Written by
T S (Thomas Stearns) Eliot |
I
Because I do not hope to turn again
Because I do not hope
Because I do not hope to turn
Desiring this man's gift and that man's scope
I no longer strive to strive towards such things
(Why should the agèd eagle stretch its wings?)
Why should I mourn
The vanished power of the usual reign?
Because I do not hope to know
The infirm glory of the positive hour
Because I do not think
Because I know I shall not know
The one veritable transitory power
Because I cannot drink
There, where trees flower, and springs flow, for there is
nothing again
Because I know that time is always time
And place is always and only place
And what is actual is actual only for one time
And only for one place
I rejoice that things are as they are and
I renounce the blessèd face
And renounce the voice
Because I cannot hope to turn again
Consequently I rejoice, having to construct something
Upon which to rejoice
And pray to God to have mercy upon us
And pray that I may forget
These matters that with myself I too much discuss
Too much explain
Because I do not hope to turn again
Let these words answer
For what is done, not to be done again
May the judgement not be too heavy upon us
Because these wings are no longer wings to fly
But merely vans to beat the air
The air which is now thoroughly small and dry
Smaller and dryer than the will
Teach us to care and not to care Teach us to sit still.
Pray for us sinners now and at the hour of our death
Pray for us now and at the hour of our death.
II
Lady, three white leopards sat under a juniper-tree
In the cool of the day, having fed to sateity
On my legs my heart my liver and that which had been
contained
In the hollow round of my skull.
And God said
Shall these bones live? shall these
Bones live? And that which had been contained
In the bones (which were already dry) said chirping:
Because of the goodness of this Lady
And because of her loveliness, and because
She honours the Virgin in meditation,
We shine with brightness.
And I who am here dissembled
Proffer my deeds to oblivion, and my love
To the posterity of the desert and the fruit of the gourd.
It is this which recovers
My guts the strings of my eyes and the indigestible portions
Which the leopards reject.
The Lady is withdrawn
In a white gown, to contemplation, in a white gown.
Let the whiteness of bones atone to forgetfulness.
There is no life in them.
As I am forgotten
And would be forgotten, so I would forget
Thus devoted, concentrated in purpose.
And God said
Prophesy to the wind, to the wind only for only
The wind will listen.
And the bones sang chirping
With the burden of the grasshopper, saying
Lady of silences
Calm and distressed
Torn and most whole
Rose of memory
Rose of forgetfulness
Exhausted and life-giving
Worried reposeful
The single Rose
Is now the Garden
Where all loves end
Terminate torment
Of love unsatisfied
The greater torment
Of love satisfied
End of the endless
Journey to no end
Conclusion of all that
Is inconclusible
Speech without word and
Word of no speech
Grace to the Mother
For the Garden
Where all love ends.
Under a juniper-tree the bones sang, scattered and shining
We are glad to be scattered, we did little good to each
other,
Under a tree in the cool of day, with the blessing of sand,
Forgetting themselves and each other, united
In the quiet of the desert.
This is the land which ye
Shall divide by lot.
And neither division nor unity
Matters.
This is the land.
We have our inheritance.
III
At the first turning of the second stair
I turned and saw below
The same shape twisted on the banister
Under the vapour in the fetid air
Struggling with the devil of the stairs who wears
The deceitul face of hope and of despair.
At the second turning of the second stair
I left them twisting, turning below;
There were no more faces and the stair was dark,
Damp, jaggèd, like an old man's mouth drivelling, beyond
repair,
Or the toothed gullet of an agèd shark.
At the first turning of the third stair
Was a slotted window bellied like the figs's fruit
And beyond the hawthorn blossom and a pasture scene
The broadbacked figure drest in blue and green
Enchanted the maytime with an antique flute.
Blown hair is sweet, brown hair over the mouth blown,
Lilac and brown hair;
Distraction, music of the flute, stops and steps of the mind
over the third stair,
Fading, fading; strength beyond hope and despair
Climbing the third stair.
