(1945– )
The Magpie Evening: A Prayer
When magpies die, each of the living swoops down
and pecks, one by one, in an accepted order.
He coaxed my car to start, the boy who’s killed himself.
He twisted a cable, performed CPR on
The carburetor while my three children shivered
Through the unanswerable questions about stalled.
He chose shotgun, full in the face, so no one stepped
Into the cold, blowing on his hands, to fix him.
Let him rest now, the minister says. Let this be,
Repeating himself to four brothers, five sisters,
All of them my neighbors until they grew and left.
Let us pray. Let us manage what we need to say.
Let this house with its three hand-made additions be
Large enough for the one day of necessity.
Let evening empty each room to ceremony
Chosen by the remaining nine. Let the awful,
Forecasted weather hold off in east Ohio
Until each of them, oldest to youngest, has passed.
Let their thirty-seven children scatter into
The squabbling of the everyday, and let them break
This creeping chain of cars into the fanning out
Toward anger and selfishness and the need to eat
At any of the thousand tables they will pass.
Let them wait. Let them correctly choose the right turn
Or the left, this entrance ramp, that exit, the last
Confusing fork before the familiar driveway
Three hundred miles and more from these bleak thunderheads.
Let them regather into the chairs exactly
Matched to their numbers, blessing the bountiful or
The meager with voices that soar toward renewal.
Let them have mercy on themselves. Let my children,
Grown now, be repairing my faults with forgiveness.
© Gary Fincke
Pages
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Thursday, August 17, 2006
Len Roberts
(1947– )
The List of Most Difficult Words
I was still standing although
Gabriella Wells and Barbara Ryan were too,
their bodies dark against the wall of light
that dull-pewter December afternoon,
shadows with words that flowed
so easily from their mouths,
fluorescent and grievous,
pied and effervescent,
words I'd spelled out to the rhythm
of my father's hoarse whispers
during our nightly practice sessions
beneath the dim bulb,
superfluous, excelsior,
desultory and exaggeration
mixed with his Schaefer breath
and Lucky Strike smoke
as I went down
The List of Most Difficult Words
with a man whose wife had left,
one son grown into madness,
the other into death,
my father's hundred-and-five-pound skeleton
of skin glowing in that beer-flooded kitchen
when he'd lift the harmonica
to blow a few long, sad riffs
of country into a song
while he waited for me to hit
the single l of spiraling,
the silent i of receipt,
the two of us working words hard
those nights on Olmstead Street,
sure they would someday save me.
© Len Roberts
The List of Most Difficult Words
I was still standing although
Gabriella Wells and Barbara Ryan were too,
their bodies dark against the wall of light
that dull-pewter December afternoon,
shadows with words that flowed
so easily from their mouths,
fluorescent and grievous,
pied and effervescent,
words I'd spelled out to the rhythm
of my father's hoarse whispers
during our nightly practice sessions
beneath the dim bulb,
superfluous, excelsior,
desultory and exaggeration
mixed with his Schaefer breath
and Lucky Strike smoke
as I went down
The List of Most Difficult Words
with a man whose wife had left,
one son grown into madness,
the other into death,
my father's hundred-and-five-pound skeleton
of skin glowing in that beer-flooded kitchen
when he'd lift the harmonica
to blow a few long, sad riffs
of country into a song
while he waited for me to hit
the single l of spiraling,
the silent i of receipt,
the two of us working words hard
those nights on Olmstead Street,
sure they would someday save me.
© Len Roberts
Oliver Wendell Holmes
(1809–1894)
The Last Leaf
I saw him once before,
As he passed by the door,
And again
The pavement stones resound,
As he totters o'er the ground
With his cane.
They say that in his prime,
Ere the pruning-knife of Time
Cut him down,
Not a better man was found
By the Crier on his round
Through the town.
But now he walks the streets,
And looks at all he meets
Sad and wan,
And he shakes his feeble head,
That it seems as if he said,
"They are gone."
The mossy marbles rest
On the lips that he has prest
In their bloom,
And the names he loved to hear
Have been carved for many a year
On the tomb.
My grandmamma has said—
Poor old lady, she is dead
Long ago—
That he had a Roman nose,
And his cheek was like a rose
In the snow;
But now his nose is thin,
And it rests upon his chin
Like a staff,
And a crook is in his back,
And a melancholy crack
In his laugh.
I know it is a sin
For me to sit and grin
At him here;
But the old three-cornered hat,
And the breeches, and all that,
Are so queer!
And if I should live to be
The last leaf upon the tree
In the spring,
Let them smile, as I do now,
At the old forsaken bough
Where I cling.
The Last Leaf
I saw him once before,
As he passed by the door,
And again
The pavement stones resound,
As he totters o'er the ground
With his cane.
They say that in his prime,
Ere the pruning-knife of Time
Cut him down,
Not a better man was found
By the Crier on his round
Through the town.
But now he walks the streets,
And looks at all he meets
Sad and wan,
And he shakes his feeble head,
That it seems as if he said,
"They are gone."
The mossy marbles rest
On the lips that he has prest
In their bloom,
And the names he loved to hear
Have been carved for many a year
On the tomb.
My grandmamma has said—
Poor old lady, she is dead
Long ago—
That he had a Roman nose,
And his cheek was like a rose
In the snow;
But now his nose is thin,
And it rests upon his chin
Like a staff,
And a crook is in his back,
And a melancholy crack
In his laugh.
I know it is a sin
For me to sit and grin
At him here;
But the old three-cornered hat,
And the breeches, and all that,
Are so queer!
And if I should live to be
The last leaf upon the tree
In the spring,
Let them smile, as I do now,
At the old forsaken bough
Where I cling.
William Butler Yeats
(1865–1939)
The Lake Isle of Innisfree
I will arise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made;
Nine bean-rows will I have there, a hive for the honey-bee,
And live alone in the bee-loud glade.
And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings;
There midnight's all a glimmer, and noon a purple glow,
And evening full of the linnet's wings.
I will arise and go now, for always night and day
I hear lake water lapping with low sounds by the shore;
While I stand on the roadway, or on the pavements gray,
I hear it in the deep heart's core.
The Lake Isle of Innisfree
I will arise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made;
Nine bean-rows will I have there, a hive for the honey-bee,
And live alone in the bee-loud glade.
And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings;
There midnight's all a glimmer, and noon a purple glow,
And evening full of the linnet's wings.
I will arise and go now, for always night and day
I hear lake water lapping with low sounds by the shore;
While I stand on the roadway, or on the pavements gray,
I hear it in the deep heart's core.
Ben Jonson
(1572–1637)
The Hourglass
Consider this small dust here running in the glass,
By atoms moved;
Could you believe that this the body was
Of one that loved?
And in his mistress' flame, playing like a fly,
Turned to cinders by her eye:
Yes; and in death, as life, unblessed,
To have it expressed,
Even ashes of lovers find no rest.
The Hourglass
Consider this small dust here running in the glass,
By atoms moved;
Could you believe that this the body was
Of one that loved?
And in his mistress' flame, playing like a fly,
Turned to cinders by her eye:
Yes; and in death, as life, unblessed,
To have it expressed,
Even ashes of lovers find no rest.
Andrew Marvell
(1621–1678)
The Gallery
Clora, come view my soul, and tell
Whether I have contrived it well.
Now all its several lodgings lie
Composed into one gallery;
And the great arras-hangings, made
Of various faces, by are laid;
That, for all furniture, you'll find
Only your picture in my mind.
Here thou art painted in the dress
Of an inhuman murderess;
Examining upon our hearts
Thy fertile shop of cruel arts:
Engines more keen than ever yet
Adornèd tyrant's cabinet;
Of which the most tormenting are
Black eyes, red lips, and curlèd hair.
But, on the other side, thou'rt drawn
Like to Aurora in the dawn;
When in the east she slumb'ring lies,
And stretches out her milky thighs;
While all the morning choir does sing,
And manna falls, and roses spring;
And, at thy feet, the wooing doves
Sit perfecting their harmless loves.
Like an enchantress here thou show'st,
Vexing thy restless lover's ghost;
And, by a light obscure, dost rave
Over his entrails, in the cave;
Divining thence, with horrid care,
How long thou shalt continue fair;
And (when informed) them throw'st away,
To be the greedy vulture's prey.
But, against that, thou sit'st afloat
Like Venus in her pearly boat.
The halcyons, calming all that's nigh,
Betwixt the air and water fly:
Or, if some rolling wave appears,
A mass of ambergris it bears:
Nor blows more wind than what may well
Convoy the perfume to the smell.
These pictures and a thousand more,
Of thee, my gallery do store;
In all the forms thou canst invent
Either to please me, or torment:
For thou alone to people me,
Art grown a num'rous colony;
And a collection choicer far
Than or Whitehall's, or Mantua's were.
But, of these pictures and the rest,
That at the entrance likes me best;
Where the same posture, and the look
Remains, with which I first was took:
A tender shepherdess, whose hair
Hangs loosely playing in the air,
Transplanting flowers from the green hill,
To crown her head, and bosom fill.
The Gallery
Clora, come view my soul, and tell
Whether I have contrived it well.
Now all its several lodgings lie
Composed into one gallery;
And the great arras-hangings, made
Of various faces, by are laid;
That, for all furniture, you'll find
Only your picture in my mind.
Here thou art painted in the dress
Of an inhuman murderess;
Examining upon our hearts
Thy fertile shop of cruel arts:
Engines more keen than ever yet
Adornèd tyrant's cabinet;
Of which the most tormenting are
Black eyes, red lips, and curlèd hair.
But, on the other side, thou'rt drawn
Like to Aurora in the dawn;
When in the east she slumb'ring lies,
And stretches out her milky thighs;
While all the morning choir does sing,
And manna falls, and roses spring;
And, at thy feet, the wooing doves
Sit perfecting their harmless loves.
Like an enchantress here thou show'st,
Vexing thy restless lover's ghost;
And, by a light obscure, dost rave
Over his entrails, in the cave;
Divining thence, with horrid care,
How long thou shalt continue fair;
And (when informed) them throw'st away,
To be the greedy vulture's prey.
But, against that, thou sit'st afloat
Like Venus in her pearly boat.
The halcyons, calming all that's nigh,
Betwixt the air and water fly:
Or, if some rolling wave appears,
A mass of ambergris it bears:
Nor blows more wind than what may well
Convoy the perfume to the smell.
These pictures and a thousand more,
Of thee, my gallery do store;
In all the forms thou canst invent
Either to please me, or torment:
For thou alone to people me,
Art grown a num'rous colony;
And a collection choicer far
Than or Whitehall's, or Mantua's were.
But, of these pictures and the rest,
That at the entrance likes me best;
Where the same posture, and the look
Remains, with which I first was took:
A tender shepherdess, whose hair
Hangs loosely playing in the air,
Transplanting flowers from the green hill,
To crown her head, and bosom fill.
John Donne
(1572–1631)
The Flea
Mark but this flea, and mark in this,
How little that which thou deniest me is;
Me it sucked first, and now sucks thee,
And in this flea our two bloods mingled be;
Thou know'st that this cannot be said
A sin, nor shame nor loss of maidenhead,
Yet this enjoys before it woo,
And pampered swells with one blood made of two,
And this, alas, is more than we would do.
Oh stay, three lives in one flea spare,
Where we almost, yea more than married are.
This flea is you and I, and this
Our marriage bed and marriage temple is;
Though parents grudge, and you, we are met,
And cloistered in these living walls of jet.
Though use make you apt to kill me,
Let not to that, self-murder added be,
And sacrilege, three sins in killing three.
Curel and sudden, hast thou since
Purpled thy nail, in blood of innocence?
Wherein could this flea guilty be,
Except in that drop which it sucked from thee?
Yet thou triumph'st, and say'st that thou
Find'st not thy self nor me the weaker now;
'Tis true; then learn how false, fears be;
Just so much honor, when thou yield'st to me,
Will waste, as this flea's death took life from thee.
The Flea
Mark but this flea, and mark in this,
How little that which thou deniest me is;
Me it sucked first, and now sucks thee,
And in this flea our two bloods mingled be;
Thou know'st that this cannot be said
A sin, nor shame nor loss of maidenhead,
Yet this enjoys before it woo,
And pampered swells with one blood made of two,
And this, alas, is more than we would do.
Oh stay, three lives in one flea spare,
Where we almost, yea more than married are.
This flea is you and I, and this
Our marriage bed and marriage temple is;
Though parents grudge, and you, we are met,
And cloistered in these living walls of jet.
Though use make you apt to kill me,
Let not to that, self-murder added be,
And sacrilege, three sins in killing three.
Curel and sudden, hast thou since
Purpled thy nail, in blood of innocence?
Wherein could this flea guilty be,
Except in that drop which it sucked from thee?
Yet thou triumph'st, and say'st that thou
Find'st not thy self nor me the weaker now;
'Tis true; then learn how false, fears be;
Just so much honor, when thou yield'st to me,
Will waste, as this flea's death took life from thee.
Henry Wadsworth Longfellow
(1807–1882)
The Fire of Drift-Wood
We sat within the farm-house old,
Whose windows, looking o'er the bay,
Gave to the sea-breeze damp and cold,
An easy entrance, night and day.
Not far away we saw the port,
The strange, old-fashioned, silent town,
The lighthouse, the dismantled fort,
The wooden houses, quaint and brown.
We sat and talked until the night,
Descending, filled the little room;
Our faces faded from the sight,
Our voices only broke the gloom.
We spake of many a vanished scene,
Of what we once had thought and said,
Of what had been, and might have been,
And who was changed, and who was dead;
And all that fills the hearts of friends,
When first they feel, with secret pain,
Their lives thenceforth have separate ends,
And never can be one again;
The first slight swerving of the heart,
That words are powerless to express,
And leave it still unsaid in part,
Or say it in too great excess.
The very tones in which we spake
Had something strange, I could but mark;
The leaves of memory seemed to make
A mournful rustling in the dark.
Oft died the words upon our lips,
As suddenly, from out the fire
Built of the wreck of stranded ships,
The flames would leap and then expire.
And, as their splendor flashed and failed,
We thought of wrecks upon the main,
Of ships dismasted, that were hailed
And sent no answer back again.
The windows, rattling in their frames,
The ocean, roaring up the beach,
The gusty blast, the bickering flames,
All mingled vaguely in our speech;
Until they made themselves a part
Of fancies floating through the brain,
The long-lost ventures of the heart,
That send no answers back again.
O flames that glowed! O hearts that yearned!
They were indeed too much akin,
The drift-wood fire without that burned,
The thoughts that burned and glowed within
The Fire of Drift-Wood
We sat within the farm-house old,
Whose windows, looking o'er the bay,
Gave to the sea-breeze damp and cold,
An easy entrance, night and day.
Not far away we saw the port,
The strange, old-fashioned, silent town,
The lighthouse, the dismantled fort,
The wooden houses, quaint and brown.
We sat and talked until the night,
Descending, filled the little room;
Our faces faded from the sight,
Our voices only broke the gloom.
We spake of many a vanished scene,
Of what we once had thought and said,
Of what had been, and might have been,
And who was changed, and who was dead;
And all that fills the hearts of friends,
When first they feel, with secret pain,
Their lives thenceforth have separate ends,
And never can be one again;
The first slight swerving of the heart,
That words are powerless to express,
And leave it still unsaid in part,
Or say it in too great excess.
The very tones in which we spake
Had something strange, I could but mark;
The leaves of memory seemed to make
A mournful rustling in the dark.
Oft died the words upon our lips,
As suddenly, from out the fire
Built of the wreck of stranded ships,
The flames would leap and then expire.
And, as their splendor flashed and failed,
We thought of wrecks upon the main,
Of ships dismasted, that were hailed
And sent no answer back again.
The windows, rattling in their frames,
The ocean, roaring up the beach,
The gusty blast, the bickering flames,
All mingled vaguely in our speech;
Until they made themselves a part
Of fancies floating through the brain,
The long-lost ventures of the heart,
That send no answers back again.
O flames that glowed! O hearts that yearned!
They were indeed too much akin,
The drift-wood fire without that burned,
The thoughts that burned and glowed within
Thomas Hardy
(1840–1928)
The Darkling Thrush
I leant upon a coppice gate
When Frost was spectre-gray,
And Winter’s dregs made desolate
The weakening eye of day.
The tangled bine-stems scored the sky
Like strings of broken lyres,
And all mankind that haunted nigh
Had sought their household fires.
The land’s sharp features seemed to be
The Century’s corpse outleant,
His crypt the cloudy canopy,
The wind his death-lament.
The ancient pulse of germ and birth
Was shrunken hard and dry,
And every spirit upon earth
Seemed fervourless as I.
At once a voice arose among
The bleak twigs overhead
In a full-hearted evensong
Of joy illimited;
An aged thrush, frail, gaunt, and small,
In blast-beruffled plume,
Had chosen thus to fling his soul
Upon the growing gloom.
So little cause for carolings
Of such ecstatic sound
Was written on terrestrial things
Afar or nigh around,
That I could think there trembled through
His happy good-night air
Some blessed Hope, whereof he knew
And I was unaware.
The Darkling Thrush
I leant upon a coppice gate
When Frost was spectre-gray,
And Winter’s dregs made desolate
The weakening eye of day.
The tangled bine-stems scored the sky
Like strings of broken lyres,
And all mankind that haunted nigh
Had sought their household fires.
The land’s sharp features seemed to be
The Century’s corpse outleant,
His crypt the cloudy canopy,
The wind his death-lament.
The ancient pulse of germ and birth
Was shrunken hard and dry,
And every spirit upon earth
Seemed fervourless as I.
At once a voice arose among
The bleak twigs overhead
In a full-hearted evensong
Of joy illimited;
An aged thrush, frail, gaunt, and small,
In blast-beruffled plume,
Had chosen thus to fling his soul
Upon the growing gloom.
So little cause for carolings
Of such ecstatic sound
Was written on terrestrial things
Afar or nigh around,
That I could think there trembled through
His happy good-night air
Some blessed Hope, whereof he knew
And I was unaware.
Edgar Allan Poe
(1809–1849)
The City in the Sea
Lo! Death has reared himself a throne
In a strange city lying alone
Far down within the dim West,
Where the good and the bad and the worst and the best
Have gone to their eternal rest.
There shrines and palaces and towers
(Time-eaten towers that tremble not!)
Resemble nothing that is ours.
Around, by lifting winds forgot,
Resignedly beneath the sky
The melancholy waters lie.
No rays from the holy heaven come down
On the long night-time of that town;
But light from out the lurid sea
Streams up the turrets silently—
Gleams up the pinnacles far and free—
Up domes—up spires—up kingly halls—
Up fanes—up Babylon-like walls—
Up shadowy long-forgotten bowers
Of sculptured ivy and stone flowers—
Up many and many a marvelous shrine
Whose wreathèd friezes intertwine
The viol, the violet, and the vine.
Resignedly beneath the sky
The melancholy waters lie.
So blend the turrets and shadows there
That all seem pendulous in air,
While from a proud tower in the town
Death looks gigantically down.
There open fanes and gaping graves
Yawn level with the luminous waves;
But not the riches there that lie
In each idol's diamond eye—
Not the gaily-jeweled dead
Tempt the waters from their bed;
For no ripples curl, alas!
