Written by
William Cowper |
England, with all thy faults, I love thee still--
My country! and, while yet a nook is left
Where English minds and manners may be found,
Shall be constrain'd to love thee.
Though thy clime
Be fickle, and thy year most part deform'd
With dripping rains, or wither'd by a frost,
I would not yet exchange thy sullen skies,
And fields without a flow'r, for warmer France
With all her vines; nor for Ausonia's groves
Of golden fruitage, and her myrtle bow'rs.
To shake thy senate, and from heights sublime
Of patriot eloquence to flash down fire
Upon thy foes, was never meant my task:
But I can feel thy fortunes, and partake
Thy joys and sorrows, with as true a heart
As any thund'rer there.
And I can feel
Thy follies, too; and with a just disdain
Frown at effeminates, whose very looks
Reflect dishonour on the land I love.
How, in the name of soldiership and sense,
Should England prosper, when such things, as smooth
And tender as a girl, all essenc'd o'er
With odours, and as profligate as sweet;
Who sell their laurel for a myrtle wreath,
And love when they should fight; when such as these
Presume to lay their hand upon the ark
Of her magnificent and awful cause?
Time was when it was praise and boast enough
In ev'ry clime, and travel where we might,
That we were born her children.
Praise enough
To fill th' ambition of a private man,
That Chatham's language was his mother tongue,
And Wolfe's great name compatriot with his own.
Farewell those honours, and farewell with them
The hope of such hereafter! They have fall'n
Each in his field of glory; one in arms,
And one in council--Wolfe upon the lap
Of smiling victory that moment won,
And Chatham heart-sick of his country's shame!
They made us many soldiers.
Chatham, still
Consulting England's happiness at home,
Secur'd it by an unforgiving frown
If any wrong'd her.
Wolfe, where'er he fought,
Put so much of his heart into his act,
That his example had a magnet's force,
And all were swift to follow whom all lov'd.
Those suns are set.
Oh, rise some other such!
Or all that we have left is empty talk
Of old achievements, and despair of new.
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There is a pleasure in poetic pains
Which only poets know.
The shifts and turns,
Th' expedients and inventions multiform
To which the mind resorts in chase of terms
Thought apt, yet coy, and difficult to win,
T' arrest the fleeting images that fill
The mirror of the mind, and hold them fast,
And force them sit, till he has pencill'd off
A faithful likeness of the forms he views;
Then to dispose his copies with such art
That each may find its most propitious light,
And shine by situation hardly less
Than by the labour and the skill it cost,
Are occupations of the poet's mind
So pleasing, and that steal away the thought
With such address from themes of sad import,
That, lost in his own musings, happy man!
He feels th' anxieties of life, denied
Their wonted entertainment, all retire.
Such joys has he that sings.
But ah! not such,
Or seldom such, the hearers of his song.
Fastidious, or else listless, or perhaps
Aware of nothing arduous in a task
They never undertook, they little note
His dangers or escapes, and haply find
Their least amusement where he found the most.
But is amusement all? Studious of song,
And yet ambitious not to sing in vain,
I would not trifle merely, though the world
Be loudest in their praise who do no more.
Yet what can satire, whether grave or gay?
It may correct a foible, may chastise
The freaks of fashion, regulate the dress,
Retrench a sword-blade, or displace a patch;
But where are its sublimer trophies found?
What vice has it subdu'd? whose heart reclaim'd
By rigour, or whom laugh'd into reform?
Alas! Leviathan is not so tam'd.
Laugh'd at, he laughs again; and, stricken hard,
Turns to the stroke his adamantine scales,
That fear no discipline of human hands.
The pulpit, therefore, (and I name it fill'd
With solemn awe, that bids me well beware
With what intent I touch that holy thing)--
The pulpit (when the satirist has at last,
Strutting and vapouring in an empty school,
Spent all his force, and made no proselyte)--
I say the pulpit (in the sober use
Of its legitimate, peculiar pow'rs)
Must stand acknowledg'd, while the world shall stand,
The most important and effectual guard,
Support, and ornament of Virtue's cause.
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|
Written by
Vachel Lindsay |
SECTION ONE
"Give the engines room,
Give the engines room.
"
Louder, faster
The little band-master
Whips up the fluting,
Hurries up the tooting.
He thinks that he stands,
[*] The reins in his hands,
In the fire-chief's place
In the night alarm chase.