Lord, I am not worthy
Lord, I am not worthy
but speak the word only.
IV
Who walked between the violet and the violet
Whe walked between
The various ranks of varied green
Going in white and blue, in Mary's colour,
Talking of trivial things
In ignorance and knowledge of eternal dolour
Who moved among the others as they walked,
Who then made strong the fountains and made fresh the springs
Made cool the dry rock and made firm the sand
In blue of larkspur, blue of Mary's colour,
Sovegna vos
Here are the years that walk between, bearing
Away the fiddles and the flutes, restoring
One who moves in the time between sleep and waking, wearing
White light folded, sheathing about her, folded.
The new years walk, restoring
Through a bright cloud of tears, the years, restoring
With a new verse the ancient rhyme.
Redeem
The time.
Redeem
The unread vision in the higher dream
While jewelled unicorns draw by the gilded hearse.
The silent sister veiled in white and blue
Between the yews, behind the garden god,
Whose flute is breathless, bent her head and signed but spoke
no word
But the fountain sprang up and the bird sang down
Redeem the time, redeem the dream
The token of the word unheard, unspoken
Till the wind shake a thousand whispers from the yew
And after this our exile
V
If the lost word is lost, if the spent word is spent
If the unheard, unspoken
Word is unspoken, unheard;
Still is the unspoken word, the Word unheard,
The Word without a word, the Word within
The world and for the world;
And the light shone in darkness and
Against the Word the unstilled world still whirled
About the centre of the silent Word.
O my people, what have I done unto thee.
Where shall the word be found, where will the word
Resound? Not here, there is not enough silence
Not on the sea or on the islands, not
On the mainland, in the desert or the rain land,
For those who walk in darkness
Both in the day time and in the night time
The right time and the right place are not here
No place of grace for those who avoid the face
No time to rejoice for those who walk among noise and deny
the voice
Will the veiled sister pray for
Those who walk in darkness, who chose thee and oppose thee,
Those who are torn on the horn between season and season,
time and time, between
Hour and hour, word and word, power and power, those who wait
In darkness? Will the veiled sister pray
For children at the gate
Who will not go away and cannot pray:
Pray for those who chose and oppose
O my people, what have I done unto thee.
Will the veiled sister between the slender
Yew trees pray for those who offend her
And are terrified and cannot surrender
And affirm before the world and deny between the rocks
In the last desert before the last blue rocks
The desert in the garden the garden in the desert
Of drouth, spitting from the mouth the withered apple-seed.
O my people.
VI
Although I do not hope to turn again
Although I do not hope
Although I do not hope to turn
Wavering between the profit and the loss
In this brief transit where the dreams cross
The dreamcrossed twilight between birth and dying
(Bless me father) though I do not wish to wish these things
From the wide window towards the granite shore
The white sails still fly seaward, seaward flying
Unbroken wings
And the lost heart stiffens and rejoices
In the lost lilac and the lost sea voices
And the weak spirit quickens to rebel
For the bent golden-rod and the lost sea smell
Quickens to recover
The cry of quail and the whirling plover
And the blind eye creates
The empty forms between the ivory gates
And smell renews the salt savour of the sandy earth
This is the time of tension between dying and birth
The place of solitude where three dreams cross
Between blue rocks
But when the voices shaken from the yew-tree drift away
Let the other yew be shaken and reply.
Blessèd sister, holy mother, spirit of the fountain, spirit
of the garden,
Suffer us not to mock ourselves with falsehood
Teach us to care and not to care
Teach us to sit still
Even among these rocks,
Our peace in His will
And even among these rocks
Sister, mother
And spirit of the river, spirit of the sea,
Suffer me not to be separated
And let my cry come unto Thee.
|
Written by
Robert Frost |
“OH, let’s go up the hill and scare ourselves,
As reckless as the best of them to-night,
By setting fire to all the brush we piled
With pitchy hands to wait for rain or snow.