Among that wilderness of glass—
No swellings tell that winds may be
Upon some far-off happier sea—
No heavings hint that winds have been
On seas less hideously serene.
But lo, a stir is in the air!
The wave—there is a movement there!
As if the towers had thrust aside,
In slightly sinking, the dull tide—
As if their tops had feebly given
A void within the filmy Heaven.
The waves have now a redder glow—
The hours are breathing faint and low—
And when, amid no earthly moans,
Down, down that town shall settle hence,
Hell, rising from a thousand thrones,
Shall do it reverence.
The City in the Sea
Lo! Death has reared himself a throne
In a strange city lying alone
Far down within the dim West,
Where the good and the bad and the worst and the best
Have gone to their eternal rest.
There shrines and palaces and towers
(Time-eaten towers that tremble not!)
Resemble nothing that is ours.
Around, by lifting winds forgot,
Resignedly beneath the sky
The melancholy waters lie.
No rays from the holy heaven come down
On the long night-time of that town;
But light from out the lurid sea
Streams up the turrets silently—
Gleams up the pinnacles far and free—
Up domes—up spires—up kingly halls—
Up fanes—up Babylon-like walls—
Up shadowy long-forgotten bowers
Of sculptured ivy and stone flowers—
Up many and many a marvelous shrine
Whose wreathèd friezes intertwine
The viol, the violet, and the vine.
Resignedly beneath the sky
The melancholy waters lie.
So blend the turrets and shadows there
That all seem pendulous in air,
While from a proud tower in the town
Death looks gigantically down.
There open fanes and gaping graves
Yawn level with the luminous waves;
But not the riches there that lie
In each idol's diamond eye—
Not the gaily-jeweled dead
Tempt the waters from their bed;
For no ripples curl, alas!
Among that wilderness of glass—
No swellings tell that winds may be
Upon some far-off happier sea—
No heavings hint that winds have been
On seas less hideously serene.
But lo, a stir is in the air!
The wave—there is a movement there!
As if the towers had thrust aside,
In slightly sinking, the dull tide—
As if their tops had feebly given
A void within the filmy Heaven.
The waves have now a redder glow—
The hours are breathing faint and low—
And when, amid no earthly moans,
Down, down that town shall settle hence,
Hell, rising from a thousand thrones,
Shall do it reverence.
Anne Bradstreet
(ca. 1612–1672)
The Author to Her Book
Thou ill-formed offspring of my feeble brain,
Who after birth didst by my side remain,
Till snatched from thence by friends, less wise than true,
Who thee abroad, exposed to public view,
Made thee in rags, halting to th' press to trudge,
Where errors were not lessened (all may judge).
At thy return my blushing was not small,
My rambling brat (in print) should mother call,
I cast thee by as one unfit for light,
Thy visage was so irksome in my sight;
Yet being mine own, at length affection would
Thy blemishes amend, if so I could:
I washed thy face, but more defects I saw,
And rubbing off a spot still made a flaw.
I stretched thy joints to make thee even feet,
Yet still thou run'st more hobbling than is meet;
In better dress to trim thee was my mind,
But nought save homespun cloth i' th' house I find.
In this array 'mongst vulgars may'st thou roam.
In critic's hands beware thou dost not come,
And take thy way where yet thou art not known;
If for thy father asked, say thou hadst none;
And for thy mother, she alas is poor,
Which caused her thus to send thee out of door.
The Author to Her Book
Thou ill-formed offspring of my feeble brain,
Who after birth didst by my side remain,
Till snatched from thence by friends, less wise than true,
Who thee abroad, exposed to public view,
Made thee in rags, halting to th' press to trudge,
Where errors were not lessened (all may judge).
At thy return my blushing was not small,
My rambling brat (in print) should mother call,
I cast thee by as one unfit for light,
Thy visage was so irksome in my sight;
Yet being mine own, at length affection would
Thy blemishes amend, if so I could:
I washed thy face, but more defects I saw,
And rubbing off a spot still made a flaw.
I stretched thy joints to make thee even feet,
Yet still thou run'st more hobbling than is meet;
In better dress to trim thee was my mind,
But nought save homespun cloth i' th' house I find.
In this array 'mongst vulgars may'st thou roam.
In critic's hands beware thou dost not come,
And take thy way where yet thou art not known;
If for thy father asked, say thou hadst none;
And for thy mother, she alas is poor,
Which caused her thus to send thee out of door.
Gary Fincke
(1945– )
The Billion Heartbeats of the Mammal
“Feel this,” my father says, guiding my hand
To the simple Braille of his pacemaker.
“Sixty,” he tells me, “over and over
Like a clock,” and I mention the billion
Heartbeats of the mammal, how the life span
Can be rough-guessed by the 800 beats
Per minute of the shrew, the 200
Of the house cat, speeding through their billion
In three years, in twelve. How slowly we act,
According to our pets. How we are stone
To the frantic insects. “Not slow enough,”
He answers, summing up the math, citing
His two billion heartbeats of punched-in work,
The one billion my mother beat to do
The daily double-shift of housekeeper
And clerk until her heart softened to mush.
He’s busy, now, with wiping down his floors
The way he swirled a mop through locker rooms
Before striding the push broom up and down
The grain of gym sweep, repeating the moves
Of twenty kinds of cleaning between ten
And six-thirty in the high school I used
Between eight and three-fifteen. He might have
Been following the Peterson Method
For care, learning the neat lines and ovals
Of my mother, who wrote to me, the day
She died, a perfectly scripted letter,
Pages of open vowels so nothing
She said could be misread. And even now,
In the attic, inside her black notebooks
Stacked and banded, her carefully copied
Familiar quotes, the good advice
Of the writing exercise dating back
To a hundred lines of ovals, fifty
Of the properly slanted line. Penciled
Pages of strict, block printing, the two-space
Capitals, the touch of tall letters to
The roof of lines, my father repeating
The multiplication and division
To the thirty years of humans, how he is
Closing in on three billion while I am
Nearing two. How we are the exception
To the heartbeat system, taking so long
To come of age we have time to practice
The Peterson Method for memory,
Preserve these things to open up and read.
© Gary Fincke
The Billion Heartbeats of the Mammal
“Feel this,” my father says, guiding my hand
To the simple Braille of his pacemaker.
“Sixty,” he tells me, “over and over
Like a clock,” and I mention the billion
Heartbeats of the mammal, how the life span
Can be rough-guessed by the 800 beats
Per minute of the shrew, the 200
Of the house cat, speeding through their billion
In three years, in twelve. How slowly we act,
According to our pets. How we are stone
To the frantic insects. “Not slow enough,”
He answers, summing up the math, citing
His two billion heartbeats of punched-in work,
The one billion my mother beat to do
The daily double-shift of housekeeper
And clerk until her heart softened to mush.
He’s busy, now, with wiping down his floors
The way he swirled a mop through locker rooms
Before striding the push broom up and down
The grain of gym sweep, repeating the moves
Of twenty kinds of cleaning between ten
And six-thirty in the high school I used
Between eight and three-fifteen. He might have
Been following the Peterson Method
For care, learning the neat lines and ovals
Of my mother, who wrote to me, the day
She died, a perfectly scripted letter,
Pages of open vowels so nothing
She said could be misread. And even now,
In the attic, inside her black notebooks
Stacked and banded, her carefully copied
Familiar quotes, the good advice
Of the writing exercise dating back
To a hundred lines of ovals, fifty
Of the properly slanted line. Penciled
Pages of strict, block printing, the two-space
Capitals, the touch of tall letters to
The roof of lines, my father repeating
The multiplication and division
To the thirty years of humans, how he is
Closing in on three billion while I am
Nearing two. How we are the exception
To the heartbeat system, taking so long
To come of age we have time to practice
The Peterson Method for memory,
Preserve these things to open up and read.
© Gary Fincke
Alfred, Lord Tennyson
(1809–1892)
Tears, Idle Tears
Tears, idle tears, I know not what they mean,
Tears from the depth of some divine despair
Rise in the heart, and gather to the eyes,
In looking on the happy Autumn-fields,
And thinking of the days that are no more.
Fresh as the first beam glittering on a sail,
That brings our friends up from the underworld,
Sad as the last which reddens over one
That sinks with all we love below the verge;
So sad, so fresh, the days that are no more.
Ah, sad and strange as in dark summer dawns
The earliest pipe of half-awakened birds
To dying ears, when unto dying eyes
The casement slowly grows a glimmering square;
So sad, so strange, the days that are no more.
Dear as remembered kisses after death,
And sweet as those by hopeless fancy feigned
On lips that are for others; deep as love,
Deep as first love, and wild with all regret;
O Death in Life, the days that are no more
Tears, Idle Tears
Tears, idle tears, I know not what they mean,
Tears from the depth of some divine despair
Rise in the heart, and gather to the eyes,
In looking on the happy Autumn-fields,
And thinking of the days that are no more.
Fresh as the first beam glittering on a sail,
That brings our friends up from the underworld,
Sad as the last which reddens over one
That sinks with all we love below the verge;
So sad, so fresh, the days that are no more.
Ah, sad and strange as in dark summer dawns
The earliest pipe of half-awakened birds
To dying ears, when unto dying eyes
The casement slowly grows a glimmering square;
So sad, so strange, the days that are no more.
Dear as remembered kisses after death,
And sweet as those by hopeless fancy feigned
On lips that are for others; deep as love,
Deep as first love, and wild with all regret;
O Death in Life, the days that are no more
Paul Laurence Dunbar
(1872–1906)
Sympathy
I know what the caged bird feels, alas!
When the sun is bright on the upland slopes;
When the wind stirs soft through the springing grass,
And the river flows like a stream of glass;
When the first bird sings and the first bud opes,
And the faint perfume from its chalice steals—
I know what the caged bird feels!
I know why the caged bird beats his wing
Till its blood is red on the cruel bars;
For he must fly back to his perch and cling
When he fain would be on the bough a-swing;
And a pain still throbs in the old, old scars
And they pulse again with a keener sting—
I know why he beats his wing!
I know why the caged bird sings, ah me,
When his wing is bruised and his bosom sore,—
When he beats his bars and he would be free;
It is not a carol of joy or glee,
But a prayer that he sends from his heart's deep core,
But a plea, that upward to Heaven he flings—
I know why the caged bird sings!
Sympathy
I know what the caged bird feels, alas!
When the sun is bright on the upland slopes;
When the wind stirs soft through the springing grass,
And the river flows like a stream of glass;
When the first bird sings and the first bud opes,
And the faint perfume from its chalice steals—
I know what the caged bird feels!
I know why the caged bird beats his wing
Till its blood is red on the cruel bars;
For he must fly back to his perch and cling
When he fain would be on the bough a-swing;
And a pain still throbs in the old, old scars
And they pulse again with a keener sting—
I know why he beats his wing!
I know why the caged bird sings, ah me,
When his wing is bruised and his bosom sore,—
When he beats his bars and he would be free;
It is not a carol of joy or glee,
But a prayer that he sends from his heart's deep core,
But a plea, that upward to Heaven he flings—
I know why the caged bird sings!
Emily Brontë
(1818–1848)
Stars
Ah! why, because the dazzling sun
Restored our earth to joy
Have you departed, every one,
And left a desert sky?
All through the night, your glorious eyes
Were gazing down in mine,
And with a full heart's thankful sighs
I blessed that watch divine!
I was at peace, and drank your beams
As they were life to me
And revelled in my changeful dreams
Like petrel on the sea.
Thought followed thought—star followed star
Through boundless regions on,
While one sweet influence, near and far,
Thrilled through and proved us one.
Why did the morning dawn to break
So great, so pure a spell,
And scorch with fire the tranquil cheek
Where your cool radiance fell?
Blood-red he rose, and arrow-straight
His fierce beams struck my brow:
The soul of Nature sprang elate,
But mine sank sad and low!
My lids closed down—yet through their veil
I saw him blazing still;
And steep in gold the misty dale
And flash upon the hill.
I turned me to the pillow then
To call back Night, and see
Your worlds of solemn light, again
Throb with my heart and me!
It would not do—the pillow glowed
And glowed both roof and floor,
And birds sang loudly in the wood,
And fresh winds shook the door.
The curtains waved, the wakened flies
Were murmuring round my room,
Imprisoned there, till I should rise
And give them leave to roam.
O Stars and Dreams and Gentle Night;
O Night and Stars return!
And hide me from the hostile light
That does not warm, but burn—
That drains the blood of suffering men;
Drinks tears, instead of dew:
Let me sleep through his blinding reign,
And only wake with you!
Stars
Ah! why, because the dazzling sun
Restored our earth to joy
Have you departed, every one,
And left a desert sky?
All through the night, your glorious eyes
Were gazing down in mine,
And with a full heart's thankful sighs
I blessed that watch divine!
I was at peace, and drank your beams
As they were life to me
And revelled in my changeful dreams
Like petrel on the sea.
Thought followed thought—star followed star
Through boundless regions on,
While one sweet influence, near and far,
Thrilled through and proved us one.
Why did the morning dawn to break
So great, so pure a spell,
And scorch with fire the tranquil cheek
Where your cool radiance fell?
Blood-red he rose, and arrow-straight
His fierce beams struck my brow:
The soul of Nature sprang elate,
But mine sank sad and low!
My lids closed down—yet through their veil
I saw him blazing still;
And steep in gold the misty dale
And flash upon the hill.
I turned me to the pillow then
To call back Night, and see
Your worlds of solemn light, again
Throb with my heart and me!
It would not do—the pillow glowed
And glowed both roof and floor,
And birds sang loudly in the wood,
And fresh winds shook the door.
The curtains waved, the wakened flies
Were murmuring round my room,
Imprisoned there, till I should rise
And give them leave to roam.
O Stars and Dreams and Gentle Night;
O Night and Stars return!
And hide me from the hostile light
That does not warm, but burn—
That drains the blood of suffering men;
Drinks tears, instead of dew:
Let me sleep through his blinding reign,
And only wake with you!
William Shakespeare
(1564–1616)
Sonnet 55
Not marble, nor the gilded monuments
Of princes, shall outlive this powerful rhyme;
But you shall shine more bright in these contènts
Than unswept stone, besmeared with sluttish time.
When wasteful war shall statues overturn,
And broils root out the work of masonry,
Nor Mars his sword nor war's quick fire shall burn
The living record of your memory.
'Gainst death and all-oblivious enmity
Shall you pace forth; your praise shall still find room
Even in the eyes of all posterity
That wear this world out to the ending doom.
So, till the judgment that yourself arise,
You live in this, and dwell in lovers' eyes.
Sonnet 55
Not marble, nor the gilded monuments
Of princes, shall outlive this powerful rhyme;
But you shall shine more bright in these contènts
Than unswept stone, besmeared with sluttish time.
When wasteful war shall statues overturn,
And broils root out the work of masonry,
Nor Mars his sword nor war's quick fire shall burn
The living record of your memory.
'Gainst death and all-oblivious enmity
Shall you pace forth; your praise shall still find room
Even in the eyes of all posterity
That wear this world out to the ending doom.
So, till the judgment that yourself arise,
You live in this, and dwell in lovers' eyes.
William Shakespeare
(1564–1616)
Sonnet 29
When, in disgrace with fortune and men's eyes,
I all alone beweep my outcast state,
And trouble deaf heaven with my bootless cries,
And look upon myself, and curse my fate,
Wishing me like to one more rich in hope,
Featured like him, like him with friends possessed,
Desiring this man's art and that man's scope,
With what I most enjoy contented least;
Yet in these thoughts myself almost despising,
Haply I think on thee—and then my state,
Like to the lark at break of day arising
From sullen earth, sings hymns at heaven's gate;
For thy sweet love rememb'red such wealth brings
That then I scorn to change my state with kings.
Sonnet 29
When, in disgrace with fortune and men's eyes,
I all alone beweep my outcast state,
And trouble deaf heaven with my bootless cries,
And look upon myself, and curse my fate,
Wishing me like to one more rich in hope,
Featured like him, like him with friends possessed,
Desiring this man's art and that man's scope,
With what I most enjoy contented least;
Yet in these thoughts myself almost despising,
Haply I think on thee—and then my state,
Like to the lark at break of day arising
From sullen earth, sings hymns at heaven's gate;
For thy sweet love rememb'red such wealth brings
That then I scorn to change my state with kings.
Edgar Lee Masters
(1868–1950)
Seth Compton
When I died, the circulating library
Which I built up for Spoon River,
And managed for the good of inquiring minds,
Was sold at auction on the public square,
As if to destroy the last vestige
Of my memory and influence.
For those of you who could not see the virtue
Of knowing Volney's "Ruins" as well as Butler's "Analogy"
And "Faust" as well as "Evangeline,"
Were really the power in the village,
And often you asked me,
"What is the use of knowing the evil in the world?"
I am out of your way now, Spoon River,
Choose your own good and call it good.
For I could never make you see
That no one knows what is good
Who knows not what is evil;
And no one knows what is true
Who knows not what is false.
Seth Compton
When I died, the circulating library
Which I built up for Spoon River,
And managed for the good of inquiring minds,
Was sold at auction on the public square,
As if to destroy the last vestige
Of my memory and influence.
For those of you who could not see the virtue
Of knowing Volney's "Ruins" as well as Butler's "Analogy"
And "Faust" as well as "Evangeline,"
Were really the power in the village,
And often you asked me,
"What is the use of knowing the evil in the world?"
I am out of your way now, Spoon River,
Choose your own good and call it good.
For I could never make you see
That no one knows what is good
Who knows not what is evil;
And no one knows what is true
Who knows not what is false.
Edgar Lee Masters
(1868–1950)
Seth Compton
When I died, the circulating library
Which I built up for Spoon River,
And managed for the good of inquiring minds,
Was sold at auction on the public square,
As if to destroy the last vestige
Of my memory and influence.
For those of you who could not see the virtue
Of knowing Volney's "Ruins" as well as Butler's "Analogy"
And "Faust" as well as "Evangeline,"
Were really the power in the village,
And often you asked me,
"What is the use of knowing the evil in the world?"
I am out of your way now, Spoon River,
Choose your own good and call it good.
For I could never make you see
That no one knows what is good
Who knows not what is evil;
And no one knows what is true
Who knows not what is false.
Seth Compton
When I died, the circulating library
Which I built up for Spoon River,
And managed for the good of inquiring minds,
Was sold at auction on the public square,
As if to destroy the last vestige
Of my memory and influence.
For those of you who could not see the virtue
Of knowing Volney's "Ruins" as well as Butler's "Analogy"
And "Faust" as well as "Evangeline,"
Were really the power in the village,
And often you asked me,
"What is the use of knowing the evil in the world?"
I am out of your way now, Spoon River,
Choose your own good and call it good.
For I could never make you see
That no one knows what is good
Who knows not what is evil;
And no one knows what is true
Who knows not what is false.
Rudyard Kipling
(1865–1936)
Recessional
1897
God of our fathers, known of old,
Lord of our far-flung battle-line,
Beneath whose awful Hand we hold
Dominion over palm and pine—
Lord God of Hosts, be with us yet,
Lest we forget—lest we forget!
The tumult and the shouting dies;
The Captains and the Kings depart:
Still stands Thine ancient sacrifice,
An humble and a contrite heart.