The cymbals whang,
The kettledrums bang: —
"Clear the street,
Clear the street,
Clear the street — Boom, boom.
In the evening gloom,
In the evening gloom,
Give the engines room,
Give the engines room.
Lest souls be trapped
In a terrible tomb.
"
The sparks and the pine-brands
Whirl on high
From the black and reeking alleys
To the wide red sky.
Hear the hot glass crashing,
Hear the stone steps hissing.
Coal black streams
Down the gutters pour.
There are cries for help
From a far fifth floor.
For a longer ladder
Hear the fire-chief call.
Listen to the music
Of the firemen's ball.
Listen to the music
Of the firemen's ball.
"'Tis the
NIGHT
Of doom,"
Say the ding-dong doom-bells.
"NIGHT
Of doom,"
Say the ding-dong doom-bells.
Faster, faster
The red flames come.
"Hum grum," say the engines,
"Hum grum grum.
"
"Buzz, buzz,"
Says the crowd.
"See, see,"
Calls the crowd.
And the high walls fall:—
Listen to the music
Of the firemen's ball
"'Tis the
NIGHT
Of doom,"
Say the ding-dong doom-bells.
NIGHT
Of doom,
Say the ding-dong doom-bells.
Whangaranga, whangaranga,
Whang, whang, whang,
Clang, clang, clangaranga,
Clang, clang, clang.
Clang—a—ranga—
Clang—a—ranga—
Clang,
Clang,
Clang.
Listen—to—the—music—
Of the firemen's ball—
SECTION TWO
"Many's the heart that's breaking
If we could read them all
After the ball is over.
"
(An old song.
)
Scornfully, gaily
The bandmaster sways,
Changing the strain
That the wild band plays.
With a red and royal intoxication,
A tangle of sounds
And a syncopation,
Sweeping and bending
From side to side,
Master of dreams,
With a peacock pride.
A lord of the delicate flowers of delight
He drives compunction
Back through the night.
Dreams he's a soldier
Plumed and spurred,
And valiant lads
Arise at his word,
Flaying the sober
Thoughts he hates,
Driving them back
From the dream-town gates.
How can the languorous
Dancers know
The red dreams come
When the good dreams go?
'"Tis the
NIGHT
Of love,"
Call the silver joy-bells,
"NIGHT
Of love,"
Call the silver joy-bells.
"Honey and wine,
Honey and wine.
Sing low, now, violins,
Sing, sing low,
Blow gently, wood-wind,
Mellow and slow.
Like midnight poppies
The sweethearts bloom.
Their eyes flash power,
Their lips are dumb.
Faster and faster
Their pulses come,
Though softer now
The drum-beats fall.
Honey and wine,
Honey and wine.
'Tis the firemen's ball,
'Tis the firemen's ball.
"I am slain,"
Cries true-love
There in the shadow.
"And I die,"
Cries true-love,
There laid low.
"When the fire-dreams come,
The wise dreams go.
"
BUT HIS CRY IS DROWNED
BY THE PROUD BAND-MASTER.
And now great gongs whang,
Sharper, faster,
And kettledrums rattle
And hide the shame
With a swish and a swirk
In dead love's name.
Red and crimson
And scarlet and rose
Magical poppies
The sweethearts bloom.
The scarlet stays
When the rose-flush goes,
And love lies low
In a marble tomb.
"'Tis the
NIGHT
Of doom,"
Call the ding-dong doom-bells.
"NIGHT
Of Doom,"
Call the ding-dong doom-bells.
Hark how the piccolos still make cheer.
'Tis a moonlight night in the spring of the year.
"
CLANGARANGA, CLANGARANGA,
CLANG .
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CLANG .
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CLANG.
CLANG .
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RANGA .
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CLANG .
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RANGA .
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CLANG .
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CLANG .
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CLANG .
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LISTEN .
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TO .
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THE .
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MUSIC .
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OF .
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FIREMEN'S BALL .
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LISTEN .
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TO .
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MUSIC .
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OF .
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FIREMEN'S .
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BALL .
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SECTION THREE
In Which, contrary to Artistic Custom, the moral of the piece is placed before the reader.
(From the first Khandaka of the Mahavagga: "There Buddha thus addressed his disciples: 'Everything, O mendicants, is burning.
With what fire is it burning? I declare unto you it is burning with the fire of passion, with the fire of anger, with the fire of ignorance.