Oh, let’s not wait for rain to make it safe.
The pile is ours: we dragged it bough on bough
Down dark converging paths between the pines.
Let’s not care what we do with it to-night.
Divide it? No! But burn it as one pile
The way we piled it.
And let’s be the talk
Of people brought to windows by a light
Thrown from somewhere against their wall-paper.
Rouse them all, both the free and not so free
With saying what they’d like to do to us
For what they’d better wait till we have done.
Let’s all but bring to life this old volcano,
If that is what the mountain ever was—
And scare ourselves.
Let wild fire loose we will….
”
“And scare you too?” the children said together.
“Why wouldn’t it scare me to have a fire
Begin in smudge with ropy smoke and know
That still, if I repent, I may recall it,
But in a moment not: a little spurt
Of burning fatness, and then nothing but
The fire itself can put it out, and that
By burning out, and before it burns out
It will have roared first and mixed sparks with stars,
And sweeping round it with a flaming sword,
Made the dim trees stand back in wider circle—
Done so much and I know not how much more
I mean it shall not do if I can bind it.
Well if it doesn’t with its draft bring on
A wind to blow in earnest from some quarter,
As once it did with me upon an April.
The breezes were so spent with winter blowing
They seemed to fail the bluebirds under them
Short of the perch their languid flight was toward;
And my flame made a pinnacle to heaven
As I walked once round it in possession.
But the wind out of doors—you know the saying.
There came a gust.
You used to think the trees
Made wind by fanning since you never knew
It blow but that you saw the trees in motion.
Something or someone watching made that gust.
It put the flame tip-down and dabbed the grass
Of over-winter with the least tip-touch
Your tongue gives salt or sugar in your hand.
The place it reached to blackened instantly.
The black was all there was by day-light,
That and the merest curl of cigarette smoke—
And a flame slender as the hepaticas,
Blood-root, and violets so soon to be now.
But the black spread like black death on the ground,
And I think the sky darkened with a cloud
Like winter and evening coming on together.
There were enough things to be thought of then.
Where the field stretches toward the north
And setting sun to Hyla brook, I gave it
To flames without twice thinking, where it verges
Upon the road, to flames too, though in fear
They might find fuel there, in withered brake,
Grass its full length, old silver golden-rod,
And alder and grape vine entanglement,
To leap the dusty deadline.
For my own
I took what front there was beside.
I knelt
And thrust hands in and held my face away.
Fight such a fire by rubbing not by beating.
A board is the best weapon if you have it.
I had my coat.
And oh, I knew, I knew,
And said out loud, I couldn’t bide the smother
And heat so close in; but the thought of all
The woods and town on fire by me, and all
The town turned out to fight for me—that held me.
I trusted the brook barrier, but feared
The road would fail; and on that side the fire
Died not without a noise of crackling wood—
Of something more than tinder-grass and weed—
That brought me to my feet to hold it back
By leaning back myself, as if the reins
Were round my neck and I was at the plough.
I won! But I’m sure no one ever spread
Another color over a tenth the space
That I spread coal-black over in the time
It took me.
Neighbors coming home from town
Couldn’t believe that so much black had come there
While they had backs turned, that it hadn’t been there
When they had passed an hour or so before
Going the other way and they not seen it.
They looked about for someone to have done it.
But there was no one.
I was somewhere wondering
Where all my weariness had gone and why
I walked so light on air in heavy shoes
In spite of a scorched Fourth-of-July feeling.
Why wouldn’t I be scared remembering that?”
“If it scares you, what will it do to us?”
“Scare you.
But if you shrink from being scared,
What would you say to war if it should come?
That’s what for reasons I should like to know—
If you can comfort me by any answer.
”
“Oh, but war’s not for children—it’s for men.
”
“Now we are digging almost down to China.
My dears, my dears, you thought that—we all thought it.
So your mistake was ours.
