Songs of the Springtides and Birthday Ode Taken from The Collected Poetical Works of Algernon Charles Swinburne—Vol. III — Inside the Classic

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Swinburne, Algernon Charles, 1837-1909 Project Gutenberg 2006 Not confirmed
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Words 18,301
Reading time 80 min
Text sections 3

This digital edition of Songs of the Springtides and Birthday Ode Taken from The Collected Poetical Works of Algernon Charles Swinburne—Vol. III — Inside the Classic is described by source-level measurements including 18,301 words, 1 hr 20 min estimated reading time, and 3 detected text sections.

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Swinburne's Songs of the Springtides and Birthday Ode showcases his signature rhythmic intensity and mythic imagery. The opening poem, Thalassius, presents a sea-born child, while On the Cliffs and The Garden of Cymodoce extend the coastal landscape. The Birthday Ode addresses Victor Hugo, blending praise with political commentary on France's decline.
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And was so feeble and fearful, with soft speech The youth bespake him softly; but there fell From the sweet lips no sweet word audible That ear or thought might reach: No sound to make the dim cold silence glad, No breath to thaw the hard harsh air with heat; Only the saddest smile of all things sweet, Only the sweetest smile of all things sad.

And so they went together one green way Till April dying made free the world for May; And on his guide suddenly Love's face turned, And in his blind eyes burned Hard light and heat of laughter; and like flame That opens in a mountain's ravening mouth To blear and sear the sunlight from the south, His mute mouth opened, and his first word came: 'Knowest thou me now by name?' And all his stature waxed immeasurable, As of one shadowing heaven and lightening hell; And statelier stood he than a tower that stands And darkens with its darkness far-off sands Whereon the sky leans red; And with a voice that stilled the winds he said: 'I am he that was thy lord before thy birth, I am he that is thy lord till thou turn earth: I make the night more dark, and all the morrow Dark as the night whose darkness was my breath: O fool, my name is sorrow; Thou fool, my name is death.'

And he that heard spake not, and looked right on Again, and Love was gone.

Through many a night toward many a wearier day His spirit bore his body down its way. Through many a day toward many a wearier night His soul sustained his sorrows in her sight. And earth was bitter, and heaven, and even the sea Sorrowful even as he. And the wind helped not, and the sun was dumb; And with too long strong stress of grief to be His heart grew sere and numb.

And one bright eve ere summer in autumn sank At stardawn standing on a grey sea-bank He felt the wind fitfully shift and heave As toward a stormier eve; And all the wan wide sea shuddered; and earth Shook underfoot as toward some timeless birth, Intolerable and inevitable; and all Heaven, darkling, trembled like a stricken thrall. And far out of the quivering east, and far From past the moonrise and its guiding star, Began a noise of tempest and a light That was not of the lightning; and a sound Rang with it round and round That was not of the thunder; and a flight As of blown clouds by night, That was not of them; and with songs and cries That sang and shrieked their soul out at the skies A shapeless earthly storm of shapes began From all ways round to move in on the man, Clamorous against him silent; and their feet Were as the wind's are fleet, And their shrill songs were as wild birds' are sweet.

And as when all the world of earth was wronged And all the host of all men driven afoam By the red hand of Rome, Round some fierce amphitheatre overthronged With fair clear faces full of bloodier lust Than swells and stings the tiger when his mood Is fieriest after blood And drunk with trampling of the murderous must That soaks and stains the tortuous close-coiled wood Made monstrous with its myriad-mustering brood, Face by fair face panted and gleamed and pressed, And breast by passionate breast Heaved hot with ravenous rapture, as they quaffed The red ripe full fume of the deep live draught, The sharp quick reek of keen fresh bloodshed, blown Through the dense deep drift up to the emperor's throne From the under steaming sands With clamour of all-applausive throats and hands, Mingling in mirthful time With shrill blithe mockeries of the lithe-limbed mime: So from somewhence far forth of the unbeholden, Dreadfully driven from over and after and under, Fierce, blown through fifes of brazen blast and golden, With sound of chiming waves that drown the thunder Or thunder that strikes dumb the sea's own chimes, Began the bellowing of the bull-voiced mimes, Terrible; firs bowed down as briars or palms Even at the breathless blast as of a breeze Fulfilled with clamour and clangour and storms of psalms; Red hands rent up the roots of old-world trees, Thick flames of torches tossed as tumbling seas Made mad the moonless and infuriate air That, ravening, revelled in the riotous hair And raiment of the furred Bassarides.

