Written by
Walt Whitman |
1
TO think of time—of all that retrospection!
To think of to-day, and the ages continued henceforward!
Have you guess’d you yourself would not continue?
Have you dreaded these earth-beetles?
Have you fear’d the future would be nothing to you?
Is to-day nothing? Is the beginningless past nothing?
If the future is nothing, they are just as surely nothing.
To think that the sun rose in the east! that men and women were flexible, real, alive!
that
everything was alive!
To think that you and I did not see, feel, think, nor bear our part!
To think that we are now here, and bear our part!
2
Not a day passes—not a minute or second, without an accouchement!
Not a day passes—not a minute or second, without a corpse!
The dull nights go over, and the dull days also,
The soreness of lying so much in bed goes over,
The physician, after long putting off, gives the silent and terrible look for an answer,
The children come hurried and weeping, and the brothers and sisters are sent for,
Medicines stand unused on the shelf—(the camphor-smell has long pervaded the rooms,)
The faithful hand of the living does not desert the hand of the dying,
The twitching lips press lightly on the forehead of the dying,
The breath ceases, and the pulse of the heart ceases,
The corpse stretches on the bed, and the living look upon it,
It is palpable as the living are palpable.
The living look upon the corpse with their eye-sight,
But without eye-sight lingers a different living, and looks curiously on the corpse.
3
To think the thought of Death, merged in the thought of materials!
To think that the rivers will flow, and the snow fall, and fruits ripen, and act upon
others as
upon us now—yet not act upon us!
To think of all these wonders of city and country, and others taking great interest in
them—and we taking no interest in them!
To think how eager we are in building our houses!
To think others shall be just as eager, and we quite indifferent!
(I see one building the house that serves him a few years, or seventy or eighty years at
most,
I see one building the house that serves him longer than that.)
Slow-moving and black lines creep over the whole earth—they never cease—they are
the
burial lines,
He that was President was buried, and he that is now President shall surely be buried.
4
A reminiscence of the vulgar fate,
A frequent sample of the life and death of workmen,
Each after his kind:
Cold dash of waves at the ferry-wharf—posh and ice in the river, half-frozen mud in
the
streets, a gray, discouraged sky overhead, the short, last daylight of Twelfth-month,
A hearse and stages—other vehicles give place—the funeral of an old Broadway
stage-driver, the cortege mostly drivers.
Steady the trot to the cemetery, duly rattles the death-bell, the gate is pass’d, the
new-dug grave is halted at, the living alight, the hearse uncloses,
The coffin is pass’d out, lower’d and settled, the whip is laid on the coffin,
the
earth is swiftly shovel’d in,
The mound above is flatted with the spades—silence,
A minute—no one moves or speaks—it is done,
He is decently put away—is there anything more?
He was a good fellow, free-mouth’d, quick-temper’d, not bad-looking, able to
take his
own part, witty, sensitive to a slight, ready with life or death for a friend, fond of
women,
gambled, ate hearty, drank hearty, had known what it was to be flush, grew low-spirited
toward
the last, sicken’d, was help’d by a contribution, died, aged forty-one
years—and
that was his funeral.
Thumb extended, finger uplifted, apron, cape, gloves, strap, wet-weather clothes, whip
carefully chosen, boss, spotter, starter, hostler, somebody loafing on you, you loafing
on
somebody, headway, man before and man behind, good day’s work, bad day’s work,
pet
stock, mean stock, first out, last out, turning-in at night;
To think that these are so much and so nigh to other drivers—and he there takes no
interest in them!
5
The markets, the government, the working-man’s wages—to think what account they
are
through our nights and days!
To think that other working-men will make just as great account of them—yet we make
little
or no account!
The vulgar and the refined—what you call sin, and what you call goodness—to
think how
wide a difference!
To think the difference will still continue to others, yet we lie beyond the difference.
To think how much pleasure there is!
Have you pleasure from looking at the sky? have you pleasure from poems?
Do you enjoy yourself in the city? or engaged in business? or planning a nomination and
election? or with your wife and family?
Or with your mother and sisters? or in womanly housework? or the beautiful maternal cares?
—These also flow onward to others—you and I flow onward,
But in due time, you and I shall take less interest in them.
Your farm, profits, crops,—to think how engross’d you are!
To think there will still be farms, profits, crops—yet for you, of what avail?
6
What will be, will be well—for what is, is well,
To take interest is well, and not to take interest shall be well.