Lord God of Hosts, be with us yet,
Lest we forget—lest we forget!
Far-called, our navies melt away;
On dune and headland sinks the fire:
Lo, all our pomp of yesterday
Is one with Nineveh and Tyre!
Judge of the Nations, spare us yet,
Lest we forget—lest we forget!
If, drunk with sight of power, we loose
Wild tongues that have not Thee in awe,
Such boastings as the Gentiles use,
Or lesser breeds without the Law—
Lord God of Hosts, be with us yet,
Lest we forget—lest we forget!
For heathen heart that puts her trust
In reeking tube and iron shard,
All valiant dust that builds on dust,
And guarding, calls not Thee to guard,
For frantic boast and foolish word—
Thy mercy on Thy People, Lord!
Recessional
1897
God of our fathers, known of old,
Lord of our far-flung battle-line,
Beneath whose awful Hand we hold
Dominion over palm and pine—
Lord God of Hosts, be with us yet,
Lest we forget—lest we forget!
The tumult and the shouting dies;
The Captains and the Kings depart:
Still stands Thine ancient sacrifice,
An humble and a contrite heart.
Lord God of Hosts, be with us yet,
Lest we forget—lest we forget!
Far-called, our navies melt away;
On dune and headland sinks the fire:
Lo, all our pomp of yesterday
Is one with Nineveh and Tyre!
Judge of the Nations, spare us yet,
Lest we forget—lest we forget!
If, drunk with sight of power, we loose
Wild tongues that have not Thee in awe,
Such boastings as the Gentiles use,
Or lesser breeds without the Law—
Lord God of Hosts, be with us yet,
Lest we forget—lest we forget!
For heathen heart that puts her trust
In reeking tube and iron shard,
All valiant dust that builds on dust,
And guarding, calls not Thee to guard,
For frantic boast and foolish word—
Thy mercy on Thy People, Lord!
Gerard Manley Hopkins
(1844–1889)
Pied Beauty
Glory be to God for dappled things—
For skies of couple-color as a brinded cow;
For rose-moles all in stipple upon trout that swim;
Fresh-firecoal chestnut-falls; finches’ wings;
Landscape plotted and pieced—fold, fallow, and plough;
And áll trádes, their gear and tackle and trim.
All things counter, original, spare, strange;
Whatever is fickle, freckled (who knows how?)
With swift, slow; sweet, sour; adazzle, dim;
He fathers-forth whose beauty is past change:
Praise him.
Pied Beauty
Glory be to God for dappled things—
For skies of couple-color as a brinded cow;
For rose-moles all in stipple upon trout that swim;
Fresh-firecoal chestnut-falls; finches’ wings;
Landscape plotted and pieced—fold, fallow, and plough;
And áll trádes, their gear and tackle and trim.
All things counter, original, spare, strange;
Whatever is fickle, freckled (who knows how?)
With swift, slow; sweet, sour; adazzle, dim;
He fathers-forth whose beauty is past change:
Praise him.
Katherine Philips
(1632–1664)
On the Welch Language
If honor to an ancient name be due,
Or riches challenge it for one that's new,
The British language claims in either sense
Both for its age, and for its opulence.
But all great things must be from us removed,
To be with higher reverence beloved.
So landskips which in prospects distant lie,
With greater wonder draw the pleasèd eye.
Is not great Troy to one dark ruin hurled?
Once the fam'd scene of all the fighting world.
Where's Athens now, to whom Rome learning owes,
And the safe laurels that adorned her brows?
A strange reverse of fate she did endure,
Never once greater, than she's now obscure.
Even Rome her self can but some footsteps show
Of Scipio's times, or those of Cicero.
And as the Roman and the Grecian state,
The British fell, the spoil of time and fate.
But though the language hath the beauty lost,
Yet she has still some great remains to boast,
For 'twas in that, the sacred bards of old,
In deathless numbers did their thoughts unfold.
In groves, by rivers, and on fertile plains,
They civilized and taught the listening swains;
Whilst with high raptures, and as great success,
Virtue they clothed in music's charming dress.
This Merlin spoke, who in his gloomy cave,
Even Destiny her self seemed to enslave.
For to his sight the future time was known,
Much better than to others is their own;
And with such state, predictions from him fell,
As if he did decree, and not foretell.
This spoke King Arthur, who, if fame be true,
Could have compelled mankind to speak it too.
In this one Boadicca valor taught,
And spoke more nobly than her soldiers fought:
Tell me what hero could be more than she,
Who fell at once for fame and liberty?
Nor could a greater sacrifice belong,
Or to her children's, or her country's wrong.
This spoke Caractacus, who was so brave,
That to the Roman fortune check he gave:
And when their yoke he could decline no more,
He it so decently and nobly wore,
That Rome her self with blushes did believe,
A Britain would the law of honor give;
And hastily his chains away she threw,
Lest her own captive else should her subdue.
On the Welch Language
If honor to an ancient name be due,
Or riches challenge it for one that's new,
The British language claims in either sense
Both for its age, and for its opulence.
But all great things must be from us removed,
To be with higher reverence beloved.
So landskips which in prospects distant lie,
With greater wonder draw the pleasèd eye.
Is not great Troy to one dark ruin hurled?
Once the fam'd scene of all the fighting world.
Where's Athens now, to whom Rome learning owes,
And the safe laurels that adorned her brows?
A strange reverse of fate she did endure,
Never once greater, than she's now obscure.
Even Rome her self can but some footsteps show
Of Scipio's times, or those of Cicero.
And as the Roman and the Grecian state,
The British fell, the spoil of time and fate.
But though the language hath the beauty lost,
Yet she has still some great remains to boast,
For 'twas in that, the sacred bards of old,
In deathless numbers did their thoughts unfold.
In groves, by rivers, and on fertile plains,
They civilized and taught the listening swains;
Whilst with high raptures, and as great success,
Virtue they clothed in music's charming dress.
This Merlin spoke, who in his gloomy cave,
Even Destiny her self seemed to enslave.
For to his sight the future time was known,
Much better than to others is their own;
And with such state, predictions from him fell,
As if he did decree, and not foretell.
This spoke King Arthur, who, if fame be true,
Could have compelled mankind to speak it too.
In this one Boadicca valor taught,
And spoke more nobly than her soldiers fought:
Tell me what hero could be more than she,
Who fell at once for fame and liberty?
Nor could a greater sacrifice belong,
Or to her children's, or her country's wrong.
This spoke Caractacus, who was so brave,
That to the Roman fortune check he gave:
And when their yoke he could decline no more,
He it so decently and nobly wore,
That Rome her self with blushes did believe,
A Britain would the law of honor give;
And hastily his chains away she threw,
Lest her own captive else should her subdue.
Percy Bysshe Shelley (
1792–1822)
Ozymandias
I met a traveller from an antique land
Who said: "Two vast and trunkless legs of stone
Stand in the desert. . . . Near them, on the sand,
Half sunk, a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them, and the heart that fed;
And on the pedestal these words appear:
'My name is Ozymandias, King of Kings,
Look on my Works, ye Mighty, and despair!'
Nothing beside remains. Round the decay
Of that colossal Wreck, boundless and bare
The lone and level sands stretch far away."
Ozymandias
I met a traveller from an antique land
Who said: "Two vast and trunkless legs of stone
Stand in the desert. . . . Near them, on the sand,
Half sunk, a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them, and the heart that fed;
And on the pedestal these words appear:
'My name is Ozymandias, King of Kings,
Look on my Works, ye Mighty, and despair!'
Nothing beside remains. Round the decay
Of that colossal Wreck, boundless and bare
The lone and level sands stretch far away."
A. E. Housman
(1859–1936)
On the Idle Hill of Summer
On the idle hill of summer,
Sleepy with the flow of streams,
Far I hear the steady drummer
Drumming like a noise in dreams.
Far and near and low and louder
On the roads of earth go by,
Dear to friends and food for powder,
Soldiers marching, all to die.
East and west on fields forgotten
Bleach the bones of comrades slain,
Lovely lads and dead and rotten;
None that go return again.
Far the calling bugles hollo,
High the screaming fife replies,
Gay the files of scarlet follow:
Woman bore me, I will rise.
On the Idle Hill of Summer
On the idle hill of summer,
Sleepy with the flow of streams,
Far I hear the steady drummer
Drumming like a noise in dreams.
Far and near and low and louder
On the roads of earth go by,
Dear to friends and food for powder,
Soldiers marching, all to die.
East and west on fields forgotten
Bleach the bones of comrades slain,
Lovely lads and dead and rotten;
None that go return again.
Far the calling bugles hollo,
High the screaming fife replies,
Gay the files of scarlet follow:
Woman bore me, I will rise.
John Keats
(1795–1821)
Ode on a Grecian Urn
1
Thou still unravish'd bride of quietness,
Thou foster child of silence and slow time,
Sylvan historian, who canst thus express
A flowery tale more sweetly than our rhyme:
What leaf-fring'd legend haunts about thy shape
Of deities or mortals, or of both,
In Tempe or the dales of Arcady?
What men or gods are these? What maidens loath?
What mad pursuit? What struggle to escape?
What pipes and timbrels? What wild ecstasy?
2
Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear'd,
Pipe to the spirit ditties of no tone:
Fair youth, beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare;
Bold Lover, never, never canst thou kiss,
Though winning near the goal—yet, do not grieve;
She cannot fade, though thou hast not thy bliss,
For ever wilt thou love, and she be fair!
3
Ah, happy, happy boughs! that cannot shed
Your leaves, nor ever bid the Spring adieu;
And, happy melodist, unwearied,
Forever piping songs forever new;
More happy love! more happy, happy love!
Forever warm and still to be enjoy'd,
Forever panting, and forever young;
All breathing human passion far above,
That leaves a heart high-sorrowful and cloy'd,
A burning forehead, and a parching tongue.
4
Who are these coming to the sacrifice?
To what green altar, O mysterious priest,
Lead'st thou that heifer lowing at the skies,
And all her silken flanks with garlands dressed?
What little town by river or sea shore,
Or mountain-built with peaceful citadel,
Is emptied of this folk, this pious morn?
And, little town, thy streets forevermore
Will silent be; and not a soul to tell
Why thou art desolate, can e'er return.
5
O Attic shape! Fair attitude! with brede
Of marble men and maidens overwrought,
With forest branches and the trodden weed;
Thou, silent form, dost tease us out of thought
As doth eternity: Cold Pastoral!
When old age shall this generation waste,
Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou say'st,
"Beauty is truth, truth beauty,—that is all
Ye know on earth, and all ye need to know."
Ode on a Grecian Urn
1
Thou still unravish'd bride of quietness,
Thou foster child of silence and slow time,
Sylvan historian, who canst thus express
A flowery tale more sweetly than our rhyme:
What leaf-fring'd legend haunts about thy shape
Of deities or mortals, or of both,
In Tempe or the dales of Arcady?
What men or gods are these? What maidens loath?
What mad pursuit? What struggle to escape?
What pipes and timbrels? What wild ecstasy?
2
Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear'd,
Pipe to the spirit ditties of no tone:
Fair youth, beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare;
Bold Lover, never, never canst thou kiss,
Though winning near the goal—yet, do not grieve;
She cannot fade, though thou hast not thy bliss,
For ever wilt thou love, and she be fair!
3
Ah, happy, happy boughs! that cannot shed
Your leaves, nor ever bid the Spring adieu;
And, happy melodist, unwearied,
Forever piping songs forever new;
More happy love! more happy, happy love!
Forever warm and still to be enjoy'd,
Forever panting, and forever young;
All breathing human passion far above,
That leaves a heart high-sorrowful and cloy'd,
A burning forehead, and a parching tongue.
4
Who are these coming to the sacrifice?
To what green altar, O mysterious priest,
Lead'st thou that heifer lowing at the skies,
And all her silken flanks with garlands dressed?
What little town by river or sea shore,
Or mountain-built with peaceful citadel,
Is emptied of this folk, this pious morn?
And, little town, thy streets forevermore
Will silent be; and not a soul to tell
Why thou art desolate, can e'er return.
5
O Attic shape! Fair attitude! with brede
Of marble men and maidens overwrought,
With forest branches and the trodden weed;
Thou, silent form, dost tease us out of thought
As doth eternity: Cold Pastoral!
When old age shall this generation waste,
Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou say'st,
"Beauty is truth, truth beauty,—that is all
Ye know on earth, and all ye need to know."
Alexander Pope
(1688–1744)
Ode on Solitude
I.
How happy he, who free from care
The rage of courts, and noise of towns;
Contented breathes his native air,
In his own grounds.
II.
Whose herds with milk, whose fields with bread,
Whose flocks supply him with attire,
Whose trees in summer yield him shade,
In winter fire.
III.
Blest! who can unconcern'dly find
Hours, days, and years slide swift away,
In health of body, peace of mind,
Quiet by day,
IV.
Sound sleep by night; study and ease
Together mix'd; sweet recreation,
And innocence, which most does please,
With meditation.
V.
Thus let me live, unheard, unknown;
Thus unlamented let me die;
Steal from the world, and not a stone
Tell where I lie.
Ode on Solitude
I.
How happy he, who free from care
The rage of courts, and noise of towns;
Contented breathes his native air,
In his own grounds.
II.
Whose herds with milk, whose fields with bread,
Whose flocks supply him with attire,
Whose trees in summer yield him shade,
In winter fire.
III.
Blest! who can unconcern'dly find
Hours, days, and years slide swift away,
In health of body, peace of mind,
Quiet by day,
IV.
Sound sleep by night; study and ease
Together mix'd; sweet recreation,
And innocence, which most does please,
With meditation.
V.
Thus let me live, unheard, unknown;
Thus unlamented let me die;
Steal from the world, and not a stone
Tell where I lie.
Thomas Campion
(1567–1620)
Now Winter Nights Enlarge
Now winter nights enlarge
The number of their hours;
And clouds their storms discharge
Upon the airy towers.
Let now the chimneys blaze
And cups o'erflow with wine,
Let well-tuned words amaze
With harmony divine.
Now yellow waxen lights
Shall wait on honey love
While youthful revels, masques, and courtly sights
Sleep's leaden spells remove.
This time doth well dispense
With lovers' long discourse;
Much speech hath some defense,
Though beauty no remorse.
All do not all things well;
Some measures comely tread,
Some knotted riddles tell,
Some poems smoothly read.
The summer hath his joys,
And winter his delights;
Though love and all his pleasures are but toys,
They shorten tedious nights.
Now Winter Nights Enlarge
Now winter nights enlarge
The number of their hours;
And clouds their storms discharge
Upon the airy towers.
Let now the chimneys blaze
And cups o'erflow with wine,
Let well-tuned words amaze
With harmony divine.
Now yellow waxen lights
Shall wait on honey love
While youthful revels, masques, and courtly sights
Sleep's leaden spells remove.
This time doth well dispense
With lovers' long discourse;
Much speech hath some defense,
Though beauty no remorse.
All do not all things well;
Some measures comely tread,
Some knotted riddles tell,
Some poems smoothly read.
The summer hath his joys,
And winter his delights;
Though love and all his pleasures are but toys,
They shorten tedious nights.
Robert Browning
(1812–1889)
My Last Duchess
That's my last duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now: Frà Pandolf's hands
Worked busily a day, and there she stands.
Will't please you sit and look at her? I said
"Frà Pandolf" by design, for never read
Strangers like you that pictured countenance,
The depth and passion of its earnest glance,
But to myself they turned (since none puts by
The curtain I have drawn for you, but I)
And seemed as they would ask me, if they durst,
How such a glance came there; so, not the first
Are you to turn and ask thus. Sir, 'twas not
Her husband's presence only, called that spot
Of joy into the Duchess' cheek: perhaps
Frà Pandolf chanced to say "Her mantle laps
Over my lady's wrist too much," or "Paint
Must never hope to reproduce the faint
Half-flush that dies along her throat": such stuff
Was courtesy, she thought, and cause enough
For calling up that spot of joy. She had
A heart—how shall I say?—too soon made glad,
Too easily impressed; she liked whate'er
She looked on, and her looks went everywhere.
Sir, 'twas all one! My favor at her breast,
The dropping of the daylight in the West,
The bough of cherries some officious fool
Broke in the orchard for her, the white mule
She rode with round the terrace—all and each
Would draw from her alike the approving speech,
Or blush, at least. She thanked men—good! but thanked
Somehow—I know not how—as if she ranked
My gift of a nine-hundred-years-old name
With anybody's gift. Who'd stoop to blame
This sort of trifling? Even had you skill
In speech—which I have not—to make your will
Quite clear to such an one, and say, "Just this
Or that in you disgusts me; here you miss,
Or there exceed the mark"—and if she let
Herself be lessoned so, nor plainly set
Her wits to yours, forsooth, and made excuse,
—E'en then would be some stooping; and I choose
Never to stoop. Oh sir, she smiled, no doubt,
Whene'er I passed her; but who passed without
Much the same smile? This grew; I gave commands;
Then all smiles stopped together. There she stands
As if alive. Will't please you rise? We'll meet
The company below, then. I repeat,
The Count your master's known munificence
Is ample warrant that no just pretense
Of mine for dowry will be disallowed;
Though his fair daughter's self as I avowed
At starting, is my object. Nay, we'll go
Together down, sir. Notice Neptune, though,
Taming a sea horse, thought a rarity,
Which Claus of Innsbruck cast in bronze for me!
My Last Duchess
That's my last duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now: Frà Pandolf's hands
Worked busily a day, and there she stands.
Will't please you sit and look at her? I said
"Frà Pandolf" by design, for never read
Strangers like you that pictured countenance,
The depth and passion of its earnest glance,
But to myself they turned (since none puts by
The curtain I have drawn for you, but I)
And seemed as they would ask me, if they durst,
How such a glance came there; so, not the first
Are you to turn and ask thus. Sir, 'twas not
Her husband's presence only, called that spot
Of joy into the Duchess' cheek: perhaps
Frà Pandolf chanced to say "Her mantle laps
Over my lady's wrist too much," or "Paint
Must never hope to reproduce the faint
Half-flush that dies along her throat": such stuff
Was courtesy, she thought, and cause enough
For calling up that spot of joy. She had
A heart—how shall I say?—too soon made glad,
Too easily impressed; she liked whate'er
She looked on, and her looks went everywhere.
Sir, 'twas all one! My favor at her breast,
The dropping of the daylight in the West,
The bough of cherries some officious fool
Broke in the orchard for her, the white mule
She rode with round the terrace—all and each
Would draw from her alike the approving speech,
Or blush, at least. She thanked men—good! but thanked
Somehow—I know not how—as if she ranked
My gift of a nine-hundred-years-old name
With anybody's gift. Who'd stoop to blame
This sort of trifling? Even had you skill
In speech—which I have not—to make your will
Quite clear to such an one, and say, "Just this
Or that in you disgusts me; here you miss,
Or there exceed the mark"—and if she let
Herself be lessoned so, nor plainly set
Her wits to yours, forsooth, and made excuse,
—E'en then would be some stooping; and I choose
Never to stoop. Oh sir, she smiled, no doubt,
Whene'er I passed her; but who passed without
Much the same smile? This grew; I gave commands;
Then all smiles stopped together. There she stands
As if alive. Will't please you rise? We'll meet
The company below, then. I repeat,
The Count your master's known munificence
Is ample warrant that no just pretense
Of mine for dowry will be disallowed;
Though his fair daughter's self as I avowed
At starting, is my object. Nay, we'll go
Together down, sir. Notice Neptune, though,
Taming a sea horse, thought a rarity,
Which Claus of Innsbruck cast in bronze for me!