Haven’t you heard, though,
About the ships where war has found them out
At sea, about the towns where war has come
Through opening clouds at night with droning speed
Further o’erhead than all but stars and angels,—
And children in the ships and in the towns?
Haven’t you heard what we have lived to learn?
Nothing so new—something we had forgotten:
War is for everyone, for children too.
I wasn’t going to tell you and I mustn’t.
The best way is to come up hill with me
And have our fire and laugh and be afraid.
”
|
Written by
Robinson Jeffers |
Reason will not decide at last; the sword will decide.
The sword: an obsolete instrument of bronze or steel,
formerly used to kill men, but here
In the sense of a symbol.
The sword: that is: the storms
and counter-storms of general destruction; killing
of men,
Destruction of all goods and materials; massacre, more or
less intentional, of children and women;
Destruction poured down from wings, the air made accomplice,
the innocent air
Perverted into assasin and poisoner.
The sword: that is: treachery and cowardice, incredible
baseness, incredible courage, loyalties, insanities.
The sword: weeping and despair, mass-enslavement,
mass-tourture, frustration of all hopes
That starred man's forhead.
Tyranny for freedom, horror for
happiness, famine for bread, carrion for children.
Reason will not decide at last, the sword will decide.
Dear God, who are the whole splendor of things and the sacred
stars, but also the cruelty and greed, the treacheries
And vileness, insanities and filth and anguish: now that this
thing comes near us again I am finding it hard
To praise you with a whole heart.
I know what pain is, but pain can shine.
I know what death is,
I have sometimes
Longed for it.
But cruelty and slavery and degredation,
pestilence, filth, the pitifulness
Of men like hurt little birds and animals .
.
.
if you were
only
Waves beating rock, the wind and the iron-cored earth,
With what a heart I could praise your beauty.
You will not repent, nor cancel life, nor free man from anguish
For many ages to come.
You are the one that tortures himself to
discover himself: I am
One that watches you and discovers you, and praises you in little
parables, idyl or tragedy, beautiful
Intolerable God.
The sword: that is:
I have two sons whom I love.
They are twins, they were born
in nineteen sixteen, which seemed to us a dark year
Of a great war, and they are now of the age
That war prefers.
The first-born is like his mother, he is so
beautiful
That persons I hardly know have stopped me on the street to
speak of the grave beauty of the boy's face.
The second-born has strength for his beauty; when he strips
for swimming the hero shoulders and wrestler loins
Make him seem clothed.
The sword: that is: loathsome disfigurements,
blindness, mutilation, locked lips of boys
Too proud to scream.
Reason will not decide at last: the sword will decide.
|
Written by
William Topaz McGonagall |
Oh, mighty city of New York, you are wonderful to behold--
Your buildings are magnificent-- the truth be it told--
They were the only thing that seemed to arrest my eye,
Because many of them are thirteen storeys high;
And as for Central Park, it is lovely to be seen--
Especially in the summer season when its shrubberies are green
And the Burns Statue is there to be seen,
Surrounded by trees on the beautiful sward so green;
Also Shakespeare and the immortal Sir Walter Scott,
Which by Scotchmen and Englishmen will never be forgot.
There are people on the Sabbath day in thousands resort--
All lov'd, in conversation, and eager for sport;
And some of them viewing the wild beasts there,
While the joyous shouts of children does rend the air--
And also beautiful black swans, I do declare.
And there's beautiful boats to be seen there,
And joyous shouts of children does rend the air,
While the boats sail along with them o'er Lohengrin Lake,
And fare is 5 cents for children, and adults ten is all they take.
And there's also summer-house shades, and merry-go-rounds
And with the merry laughter of the children the Park resounds,
During the live-long Sabbath day
Enjoying themselves at the merry-go-round play.
Then there's the elevated railroads abont five storeys high,
Which the inhabitants can hear night and day passing by;
Of, such a mass of people there daily do throng--
No less than five 100,000 daily pass along;
And all along the city you can get for five cents--
And, believe me, among the passengers there's few discontent.