The sky continues beautiful,
The pleasure of men with women shall never be sated, nor the pleasure of women with men,
nor
the pleasure from poems,
The domestic joys, the daily housework or business, the building of houses—these are
not
phantasms—they have weight, form, location;
Farms, profits, crops, markets, wages, government, are none of them phantasms,
The difference between sin and goodness is no delusion,
The earth is not an echo—man and his life, and all the things of his life, are
well-consider’d.
You are not thrown to the winds—you gather certainly and safely around yourself;
Yourself! Yourself! Yourself, forever and ever!
7
It is not to diffuse you that you were born of your mother and father—it is to
identify
you;
It is not that you should be undecided, but that you should be decided;
Something long preparing and formless is arrived and form’d in you,
You are henceforth secure, whatever comes or goes.
The threads that were spun are gather’d, the weft crosses the warp, the pattern is
systematic.
The preparations have every one been justified,
The orchestra have sufficiently tuned their instruments—the baton has given the
signal.
The guest that was coming—he waited long, for reasons—he is now housed,
He is one of those who are beautiful and happy—he is one of those that to look upon
and be
with is enough.
The law of the past cannot be eluded,
The law of the present and future cannot be eluded,
The law of the living cannot be eluded—it is eternal,
The law of promotion and transformation cannot be eluded,
The law of heroes and good-doers cannot be eluded,
The law of drunkards, informers, mean persons—not one iota thereof can be eluded.
8
Slow moving and black lines go ceaselessly over the earth,
Northerner goes carried, and Southerner goes carried, and they on the Atlantic side, and
they
on the Pacific, and they between, and all through the Mississippi country, and all over
the
earth.
The great masters and kosmos are well as they go—the heroes and good-doers are well,
The known leaders and inventors, and the rich owners and pious and distinguish’d, may
be
well,
But there is more account than that—there is strict account of all.
The interminable hordes of the ignorant and wicked are not nothing,
The barbarians of Africa and Asia are not nothing,
The common people of Europe are not nothing—the American aborigines are not nothing,
The infected in the immigrant hospital are not nothing—the murderer or mean person is
not
nothing,
The perpetual successions of shallow people are not nothing as they go,
The lowest prostitute is not nothing—the mocker of religion is not nothing as he
goes.
9
Of and in all these things,
I have dream’d that we are not to be changed so much, nor the law of us changed,
I have dream’d that heroes and good-doers shall be under the present and past law,
And that murderers, drunkards, liars, shall be under the present and past law,
For I have dream’d that the law they are under now is enough.
If otherwise, all came but to ashes of dung,
If maggots and rats ended us, then Alarum! for we are betray’d!
Then indeed suspicion of death.
Do you suspect death? If I were to suspect death, I should die now,
Do you think I could walk pleasantly and well-suited toward annihilation?
10
Pleasantly and well-suited I walk,
Whither I walk I cannot define, but I know it is good,
The whole universe indicates that it is good,
The past and the present indicate that it is good.
How beautiful and perfect are the animals!
How perfect the earth, and the minutest thing upon it!
What is called good is perfect, and what is called bad is just as perfect,
The vegetables and minerals are all perfect, and the imponderable fluids are perfect;
Slowly and surely they have pass’d on to this, and slowly and surely they yet pass
on.
11
I swear I think now that everything without exception has an eternal Soul!
The trees have, rooted in the ground! the weeds of the sea have! the animals!
I swear I think there is nothing but immortality!
That the exquisite scheme is for it, and the nebulous float is for it, and the cohering is
for
it;
And all preparation is for it! and identity is for it! and life and materials are
altogether
for it
|
Written by
Billy Collins |
You are the bread and the knife,
The crystal goblet and the wine...
-Jacques Crickillon
You are the bread and the knife,
the crystal goblet and the wine.
You are the dew on the morning grass
and the burning wheel of the sun.
You are the white apron of the baker,
and the marsh birds suddenly in flight.
However, you are not the wind in the orchard,
the plums on the counter,
or the house of cards.
And you are certainly not the pine-scented air.
There is just no way that you are the pine-scented air.
It is possible that you are the fish under the bridge,
maybe even the pigeon on the general's head,
but you are not even close
to being the field of cornflowers at dusk.
And a quick look in the mirror will show
that you are neither the boots in the corner
nor the boat asleep in its boathouse.
It might interest you to know,
speaking of the plentiful imagery of the world,
that I am the sound of rain on the roof.
I also happen to be the shooting star,
the evening paper blowing down an alley
and the basket of chestnuts on the kitchen table.
I am also the moon in the trees
and the blind woman's tea cup.
But don't worry, I'm not the bread and the knife.
You are still the bread and the knife.