Edwin Arlington Robinson
(1869–1935)
Miniver Cheevy
Miniver Cheevy, child of scorn,
Grew lean while he assailed the seasons;
He wept that he was ever born,
And he had reasons.
Miniver loved the days of old
When swords were bright and steeds were prancing;
The vision of a warrior bold
Would set him dancing.
Miniver sighed for what was not,
And dreamed, and rested from his labors;
He dreamed of Thebes and Camelot,
And Priam's neighbors.
Miniver mourned the ripe renown
That made so many a name so fragrant;
He mourned Romance, now on the town,
And Art, a vagrant.
Miniver loved the Medici,
Albeit he had never seen one;
He would have sinned incessantly
Could he have been one.
Miniver cursed the commonplace
And eyed a khaki suit with loathing;
Hi missed the medieval grace
Of iron clothing.
Miniver scorned the gold he sought,
But sore annoyed was he without it;
Miniver thought, and thought, and thought,
And thought about it.
Miniver Cheevy, born too late,
Scratched his head and kept on thinking;
Miniver coughed, and called it fate,
And kept on drinking.
Miniver Cheevy
Miniver Cheevy, child of scorn,
Grew lean while he assailed the seasons;
He wept that he was ever born,
And he had reasons.
Miniver loved the days of old
When swords were bright and steeds were prancing;
The vision of a warrior bold
Would set him dancing.
Miniver sighed for what was not,
And dreamed, and rested from his labors;
He dreamed of Thebes and Camelot,
And Priam's neighbors.
Miniver mourned the ripe renown
That made so many a name so fragrant;
He mourned Romance, now on the town,
And Art, a vagrant.
Miniver loved the Medici,
Albeit he had never seen one;
He would have sinned incessantly
Could he have been one.
Miniver cursed the commonplace
And eyed a khaki suit with loathing;
Hi missed the medieval grace
Of iron clothing.
Miniver scorned the gold he sought,
But sore annoyed was he without it;
Miniver thought, and thought, and thought,
And thought about it.
Miniver Cheevy, born too late,
Scratched his head and kept on thinking;
Miniver coughed, and called it fate,
And kept on drinking.
Robert Frost
(1874–1963)
Mending Wall
Something there is that doesn't love a wall,
That sends the frozen-ground-swell under it,
And spills the upper boulders in the sun;
And makes gaps even two can pass abreast.
The work of hunters is another thing:
I have come after them and made repair
Where they have left not one stone on a stone,
But they would have the rabbit out of hiding,
To please the yelping dogs. The gaps I mean,
No one has seen them made or heard them made,
But at spring mending-time we find them there.
I let my neighbor know beyond the hill;
And on a day we meet to walk the line
And set the wall between us once again.
We keep the wall between us as we go.
To each the boulders that have fallen to each.
And some are loaves and some so nearly balls
We have to use a spell to make them balance:
"Stay where you are until our backs are turned!"
We wear our fingers rough with handling them.
Oh, just another kind of outdoor game,
One on a side. It comes to little more:
There where it is we do not need the wall:
He is all pine and I am apple orchard.
My apple trees will never get across
And eat the cones under his pines, I tell him.
He only says, "Good fences make good neighbors."
Spring is the mischief in me, and I wonder
If I could put a notion in his head:
"Why do they make good neighbors? Isn't it
Where there are cows? But here there are no cows.
Before I built a wall I'd ask to know
What I was walling in or walling out,
And to whom I was like to give offense.
Something there is that doesn't love a wall,
That wants it down." I could say "Elves" to him,
But it's not elves exactly, and I'd rather
He said it for himself. I see him there
Bringing a stone grasped firmly by the top
In each hand, like an old-stone savage armed.
He moves in darkness as it seems to me,
Not of woods only and the shade of trees.
He will not go behind his father's saying,
And he likes having thought of it so well
He says again, "Good fences make good neighbors."
Mending Wall
Something there is that doesn't love a wall,
That sends the frozen-ground-swell under it,
And spills the upper boulders in the sun;
And makes gaps even two can pass abreast.
The work of hunters is another thing:
I have come after them and made repair
Where they have left not one stone on a stone,
But they would have the rabbit out of hiding,
To please the yelping dogs. The gaps I mean,
No one has seen them made or heard them made,
But at spring mending-time we find them there.
I let my neighbor know beyond the hill;
And on a day we meet to walk the line
And set the wall between us once again.
We keep the wall between us as we go.
To each the boulders that have fallen to each.
And some are loaves and some so nearly balls
We have to use a spell to make them balance:
"Stay where you are until our backs are turned!"
We wear our fingers rough with handling them.
Oh, just another kind of outdoor game,
One on a side. It comes to little more:
There where it is we do not need the wall:
He is all pine and I am apple orchard.
My apple trees will never get across
And eat the cones under his pines, I tell him.
He only says, "Good fences make good neighbors."
Spring is the mischief in me, and I wonder
If I could put a notion in his head:
"Why do they make good neighbors? Isn't it
Where there are cows? But here there are no cows.
Before I built a wall I'd ask to know
What I was walling in or walling out,
And to whom I was like to give offense.
Something there is that doesn't love a wall,
That wants it down." I could say "Elves" to him,
But it's not elves exactly, and I'd rather
He said it for himself. I see him there
Bringing a stone grasped firmly by the top
In each hand, like an old-stone savage armed.
He moves in darkness as it seems to me,
Not of woods only and the shade of trees.
He will not go behind his father's saying,
And he likes having thought of it so well
He says again, "Good fences make good neighbors."
George Herbert
(1593–1633)
Man
My God, I heard this day
That none doth build a stately habitation,
But he that means to dwell therein.
What house more stately hath there been,
Or can be, than is Man? to whose creation
All things are in decay.
For Man is every thing,
And more: he is a tree, yet bears more fruit;
A beast, yet is or should be more:
Reason and speech we only bring.
Parrots may thank us, if they are not mute,
They go upon the score.
Man is all symmetry,
Full of proportions, one limb to another,
And all to all the world besides:
Each part may call the furthest, brother;
For head with foot hath private amity,
And both with moons and tides.
Nothing hath got so far,
But man hath caught and kept it, as his prey.
His eyes dismount the highest star:
He is in little all the sphere.
Herbs gladly cure our flesh, because that they
Find their acquaintance there.
For us the winds do blow,
The earth doth rest, heaven move, and fountains flow.
Nothing we see but means our good,
As our delight or as our treasure:
The whole is either our cupboard of food,
Or cabinet of pleasure.
The stars have us to bed;
Night draws the curtain, which the sun withdraws;
Music and light attend our head.
All things unto our flesh are kind
In their descent and being; to our mind
In their ascent and cause.
Each thing is full of duty:
Waters united are our navigation;
Distinguishèd, our habitation;
Below, our drink; above, our meat;
Both are our cleanliness. Hath one such beauty?
Then how are all things neat?
More servants wait on Man
Than he'll take notice of: in every path
He treads down that which doth befriend him
When sickness makes him pale and wan.
O mighty love! Man is one world, and hath
Another to attend him.
Since then, my God, thou hast
So brave a palace built, O dwell in it
That it may dwell with thee at last!
Till then, afford us so much wit,
That, as the world serves us, we may serve thee,
And both thy servants be.
Man
My God, I heard this day
That none doth build a stately habitation,
But he that means to dwell therein.
What house more stately hath there been,
Or can be, than is Man? to whose creation
All things are in decay.
For Man is every thing,
And more: he is a tree, yet bears more fruit;
A beast, yet is or should be more:
Reason and speech we only bring.
Parrots may thank us, if they are not mute,
They go upon the score.
Man is all symmetry,
Full of proportions, one limb to another,
And all to all the world besides:
Each part may call the furthest, brother;
For head with foot hath private amity,
And both with moons and tides.
Nothing hath got so far,
But man hath caught and kept it, as his prey.
His eyes dismount the highest star:
He is in little all the sphere.
Herbs gladly cure our flesh, because that they
Find their acquaintance there.
For us the winds do blow,
The earth doth rest, heaven move, and fountains flow.
Nothing we see but means our good,
As our delight or as our treasure:
The whole is either our cupboard of food,
Or cabinet of pleasure.
The stars have us to bed;
Night draws the curtain, which the sun withdraws;
Music and light attend our head.
All things unto our flesh are kind
In their descent and being; to our mind
In their ascent and cause.
Each thing is full of duty:
Waters united are our navigation;
Distinguishèd, our habitation;
Below, our drink; above, our meat;
Both are our cleanliness. Hath one such beauty?
Then how are all things neat?
More servants wait on Man
Than he'll take notice of: in every path
He treads down that which doth befriend him
When sickness makes him pale and wan.
O mighty love! Man is one world, and hath
Another to attend him.
Since then, my God, thou hast
So brave a palace built, O dwell in it
That it may dwell with thee at last!
Till then, afford us so much wit,
That, as the world serves us, we may serve thee,
And both thy servants be.
William Wordsworth
(1770–1850)
Lines Composed a Few Miles above Tintern Abbey
Five years have passed; five summers, with the length
Of five long winters! and again I hear
These waters, rolling from their mountain-springs
With a soft inland murmur. Once again
Do I behold these steep and lofty cliffs,
That on a wild secluded scene impress
Thoughts of more deep seclusion; and connect
The landscape with the quiet of the sky.
The day is come when I again repose
Here, under this dark sycamore, and view
These plots of cottage-ground, these orchard-tufts,
Which at this season, with their unripe fruits,
Are clad in one green hue, and lose themselves
'Mid groves and copses. Once again I see
These hedgerows, hardly hedgerows, little lines
Of sportive wood run wild; these pastoral farms,
Green to the very door; and wreaths of smoke
Sent up, in silence, from among the trees!
With some uncertain notice, as might seem
Of vagrant dwellers in the houseless woods,
Or of some Hermit's cave, where by his fire
The Hermit sits alone.
These beauteous forms,
Through a long absence, have not been to me
As is a landscape to a blind man's eye;
But oft, in lonely rooms, and 'mid the din
Of towns and cities, I have owed to them,
In hours of weariness, sensations sweet,
Felt in the blood, and felt along the heart;
And passing even into my purer mind
With tranquil restoration—feelings too
Of unremembered pleasure; such, perhaps,
As have no slight or trivial influence
On that best portion of a good man's life,
His little, nameless, unremembered, acts
Of kindness and of love. Nor less, I trust,
To them I may have owed another gift,
Of aspect more sublime; that blessed mood,
In which the burthen of the mystery,
In which the heavy and the weary weight
Of all this unintelligible world,
Is lightened—that serene and blessed mood,
In which the affections gently lead us on—
Until, the breath of this corporeal frame
And even the motion of our human blood
Almost suspended, we are laid asleep
In body, and become a living soul;
While with an eye made quiet by the power
Of harmony, and the deep power of joy,
We see into the life of things.
If this
Be but a vain belief, yet, oh! how oft—
In darkness and amid the many shapes
Of joyless daylight; when the fretful stir
Unprofitable, and the fever of the world,
Have hung upon the beatings of my heart—
How oft, in spirit, have I turned to thee,
O sylvan Wye! thou wanderer through the woods,
How often has my spirit turned to thee!
And now, with gleams of half-extinguished thought,
With many recognitions dim and faint,
And somewhat of a sad perplexity,
The picture of the mind revives again;
While here I stand, not only with the sense
Of present pleasure, but with pleasing thoughts
That in this moment there is life and food
For future years. And so I dare to hope,
Though changed, no doubt, from what I was when first
I came among these hills; when like a roe
I bounded o'er the mountains, by the sides
Of the deep rivers, and the lonely streams,
Wherever nature led—more like a man
Flying from something that he dreads than one
Who sought the thing he loved. For nature then
(The coarser pleasures of my boyish days
And their glad animal movements all gone by)
To me was all in all.—I cannot paint
What then I was. The sounding cataract
Haunted me like a passion; the tall rock,
The mountain, and the deep and gloomy wood,
Their colors and their forms, were then to me
An appetite; a feeling and a love,
That had no need of a remoter charm,
By thought supplied, not any interest
Unborrowed from the eye.—That time is past,
And all its aching joys are now no more,
And all its dizzy raptures. Not for this
Faint I, nor mourn nor murmur; other gifts
Have followed; for such loss, I would believe,
Abundant recompense. For I have learned
To look on nature, not as in the hour
Of thoughtless youth; but hearing oftentimes
The still sad music of humanity,
Nor harsh nor grating, though of ample power
To chasten and subdue. And I have felt
A presence that disturbs me with the joy
Of elevated thoughts; a sense sublime
Of something far more deeply interfused,
Whose dwelling is the light of setting suns,
And the round ocean and the living air,
And the blue sky, and in the mind of man:
A motion and a spirit, that impels
All thinking things, all objects of all thought,
And rolls through all things. Therefore am I still
A lover of the meadows and the woods,
And mountains; and of all that we behold
From this green earth; of all the mighty world
Of eye, and ear—both what they half create,
And what perceive; well pleased to recognize
In nature and the language of the sense
The anchor of my purest thoughts, the nurse,
The guide, the guardian of my heart, and soul
Of all my moral being.
Nor perchance,
If I were not thus taught, should I the more
Suffer my genial spirits to decay:
For thou art with me here upon the banks
Of this fair river; thou my dearest Friend,
My dear, dear Friend; and in thy voice I catch
The language of my former heart, and read
My former pleasures in the shooting lights
Of thy wild eyes. Oh! yet a little while
May I behold in thee what I was once,
My dear, dear Sister! and this prayer I make,
Knowing that Nature never did betray
The heart that loved her; 'tis her privilege,
Through all the years of this our life, to lead
From joy to joy: for she can so inform
The mind that is within us, so impress
With quietness and beauty, and so feed
With lofty thoughts, that neither evil tongues,
Rash judgments, nor the sneers of selfish men,
Nor greetings where no kindness is, nor all
The dreary intercourse of daily life,
Shall e'er prevail against us, or disturb
Our cheerful faith, that all which we behold
Is full of blessings. Therefore let the moon
Shine on thee in thy solitary walk;
And let the misty mountain winds be free
To blow against thee: and, in after years,
When these wild ecstasies shall be matured
Into a sober pleasure; when thy mind
Shall be a mansion for all lovely forms,
Thy memory be as a dwelling place
For all sweet sounds and harmonies; oh! then,
If solitude, or fear, or pain, or grief,
Should be thy portion, with what healing thoughts
Of tender joy wilt thou remember me,
And these my exhortations! Nor, perchance—
If I should be where I no more can hear
Thy voice, nor catch from thy wild eyes these gleams
Of past existence—wilt thou then forget
That on the banks of this delightful stream
We stood together; and that I, so long
A worshipper of Nature, hither came
Unwearied in that service; rather say
With warmer love—oh! with far deeper zeal
Of holier love. Nor wilt thou then forget,
That after many wanderings, many years
Of absence, these steep woods and lofty cliffs,
And this green pastoral landscape, were to me
More dear, both for themselves and for thy sake!
Lines Composed a Few Miles above Tintern Abbey
Five years have passed; five summers, with the length
Of five long winters! and again I hear
These waters, rolling from their mountain-springs
With a soft inland murmur. Once again
Do I behold these steep and lofty cliffs,
That on a wild secluded scene impress
Thoughts of more deep seclusion; and connect
The landscape with the quiet of the sky.
The day is come when I again repose
Here, under this dark sycamore, and view
These plots of cottage-ground, these orchard-tufts,
Which at this season, with their unripe fruits,
Are clad in one green hue, and lose themselves
'Mid groves and copses. Once again I see
These hedgerows, hardly hedgerows, little lines
Of sportive wood run wild; these pastoral farms,
Green to the very door; and wreaths of smoke
Sent up, in silence, from among the trees!
With some uncertain notice, as might seem
Of vagrant dwellers in the houseless woods,
Or of some Hermit's cave, where by his fire
The Hermit sits alone.
These beauteous forms,
Through a long absence, have not been to me
As is a landscape to a blind man's eye;
But oft, in lonely rooms, and 'mid the din
Of towns and cities, I have owed to them,
In hours of weariness, sensations sweet,
Felt in the blood, and felt along the heart;
And passing even into my purer mind
With tranquil restoration—feelings too
Of unremembered pleasure; such, perhaps,
As have no slight or trivial influence
On that best portion of a good man's life,
His little, nameless, unremembered, acts
Of kindness and of love. Nor less, I trust,
To them I may have owed another gift,
Of aspect more sublime; that blessed mood,
In which the burthen of the mystery,
In which the heavy and the weary weight
Of all this unintelligible world,
Is lightened—that serene and blessed mood,
In which the affections gently lead us on—
Until, the breath of this corporeal frame
And even the motion of our human blood
Almost suspended, we are laid asleep
In body, and become a living soul;
While with an eye made quiet by the power
Of harmony, and the deep power of joy,
We see into the life of things.
If this
Be but a vain belief, yet, oh! how oft—
In darkness and amid the many shapes
Of joyless daylight; when the fretful stir
Unprofitable, and the fever of the world,
Have hung upon the beatings of my heart—
How oft, in spirit, have I turned to thee,
O sylvan Wye! thou wanderer through the woods,
How often has my spirit turned to thee!
And now, with gleams of half-extinguished thought,
With many recognitions dim and faint,
And somewhat of a sad perplexity,
The picture of the mind revives again;
While here I stand, not only with the sense
Of present pleasure, but with pleasing thoughts
That in this moment there is life and food
For future years. And so I dare to hope,
Though changed, no doubt, from what I was when first
I came among these hills; when like a roe
I bounded o'er the mountains, by the sides
Of the deep rivers, and the lonely streams,
Wherever nature led—more like a man
Flying from something that he dreads than one
Who sought the thing he loved. For nature then
(The coarser pleasures of my boyish days
And their glad animal movements all gone by)
To me was all in all.—I cannot paint
What then I was. The sounding cataract
Haunted me like a passion; the tall rock,
The mountain, and the deep and gloomy wood,
Their colors and their forms, were then to me
An appetite; a feeling and a love,
That had no need of a remoter charm,
By thought supplied, not any interest
Unborrowed from the eye.—That time is past,
And all its aching joys are now no more,
And all its dizzy raptures. Not for this
Faint I, nor mourn nor murmur; other gifts
Have followed; for such loss, I would believe,
Abundant recompense. For I have learned
To look on nature, not as in the hour
Of thoughtless youth; but hearing oftentimes
The still sad music of humanity,
Nor harsh nor grating, though of ample power
To chasten and subdue. And I have felt
A presence that disturbs me with the joy
Of elevated thoughts; a sense sublime
Of something far more deeply interfused,
Whose dwelling is the light of setting suns,
And the round ocean and the living air,
And the blue sky, and in the mind of man:
A motion and a spirit, that impels
All thinking things, all objects of all thought,
And rolls through all things. Therefore am I still
A lover of the meadows and the woods,
And mountains; and of all that we behold
From this green earth; of all the mighty world
Of eye, and ear—both what they half create,
And what perceive; well pleased to recognize
In nature and the language of the sense
The anchor of my purest thoughts, the nurse,
The guide, the guardian of my heart, and soul
Of all my moral being.