And the top of the houses are mostly all flat,
And in the warm weather the people gather to chat;
Besides, on the housetops they dry their clothes;
And, also, many people all night on the housetops repose.
And numerous ships end steamboats are there to be seen,
Sailing along the East River water, which is very green--
Which is certainly a most beautiful sight
To see them sailing o'er the smooth water day and night.
And as for Brooklyn Bridge, it's a very great height,
And fills the stranger's heart with wonder at first sight;
And with all its loftiness I venture to say
It cannot surpass the new railway bridge of the Silvery Tay.
And there's also ten thousand rumsellers there--
Oh, wonderful to think of, I do declare!
To accommodate the people of New York therein,
And to encourage them to commit all sorts of sin.
And on the Sabbath day ye will see many a man
Going for beer with a big tin can,
And seems proud to be seen carrying home the beer
To treat his neighbours and his family dear.
Then at night numbers of the people dance and sing,
Making the walls of their houses to ring
With their songs and dancing on Sabbath night,
Which I witnessed with disgust, and fled from the sight.
And with regard to New York and the sights I did see--
Believe me, I never saw such sights in Dundee;
And the morning I sailed from the city of New York
My heart it felt as light as a cork.
|
Written by
Bliss Carman |
In Memory of John Keats
By the Aurelian Wall,
Where the long shadows of the centuries fall
From Caius Cestius' tomb,
A weary mortal seeking rest found room
For quiet burial,
Leaving among his friends
A book of lyrics.
Such untold amends
A traveller might make
In a strange country, bidden to partake
Before he farther wends;
Who slyly should bestow
The foreign reed-flute they had seen him blow
And finger cunningly,
On one of the dark children standing by,
Then lift his cloak and go.
The years pass.
And the child
Thoughtful beyond his fellows, grave and mild,
Treasures the rough-made toy,
Until one day he blows it for clear joy,
And wakes the music wild.
His fondness makes it seem
A thing first fashioned in delirious dream,
Some god had cut and tried,
And filled with yearning passion, and cast aside
On some far woodland stream,--
After long years to be
Found by the stranger and brought over sea,
A marvel and delight
To ease the noon and pierce the dark blue night,
For children such as he.
He learns the silver strain
Wherewith the ghostly houses of gray rain
And lonely valleys ring,
When the untroubled whitethroats make the spring
A world without a stain;
Then on his river reed,
With strange and unsuspected notes that plead
Of their own wild accord
For utterances no bird's throat could afford,
Lifts it to human need.
His comrades leave their play,
When calling and compelling far away
By river-slope and hill,
He pipes their wayward footsteps where he will,
All the long lovely day.
Even his elders come.
"Surely the child is elvish," murmur some,
And shake the knowing head;
"Give us the good old simple things instead,
Our fathers used to hum.
"
Others at open door
Smile when they hear what they have hearkened for
These many summers now,
Believing they should live to learn somehow
Things never known before.
But he can only tell
How the flute's whisper lures him with a spell,
Yet always just eludes
The lost perfection over which he broods;
And how he loves it well.
Till all the country-side,
Familiar with his piping far and wide,
Has taken for its own
That weird enchantment down the evening blown,--
Its glory and its pride.
And so his splendid name,
Who left the book of lyrics and small fame
Among his fellows then,
Spreads through the world like autumn--who knows when?--
Till all the hillsides flame.
Grand Pré and Margaree
Hear it upbruited from the unresting sea;
And the small Gaspereau,
Whose yellow leaves repeat it, seems to know
A new felicity.
Even the shadows tall,
Walking at sundown through the plain, recall
A mound the grasses keep,
Where once a mortal came and found long sleep
By the Aurelian Wall.
|
Written by
Edgar Lee Masters |
Where are Elmer, Herman, Bert, Tom, and Charley,
The weak of will, the strong of arm, the clown, the boozer, the fighter?
