An ancient bard of simple mind.You, Sweet, his Mistress, Wife, and Muse,Were you for mortal woman meant?Your praises give a hundred cluesTo mythological intent!And, severing thus the truth from trope,In you the Commentators seeOutlines occult of abstract scope,A future for philosophy!Your arm’s on mine! these are the meadsIn which we pass our living days;There Avon runs, now hid with reeds,Now brightly brimming pebbly bays;Those are our children’s songs that comeWith bells and bleatings of the sheep;And there, in yonder English home,We thrive on mortal food and sleep!’She laugh’d. How proud she always wasTo feel how proud he was of her!But he had grown distraught, becauseThe Muse’s mood began to stir.
His purpose with performance crown’d,He to his well-pleased Wife rehears’d,When next their Wedding-Day came round,His leisure’s labour, ‘Book the First.’
Words in this poem 16
- spheral a.
- Of or pertaining to a sphere or the spheres.
- chime n.
- The harmonious sound of bells, or of musical instruments. [OE. chimbe, prop., cymbal, OF. cymbe, cymble, in a dialectic form, chymble, F. cymbale, L. cymbalum, fr. Gr. Cymbal.]
- rumbling
- a. & n. from Rumble, v. i.
- wain n.
- A four-wheeled vehicle for the transportation of goods, produce, etc.; a wagon. [OE. wain, AS. wægn; akin to D. & G. wagen, OHG. wagan, Icel. & Sw. vagn, Dan. vogn, and E. way. Way, Weigh, and cf. Wagon.]
- homely a.
- Belonging to, or having the characteristics of, home; domestic; familiar; intimate. [From Home, n.]
- rife a.
- Prevailing; prevalent; abounding. [AS. rif abundant, or Icel. rifr munificent; akin to OD. riff, rijve, abundant.]
- pierian a.
- Of or pertaining to Pierides or Muses. [L. Pierius, from Mount Pierus, in Thessaly, sacred to the Muses.]
- worthiness n.
- The quality or state of being worthy; desert; merit; excellence; dignity; virtue; worth.
- 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,]
- caress n.
- An act of endearment; any act or expression of affection; an embracing, or touching, with tenderness. [F. caresse, It. carezza, LL. caritia dearness, fr. L. carus dear. See Charity.]
- laura n.
- A number of hermitages or cells in the same neighborhood occupied by anchorites who were under the same superior. C. Kingsley.
- mythological a.
- Of or pertaining to mythology or to myths; mythical; fabulous. [L. mythologicus: cf. F. mytholigique.]
- brimming a.
- Full to the brim; overflowing.
- pebbly a.
- Full of pebbles; pebbled.
- yonder adv.
- At a distance, but within view. [OE. yonder, ýonder; cf. OD. ginder, Goth. jaindr there. Yond, adv.]
- distraught p. p.
- Torn asunder; separated. [OE. distract, distrauht. See Distract, a.]
Definitions and etymologies from Webster's Unabridged Dictionary, 1913.
About this text
The Angel in the House: Book I: The Prologue is in the public domain. This text is taken from The Angel in the House, Project Gutenberg ebook #4099; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.
Cite as: Coventry Patmore, The Angel in the House: Book I: The Prologue, in The Angel in the House (1854–1862), text of Project Gutenberg ebook #4099, Laurel, https://laurelpoetry.com/poem/patmore-angel/the-angel-in-the-house-book-i-the-prologue.html, id L12220.
Form and metre
The Angel in the House: Book I: The Prologue is 80 lines in 5 stanzas. The metre is iambic tetrameter, measured from the stress the words themselves fix (confidence 90%). 96% of its stressed syllables fall where the metre puts the beat. The lines average 8.0 syllables. 3 lines end on an unstressed syllable, a feminine ending. 28% of the lines run on without a stop at the line end.
See other poems in iambic tetrameter.
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 ABABCDCD gainA · chimeB · wainA · rhymeB · noteC · earD · throatC · rearD
- 2 ABABCDCDEFEF wifeA · fameB · rifeA · nameB · crown'dC · wonD · renown'dC · noneD · talk'dE · dayF · walk'dE · wayF
- 3 ABABCDCDEFEFGHGH songA · fameB · longA · nameB · unsungC · rhymeD · tongueC · timeD · lateE · befallF · greatE · allF · groundG · singH · foundG · springH
- 4 ABABCDCDDEDEFGFGHIHIJKJKL-L-MNMNOPOP-Q-Q lifeA · fallB · wifeA · allB · proclaimC · worthinessD · fameC · caressD · choiceD · themeE · voiceD · dreamE · daysF · ceaseG · baysF · beatriceG · menH · findI · kenH · mindI · museJ · meantK · cluesJ · intentK · tropeL · see · scopeL · philosophy · meadsM · daysN · reedsM · baysN · comeO · sheepP · homeO · sleepP · was · herQ · because · stirQ
- 5 ABAB crown'dA · rehears'dB · roundA · firstB
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 tetrameter. How this is done.