Nor perchance,
If I were not thus taught, should I the more
Suffer my genial spirits to decay:
For thou art with me here upon the banks
Of this fair river; thou my dearest Friend,
My dear, dear Friend; and in thy voice I catch
The language of my former heart, and read
My former pleasures in the shooting lights
Of thy wild eyes. Oh! yet a little while
May I behold in thee what I was once,
My dear, dear Sister! and this prayer I make,
Knowing that Nature never did betray
The heart that loved her; 'tis her privilege,
Through all the years of this our life, to lead
From joy to joy: for she can so inform
The mind that is within us, so impress
With quietness and beauty, and so feed
With lofty thoughts, that neither evil tongues,
Rash judgments, nor the sneers of selfish men,
Nor greetings where no kindness is, nor all
The dreary intercourse of daily life,
Shall e'er prevail against us, or disturb
Our cheerful faith, that all which we behold
Is full of blessings. Therefore let the moon
Shine on thee in thy solitary walk;
And let the misty mountain winds be free
To blow against thee: and, in after years,
When these wild ecstasies shall be matured
Into a sober pleasure; when thy mind
Shall be a mansion for all lovely forms,
Thy memory be as a dwelling place
For all sweet sounds and harmonies; oh! then,
If solitude, or fear, or pain, or grief,
Should be thy portion, with what healing thoughts
Of tender joy wilt thou remember me,
And these my exhortations! Nor, perchance—
If I should be where I no more can hear
Thy voice, nor catch from thy wild eyes these gleams
Of past existence—wilt thou then forget
That on the banks of this delightful stream
We stood together; and that I, so long
A worshipper of Nature, hither came
Unwearied in that service; rather say
With warmer love—oh! with far deeper zeal
Of holier love. Nor wilt thou then forget,
That after many wanderings, many years
Of absence, these steep woods and lofty cliffs,
And this green pastoral landscape, were to me
More dear, both for themselves and for thy sake!
Samuel Taylor Coleridge
(1772–1834)
Kubla Khan
Or a Vision in a Dream. A Fragment
In Xanadu did Kubla Khan
A stately pleasure dome decree:
Where Alph, the sacred river, ran
Through caverns measureless to man
Down to a sunless sea.
So twice five miles of fertile ground
With walls and towers were girdled round:
And there were gardens bright with sinuous rills,
Where blossomed many an incense-bearing tree;
And here were forests ancient as the hills,
Enfolding sunny spots of greenery.
But oh! that deep romantic chasm which slanted
Down the green hill athwart a cedarn cover!
A savage place! as holy and enchanted
As e'er beneath a waning moon was haunted
By woman wailing for her demon-lover!
And from this chasm, with ceaseless turmoil seething,
As if this earth in fast thick pants were breathing,
A mighty fountain momently was forced:
Amid whose swift half-intermitted burst
Huge fragments vaulted like rebounding hail,
Or chaffy grain beneath the thresher's flail:
And 'mid these dancing rocks at once and ever
It flung up momently the sacred river.
Five miles meandering with a mazy motion
Through wood and dale the sacred river ran,
Then reached the caverns measureless to man,
And sank in tumult to a lifeless ocean:
And 'mid this tumult Kubla heard from far
Ancestral voices prophesying war!
The shadow of the dome of pleasure
Floated midway on the waves;
Where was heard the mingled measure
From the fountain and the caves.
It was a miracle of rare device,
A sunny pleasure dome with caves of ice!
A damsel with a dulcimer
In a vision once I saw:
It was an Abyssinian maid,
And on her dulcimer she played,
Singing of Mount Abora.
Could I revive within me
Her symphony and song,
To such a deep delight 'twould win me,
That with music loud and long,
I would build that dome in air,
That sunny dome! those caves of ice!
And all who heard should see them there,
And all should cry, Beware! Beware!
His flashing eyes, his floating hair!
Weave a circle round him thrice,
And close your eyes with holy dread,
For he on honey-dew hath fed,
And drunk the milk of Paradise.
Kubla Khan
Or a Vision in a Dream. A Fragment
In Xanadu did Kubla Khan
A stately pleasure dome decree:
Where Alph, the sacred river, ran
Through caverns measureless to man
Down to a sunless sea.
So twice five miles of fertile ground
With walls and towers were girdled round:
And there were gardens bright with sinuous rills,
Where blossomed many an incense-bearing tree;
And here were forests ancient as the hills,
Enfolding sunny spots of greenery.
But oh! that deep romantic chasm which slanted
Down the green hill athwart a cedarn cover!
A savage place! as holy and enchanted
As e'er beneath a waning moon was haunted
By woman wailing for her demon-lover!
And from this chasm, with ceaseless turmoil seething,
As if this earth in fast thick pants were breathing,
A mighty fountain momently was forced:
Amid whose swift half-intermitted burst
Huge fragments vaulted like rebounding hail,
Or chaffy grain beneath the thresher's flail:
And 'mid these dancing rocks at once and ever
It flung up momently the sacred river.
Five miles meandering with a mazy motion
Through wood and dale the sacred river ran,
Then reached the caverns measureless to man,
And sank in tumult to a lifeless ocean:
And 'mid this tumult Kubla heard from far
Ancestral voices prophesying war!
The shadow of the dome of pleasure
Floated midway on the waves;
Where was heard the mingled measure
From the fountain and the caves.
It was a miracle of rare device,
A sunny pleasure dome with caves of ice!
A damsel with a dulcimer
In a vision once I saw:
It was an Abyssinian maid,
And on her dulcimer she played,
Singing of Mount Abora.
Could I revive within me
Her symphony and song,
To such a deep delight 'twould win me,
That with music loud and long,
I would build that dome in air,
That sunny dome! those caves of ice!
And all who heard should see them there,
And all should cry, Beware! Beware!
His flashing eyes, his floating hair!
Weave a circle round him thrice,
And close your eyes with holy dread,
For he on honey-dew hath fed,
And drunk the milk of Paradise.
Deena Linett
Jury Duty
i.
Your number’s up. Cliff edge
is a window-ledge, twelfth floor
New Courts Building, Essex
County. Below, the snow’s
been four feet deep for weeks.
Cops patrol and we’re locked in
as if by serving time
we would develop empathy.
Clouds sweet as cream drift
across the skies where they are free.
Twelve-eighteen’s my new I.D.,
hotel room, flight number, war lottery.
ii.
After the change of government
begin with the maps, newly revised.
Ignore the stars. They will not
be there when you need them.
You’re in altered relation
to the spray of light on dark. Now
you see the galaxy edge-on, spinning
all the way toward the beginning.
Your compass says south is a range
of mountains with a glacier whose flow’s
shape is music you know
but can’t sing; you are west
of fields of purple flowers and east
of a salt sea. Where are you? Why
have they left you here? What is your task?
What will you devote yourself to?
© Deena Linett
i.
Your number’s up. Cliff edge
is a window-ledge, twelfth floor
New Courts Building, Essex
County. Below, the snow’s
been four feet deep for weeks.
Cops patrol and we’re locked in
as if by serving time
we would develop empathy.
Clouds sweet as cream drift
across the skies where they are free.
Twelve-eighteen’s my new I.D.,
hotel room, flight number, war lottery.
ii.
After the change of government
begin with the maps, newly revised.
Ignore the stars. They will not
be there when you need them.
You’re in altered relation
to the spray of light on dark. Now
you see the galaxy edge-on, spinning
all the way toward the beginning.
Your compass says south is a range
of mountains with a glacier whose flow’s
shape is music you know
but can’t sing; you are west
of fields of purple flowers and east
of a salt sea. Where are you? Why
have they left you here? What is your task?
What will you devote yourself to?
© Deena Linett
Kenneth Carroll
(1959– )
in the morning
for mary
it was my first poetry reading
i, a reluctant 7 year old attendee
standing in my jockeys as my sister,
her mouth twisting violently
around Dunbar’s dialectic verse,
screeched "lias, lias, bless de lawd"
at eight, my sister lacked subtlety
screaming lines without attention to timbre or tone,
commas & hyphens caused her no pause
she was, as instructed, projecting,
loud enough for her voice to bounce
off the rear of draper elementary’s auditorium
& to wake the deceased & resting Dunbar
a shrill fisherwoman’s delivery for a future audience
shut up, I muttered, through sleepy eyes
as my sister switched to Langston’s poem,
"life for me ain’t been no crystal stair"
her head rocking with emphasis & joy at my annoyance
i heard these two poems ricochet off the walls of our home
no less than five thousand times in a truncated february
my friends came to my home often,
looking for this kid named lias, who caused my sister
to scream with madness every waking hour
& searching in vain for the crystals in our stairs
by the time my sister had her official reading
our entire family was reciting both poems
like brainwashed idiots
thirty years later, it is me
annoying my family with verse and stanza
casting my life by the poems coursing my veins
while my sister’s life has become the jagged minstrel
that identify Dunbar’s lyrics
her song marked by the erratic meter
of an addict’s rhyme as she fills her lungs
with the shattered remains of a descending crystal stair
now i recite poems that beg her to live,
that implore her to be as tenacious in her search
for rhythm & meaning as the little girl
who lit up our home with sweet black words
who Langston warned and Dunbar amused
in the morning,
i pray for the blessing of any lord
for some lyrical benediction
to heal her cacophonous wounds
& make whole again the little girl,
who clings to sonnets & sobriety.
© 1996, Kenneth Carroll
in the morning
for mary
it was my first poetry reading
i, a reluctant 7 year old attendee
standing in my jockeys as my sister,
her mouth twisting violently
around Dunbar’s dialectic verse,
screeched "lias, lias, bless de lawd"
at eight, my sister lacked subtlety
screaming lines without attention to timbre or tone,
commas & hyphens caused her no pause
she was, as instructed, projecting,
loud enough for her voice to bounce
off the rear of draper elementary’s auditorium
& to wake the deceased & resting Dunbar
a shrill fisherwoman’s delivery for a future audience
shut up, I muttered, through sleepy eyes
as my sister switched to Langston’s poem,
"life for me ain’t been no crystal stair"
her head rocking with emphasis & joy at my annoyance
i heard these two poems ricochet off the walls of our home
no less than five thousand times in a truncated february
my friends came to my home often,
looking for this kid named lias, who caused my sister
to scream with madness every waking hour
& searching in vain for the crystals in our stairs
by the time my sister had her official reading
our entire family was reciting both poems
like brainwashed idiots
thirty years later, it is me
annoying my family with verse and stanza
casting my life by the poems coursing my veins
while my sister’s life has become the jagged minstrel
that identify Dunbar’s lyrics
her song marked by the erratic meter
of an addict’s rhyme as she fills her lungs
with the shattered remains of a descending crystal stair
now i recite poems that beg her to live,
that implore her to be as tenacious in her search
for rhythm & meaning as the little girl
who lit up our home with sweet black words
who Langston warned and Dunbar amused
in the morning,
i pray for the blessing of any lord
for some lyrical benediction
to heal her cacophonous wounds
& make whole again the little girl,
who clings to sonnets & sobriety.
© 1996, Kenneth Carroll
Christina Rossetti
(1830–1894)
In an Artist's Studio
One face looks out from all his canvases,
One selfsame figure sits or walks or leans:
We found her hidden just behind those screens,
That mirror gave back all her loveliness.
A queen in opal or in ruby dress,
A nameless girl in freshest summer-greens,
A saint, an angel—every canvas means
The same one meaning, neither more nor less.
He feeds upon her face by day and night,
And she with true kind eyes looks back on him,
Fair as the moon and joyful as the light:
Not wan with waiting, not with sorrow dim;
No as she is, but was when hope shone bright;
Not as she is, but as she fills his dream.
In an Artist's Studio
One face looks out from all his canvases,
One selfsame figure sits or walks or leans:
We found her hidden just behind those screens,
That mirror gave back all her loveliness.
A queen in opal or in ruby dress,
A nameless girl in freshest summer-greens,
A saint, an angel—every canvas means
The same one meaning, neither more nor less.
He feeds upon her face by day and night,
And she with true kind eyes looks back on him,
Fair as the moon and joyful as the light:
Not wan with waiting, not with sorrow dim;
No as she is, but was when hope shone bright;
Not as she is, but as she fills his dream.
W. S. Gilbert
(1836–1911)
If You're Anxious for to Shine in the High Aesthetic Line
Am I alone
And unobserved? I am!
Then let me own
I'm an aesthetic sham!
This air severe
Is but a mere
Veneer!
This cynic smile
Is but a wile
Of guile!
This costume chaste
Is but good taste
Misplaced!
Let me confess!
A languid love for lilies does not blight me!
Lank limbs and haggard cheeks do not delight me!
I do not care for dirty greens
By any means.
I do not long for all one sees
That's Japanese.
I am not fond of uttering platitudes
In stained-glass attitudes.
In short, my medievalism's affectation,
Born of a morbid love of admiration!
If you're anxious for to shine in the high aesthetic line as a man of culture rare,
You must get up all the germs of the transcendental terms, and plant them
everywhere.
You must lie upon the daisies and discourse in novel phrases of your complicated
state of mind.
The meaning doesn't matter if it's only idle chatter of a transcendental kind.
And everyone will say,
As you walk your mystic way,
"If this young man expresses himself in terms too deep for me,
Why, what a very singularly deep young man this deep young man must be!"
Be eloquent in praise of the very dull old days which have long since passed
away,
And convince 'em, if you can, that the reign of good Queen Anne was Culture's
palmiest day.
Of course you will pooh-pooh whatever's fresh and new, and declare it's crude
and mean,
For Art stopped short in the cultivated court of the Empress Josephine.
And everyone will say,
As you walk your mystic way,
"If that's not good enough for him which is good enough for me,
Why, what a very cultivated kind of youth this kind of youth must be!"
Then a sentimental passion of a vegetable fashion must excite your languid
spleen,
An attachment à la Plato for a bashful young potato, or a not-too-French French
bean!
Though the Philistines may jostle, you will rank as an apostle in the high
aesthetic band,
If you walk down Piccadilly with a poppy or a lily in your medieval hand.
And everyone will say,
As you walk your flowery way,
"If he's content with a vegetable love which would certainly not suit me,
Why, what a most particularly pure young man this pure young man must be!"
If You're Anxious for to Shine in the High Aesthetic Line
Am I alone
And unobserved? I am!
Then let me own
I'm an aesthetic sham!
This air severe
Is but a mere
Veneer!
This cynic smile
Is but a wile
Of guile!
This costume chaste
Is but good taste
Misplaced!
Let me confess!
A languid love for lilies does not blight me!
Lank limbs and haggard cheeks do not delight me!
I do not care for dirty greens
By any means.
I do not long for all one sees
That's Japanese.
I am not fond of uttering platitudes
In stained-glass attitudes.
In short, my medievalism's affectation,
Born of a morbid love of admiration!
If you're anxious for to shine in the high aesthetic line as a man of culture rare,
You must get up all the germs of the transcendental terms, and plant them
everywhere.
You must lie upon the daisies and discourse in novel phrases of your complicated
state of mind.
The meaning doesn't matter if it's only idle chatter of a transcendental kind.
And everyone will say,
As you walk your mystic way,
"If this young man expresses himself in terms too deep for me,
Why, what a very singularly deep young man this deep young man must be!"
Be eloquent in praise of the very dull old days which have long since passed
away,
And convince 'em, if you can, that the reign of good Queen Anne was Culture's
palmiest day.
Of course you will pooh-pooh whatever's fresh and new, and declare it's crude
and mean,
For Art stopped short in the cultivated court of the Empress Josephine.
And everyone will say,
As you walk your mystic way,
"If that's not good enough for him which is good enough for me,
Why, what a very cultivated kind of youth this kind of youth must be!"
Then a sentimental passion of a vegetable fashion must excite your languid
spleen,
An attachment à la Plato for a bashful young potato, or a not-too-French French
bean!
Though the Philistines may jostle, you will rank as an apostle in the high
aesthetic band,
If you walk down Piccadilly with a poppy or a lily in your medieval hand.
And everyone will say,
As you walk your flowery way,
"If he's content with a vegetable love which would certainly not suit me,
Why, what a most particularly pure young man this pure young man must be!"
John Greenleaf Whittier
(1807–1892)
Ichabod!
So fallen! so lost! the light withdrawn
Which once he wore!
The glory from his gray hairs gone
Forevermore!
Revile him not—the Tempter hath
A snare for all;
And pitying tears, not scorn and wrath,
Befit his fall!
Oh! dumb be passion's stormy rage,
When he who might
Have lighted up and led his age,
Falls back in night.
Scorn! would the angels laugh, to mark
A bright soul driven,
Fiend-goaded, down the endless dark,
From hope and heaven!
Let not the land, once proud of him,
Insult him now,
Nor brand with deeper shame his dim,
Dishonored brow.
But let its humbled sons, instead,
From sea to lake,
A long lament, as for the dead,
In sadness make.
Of all we loved and honored, nought
Save power remains—
A fallen angel's pride of thought,
Still strong in chains.
All else is gone; from those great eyes
The soul has fled:
When faith is lost, when honor dies,
The man is dead!
Then, pay the reverence of old days
To his dead fame;
Walk backward, with averted gaze,
And hide the shame!
Ichabod!
So fallen! so lost! the light withdrawn
Which once he wore!
The glory from his gray hairs gone
Forevermore!
Revile him not—the Tempter hath
A snare for all;
And pitying tears, not scorn and wrath,
Befit his fall!
Oh! dumb be passion's stormy rage,
When he who might
Have lighted up and led his age,
Falls back in night.
Scorn! would the angels laugh, to mark
A bright soul driven,
Fiend-goaded, down the endless dark,
From hope and heaven!
Let not the land, once proud of him,
Insult him now,
Nor brand with deeper shame his dim,
Dishonored brow.
But let its humbled sons, instead,
From sea to lake,
A long lament, as for the dead,
In sadness make.
Of all we loved and honored, nought
Save power remains—
A fallen angel's pride of thought,
Still strong in chains.
All else is gone; from those great eyes
The soul has fled:
When faith is lost, when honor dies,
The man is dead!
Then, pay the reverence of old days
To his dead fame;
Walk backward, with averted gaze,
And hide the shame!
Fleda Brown
(1944– )
I Write My Mother a Poem
Sometimes I feel her easing further into her grave,
resigned, as always, and I have to come to her rescue.
Like now, when I have so much else to do. Not that
she'd want a poem. She would have been proud, of course,
of all its mystery, involving her, but scared a little.
Her eyes would have filled with tears. It always comes
to that, I don't know why I bother. One gesture
and she's gone down a well of raw feeling, and I'm left
alone again. I avert my eyes, to keep from scaring her.
