In our Museum galleries
To-day I lingered o'er the prize
Dead Greece vouchsafes to living eyes, —
Her Art for ever in fresh wise
       From hour to hour rejoicing me.
Sighing I turned at last to win
Once more the London dirt and din;
And as I made the swing-door spin
And issued, they were hoisting in
       A wingèd beast from Nineveh.

A human face the creature wore,
And hoofs behind and hoofs before,
And flanks with dark runes fretted o'er.
'Twas bull, 'twas mitred Minotaur,
       A dead disbowelled mystery:
The mummy of a buried faith
Stark from the charnel without scathe,
Its wings stood for the light to bathe, —
Such fossil cerements as might swathe
       The very corpse of Nineveh.

The print of its first rush-wrapping,
Wound ere it dried, still ribbed the thing.
What song did the brown maidens sing,
From purple mouths alternating,
       When that was woven languidly?
What vows, what rites, what prayers preferr'd,
What songs has the strange image heard?
In what blind vigil stood interr'd
For ages, till an English word
       Broke silence first at Nineveh?

Oh when upon each sculptured court,
Where even the wind might not resort, —
O'er which Time passed, of like import
With the wild Arab boys at sport, —
       A living face looked in to see: mdash;
O seemed it not mdash; the spell once broke —
As though the carven warriors woke,
As though the shaft the string forsook,
The cymbals clashed, the chariots shook,
       And there was life in Nineveh?

On London stones our sun anew
The beast's recovered shadow threw.
(No shade that plague of darkness knew,
No light, no shade, while older grew
       By ages the old earth and sea.)
Lo thou! could all thy priests have shown
Such proof to make thy godhead known?
From their dead Past thou liv'st alone;
And still thy shadow is thine own,
       Even as of yore in Nineveh.

That day whereof we keep record,
When near thy city-gates the Lord
Sheltered His Jonah with a gourd,
This sun, (I said) here present, pour'd
       Even thus this shadow that I see.
This shadow has been shed the same
From sun and moon, — from lamps which came
For prayer, mdash; from fifteen days of flame,
The last, while smouldered to a name
       Sardanapalus' Nineveh.

Within thy shadow, haply, once
Sennacherib has knelt, whose sons
Smote him between the altar-stones:
Or pale Semiramis her zones
       Of gold, her incense brought to thee,
In love for grace, in war for aid: . . . .
Ay, and who else? . . . . till 'neath thy shade
Within his trenches newly made
Last year the Christian knelt and pray'd —
       Not to thy strength — in Nineveh.*

Now, thou poor god, within this hall
Where the blank windows blind the wall
From pedestal to pedestal,
The kind of light shall on thee fall
       Which London takes the day to be:
While school-foundations in the act
Of holiday, three files compact,
Shall learn to view thee as a fact
       'ROME, — Babylon and Nineveh.'

Deemed they of this, those worshippers,
When, in some mythic chain of verse
Which man shall not again rehearse,
The faces of thy ministers
       Yearned pale with bitter ecstasy?
Greece, Egypt, Rome, — did any god
Before whose feet men knelt unshod
Deem that in this unblest abode
Another scarce more unknown god
       Should house with him, from Nineveh?

Ah! in what quarries lay the stone
From which this pillared pile has grown,
Unto man's need how long unknown,
Since those thy temples, court and cone,
       Rose far in desert history?
Ah! what is here that does not lie
All strange to thine awakened eye?
Ah! what is here can testify
(Save that dumb presence of the sky)
       Unto thy day and Nineveh?

Why, of those mummies in the room
Above, there might indeed have come
One out of Egypt to thy home,
An alien. Nay, but were not some
       Of these thine own 'antiquity?'
And now, — they and their gods and thou
All relics here together, — now
Whose profit? whether bull or cow,
Isis or Ibis, who or how,
       Whether of Thebes or Nineveh?