It is burning with the anxieties of birth, decay and death, grief, lamentation, suffering and despair.
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A disciple, .
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becoming weary of all that, divests himself of passion.
By absence of passion, he is made free.
'")
I once knew a teacher,
Who turned from desire,
Who said to the young men
"Wine is a fire.
"
Who said to the merchants:—
"Gold is a flame
That sears and tortures
If you play at the game.
"
I once knew a teacher
Who turned from desire
Who said to the soldiers,
"Hate is a fire.
"
Who said to the statesmen:—
"Power is a flame
That flays and blisters
If you play at the game.
"
I once knew a teacher
Who turned from desire,
Who said to the lordly,
"Pride is a fire.
"
Who thus warned the revellers:—
"Life is a flame.
Be cold as the dew
Would you win at the game
With hearts like the stars,
With hearts like the stars.
"
SO BEWARE,
SO BEWARE,
SO BEWARE OF THE FIRE.
Clear the streets,
BOOM, BOOM,
Clear the streets,
BOOM, BOOM,
GIVE THE ENGINES ROOM,
GIVE THE ENGINES ROOM,
LEST SOULS BE TRAPPED
IN A TERRIBLE TOMB.
SAYS THE SWIFT WHITE HORSE
TO THE SWIFT BLACK HORSE:—
"THERE GOES THE ALARM,
THERE GOES THE ALARM.
THEY ARE HITCHED, THEY ARE OFF,
THEY ARE GONE IN A FLASH,
AND THEY STRAIN AT THE DRIVER'S IRON ARM.
"
CLANG .
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A .
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RANGA, .
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CLANG.
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A .
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RANGA.
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CLANG .
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CLANG .
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CLANG.
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CLANG .
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RANGA.
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CLANG .
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RANGA.
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CLANG .
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CLANG .
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CLANG.
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CLANG .
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A .
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RANGA.
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CLANG .
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A .
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RANGA.
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CLANG .
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CLANG .
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CLANG .
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|
Written by
Eugene Field |
O hapless day! O wretched day!
I hoped you'd pass me by--
Alas, the years have sneaked away
And all is changed but I!
Had I the power, I would remand
You to a gloom condign,
But here you've crept upon me and
I--I am thirty-nine!
Now, were I thirty-five, I could
Assume a flippant guise;
Or, were I forty years, I should
Undoubtedly look wise;
For forty years are said to bring
Sedateness superfine;
But thirty-nine don't mean a thing--
À bas with thirty-nine!
You healthy, hulking girls and boys,--
What makes you grow so fast?
Oh, I'll survive your lusty noise--
I'm tough and bound to last!
No, no--I'm old and withered too--
I feel my powers decline
(Yet none believes this can be true
Of one at thirty-nine).
And you, dear girl with velvet eyes,
I wonder what you mean
Through all our keen anxieties
By keeping sweet sixteen.
With your dear love to warm my heart,
Wretch were I to repine;
I was but jesting at the start--
I'm glad I'm thirty-nine!
So, little children, roar and race
As blithely as you can,
And, sweetheart, let your tender grace
Exalt the Day and Man;
For then these factors (I'll engage)
All subtly shall combine
To make both juvenile and sage
The one who's thirty-nine!
Yes, after all, I'm free to say
I would much rather be
Standing as I do stand to-day,
'Twixt devil and deep sea;
For though my face be dark with care
Or with a grimace shine,
Each haply falls unto my share,
For I am thirty-nine!
'Tis passing meet to make good cheer
And lord it like a king,
Since only once we catch the year
That doesn't mean a thing.
O happy day! O gracious day!
I pledge thee in this wine--
Come, let us journey on our way
A year, good Thirty-Nine!
|
Written by
D. H. Lawrence |
The little river twittering in the twilight,
The wan, wondering look of the pale sky,
This is almost bliss.
And everything shut up and gone to sleep,
All the troubles and anxieties and pain
Gone under the twilight.
Only the twilight now, and the soft "Sh!" of the river
That will last for ever.
And at last I know my love for you is here,
I can see it all, it is whole like the twilight,
It is large, so large, I could not see it before
Because of the little lights and flickers and interruptions,
Troubles, anxieties and pains.
You are the call and I am the answer,
You are the wish, and I the fulfilment,
You are the night, and I the day.
What else--it is perfect enough,
It is perfectly complete,
You and I,
What more----?
Strange, how we suffer in spite of this!
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