The volume opens with a dedication to Edward John Trelawny, comparing the poet's songs to a sea-mew alighting on a sea-king's wrist—an image that establishes the maritime and mythic register of the collection. The first poem, Thalassius, describes a babe found on a shore, 'flower-soft face that gleamed / To sun and seaward,' blending human and elemental origins. Swinburne's characteristic long, flowing lines and intricate rhyme schemes are immediately evident, as is his tendency to personify natural forces: the wind scatters spray-flowers 'like an Oread's hair.' The poem moves from this infant to a vision of Cymothoe, a sea-nymph, kissed by the sun-god, setting a pattern of divine and natural intermingling that recurs throughout the collection.

Mythic Landscapes and Elemental Beings

The poems in Songs of the Springtides repeatedly dissolve the boundary between human figures and the natural world. In Thalassius, the babe is 'nor man nor mortal child of man, but fair / As even its twin-born tenderer spray-flowers were.' This identification of child with flower and sea-spray is typical of Swinburne's method: he creates a continuum of being where gods, humans, and elements share attributes. The sea-nymph Cymothoe appears 'out of the flame of morn,' and the sun-god himself treads 'across the foam-bright water-ways.' Such figures are not merely decorative; they embody the forces of creation and destruction that the poems explore. The landscape itself is animated: cliffs 'reverberate acclamation,' and the sea 'knew not the song her sister.' Swinburne's syntax, with its suspended clauses and delayed verbs, mimics the rolling of waves and the sweep of wind, making the reader feel the physical presence of these elemental powers.

The Birthday Ode: Praise and Political Lament

The Birthday Ode, addressed to Victor Hugo, shifts from mythic seascapes to a more directly political register. Swinburne praises Hugo as 'our lord, our light, our master, / Whose word sums up all song,' but the poem is also a lament for France, which he calls 'fair mother of men' who has fallen into 'slavery chosen.' The ode contrasts Hugo's exile with the corruption of the Second Empire, referring to Napoleon III as 'the Accursed' and 'a carrion ranker to the sense of time.' Swinburne's imagery becomes violent: 'the keen sea-current grinds and frets / The black bright sheer twin flameless Altarlets / That lack no live blood-sacrifice they crave / Of shipwreck.' The natural world, previously a source of beauty, now mirrors political decay. The poem's structure, with its intricate strophe and antistrophe, echoes classical ode forms while delivering a fierce indictment of tyranny.

Rhythmic and Syntactic Patterns

Swinburne's verse is characterized by extreme rhythmic regularity and complex stanza forms. In Thalassius, he uses a variable line length but maintains a strong anapestic or dactylic pulse, as in 'Upon the flowery forefront of the year, / One wandering by the grey-green April sea.' The alliteration ('flowery forefront,' 'grey-green') and assonance ('year' / 'sea') create a musical texture that is almost hypnotic. The Birthday Ode employs a more varied meter, with shorter lines in the antistrophes that accelerate the pace: 'Be it April or September / That plays his perfect part, / Burn June or blow December, / Thou canst not in thine heart.' Swinburne also uses repeated syntactic structures, such as the parallel clauses in 'All the isle acclaimed him coming; she, the least / Of all things loveliest that the sea's love hides.' These patterns give the poems a incantatory quality, drawing the reader into a world where sound and sense are inseparably fused.

Readers approaching this collection should attend to the way Swinburne builds his poems from a few core images—the sea, the shore, the sun, the wind—and varies them through elaborate rhythmic and syntactic play. The Birthday Ode offers a more overtly political counterpoint to the mythic lyrics, but all the poems share a vision of nature as both beautiful and terrifying. Swinburne's language demands to be read aloud; the sound of the verse is essential to its meaning. The notes at the end of the volume provide some context for the allusions, but the poems themselves reward close attention to their verbal music.

Some verses stay like tidewater in the mind, and Swinburne’s sea-birthed child reminded me of that quiet ache. Then I found Golden Stars, and Other Verses Following "The Red Flower" — Story, Setting & Ideas, and the same salty hush settled there—a softer shore, but the same long wave.

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