| Line | Syl. | Stress |
|---|---|---|
| ‘MINE is no horse with wings, to gain | 8 | ········ |
| The region of the spheral chime; | 8 | ·/˘··/˘· |
| He does but drag a rumbling wain, | 8 | ·····/˘· |
| Cheer’d by the coupled bells of rhyme; | 8 | ···/˘··· |
| And if at Fame’s bewitching note | 8 | ····˘/˘· |
| My homely Pegasus pricks an ear, | 8 | ·/˘/˘··· |
| The world’s cart-collar hugs his throat, | 8 | ···/˘··· |
| And he’s too wise to prance or rear.’ | 8 | ········ |
| Thus ever answer’d Vaughan his Wife, | 8 | ·/˘/˘··· |
| Who, more than he, desired his fame; | 8 | ····˘/·· |
| But, in his heart, his thoughts were rife | 8 | ········ |
| How for her sake to earn a name. | 8 | ········ |
| With bays poetic three times crown’d, | 8 | ··˘/˘··· |
| And other college honours won, | 8 | ·/˘/˘/˘· |
| He, if he chose, might be renown’d, | 8 | ······˘/ |
| He had but little doubt, she none; | 8 | ···/˘··· |
| And in a loftier phrase he talk’d | 8 | ···/˘··· |
| With her, upon their Wedding-Day, | 8 | ·····/˘· |
| (The eighth), while through the fields they walk’d, | 8 | ········ |
| Their children shouting by the way. | 8 | ·/˘/˘··· |
| ‘Not careless of the gift of song, | 8 | ·/˘····· |
| Nor out of love with noble fame, | 8 | ·····/˘· |
| I, meditating much and long | 8 | ·/˘·˘··· |
| What I should sing, how win a name, | 8 | ········ |
| Considering well what theme unsung, | 8 | ˘/˘···˘/ |
| What reason worth the cost of rhyme, | 8 | ·/˘····· |
| Remains to loose the poet’s tongue | 8 | ˘/···/˘· |
| In these last days, the dregs of time, | 8 | ········ |
| Learn that to me, though born so late, | 8 | ········ |
| There does, beyond desert, befall | 8 | ····˘/˘/ |
| (May my great fortune make me great!) | 8 | ···/˘··· |
| The first of themes, sung last of all. | 8 | ········ |
| In green and undiscover’d ground, | 8 | ····˘/˘· |
| Yet near where many others sing, | 8 | ···/˘/˘· |
| I have the very well-head found | 8 | ···/˘··· |
| Whence gushes the Pierian Spring.’ | 9 | ·/˘·˘/˘˘· |
| Then she: ‘What is it, Dear? The Life | 8 | ········ |
| Of Arthur, or Jerusalem’s Fall?’ | 8 | ·/˘·˘/˘· |
| ‘Neither: your gentle self, my Wife, | 8 | /˘·/˘··· |
| And love, that grows from one to all. | 8 | ········ |
| And if I faithfully proclaim | 8 | ···/˘˘˘/ |
| Of these the exceeding worthiness, | 9 | ···˘/˘/˘˘ |
| Surely the sweetest wreath of Fame | 8 | /˘·/˘··· |
| Shall, to your hope, my brows caress; | 8 | ······˘/ |
| And if, by virtue of my choice | 8 | ···/˘··· |
| Of this, the most heart-touching theme | 8 | ·····/˘· |
| That ever tuned a poet’s voice, | 8 | ·/˘··/˘· |
| I live, as I am bold to dream, | 8 | ········ |
| To be delight to many days, | 8 | ··˘/·/˘· |
| And into silence only cease | 8 | ···/˘/˘· |
| When those are still, who shared their bays | 8 | ········ |
| With Laura and with Beatrice, | 8 | ·/˘··/˘˘ |
| Imagine, Love, how learned men | 8 | ˘/˘···˘· |
| Will deep-conceiv’d devices find, | 8 | ··˘/˘/˘· |
| Beyond my purpose and my ken, | 8 | ···/˘··· |
| An ancient bard of simple mind. | 8 | ·/˘··/˘· |
| You, Sweet, his Mistress, Wife, and Muse, | 8 | ···/˘··· |
| Were you for mortal woman meant? | 8 | ···/˘/˘· |
| Your praises give a hundred clues | 8 | ·/˘··/˘· |
| To mythological intent! | 8 | ··˘/˘˘˘/ |
| And, severing thus the truth from trope, | 8 | ·/˘····· |
| In you the Commentators see | 8 | ···/˘·˘· |
| Outlines occult of abstract scope, | 8 | /·˘/·/·· |
| A future for philosophy! | 8 | ·/˘·˘/˘˘ |
| Your arm’s on mine! these are the meads | 8 | ········ |
| In which we pass our living days; | 8 | ····//˘· |
| There Avon runs, now hid with reeds, | 8 | ·/˘····· |
| Now brightly brimming pebbly bays; | 8 | ·/˘/˘/˘· |
| Those are our children’s songs that come | 8 | ··//˘··· |
| With bells and bleatings of the sheep; | 8 | ········ |
| And there, in yonder English home, | 8 | ···/˘/˘· |
| We thrive on mortal food and sleep!’ | 8 | ···/˘··· |
| She laugh’d. How proud she always was | 8 | ·····/·· |
| To feel how proud he was of her! | 8 | ········ |
| But he had grown distraught, because | 8 | ····˘/·· |
| The Muse’s mood began to stir. | 8 | ·/˘·˘/·· |
| His purpose with performance crown’d, | 8 | ·/˘·˘/˘· |
| He to his well-pleased Wife rehears’d, | 8 | ······˘/ |
| When next their Wedding-Day came round, | 8 | ···/˘··· |
| His leisure’s labour, ‘Book the First.’ | 8 | ·/˘/···· |
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.