On her dresser is one of those old glass bottles
of Jergen's Lotion with the black label, a little round
bottle of Mum deodorant, a white plastic tray
with Avon necklaces and earrings, pennies, paper clips,
and a large black coat button. I appear to be very
interested in these objects, even interested in the sun
through the blinds. It falls across her face, and not,
as she changes the bed. She would rather have clean sheets
than my poem, but as long as I don't bother her, she's glad
to know I care. She's talked my father into taking
a drive later, stopping for an A & W root beer.
She is dreaming of foam on the glass, the tray propped
on the car window. And trees, farmhouses, the expanse
of the world as seen from inside the car. It is no
use to try to get her out to watch airplanes
take off, or walk a trail, or hear this poem
and offer anything more than "Isn't that sweet!"
Right now bombs are exploding in Kosovo, students
shot in Colorado, and my mother is wearing a root beer
mustache. Her eyes are unfocused, everything's root beer.
I write root beer, root beer, to make her happy.
from Breathing In, Breathing Out, Anhinga Press, 2002
© 2000, Fleda Brown
(first published in The Southern Review, 36 [2000])
I Write My Mother a Poem
Sometimes I feel her easing further into her grave,
resigned, as always, and I have to come to her rescue.
Like now, when I have so much else to do. Not that
she'd want a poem. She would have been proud, of course,
of all its mystery, involving her, but scared a little.
Her eyes would have filled with tears. It always comes
to that, I don't know why I bother. One gesture
and she's gone down a well of raw feeling, and I'm left
alone again. I avert my eyes, to keep from scaring her.
On her dresser is one of those old glass bottles
of Jergen's Lotion with the black label, a little round
bottle of Mum deodorant, a white plastic tray
with Avon necklaces and earrings, pennies, paper clips,
and a large black coat button. I appear to be very
interested in these objects, even interested in the sun
through the blinds. It falls across her face, and not,
as she changes the bed. She would rather have clean sheets
than my poem, but as long as I don't bother her, she's glad
to know I care. She's talked my father into taking
a drive later, stopping for an A & W root beer.
She is dreaming of foam on the glass, the tray propped
on the car window. And trees, farmhouses, the expanse
of the world as seen from inside the car. It is no
use to try to get her out to watch airplanes
take off, or walk a trail, or hear this poem
and offer anything more than "Isn't that sweet!"
Right now bombs are exploding in Kosovo, students
shot in Colorado, and my mother is wearing a root beer
mustache. Her eyes are unfocused, everything's root beer.
I write root beer, root beer, to make her happy.
from Breathing In, Breathing Out, Anhinga Press, 2002
© 2000, Fleda Brown
(first published in The Southern Review, 36 [2000])
Oscar Wilde (
1854–1900)
Hélas
To drift with every passion till my soul
Is a stringed lute on which all winds can play,
Is it for this that I have given away
Mine ancient wisdom, and austere control?
Methinks my life is a twice-written scroll
Scrawled over on some boyish holiday
With idle songs for pipe and virelay,
Which do but mar the secret of the whole.
Surely there was a time I might have trod
The sunlit heights, and from life's dissonance
Struck one clear chord to reach the ears of God.
Is that time dead? lo! with a little rod
I did but touch the honey of romance—
And must I lose a soul's inheritance?
Hélas
To drift with every passion till my soul
Is a stringed lute on which all winds can play,
Is it for this that I have given away
Mine ancient wisdom, and austere control?
Methinks my life is a twice-written scroll
Scrawled over on some boyish holiday
With idle songs for pipe and virelay,
Which do but mar the secret of the whole.
Surely there was a time I might have trod
The sunlit heights, and from life's dissonance
Struck one clear chord to reach the ears of God.
Is that time dead? lo! with a little rod
I did but touch the honey of romance—
And must I lose a soul's inheritance?
Gerard Manley Hopkins
(1844–1889)
God's Grandeur
The world is charged with the grandeur of God.
It will flame out, like shining from shook foil;
It gathers to a greatness, like the ooze of oil
Crushed. Why do men then now not reck his rod?
Generations have trod, have trod, have trod;
And all is seared with trade; bleared, smeared with toil;
And wears man's smudge and shares man's smell: the soil
Is bare now, nor can foot feel, being shod.
And for all this, nature is never spent;
There lives the dearest freshness deep down things;
And though the last lights off the black West went
Oh, morning, at the brown brink eastward, springs—
Because the Holy Ghost over the bent
World broods with warm breast and with ah! bright wings.
God's Grandeur
The world is charged with the grandeur of God.
It will flame out, like shining from shook foil;
It gathers to a greatness, like the ooze of oil
Crushed. Why do men then now not reck his rod?
Generations have trod, have trod, have trod;
And all is seared with trade; bleared, smeared with toil;
And wears man's smudge and shares man's smell: the soil
Is bare now, nor can foot feel, being shod.
And for all this, nature is never spent;
There lives the dearest freshness deep down things;
And though the last lights off the black West went
Oh, morning, at the brown brink eastward, springs—
Because the Holy Ghost over the bent
World broods with warm breast and with ah! bright wings.
Samuel Taylor Coleridge
(1772–1834)
from The Rime of the Ancient Mariner
Argument
How a Ship having passed the Line was driven by storms to the cold Country towards
the South Pole; and how from thence she made her course to the tropical Latitude of
the Great Pacific Ocean; and of the strange things that befell; and in what manner the
Ancyent Marinere came back to his own Country.
PART I
[An ancient Mariner meeteth three Gallants bidden to a wedding-feast and detaineth one.]
It is an ancient Mariner,
And he stoppeth one of three.
—"By thy long gray beard and glittering eye,
Now wherefore stopp'st thou me?
The Bridegroom's doors are opened wide,
And I am next of kin;
The guests are met, the feast is set:
May'st hear the merry din."
He holds him with his skinny hand,
"There was a ship," quoth he.
"Hold off! unhand me, graybeard loon!"
Eftsoons his hand dropt he.
[The Wedding-Guest is spellbound by the eye of the old seafaring man, and
constrained to hear his tale.]
He holds him with his glittering eye—
The Wedding-Guest stood still,
And listens like a three years' child:
The Mariner hath his will.
The Wedding-Guest sat on a stone:
He cannot choose but hear;
And thus spake on that ancient man,
The bright-eyed Mariner.
"The ship was cheered, the harbor cleared,
Merrily did we drop
[The Mariner tells how the ship sailed southward with a good wind and fair weather,
till it reached the Line.]
Below the kirk, below the hill,
Below the lighthouse top.
The Sun came up upon the left,
Out of the sea came he!
And he shone bright, and on the right
Went down into the sea.
Higher and higher every day,
Till over the mast at noon—"
The Wedding-Guest here beat his breast,
For he heard the loud bassoon.
[The Wedding-Guest heareth the bridal music; but the Mariner continueth his tale.]
The bride hath paced into the hall,
Red as a rose is she;
Nodding their heads before her goes
The merry minstrelsy.
The Wedding-Guest he beat his breast,
Yet he cannot choose but hear;
And thus spake on that ancient man,
The bright-eyed Mariner.
[The ship driven by a storm toward the South Pole.]
"And now the storm-blast came, and he
Was tyrannous and strong;
He struck with his o'ertaking wings,
And chased us south along.
With sloping masts and dipping prow,
As who pursued with yell and blow
Still treads the shadow of his foe,
And forward bends his head,
The ship drove fast, loud roared the blast,
And southward aye we fled.
And now there came both mist and snow,
And it grew wondrous cold:
And ice, mast-high, came floating by,
As green as emerald.
[The land of ice, and of fearful sounds where no living thing was to be seen.]
And through the drifts the snowy clifts
Did send a dismal sheen:
Nor shapes of men nor beasts we ken—
The ice was all between.
The ice was here, the ice was there,
The ice was all around:
It cracked and growled, and roared and howled,
Like noises in a swound!
[Till a great sea-bird, called the Albatross, came through the snow-fog,
and was received with great joy and hospitality.]
At length did cross an Albatross,
Thorough the fog it came;
As if it had been a Christian soul,
We hailed it in God's name.
It ate the food it ne'er had eat,
And round and round it flew.
The ice did split with a thunder-fit;
The helmsman steered us through!
[And lo! the Albatross proveth a bird of good omen, and followeth the ship
as it returned northward through fog and floating ice.]
And a good south wind sprung up behind;
The Albatross did follow,
And every day, for food or play,
Came to the mariners' hollo!
In mist or cloud, on mast or shroud,
It perched for vespers nine;
Whiles all the night, through fog-smoke white,
Glimmered the white Moon-shine."
[The ancient Mariner inhospitably killeth the pious bird of good omen.]
"God save thee, ancient Mariner!
From the fiends, that plague thee thus!—
Why look'st thou so?"—With my crossbow
I shot the Albatross.
PART II
The Sun now rose upon the right:
Out of the sea came he,
Still hid in mist, and on the left
Went down into the sea.
And the good south wind still blew behind,
But no sweet bird did follow,
Nor any day for food or play
Came to the mariners' hollo!
[His shipmates cry out against the ancient Mariner, for killing the bird of good luck.]
And I had done a hellish thing,
And it would work 'em woe:
For all averred, I had killed the bird
That made the breeze to blow.
Ah wretch! said they, the bird to slay,
That made the breeze to blow!
[But when the fog cleared off, they justify the same, and thus make themselves accomplices in the crime. ]
Nor dim nor red, like God's own head,
The glorious Sun uprist:
Then all averred, I had killed the bird
That brought the fog and mist.
'Twas right, said they, such birds to slay,
That bring the fog and mist.
[The fair breeze continues; the ship enters the Pacific Ocean, and sails northward,
even till it reaches the Line.]
The fair breeze blew, the white foam flew,
The furrow followed free;
We were the first that ever burst
Into that silent sea.
[The ship hath been suddenly becalmed.]
Down dropt the breeze, the sails dropt down,
'Twas sad as sad could be;
And we did speak only to break
The silence of the sea!
All in a hot and copper sky,
The bloody Sun, at noon,
Right up above the mast did stand,
No bigger than the Moon.
Day after day, day after day,
We stuck, nor breath nor motion;
As idle as a painted ship
Upon a painted ocean.
[And the Albatross begins to be avenged.]
Water, water, everywhere,
And all the boards did shrink;
Water, water, everywhere,
Nor any drop to drink.
The very deep did rot: O Christ!
That ever this should be!
Yea, slimy things did crawl with legs
Upon the slimy sea.
About, about, in reel and rout
The death-fires danced at night;
The water, like a witch's oils,
Burnt green, and blue and white.
[A Spirit had followed them; one of the invisible inhabitants of this planet, neither
departed souls nor angels; concerning whom the learned Jew, Josephus, and the
Platonic Constantinopolitan, Michael Psellus, may be consulted. They are very
numerous, and there is no climate or element without one or more.]
And some in dreams assurèd were
Of the Spirit that plagued us so;
Nine fathom deep he had followed us
From the land of mist and snow.
And every tongue, through utter drought,
Was withered at the root;
We could not speak, no more than if
We had been choked with soot.
[The shipmates, in their sore distress, would fain throw the whole guilt on the
ancient Mariner: in sign whereof they hang the dead sea-bird round his neck.]
Ah! well-a-day! what evil looks
Had I from old and young!
Instead of the cross, the Albatross
About my neck was hung.
from The Rime of the Ancient Mariner
Argument
How a Ship having passed the Line was driven by storms to the cold Country towards
the South Pole; and how from thence she made her course to the tropical Latitude of
the Great Pacific Ocean; and of the strange things that befell; and in what manner the
Ancyent Marinere came back to his own Country.
PART I
[An ancient Mariner meeteth three Gallants bidden to a wedding-feast and detaineth one.]
It is an ancient Mariner,
And he stoppeth one of three.
—"By thy long gray beard and glittering eye,
Now wherefore stopp'st thou me?
The Bridegroom's doors are opened wide,
And I am next of kin;
The guests are met, the feast is set:
May'st hear the merry din."
He holds him with his skinny hand,
"There was a ship," quoth he.
"Hold off! unhand me, graybeard loon!"
Eftsoons his hand dropt he.
[The Wedding-Guest is spellbound by the eye of the old seafaring man, and
constrained to hear his tale.]
He holds him with his glittering eye—
The Wedding-Guest stood still,
And listens like a three years' child:
The Mariner hath his will.
The Wedding-Guest sat on a stone:
He cannot choose but hear;
And thus spake on that ancient man,
The bright-eyed Mariner.
"The ship was cheered, the harbor cleared,
Merrily did we drop
[The Mariner tells how the ship sailed southward with a good wind and fair weather,
till it reached the Line.]
Below the kirk, below the hill,
Below the lighthouse top.
The Sun came up upon the left,
Out of the sea came he!
And he shone bright, and on the right
Went down into the sea.
Higher and higher every day,
Till over the mast at noon—"
The Wedding-Guest here beat his breast,
For he heard the loud bassoon.
[The Wedding-Guest heareth the bridal music; but the Mariner continueth his tale.]
The bride hath paced into the hall,
Red as a rose is she;
Nodding their heads before her goes
The merry minstrelsy.
The Wedding-Guest he beat his breast,
Yet he cannot choose but hear;
And thus spake on that ancient man,
The bright-eyed Mariner.
[The ship driven by a storm toward the South Pole.]
"And now the storm-blast came, and he
Was tyrannous and strong;
He struck with his o'ertaking wings,
And chased us south along.
With sloping masts and dipping prow,
As who pursued with yell and blow
Still treads the shadow of his foe,
And forward bends his head,
The ship drove fast, loud roared the blast,
And southward aye we fled.
And now there came both mist and snow,
And it grew wondrous cold:
And ice, mast-high, came floating by,
As green as emerald.
[The land of ice, and of fearful sounds where no living thing was to be seen.]
And through the drifts the snowy clifts
Did send a dismal sheen:
Nor shapes of men nor beasts we ken—
The ice was all between.
The ice was here, the ice was there,
The ice was all around:
It cracked and growled, and roared and howled,
Like noises in a swound!
[Till a great sea-bird, called the Albatross, came through the snow-fog,
and was received with great joy and hospitality.]
At length did cross an Albatross,
Thorough the fog it came;
As if it had been a Christian soul,
We hailed it in God's name.
It ate the food it ne'er had eat,
And round and round it flew.
The ice did split with a thunder-fit;
The helmsman steered us through!
[And lo! the Albatross proveth a bird of good omen, and followeth the ship
as it returned northward through fog and floating ice.]
And a good south wind sprung up behind;
The Albatross did follow,
And every day, for food or play,
Came to the mariners' hollo!
In mist or cloud, on mast or shroud,
It perched for vespers nine;
Whiles all the night, through fog-smoke white,
Glimmered the white Moon-shine."
[The ancient Mariner inhospitably killeth the pious bird of good omen.]
"God save thee, ancient Mariner!
From the fiends, that plague thee thus!—
Why look'st thou so?"—With my crossbow
I shot the Albatross.
PART II
The Sun now rose upon the right:
Out of the sea came he,
Still hid in mist, and on the left
Went down into the sea.
And the good south wind still blew behind,
But no sweet bird did follow,
Nor any day for food or play
Came to the mariners' hollo!
[His shipmates cry out against the ancient Mariner, for killing the bird of good luck.]
And I had done a hellish thing,
And it would work 'em woe:
For all averred, I had killed the bird
That made the breeze to blow.
Ah wretch! said they, the bird to slay,
That made the breeze to blow!
[But when the fog cleared off, they justify the same, and thus make themselves accomplices in the crime. ]
Nor dim nor red, like God's own head,
The glorious Sun uprist:
Then all averred, I had killed the bird
That brought the fog and mist.
'Twas right, said they, such birds to slay,
That bring the fog and mist.
[The fair breeze continues; the ship enters the Pacific Ocean, and sails northward,
even till it reaches the Line.]
The fair breeze blew, the white foam flew,
The furrow followed free;
We were the first that ever burst
Into that silent sea.
[The ship hath been suddenly becalmed.]
Down dropt the breeze, the sails dropt down,
'Twas sad as sad could be;
And we did speak only to break
The silence of the sea!
All in a hot and copper sky,
The bloody Sun, at noon,
Right up above the mast did stand,
No bigger than the Moon.
Day after day, day after day,
We stuck, nor breath nor motion;
As idle as a painted ship
Upon a painted ocean.
[And the Albatross begins to be avenged.]
Water, water, everywhere,
And all the boards did shrink;
Water, water, everywhere,
Nor any drop to drink.
The very deep did rot: O Christ!
That ever this should be!
Yea, slimy things did crawl with legs
Upon the slimy sea.
About, about, in reel and rout
The death-fires danced at night;
The water, like a witch's oils,
Burnt green, and blue and white.
[A Spirit had followed them; one of the invisible inhabitants of this planet, neither
departed souls nor angels; concerning whom the learned Jew, Josephus, and the
Platonic Constantinopolitan, Michael Psellus, may be consulted. They are very
numerous, and there is no climate or element without one or more.]
And some in dreams assurèd were
Of the Spirit that plagued us so;
Nine fathom deep he had followed us
From the land of mist and snow.
And every tongue, through utter drought,
Was withered at the root;
We could not speak, no more than if
We had been choked with soot.
[The shipmates, in their sore distress, would fain throw the whole guilt on the
ancient Mariner: in sign whereof they hang the dead sea-bird round his neck.]
Ah! well-a-day! what evil looks
Had I from old and young!
Instead of the cross, the Albatross
About my neck was hung.
Edward FitzGerald
(1809–1883)
from The Rubáiyát of Omar Khayyám of Naishápúr
1
Wake! For the Sun, who scattered into flight
The Stars before him from the Field of Night,
Drives Night along with them from Heav'n, and strikes
The Sultán's Turret with a Shaft of Light.
2
Before the phantom of False morning died,
Methought a Voice within the Tavern cried,
"When all the Temple is prepared within,
"Why nods the drowsy Worshipper outside?"
3
And, as the Cock crew, those who stood before
The Tavern shouted—"Open then the Door!
"You know how little while we have to stay,
"And, once departed, may return no more."
4
Now the New Year reviving old Desires,
The thoughtful Soul to Solitude retires,
Where the WHITE HAND OF MOSES on the Bough
Puts out, and Jesus from the Ground suspires.
5
Irám indeed is gone with all his Rose,
And Jamshýd's Sev'n-ringed Cup where no one knows;
But still a Ruby kindles in the Vine,
And many a Garden by the Water blows.
6
And David's lips are lockt; but in divine
High-piping Pehleví, with "Wine! Wine! Wine!
"Red Wine!"—the Nightingale cries to the Rose
That sallow cheek of hers to incarnadine.
7
Come, fill the Cup, and in the fire of Spring
Your Winter-garment of Repentance fling:
The Bird of Time has but a little way
To flutter—and the Bird is on the Wing.
8
Whether at Naishápúr or Babylon,
Whether the Cup with sweet or bitter run,
The Wine of Life keeps oozing drop by drop,
The Leaves of Life keep falling one by one.
9
Each Morn a thousand Roses brings, you say;
Yes, but where leaves the Rose of Yesterday?
And this first Summer month that brings the Rose
Shall take Jamshýd and Kaikobád away.
from The Rubáiyát of Omar Khayyám of Naishápúr
1
Wake! For the Sun, who scattered into flight
The Stars before him from the Field of Night,
Drives Night along with them from Heav'n, and strikes
The Sultán's Turret with a Shaft of Light.
