May violets spring.
Herrick, also, in his “Dirge of Jephtha,” pours forth a fragrant flow of poetical thought and image, which in a manner embalms the dead in the recollections of the living.
Sleep in thy peace, thy bed of spice,
And make this place all Paradise:
May sweets grow here! and smoke from hence
Fat frankincense.
Let balme and cassia send their scent
From out thy maiden monument.
May all shie maids at wonted hours
Come forth to strew thy tombe with flowers!
May virgins, when they come to mourn
Male incense burn
Upon thine altar! then return
And leave thee sleeping in thy urn.
I might crowd my pages with extracts from the older British poets, who wrote when these rites were more prevalent, and delighted frequently to allude to them; but I have already quoted more than is necessary. I cannot, however, refrain from giving a passage from Shakespeare, even though it should appear trite, which illustrates the emblematical meaning often conveyed in these floral tributes, and at the same time possesses that magic of language and appositeness of imagery for which he stands preeminent.
With fairest flowers,
Whilst summer lasts, and I live here, Fidele,
I’ll sweeten thy sad grave; thou shalt not lack
The flower that’s like thy face, pale primrose; nor
The azured harebell like thy veins; no, nor
The leaf of eglantine; whom not to slander,
Outsweetened not thy breath.
There is certainly something more affecting in these prompt and spontaneous offerings of Nature than in the most costly monuments of art; the hand strews the flower while the heart is warm, and the tear falls on the grave as affection is binding the osier round the sod; but pathos expires under the slow labor of the chisel, and is chilled among the cold conceits of sculptured marble.
It is greatly to be regretted that a custom so truly elegant and touching has disappeared from general use, and exists only in the most remote and insignificant villages. But it seems as if poetical custom always shuns the walks of cultivated society. In proportion as people grow polite they cease to be poetical. They talk of poetry, but they have learnt to check its free impulses, to distrust its sallying emotions, and to supply its most affecting and picturesque usages by studied form and pompous ceremonial. Few pageants can be more stately and frigid than an English funeral in town. It is made up of show and gloomy parade: mourning carriages, mourning horses, mourning plumes, and hireling mourners, who make a mockery of grief. “There is a grave digged,” says Jeremy Taylor, “and a solemn mourning, and a great talk in the neighborhood, and when the daies are finished, they shall be, and they shall be remembered no more.” The associate in the gay and crowded city is soon forgotten; the hurrying succession of new intimates and new pleasures effaces him from our minds, and the very scenes and circles in which he moved are incessantly fluctuating. But funerals in the country are solemnly impressive. The stroke of death makes a wider space in the village circle, and is an awful event in the tranquil uniformity of rural life. The passing bell tolls its knell in every ear; it steals with its pervading melancholy over hill and vale, and saddens all the landscape.
The fixed and unchanging features of the country also perpetuate the memory of the friend with whom we once enjoyed them, who was the companion of our most retired walks, and gave animation to every lonely scene. His idea is associated with every charm of Nature; we hear his voice in the echo which he once delighted to awaken; his spirit haunts the grove which he once frequented; we think of him in the wild upland solitude or amidst the pensive beauty of the valley. In the freshness of joyous morning we remember his beaming smiles and bounding gayety; and when sober evening returns with its gathering shadows and subduing quiet, we call to mind many a twilight hour of gentle talk and sweet-souled melancholy.
Each lonely place shall him restore,
For him the tear be duly shed;
Beloved till life can charm no more,
And mourn’d till pity’s self be dead.
Another cause that perpetuates the memory of the deceased in the country is that the grave is more immediately in sight of the survivors. They pass it on their way to prayer; it meets their eyes when their hearts are softened by the exercises of devotion; they linger about it on the Sabbath, when the mind is disengaged from worldly cares and most disposed to turn aside from present pleasures and present loves and to sit down among the solemn mementos of the past. In North Wales the peasantry kneel and pray over the graves of their deceased friends for several Sundays after the interment; and where the tender rite of strewing and planting flowers is still practised, it is always renewed on Easter, Whitsuntide, and other festivals, when the season brings the companion of former festivity more vividly to mind. It is also invariably performed by the nearest relatives and friends; no menials nor hirelings are employed, and if a neighbor yields assistance, it would be deemed an insult to offer compensation.
I have dwelt upon this beautiful rural custom, because as it is one of the last, so is it one of the holiest, offices of love. The grave is the ordeal of true affection. It is there that the divine passion of the soul manifests its superiority to the instinctive impulse of mere animal attachment. The latter must be continually refreshed and kept alive by the presence of its object, but the love that is seated in the soul can live on long remembrance. The mere inclinations of sense languish and decline with the charms which excited them, and turn with shuddering disgust from the dismal precincts of the tomb; but it is thence that truly spiritual affection rises, purified from every sensual desire, and returns, like a holy flame, to illumine and sanctify the heart of the survivor.
The sorrow for the dead is the only sorrow from which we refuse to be divorced. Every other wound we seek to heal, every other affliction to forget; but this wound we consider it a duty to keep open, this affliction we cherish and brood over in solitude. Where is the mother who would willingly forget the infant that perished like a blossom from her arms though every recollection is a pang? Where is the child that would willingly forget the most tender of parents, though to remember be but to lament? Who, even in the hour of agony, would forget the friend over whom he mourns? Who, even when the tomb is closing upon the remains of her he most loved, when he feels his heart, as it were, crushed in the closing of its portal, would accept of consolation that must be bought by forgetfulness? No, the love which survives the tomb is one of the noblest attributes of the soul. If it has its woes, it has likewise its delights; and when the overwhelming burst of grief is calmed into the gentle tear of recollection, when the sudden anguish and the convulsive agony over the present ruins of all that we most loved is softened away into pensive meditation on all that it was in the days of its loveliness, who would root out such a sorrow from the heart? Though it may sometimes throw a passing cloud over the bright hour of gayety, or spread a deeper sadness over the hour of gloom, yet who would exchange it even for the song of pleasure or the burst of revelry? No, there is a voice from the tomb sweeter than song. There is a remembrance of the dead to which we turn even from the charms of the living. Oh, the grave! the grave! It buries every error, covers every defect, extinguishes every resentment! From its peaceful bosom spring none but fond regrets and tender recollections. Who can look down upon the grave even of an enemy, and not feel a compunctious throb that he should ever have warred with the poor handful of earth that lies mouldering before him?
But the grave of those we loved — what a place for meditation! There it is that we call up in long review the whole history of virtue and gentleness, and the thousand endearments lavished upon us almost unheeded in the daily intercourse of intimacy; there it is that we dwell upon the tenderness, the solemn, awful tenderness, of the parting scene. The bed of death, with all its stifled