All, all, are sleeping on the hill.
One passed in a fever,
One was burned in a mine,
One was killed in a brawl,
One died in jail,
One fell from a bridge toiling for children and wife--
All, all are sleeping, sleeping, sleeping on the hill.
Where are Ella, Kate, Mag, Lizzie, and Edith,
The tender heart, the simple soul, the loud, the proud, the happy one?--
All, all, are sleeping on the hill.
One died in shameful child-birth,
One of a thwarted love,
One at the hands of a brute in a brothel,
One of a broken pride, in a search for a heart's desire,
One after life in faraway London and Paris
Was brought to her little space by Ella and Kate and Mag--
All, all are sleeping, sleeping, sleeping on the hill.
Where are Uncle Issac and Aunt Emily,
And old Towny Kincaid and Sevigne Houghton,
And Major Walker who had talked
With veneravle men of the revolution?--
All, all, are sleeping on the hill.
They brought them dead sons from the war,
And daughters whom life had crushed,
And their children fatherless, crying--
All, all are sleeping, sleeping, sleeping on the hill.
Where is old Fiddler Jones
Who played with life all his ninety years,
Braving the sleet with bared breast,
Drinking, rioting, thinking neither of wife nor kin,
Nor gold, nor love, nor heaven?
Lo! he babbles of the fish-frys of long ago,
Of the horse-races long ago at Clary's Grove,
Of what Abe Lincoln said
One time at Springfield.
|
Written by
William Butler Yeats |
Crazed through much child-bearing
The moon is staggering in the sky;
Moon-struck by the despairing
Glances of her wandering eye
We grope, and grope in vain,
For children born of her pain.
Children dazed or dead!
When she in all her virginal pride
First trod on the mountain's head
What stir ran through the countryside
Where every foot obeyed her glance!
What manhood led the dance!
Fly-catchers of the moon,
Our hands are blenched, our fingers seem
But slender needles of bone;
Blenched by that malicious dream
They are spread wide that each
May rend what comes in reach.
|
Written by
Robinson Jeffers |
The best is, in war or faction or ordinary vindictive
life, not to take sides.
Leave it for children, and the emotional rabble of the
streets, to back their horse or support a brawler.
But if you are forced into it: remember that good and
evil are as common as air, and like air shared
By the panting belligerents; the moral indignation that
hoarsens orators is mostly a fool.
Hold your nose and compromise; keep a cold mind.
Fight,
if needs must; hate no one.
Do as God does,
Or the tragic poets: they crush their man without hating
him, their Lear or Hitler, and often save without
love.
As for these quarrels, they are like the moon, recurrent
and fantastic.
They have their beauty but night's
is better.
It is better to be silent than make a noise.
It is better
to strike dead than strike often.
It is better not
to strike.
|
Written by
Johann Wolfgang von Goethe |
[Goethe began to write an opera called Lowenstuhl,
founded upon the old tradition which forms the subject of this Ballad,
but he never carried out his design.
]
OH, enter old minstrel, thou time-honour'd one!
We children are here in the hall all alone,
The portals we straightway will bar.
Our mother is praying, our father is gone
To the forest, on wolves to make war.
Oh sing us a ballad, the tale then repeat,
'Till brother and I learn it right;
We long have been hoping a minstrel to meet,
For children hear tales with delight.
"At midnight, when darkness its fearful veil weaves,
His lofty and stately old castle he leaves,
But first he has buried his wealth.
What figure is that in his arms one perceives,
As the Count quits the gateway by stealth?
O'er what is his mantle so hastily thrown?
What bears he along in his flight?
A daughter it is, and she gently sleeps on"--
The children they hear with delight.
"The morning soon glimmers.
the world is so wide,
In valleys and forests a home is supplied,
The bard in each village is cheer'd.
Thus lives he and wanders, while years onward glide,
And longer still waxes his beard;
But the maiden so fair in his arms grows amain,
'Neath her star all-protecting and bright,
Secured in the mantle from wind and from rain--"
The children they hear with delight.