2
Before the phantom of False morning died,
Methought a Voice within the Tavern cried,
"When all the Temple is prepared within,
"Why nods the drowsy Worshipper outside?"
3
And, as the Cock crew, those who stood before
The Tavern shouted—"Open then the Door!
"You know how little while we have to stay,
"And, once departed, may return no more."
4
Now the New Year reviving old Desires,
The thoughtful Soul to Solitude retires,
Where the WHITE HAND OF MOSES on the Bough
Puts out, and Jesus from the Ground suspires.
5
Irám indeed is gone with all his Rose,
And Jamshýd's Sev'n-ringed Cup where no one knows;
But still a Ruby kindles in the Vine,
And many a Garden by the Water blows.
6
And David's lips are lockt; but in divine
High-piping Pehleví, with "Wine! Wine! Wine!
"Red Wine!"—the Nightingale cries to the Rose
That sallow cheek of hers to incarnadine.
7
Come, fill the Cup, and in the fire of Spring
Your Winter-garment of Repentance fling:
The Bird of Time has but a little way
To flutter—and the Bird is on the Wing.
8
Whether at Naishápúr or Babylon,
Whether the Cup with sweet or bitter run,
The Wine of Life keeps oozing drop by drop,
The Leaves of Life keep falling one by one.
9
Each Morn a thousand Roses brings, you say;
Yes, but where leaves the Rose of Yesterday?
And this first Summer month that brings the Rose
Shall take Jamshýd and Kaikobád away.
Walt Whitman
(1819–1892)
from Song of Myself
1
I celebrate myself, and sing myself,
And what I assume you shall assume,
For every atom belonging to me as good belongs to you.
I loaf and invite my soul,
I lean and loafe at my ease observing a spear of summer grass.
My tongue, every atom of my blood, form'd from this soil, this air,
Born here of parents born here from parents the same, and their parents
the same,
I, now thirty-seven years old in perfect health begin,
Hoping to cease not till death.
Creeds and school in abeyance,
Retiring back a while sufficed at what they are, but never forgotten,
I harbor for good or bad, I permit to speak at every hazard,
Nature without check with original energy.
2
Houses and rooms are full of perfumes, the shelves are crowded with
perfumes,
I breathe the fragrance myself, and know it and like it,
The distillation would intoxicate me also, but I shall not let it.
The atmosphere is not a perfume, it has no taste of the distillation, it is
odorless,
It is for my mouth forever, I am in love with it,
I will go to the bank by the wood and become undisguised and naked,
I am mad for it to be in contact with me.
The smoke of my own breath,
Echoes, ripples, and buzz'd whispers, love-root, silk-thread, crotch and vine,
My respiration and inspiration, the beating of my heart, the passing of blood
and air through my lungs,
The sniff of green leaves and dry leaves, and of the shore and dark-color'd
sea-rocks, and of hay in the barn,
The sound of the belch'd words of my voice, words loos'd to the eddies of the wind,
A few light kisses, a few embraces, a reaching around of arms,
The play of shine and shade on the trees as the supple boughs wag,
The delight alone or in the rush of the streets, or along the fields and hill-sides,
The feeling of health, the full-noon trill, the song of me rising from bed and
meeting the sun.
Have you reckon'd a thousand acres much? Have you reckon'd the earth much?
Have you practiced so long to learn to read?
Have you felt so proud to get at the meaning of poems?
Stop this day and night with me and you shall possess the origin of all poems,
You shall possess the good of the earth and sun, (there are millions of suns
left,)
You shall no longer take things at second or third hand, nor look through
the eyes of the dead, nor feed on the spectres in books,
You shall not look through my eyes either, nor take things from me,
You shall listen to all sides and filter them from yourself.
from Song of Myself
1
I celebrate myself, and sing myself,
And what I assume you shall assume,
For every atom belonging to me as good belongs to you.
I loaf and invite my soul,
I lean and loafe at my ease observing a spear of summer grass.
My tongue, every atom of my blood, form'd from this soil, this air,
Born here of parents born here from parents the same, and their parents
the same,
I, now thirty-seven years old in perfect health begin,
Hoping to cease not till death.
Creeds and school in abeyance,
Retiring back a while sufficed at what they are, but never forgotten,
I harbor for good or bad, I permit to speak at every hazard,
Nature without check with original energy.
2
Houses and rooms are full of perfumes, the shelves are crowded with
perfumes,
I breathe the fragrance myself, and know it and like it,
The distillation would intoxicate me also, but I shall not let it.
The atmosphere is not a perfume, it has no taste of the distillation, it is
odorless,
It is for my mouth forever, I am in love with it,
I will go to the bank by the wood and become undisguised and naked,
I am mad for it to be in contact with me.
The smoke of my own breath,
Echoes, ripples, and buzz'd whispers, love-root, silk-thread, crotch and vine,
My respiration and inspiration, the beating of my heart, the passing of blood
and air through my lungs,
The sniff of green leaves and dry leaves, and of the shore and dark-color'd
sea-rocks, and of hay in the barn,
The sound of the belch'd words of my voice, words loos'd to the eddies of the wind,
A few light kisses, a few embraces, a reaching around of arms,
The play of shine and shade on the trees as the supple boughs wag,
The delight alone or in the rush of the streets, or along the fields and hill-sides,
The feeling of health, the full-noon trill, the song of me rising from bed and
meeting the sun.
Have you reckon'd a thousand acres much? Have you reckon'd the earth much?
Have you practiced so long to learn to read?
Have you felt so proud to get at the meaning of poems?
Stop this day and night with me and you shall possess the origin of all poems,
You shall possess the good of the earth and sun, (there are millions of suns
left,)
You shall no longer take things at second or third hand, nor look through
the eyes of the dead, nor feed on the spectres in books,
You shall not look through my eyes either, nor take things from me,
You shall listen to all sides and filter them from yourself.
Alfred, Lord Tennyson
(1809–1892)
from The Lotos-Eaters
"Courage!" he said, and pointed toward the land,
"This mounting wave will roll us shoreward soon."
In the afternoon they came unto a land
In which it seemèd always afternoon.
All round the coast the languid air did swoon,
Breathing like one that hath a weary dream.
Full-faced above the valley stood the moon;
And, like a downward smoke, the slender stream
Along the cliff to fall and pause and fall did seem.
A land of streams! some, like a downward smoke,
Slow-dropping veils of thinnest lawn, did go;
And some through wavering lights and shadows broke,
Rolling a slumbrous sheet of foam below.
They saw the gleaming river seaward flow
From the inner land; far off, three mountaintops,
Three silent pinnacles of aged snow,
Stood sunset-flush'd; and, dew'd with showery drops,
Up-clomb the shadowy pine above the woven copse.
The charmèd sunset linger'd low adown
In the red West: through mountain clefts the dale
Was seen far inland, and the yellow down
Border'd with palm, and many a winding vale
And meadow, set with slender galingale;
A land where all things always seem'd the same!
And round about the keel with faces pale,
Dark faces pale against that rosy flame,
The mild-eyed melancholy Lotos-eaters came.
Branches they bore of that enchanted stem,
Laden with flower and fruit, whereof they gave
To each, but whoso did receive of them
And taste, to him the gushing of the wave
Far far away did seem to mourn and rave
On alien shores; and if his fellow spake,
His voice was thin, as voices from the grave;
And deep-asleep he seem'd, yet all awake,
And music in his ears his beating heart did make.
They sat them down upon the yellow sand,
Between the sun and moon upon the shore;
And sweet it was to dream of Fatherland,
Of child, and wife, and slave; but evermore
Most weary seem'd the sea, weary the oar,
Weary the wandering fields of barren foam,
Then some one said, "We will return no more";
And all at once they sang, "Our island home
Is far beyond the wave; we will no longer roam."
from The Lotos-Eaters
"Courage!" he said, and pointed toward the land,
"This mounting wave will roll us shoreward soon."
In the afternoon they came unto a land
In which it seemèd always afternoon.
All round the coast the languid air did swoon,
Breathing like one that hath a weary dream.
Full-faced above the valley stood the moon;
And, like a downward smoke, the slender stream
Along the cliff to fall and pause and fall did seem.
A land of streams! some, like a downward smoke,
Slow-dropping veils of thinnest lawn, did go;
And some through wavering lights and shadows broke,
Rolling a slumbrous sheet of foam below.
They saw the gleaming river seaward flow
From the inner land; far off, three mountaintops,
Three silent pinnacles of aged snow,
Stood sunset-flush'd; and, dew'd with showery drops,
Up-clomb the shadowy pine above the woven copse.
The charmèd sunset linger'd low adown
In the red West: through mountain clefts the dale
Was seen far inland, and the yellow down
Border'd with palm, and many a winding vale
And meadow, set with slender galingale;
A land where all things always seem'd the same!
And round about the keel with faces pale,
Dark faces pale against that rosy flame,
The mild-eyed melancholy Lotos-eaters came.
Branches they bore of that enchanted stem,
Laden with flower and fruit, whereof they gave
To each, but whoso did receive of them
And taste, to him the gushing of the wave
Far far away did seem to mourn and rave
On alien shores; and if his fellow spake,
His voice was thin, as voices from the grave;
And deep-asleep he seem'd, yet all awake,
And music in his ears his beating heart did make.
They sat them down upon the yellow sand,
Between the sun and moon upon the shore;
And sweet it was to dream of Fatherland,
Of child, and wife, and slave; but evermore
Most weary seem'd the sea, weary the oar,
Weary the wandering fields of barren foam,
Then some one said, "We will return no more";
And all at once they sang, "Our island home
Is far beyond the wave; we will no longer roam."
Philip Freneau
(1752–1832)
from The House of Night
1
Trembling I write my dream, and recollect
A fearful vision at the midnight hour;
So late, Death o'er me spread his sable wings,
Painted with fancies of malignant power!
...
3
Let others draw from smiling skies their theme,
And tell of climes that boast unfading light,
I draw a darker scene, replete with gloom,
I sing the horrors of the House of Night.
4
Stranger, believe the truth experience tells,
Poetic dreams are of a finer cast
Than those which o'er the sober brain diffused,
Are but a repetition of some action past.
5
Fancy, I own thy power—when sunk in sleep
Thou play'st thy wild delusive part so well
You lift me into immortality,
Depict new heavens, or draw the scenes of hell.
6
By some sad means, when Reason holds no sway,
Lonely I roved at midnight o'er a plain
Where murmuring streams and mingling rivers flow,
Far to their springs, or seek the sea again.
7
Sweet vernal May! though then thy woods in bloom
Flourished, yet nought of this could Fancy see,
No wild pinks blessed the meads, no green the fields,
And naked seemed to stand each lifeless tree. . . .
from The House of Night
1
Trembling I write my dream, and recollect
A fearful vision at the midnight hour;
So late, Death o'er me spread his sable wings,
Painted with fancies of malignant power!
...
3
Let others draw from smiling skies their theme,
And tell of climes that boast unfading light,
I draw a darker scene, replete with gloom,
I sing the horrors of the House of Night.
4
Stranger, believe the truth experience tells,
Poetic dreams are of a finer cast
Than those which o'er the sober brain diffused,
Are but a repetition of some action past.
5
Fancy, I own thy power—when sunk in sleep
Thou play'st thy wild delusive part so well
You lift me into immortality,
Depict new heavens, or draw the scenes of hell.
6
By some sad means, when Reason holds no sway,
Lonely I roved at midnight o'er a plain
Where murmuring streams and mingling rivers flow,
Far to their springs, or seek the sea again.
7
Sweet vernal May! though then thy woods in bloom
Flourished, yet nought of this could Fancy see,
No wild pinks blessed the meads, no green the fields,
And naked seemed to stand each lifeless tree. . . .
Walt Whitman
(1819–1892)
from Passage to India
1
Singing my days,
Singing the great achievements of the present,
Singing the strong light works of engineers,
Our modern wonders, (the antique ponderous Seven outvied,)
In the Old World the east the Suez canal,
The New by its mighty railroad spann'd,
The seas inlaid with eloquent gentle wires;
Yet first to sound, and ever sound, the cry with thee O soul,
The Past! the Past! the Past!
The Past—the dark unfathom'd retrospect!
The teeming gulf—the sleepers and the shadows!
The past—the infinite greatness of the past!
For what is the present after all but a growth out of the past?
(As a projectile form'd, impell'd, passing a certain line, still keeps on,
So the present, utterly form'd, impell'd by the past.)
2
Passage O soul to India!
Eclaircise the myths Asiatic, the primitive fables.
Not you alone proud truths of the world,
Nor you alone ye facts of modern science,
But myths and fables of eld, Asia's, Africa's fables,
The far-darting beams of the spirit, the unloos'd dreams,
The deep diving bibles and legends,
The daring plots of the poets, the elder religions;
O you temples fairer than lilies pour'd over by the rising sun!
O you fables spurning the known, eluding the hold of the known, mounting
to heaven!
You lofty and dazzling towers, pinnacled, red as roses, burnish'd with gold!
Towers of fabled immortal fashion'd from mortal dreams!
You too I welcome and fully the same as the rest!
You too with joy I sing.
Passage to India!
Lo, soul, seest thou not God's purpose from the first?
The earth to be spann'd, connected by network,
The races, neighbors, to marry and be given in marriage,
The oceans to be cross'd, the distant brought near,
The lands to be welded together.
A worship new I sing,
You captains, voyagers, explorers, yours,
Your engineers, you architects, machinists, yours,
You, not for trade or transportation only,
But in God's name, and for thy sake O soul.
from Passage to India
1
Singing my days,
Singing the great achievements of the present,
Singing the strong light works of engineers,
Our modern wonders, (the antique ponderous Seven outvied,)
In the Old World the east the Suez canal,
The New by its mighty railroad spann'd,
The seas inlaid with eloquent gentle wires;
Yet first to sound, and ever sound, the cry with thee O soul,
The Past! the Past! the Past!
The Past—the dark unfathom'd retrospect!
The teeming gulf—the sleepers and the shadows!
The past—the infinite greatness of the past!
For what is the present after all but a growth out of the past?
(As a projectile form'd, impell'd, passing a certain line, still keeps on,
So the present, utterly form'd, impell'd by the past.)
2
Passage O soul to India!
Eclaircise the myths Asiatic, the primitive fables.
Not you alone proud truths of the world,
Nor you alone ye facts of modern science,
But myths and fables of eld, Asia's, Africa's fables,
The far-darting beams of the spirit, the unloos'd dreams,
The deep diving bibles and legends,
The daring plots of the poets, the elder religions;
O you temples fairer than lilies pour'd over by the rising sun!
O you fables spurning the known, eluding the hold of the known, mounting
to heaven!
You lofty and dazzling towers, pinnacled, red as roses, burnish'd with gold!
Towers of fabled immortal fashion'd from mortal dreams!
You too I welcome and fully the same as the rest!
You too with joy I sing.
Passage to India!
Lo, soul, seest thou not God's purpose from the first?
The earth to be spann'd, connected by network,
The races, neighbors, to marry and be given in marriage,
The oceans to be cross'd, the distant brought near,
The lands to be welded together.
A worship new I sing,
You captains, voyagers, explorers, yours,
Your engineers, you architects, machinists, yours,
You, not for trade or transportation only,
But in God's name, and for thy sake O soul.
Alexander Pope
(1688–1744)
from The Rape of the Lock, from Canto 1
What dire offense from amorous causes springs,
What mighty contests rise from trivial things,
I sing—This verse to Caryll, Muse! is due:
This, even Belinda may vouchsafe to view:
Slight is the subject, but not so the praise,
If she inspire, and he approve my lays.
Say what strange motive, Goddess! could compel
A well-bred lord to assault a gentle belle?
Oh, say what stranger cause, yet unexplored,
Could make a gentle belle reject a lord?
In tasks so bold can little men engage,
And in soft bosoms dwells such mighty rage?
Sol through white curtains shot a timorous ray,
And oped those eyes that must eclipse the day.
Now lapdogs give themselves the rousing shake,
And sleepless lovers just at twelve awake:
Thrice rung the bell, the slipper knocked the ground,
And the pressed watch returned a silver sound.
Belinda still her downy pillow pressed,
Her guardian Sylph prolonged the balmy rest:
'Twas he had summoned to her silent bed
The morning dream that hovered o'er her head.
A youth more glittering than a birthnight beau
(That even in slumber caused her cheek to glow)
Seemed to her ear his winning lips to lay,
And thus in whispers said, or seemed to say:
"Fairest of mortals, thou distinguished care
Of thousand bright inhabitants of air!
If e'er one vision touched thy infant thought,
Of all the nurse and all the priest have taught,
Of airy elves by moonlight shadows seen,
The silver token, and the circled green,
Or virgins visited by angel powers,
With golden crowns and wreaths of heavenly flowers,
Hear and believe! thy own importance know
Nor bound thy narrow views to things below.
Some secret truths, from learned pride concealed,
To maids alone and children are revealed:
What though no credit doubting wits may give?
The fair and innocent shall still believe.
Know, then, unnumbered spirits round thee fly,
The light militia of the lower sky:
These, though unseen, are ever on the wing,
Hang o'er the box, and hover round the Ring.
Think what an equipage thou hast in air,
And view with scorn two pages and a chair.
As now your own, our beings were of old,
And once enclosed in woman's beauteous mold;
Thence, by a soft transition, we repair
From earthly vehicles to these of air.
Think not, when woman's transient breath is fled,
That all her vanities at once are dead:
Succeeding vanities she still regards,
And though she plays no more, o'erlooks the cards.
Her joy in gilded chariots, when alive,
And love of ombre, after death survive.
For when the Fair in all her pride expire,
To their first elements their souls retire:
The sprites of fiery termagants in flame
Mount up, and take a Salamander's name.
Soft yielding minds to water glide away,
And sip, with Nymphs, their elemental tea.
The graver prude sinks downward to a Gnome,
In search of mischief still on earth to roam.
The light coquettes in Sylphs aloft repair,
And sport and flutter in the fields of air.
"Know further yet; whoever fair and chaste
Rejects mankind, is by some Sylph embraced:
For spirits, freed from mortal laws, with ease
Assume what sexes and what shapes they please.
What guards the purity of melting maids,
In courtly balls, and midnight masquerades,
Safe from the treacherous friend, the daring spark,
The glance by day, the whisper in the dark,
When kind occasion prompts their warm desires,
When music softens, and when dancing fires?
'Tis but their Sylph, the wise Celestials know,
Though Honor is the word with men below.
"Some nymphs there are, too conscious of their face,
For life predestined to the Gnomes' embrace.
These swell their prospects and exalt their pride,
When offers are disdained, and love denied:
Then gay ideas crowd the vacant brain,
While peers, and dukes, and all their sweeping train,
And garters, stars, and coronets appear,
And in soft sounds, 'your Grace' salutes their ear.
'Tis these that early taint the female soul,
Instruct the eyes of young coquettes to roll,
Teach infant cheeks a bidden blush to know,
And little hearts to flutter at a beau.
"Oft, when the world imagine women stray,
The Sylphs through mystic mazes guide their way,
Through all the giddy circle they pursue,
And old impertinence expel by new.
What tender maid but must a victim fall
To one man's treat, but for another's ball?