The consecrated metals found,
And ivory tablets, underground,
Winged teraphim and creatures crown'd,
When air and daylight filled the mound,
       Fell into dust immediately.
And even as these, the images
Of awe and worship, — even as these, —
So, smitten with the sun's increase,
Her glory mouldered and did cease
       From immemorial Nineveh.

The day her builders made their halt,
Those cities of the lake of salt
Stood firmly 'stablished without fault,
Made proud with pillars of basalt,
       With sardonyx and porphyry.
The day that Jonah bore abroad
To Nineveh the voice of God,
A brackish lake lay in his road,
Where erst Pride fixed her sure abode,
       As then in royal Nineveh.

[See notes below]

Although this statue in the British Museum seems to have claws
rather than hooves, it matches other parts of Rossetti's description
is probably the poem's "wingèd beast from Nineveh" [GPL].

The day when he, Pride's lord and Man's,
Showed all the kingdoms at a glance
To Him before whose countenance
The years recede, the years advance,
       And said, Fall down and worship me: —
'Mid all the pomp beneath that look,
Then stirred there, haply, some rebuke,
Where to the wind the Salt Pools shook,
And in those tracts, of life forsook,
       That knew thee not, O Nineveh!

Delicate harlot! On thy throne
Thou with a world beneath thee prone
In state for ages sat'st alone;
And needs were years and lustres flown
       Ere strength of man could vanquish thee:
Whom even thy victor foes must bring,
Still royal, among maids that sing
As with doves' voices, taboring
Upon their breasts, unto the King, —
       A kingly conquest, Nineveh!

. . . Here woke my thought. The wind's slow sway
Had waxed; and like the human play
Of scorn that smiling spreads away,
The sunshine shivered off the day:
       The callous wind, it seemed to me,
Swept up the shadow from the ground:
And pale as whom the Fates astound,
The god forlorn stood winged and crown'd:
Within I knew the cry lay bound
       Of the dumb soul of Nineveh.

And as I turned, my sense half shut
Still saw the crowds of kerb and rut
Go past as marshalled to the strut
Of ranks in gypsum quaintly cut.
       It seemed in one same pageantry
They followed forms which had been erst;
To pass, till on my sight should burst
That future of the best or worst
When some may question which was first,
       Of London or of Nineveh.

For as that Bull-god once did stand
And watched the burial-clouds of sand,
Till these at last without a hand
Rose o'er his eyes, another land,
       And blinded him with destiny: —
So may he stand again; till now,
In ships of unknown sail and prow,
Some tribe of the Australian plough
Bear him afar, — a relic now
       Of London, not of Nineveh!

Or it may chance indeed that when
Man's age is hoary among men, —
His centuries threescore and ten, —
His furthest childhood shall seem then
       More clear than later times may be:
Who, finding in this desert place
This form, shall hold us for some race
That walked not in Christ's lowly ways,
But bowed its pride and vowed its praise
       Unto the God of Nineveh.

The smile rose first, — anon drew nigh
The thought: . . Those heavy wings spread high
So sure of flight, which do not fly;
That set gaze never on the sky;
       Those scriptured flanks it cannot see;
Its crown, a brow-contracting load;
Its planted feet which trust the sod: . . .
(So grew the image as I trod:)
O Nineveh, was this thy God, —
       Thine also, mighty Nineveh? [1856]


[By "the prize Dead Greece vouchsafes to living eyes" Rossetti
refers chiefly to the Elgin marbles — portions of the Parthenon
freize shipped to England by Lord Elgin.

*During the excavations, the Tiyari workmen held their services
in the shadow of the great bulls. — (Layard's 'Nineveh,' ch. ix.)

Related Materials


Rossetti, Dante Gabriel. The Poetical Works. 2 vols. [Ed. William Michael Rossetti.] Boston: Little, Brown, 1913. I, 21-30. American printing of British edition published by Roberts Brothers, 1887. [Text scanned, edited, formatted, and linked by George P. Landow.]

Last modified 26 January 2009