"And year upon year with swift footstep now steals,
The mantle it fades, many rents it reveals,
The maiden no more it can hold.
The father he sees her, what rapture he feels!
His joy cannot now be controll'd.
How worthy she seems of the race whence she springs,
How noble and fair to the sight!
What wealth to her dearly-loved father she brings!"--
The children they hear with delight.
"Then comes there a princely knight galloping by,
She stretches her hand out, as soon as he's nigh,
But alms he refuses to give.
He seizes her hand, with a smile in his eye:
'Thou art mine!' he exclaims, 'while I live!'
'When thou know'st,' cries the old man, 'the treasure that's
there,
A princess thou'lt make her of right;
Betroth'd be she now, on this spot green and fair--'"
The children they hear with delight.
"So she's bless'd by the priest on the hallowed place,
And she goes with a smiling but sorrowful face,
From her father she fain would not part.
The old man still wanders with ne'er-changing pace,
He covers with joy his sad heart.
So I think of my daughter, as years pass away,
And my grandchildren far from my sight;
I bless them by night, and I bless them by day"--
The children they hear with delight.
He blesses the children: a knocking they hear,
The father it is! They spring forward in fear,
The old man they cannot conceal--
"Thou beggar, wouldst lure, then, my children so dear?
Straight seize him, ye vassals of steel!
To the dungeon most deep, with the fool-hardy knave!"
The mother from far hears the fight;
She hastens with flatt'ring entreaty to crave--
The children they hear with delight.
The vassals they suffer the Bard to stand there,
And mother and children implore him to spare,
The proud prince would stifle his ire,
'Till driven to fury at hearing their prayer,
His smouldering anger takes fire:
"Thou pitiful race! Oh, thou beggarly crew!
Eclipsing my star, once so bright!
Ye'll bring me destruction, ye sorely shall rue!"
The children they hear with affright.
The old man still stands there with dignified mien,
The vassals of steel quake before him, I ween,
The Count's fury increases in power;
"My wedded existence a curse long has been,
And these are the fruits from that flower!
'Tis ever denied, and the saying is true,
That to wed with the base-born is right;
The beggar has borne me a beggarly crew,--"
The children they hear with affright.
"If the husband, the father, thus treats you with scorn,
If the holiest bonds by him rashly are torn,
Then come to your father--to me!
The beggar may gladden life's pathway forlorn,
Though aged and weak he may be.
This castle is mine! thou hast made it thy prey,
Thy people 'twas put me to flight;
The tokens I bear will confirm what I say"--
The children they hear with delight.
"The king who erst govern'd returneth again,
And restores to the Faithful the goods that were ta'en,
I'll unseal all my treasures the while;
The laws shall be gentle, and peaceful the reign"--
The old man thus cries with a smile--
"Take courage, my son! all hath turned out for good,
And each hath a star that is bright,
Those the princess hath borne thee are princely in blood,"--
The children thy hear with delight.
1816.
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Written by
Philip Levine |
The alder shudders in the April winds
off the moon.
No one is awake and yet
sunlight streams across
the hundred still beds
of the public wards
for children.
At ten
do we truly sleep
in a blessed sleep
guarded by angels
and social workers?
Do we dream of gold
found in secret trunks
in familiar rooms?
Do we talk to cats
and dogs? I think not.
I think when I was
ten I was almost
an adult, slightly
less sentimental
than now and better
with figures.
No one
could force me to cry,
nothing could convince
me of God's concern
for America
much less the fall of
a sparrow.
I spit
into the wind, even
on mornings like this,
the air clear, the sky
utterly silent,
the fresh light flooding
across bed after
bed as though something
were reaching blindly --
for we are blindest
in sunlight -- for hands
to take and eyelids
to caress and bless
before they open
to the alder gone
still and the winds hushed,
before the children
waken separately
into their childhoods.
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