When Florio speaks what virgin could withstand,
If gentle Damon did not squeeze her hand?
With varying vanities, from every part,
They shift the moving toyshop of their heart;
Where wigs with wigs, with sword-knots sword-knots strive,
Beaux banish beaux, and coaches coaches drive.
This erring mortals levity may call;
Oh, blind to truth! the Sylphs contrive it all.
"Of these am I, who thy protection claim,
A watchful sprite, and Ariel is my name.
Late, as I ranged the crystal wilds of air,
In the clear mirror of thy ruling star
I saw, alas! some dread event impend,
Ere to the main this morning sun descend,
But Heaven reveals not what, or how, or where:
Warned by the Sylph, O pious maid, beware!
This to disclose is all thy guardian can:
Beware of all, but most beware of Man!
from The Rape of the Lock, from Canto 1
What dire offense from amorous causes springs,
What mighty contests rise from trivial things,
I sing—This verse to Caryll, Muse! is due:
This, even Belinda may vouchsafe to view:
Slight is the subject, but not so the praise,
If she inspire, and he approve my lays.
Say what strange motive, Goddess! could compel
A well-bred lord to assault a gentle belle?
Oh, say what stranger cause, yet unexplored,
Could make a gentle belle reject a lord?
In tasks so bold can little men engage,
And in soft bosoms dwells such mighty rage?
Sol through white curtains shot a timorous ray,
And oped those eyes that must eclipse the day.
Now lapdogs give themselves the rousing shake,
And sleepless lovers just at twelve awake:
Thrice rung the bell, the slipper knocked the ground,
And the pressed watch returned a silver sound.
Belinda still her downy pillow pressed,
Her guardian Sylph prolonged the balmy rest:
'Twas he had summoned to her silent bed
The morning dream that hovered o'er her head.
A youth more glittering than a birthnight beau
(That even in slumber caused her cheek to glow)
Seemed to her ear his winning lips to lay,
And thus in whispers said, or seemed to say:
"Fairest of mortals, thou distinguished care
Of thousand bright inhabitants of air!
If e'er one vision touched thy infant thought,
Of all the nurse and all the priest have taught,
Of airy elves by moonlight shadows seen,
The silver token, and the circled green,
Or virgins visited by angel powers,
With golden crowns and wreaths of heavenly flowers,
Hear and believe! thy own importance know
Nor bound thy narrow views to things below.
Some secret truths, from learned pride concealed,
To maids alone and children are revealed:
What though no credit doubting wits may give?
The fair and innocent shall still believe.
Know, then, unnumbered spirits round thee fly,
The light militia of the lower sky:
These, though unseen, are ever on the wing,
Hang o'er the box, and hover round the Ring.
Think what an equipage thou hast in air,
And view with scorn two pages and a chair.
As now your own, our beings were of old,
And once enclosed in woman's beauteous mold;
Thence, by a soft transition, we repair
From earthly vehicles to these of air.
Think not, when woman's transient breath is fled,
That all her vanities at once are dead:
Succeeding vanities she still regards,
And though she plays no more, o'erlooks the cards.
Her joy in gilded chariots, when alive,
And love of ombre, after death survive.
For when the Fair in all her pride expire,
To their first elements their souls retire:
The sprites of fiery termagants in flame
Mount up, and take a Salamander's name.
Soft yielding minds to water glide away,
And sip, with Nymphs, their elemental tea.
The graver prude sinks downward to a Gnome,
In search of mischief still on earth to roam.
The light coquettes in Sylphs aloft repair,
And sport and flutter in the fields of air.
"Know further yet; whoever fair and chaste
Rejects mankind, is by some Sylph embraced:
For spirits, freed from mortal laws, with ease
Assume what sexes and what shapes they please.
What guards the purity of melting maids,
In courtly balls, and midnight masquerades,
Safe from the treacherous friend, the daring spark,
The glance by day, the whisper in the dark,
When kind occasion prompts their warm desires,
When music softens, and when dancing fires?
'Tis but their Sylph, the wise Celestials know,
Though Honor is the word with men below.
"Some nymphs there are, too conscious of their face,
For life predestined to the Gnomes' embrace.
These swell their prospects and exalt their pride,
When offers are disdained, and love denied:
Then gay ideas crowd the vacant brain,
While peers, and dukes, and all their sweeping train,
And garters, stars, and coronets appear,
And in soft sounds, 'your Grace' salutes their ear.
'Tis these that early taint the female soul,
Instruct the eyes of young coquettes to roll,
Teach infant cheeks a bidden blush to know,
And little hearts to flutter at a beau.
"Oft, when the world imagine women stray,
The Sylphs through mystic mazes guide their way,
Through all the giddy circle they pursue,
And old impertinence expel by new.
What tender maid but must a victim fall
To one man's treat, but for another's ball?
When Florio speaks what virgin could withstand,
If gentle Damon did not squeeze her hand?
With varying vanities, from every part,
They shift the moving toyshop of their heart;
Where wigs with wigs, with sword-knots sword-knots strive,
Beaux banish beaux, and coaches coaches drive.
This erring mortals levity may call;
Oh, blind to truth! the Sylphs contrive it all.
"Of these am I, who thy protection claim,
A watchful sprite, and Ariel is my name.
Late, as I ranged the crystal wilds of air,
In the clear mirror of thy ruling star
I saw, alas! some dread event impend,
Ere to the main this morning sun descend,
But Heaven reveals not what, or how, or where:
Warned by the Sylph, O pious maid, beware!
This to disclose is all thy guardian can:
Beware of all, but most beware of Man!
Dante Alighieri
(1265–1321)
from The Divine Comedy, from The Inferno
Canto III
Through me the way is to the city dolent;
Through me the way is to eternal dole;
Through me the way among the people lost.
Justice incited my sublime Creator;
Created me divine Omnipotence,
The highest Wisdom and the primal Love.
Before me there were no created things,
Only eterne, and I eternal last.
All hope abandon, ye who enter in!
These words in somber color I beheld
Written upon the summit of a gate;
Whence I: Their sense is, Master, hard to me!
And he to me, as one experienced:
Here all suspicion needs must be abandoned,
All cowardice must needs be here extinct.
We to the place have come, where I have told thee
Thou shalt behold the people dolorous
Who have foregone the good of intellect.
And after he had laid his hand on mine
With joyful mien, whence I was comforted,
He led me in among the secret things.
There sighs, complaints, and ululations loud
Resounded through the air without a star,
Whence I, at the beginning, wept thereat.
Languages diverse, horrible dialects,
Accents of anger, words of agony,
And voices high and hoarse, with sound of hands,
Made up a tumult that goes whirling on
Forever in that air forever black,
Even as the sand doth, when the whirlwind breathes.
And I, who had my head with horror bound,
Said: Master, what is this which now I hear?
What folk is this, which seems by pain so vanquished?
And he to me: This miserable mode
Maintain the melancholy souls of those
Who lived withouten infamy or praise.
Commingled are they with that caitiff choir
Of Angels, who have not rebellious been,
Nor faithful were to God, but were for self.
The heavens expelled them, not to be less fair;
Nor them the nethermore abyss receives,
For glory none the damned would have from them.
And I: O Master, what so grievous is
To these, that maketh them lament so sore?
He answered: I will tell thee very briefly.
These have no longer any hope of death;
And this blind life of theirs is so debased,
They envious are of every other fate.
No fame of them the world permits to be;
Misericord and Justice both disdain them.
Let us not speak of them, but look, and pass.
And I, who looked again, beheld a banner,
Which, whirling round, ran on so rapidly,
That of all pause it seemed to me indignant;
And after it there came so long a train
Of people, that I ne'er would have believed
That ever Death so many had undone.
When some among them I had recognized.
I looked, and I beheld the shade of him
Who made through cowardice the great refusal.
Forthwith I comprehended, and was certain,
That this the sect was of the caitiff wretches
Hateful to God and to his enemies.
These miscreants, who never were alive,
Were naked, and were stung exceedingly
By gadflies and by hornets that were there.
These did their faces irrigate with blood,
Which, with their tears commingled, at their feet
By the disgusting worms was gathered up.
And when to gazing farther I betook me.
People I saw on a great river's bank;
Whence said I: Master, now vouchsafe to me,
That I may know who these are, and what law
Makes them appear so ready to pass over,
As I discern athwart the dusky light.
And he to me: These things shall all be known
To thee, as soon as we our footsteps stay
Upon the dismal shore of Acheron.
Then with mine eyes ashamed and downward cast,
Fearing my words might irksome be to him,
From speech refrained I till we reached the river.
And lo! towards us coming in a boat
An old man, hoary with the hair of eld,
Crying: Woe unto you, ye souls depraved
Hope nevermore to look upon the heavens;
I come to lead you to the other shore,
To the eternal shades in heat and frost.
And thou, that yonder standest, living soul,
Withdraw thee from these people, who are dead—
But when he saw that I did not withdraw,
He said: By other ways, by other ports
Thou to the shore shalt come, not here, for, passage;
A lighter vessel needs must carry thee.
And unto him the Guide: Vex thee not, Charon;
It is so willed there where is power to do
That which is willed; and farther question not.
Thereat were quieted the fleecy cheeks
Of him the ferryman of the livid fen,
Who round about his eyes had wheels of flame.
But all those souls who weary were and naked
Their color changed and gnashed their teeth together,
As soon as they had heard those cruel words.
God they blasphemed and their progenitors,
The human race, the place, the time, the seed
Of their engendering and of their birth!
Thereafter all together they drew back,
Bitterly weeping, to the accursed shore,
Which waiteth every man who fears not God.
Charon the demon, with the eyes of glede,
Beckoning to them, collects them all together,
Beats with his oar whoever lags behind.
As in the autumn-time the leaves fall off,
First one and then another, till the branch
Unto the earth surrenders all its spoils;
In similar wise the evil seed of Adam
Throw themselves from that margin one by one,
At signals, as a bird unto its lure.
So they depart across the dusky wave,
And ere upon the other side they land,
Again on this side a new troop assembles.
My son, the courteous Master said to me,
All those who perish in the wrath of God
Here meet together out of every land;
And ready are they to pass o'er the river,
Because celestial Justice spurs them on,
So that their fear is turned into desire.
This way there never passes a good soul;
And hence if Charon doth complain of thee
Well mayst thou know now what his speech imports.
This being finished, all the dusk champaign
Trembled so violently, that of that terror
The recollection bathes me still with sweat.
The land of tears gave forth a blast of wind,
And fulminated a vermilion light,
Which overmastered in me every sense,
And as a man whom sleep hath seized I fell.
(tr. Henry Wadsworth Longfellow)
from The Divine Comedy, from The Inferno
Canto III
Through me the way is to the city dolent;
Through me the way is to eternal dole;
Through me the way among the people lost.
Justice incited my sublime Creator;
Created me divine Omnipotence,
The highest Wisdom and the primal Love.
Before me there were no created things,
Only eterne, and I eternal last.
All hope abandon, ye who enter in!
These words in somber color I beheld
Written upon the summit of a gate;
Whence I: Their sense is, Master, hard to me!
And he to me, as one experienced:
Here all suspicion needs must be abandoned,
All cowardice must needs be here extinct.
We to the place have come, where I have told thee
Thou shalt behold the people dolorous
Who have foregone the good of intellect.
And after he had laid his hand on mine
With joyful mien, whence I was comforted,
He led me in among the secret things.
There sighs, complaints, and ululations loud
Resounded through the air without a star,
Whence I, at the beginning, wept thereat.
Languages diverse, horrible dialects,
Accents of anger, words of agony,
And voices high and hoarse, with sound of hands,
Made up a tumult that goes whirling on
Forever in that air forever black,
Even as the sand doth, when the whirlwind breathes.
And I, who had my head with horror bound,
Said: Master, what is this which now I hear?
What folk is this, which seems by pain so vanquished?
And he to me: This miserable mode
Maintain the melancholy souls of those
Who lived withouten infamy or praise.
Commingled are they with that caitiff choir
Of Angels, who have not rebellious been,
Nor faithful were to God, but were for self.
The heavens expelled them, not to be less fair;
Nor them the nethermore abyss receives,
For glory none the damned would have from them.
And I: O Master, what so grievous is
To these, that maketh them lament so sore?
He answered: I will tell thee very briefly.
These have no longer any hope of death;
And this blind life of theirs is so debased,
They envious are of every other fate.
No fame of them the world permits to be;
Misericord and Justice both disdain them.
Let us not speak of them, but look, and pass.
And I, who looked again, beheld a banner,
Which, whirling round, ran on so rapidly,
That of all pause it seemed to me indignant;
And after it there came so long a train
Of people, that I ne'er would have believed
That ever Death so many had undone.
When some among them I had recognized.
I looked, and I beheld the shade of him
Who made through cowardice the great refusal.
Forthwith I comprehended, and was certain,
That this the sect was of the caitiff wretches
Hateful to God and to his enemies.
These miscreants, who never were alive,
Were naked, and were stung exceedingly
By gadflies and by hornets that were there.
These did their faces irrigate with blood,
Which, with their tears commingled, at their feet
By the disgusting worms was gathered up.
And when to gazing farther I betook me.
People I saw on a great river's bank;
Whence said I: Master, now vouchsafe to me,
That I may know who these are, and what law
Makes them appear so ready to pass over,
As I discern athwart the dusky light.
And he to me: These things shall all be known
To thee, as soon as we our footsteps stay
Upon the dismal shore of Acheron.
Then with mine eyes ashamed and downward cast,
Fearing my words might irksome be to him,
From speech refrained I till we reached the river.
And lo! towards us coming in a boat
An old man, hoary with the hair of eld,
Crying: Woe unto you, ye souls depraved
Hope nevermore to look upon the heavens;
I come to lead you to the other shore,
To the eternal shades in heat and frost.
And thou, that yonder standest, living soul,
Withdraw thee from these people, who are dead—
But when he saw that I did not withdraw,
He said: By other ways, by other ports
Thou to the shore shalt come, not here, for, passage;
A lighter vessel needs must carry thee.
And unto him the Guide: Vex thee not, Charon;
It is so willed there where is power to do
That which is willed; and farther question not.
Thereat were quieted the fleecy cheeks
Of him the ferryman of the livid fen,
Who round about his eyes had wheels of flame.
But all those souls who weary were and naked
Their color changed and gnashed their teeth together,
As soon as they had heard those cruel words.
God they blasphemed and their progenitors,
The human race, the place, the time, the seed
Of their engendering and of their birth!
Thereafter all together they drew back,
Bitterly weeping, to the accursed shore,
Which waiteth every man who fears not God.
Charon the demon, with the eyes of glede,
Beckoning to them, collects them all together,
Beats with his oar whoever lags behind.
As in the autumn-time the leaves fall off,
First one and then another, till the branch
Unto the earth surrenders all its spoils;
In similar wise the evil seed of Adam
Throw themselves from that margin one by one,
At signals, as a bird unto its lure.
So they depart across the dusky wave,
And ere upon the other side they land,
Again on this side a new troop assembles.
My son, the courteous Master said to me,
All those who perish in the wrath of God
Here meet together out of every land;
And ready are they to pass o'er the river,
Because celestial Justice spurs them on,
So that their fear is turned into desire.
This way there never passes a good soul;
And hence if Charon doth complain of thee
Well mayst thou know now what his speech imports.
This being finished, all the dusk champaign
Trembled so violently, that of that terror
The recollection bathes me still with sweat.
The land of tears gave forth a blast of wind,
And fulminated a vermilion light,
Which overmastered in me every sense,
And as a man whom sleep hath seized I fell.
(tr. Henry Wadsworth Longfellow)
Geoffrey Chaucer
(ca. 1343–1400)
from The Canterbury Tales, from The Wife of Bath's Prologue
Experience, though noon auctoritee
Were in this world, is right ynough for me
To speke of wo that is in mariage:
For lordinges, sith I twelf yeer was of age—
Thanked be God that is eterne on live—
Housbondes at chirche dore I have had five
(If I so ofte mighte han wedded be),
And alle were worthy men in hir degree.
But me was told, certain, nat longe agoon is,
That sith that Crist ne wente nevere but ones
To wedding in the Cane of Galilee,
That by the same ensample taughte he me
That I ne sholde wedded be but ones.
Herke eek, lo, which a sharp word for the nones,
Biside a well, Jesus, God and man,
Spak in repreve of the Samaritan:
"Thou hast yhad five housbondes," quod he,
"And that ilke man that now hath thee
Is nat thyn housbonde." Thus saide he certain.
What that he mente therby I can nat sayn,
But that I axe why the fifthe man
Was noon housbonde to the Samaritan?
How manye mighte she han in mariage?
Yit herde I nevere tellen in myn age
Upon this nombre diffinicioun.
Men may divine and glosen up and down,
But wel I woot, expres, withouten lie,
God bad us for to wexe and multiplye:
That gentil text can I wel understonde.
from The Canterbury Tales, from The Wife of Bath's Prologue
Experience, though noon auctoritee
Were in this world, is right ynough for me
To speke of wo that is in mariage:
For lordinges, sith I twelf yeer was of age—
Thanked be God that is eterne on live—
Housbondes at chirche dore I have had five
(If I so ofte mighte han wedded be),
And alle were worthy men in hir degree.
But me was told, certain, nat longe agoon is,
That sith that Crist ne wente nevere but ones
To wedding in the Cane of Galilee,
That by the same ensample taughte he me
That I ne sholde wedded be but ones.
Herke eek, lo, which a sharp word for the nones,
Biside a well, Jesus, God and man,
Spak in repreve of the Samaritan:
"Thou hast yhad five housbondes," quod he,
"And that ilke man that now hath thee
Is nat thyn housbonde." Thus saide he certain.
What that he mente therby I can nat sayn,
But that I axe why the fifthe man
Was noon housbonde to the Samaritan?
How manye mighte she han in mariage?
Yit herde I nevere tellen in myn age
Upon this nombre diffinicioun.
Men may divine and glosen up and down,
But wel I woot, expres, withouten lie,
God bad us for to wexe and multiplye:
That gentil text can I wel understonde.
Elizabeth Barrett Browning
(1806–1861)
from Sonnets from the Portuguese
VI
Go from me. Yet I feel that I shall stand
Henceforward in thy shadow. Nevermore
Alone upon the threshold of my door
Of individual life, I shall command
The uses of my soul, nor lift my hand
Serenely in the sunshine as before,
Without the sense of that which I forbore—
Thy touch upon the palm. The widest land
Doom takes to part us, leaves thy heart in mine
With pulses that beat double. What I do
And what I dream include thee, as the wine
Must taste of its own grapes. And when I sue
God for myself, He hears that name of thine,
And sees within my eyes the tears of two.
from Sonnets from the Portuguese
VI
Go from me. Yet I feel that I shall stand
Henceforward in thy shadow. Nevermore
Alone upon the threshold of my door
Of individual life, I shall command
The uses of my soul, nor lift my hand
Serenely in the sunshine as before,
Without the sense of that which I forbore—
Thy touch upon the palm. The widest land
Doom takes to part us, leaves thy heart in mine
With pulses that beat double. What I do
And what I dream include thee, as the wine
Must taste of its own grapes. And when I sue
God for myself, He hears that name of thine,
And sees within my eyes the tears of two.