You will always be the bread and the knife,
not to mention the crystal goblet and--somehow--the wine.
|
Written by
Anne Sexton |
Live or die, but don't poison everything...
Well, death's been here
for a long time --
it has a hell of a lot
to do with hell
and suspicion of the eye
and the religious objects
and how I mourned them
when they were made obscene
by my dwarf-heart's doodle.
The chief ingredient
is mutilation.
And mud, day after day,
mud like a ritual,
and the baby on the platter,
cooked but still human,
cooked also with little maggots,
sewn onto it maybe by somebody's mother,
the damn *****!
Even so,
I kept right on going on,
a sort of human statement,
lugging myself as if
I were a sawed-off body
in the trunk, the steamer trunk.
This became perjury of the soul.
It became an outright lie
and even though I dressed the body
it was still naked, still killed.
It was caught
in the first place at birth,
like a fish.
But I play it, dressed it up,
dressed it up like somebody's doll.
Is life something you play?
And all the time wanting to get rid of it?
And further, everyone yelling at you
to shut up. And no wonder!
People don't like to be told
that you're sick
and then be forced
to watch
you
come
down with the hammer.
Today life opened inside me like an egg
and there inside
after considerable digging
I found the answer.
What a bargain!
There was the sun,
her yolk moving feverishly,
tumbling her prize --
and you realize she does this daily!
I'd known she was a purifier
but I hadn't thought
she was solid,
hadn't known she was an answer.
God! It's a dream,
lovers sprouting in the yard
like celery stalks
and better,
a husband straight as a redwood,
two daughters, two sea urchings,
picking roses off my hackles.
If I'm on fire they dance around it
and cook marshmallows.
And if I'm ice
they simply skate on me
in little ballet costumes.
Here,
all along,
thinking I was a killer,
anointing myself daily
with my little poisons.
But no.
I'm an empress.
I wear an apron.
My typewriter writes.
It didn't break the way it warned.
Even crazy, I'm as nice
as a chocolate bar.
Even with the witches' gymnastics
they trust my incalculable city,
my corruptible bed.
O dearest three,
I make a soft reply.
The witch comes on
and you paint her pink.
I come with kisses in my hood
and the sun, the smart one,
rolling in my arms.
So I say Live
and turn my shadow three times round
to feed our puppies as they come,
the eight Dalmatians we didn't drown,
despite the warnings: The abort! The destroy!
Despite the pails of water that waited,
to drown them, to pull them down like stones,
they came, each one headfirst, blowing bubbles the color of cataract-blue
and fumbling for the tiny ****.
Just last week, eight Dalmatians,
3/4 of a lb., lined up like cord wood
each
like a
birch tree.
I promise to love more if they come,
because in spite of cruelty
and the stuffed railroad cars for the ovens,
I am not what I expected. Not an Eichmann.
The poison just didn't take.
So I won't hang around in my hospital shift,
repeating The Black Mass and all of it.
I say Live, Live because of the sun,
the dream, the excitable gift.
|
Written by
David Lehman |
I like walking on streets as black and wet as this one
now, at two in the solemnly musical morning, when everyone else
in this town emptied of Lestrygonians and Lotus-eaters
is asleep or trying or worrying why
they aren't asleep, while unknown to them Ulysses walks
into the shabby apartment I live in, humming and feeling
happy with the avant-garde weather we're having,
the winds (a fugue for flute and oboe) pouring
into the windows which I left open although
I live on the ground floor and there have been
two burglaries on my block already this week,
do I quickly take a look to see
if the valuables are missing? No, that is I can't,
it's an epistemological quandary: what I consider
valuable, would they? Who are they, anyway? I'd answer that
with speculations based on newspaper accounts if I were
Donald E. Westlake, whose novels I'm hooked on, but
this first cigarette after twenty-four hours
of abstinence tastes so good it makes me want
to include it in my catalogue of pleasures
designed to hide the ugliness or sweep it away
the way the violent overflow of rain over cliffs
cleans the sewers and drains of Ithaca
whose waterfalls head my list, followed by
crudites of carrots and beets, roots and all,
with rained-on radishes, too beautiful to eat,
and the pure pleasure of talking, talking and not knowing
where the talk will lead, but willing to take my chances.
Furthermore I shall enumerate some varieties of tulips
(Bacchus, Tantalus, Dardanelles) and other flowers
with names that have a life of their own (Love Lies Bleeding,
Dwarf Blue Bedding, Burning Bush, Torch Lily, Narcissus).
Mostly, as I've implied, it's the names of things
that count; still, sometimes I wonder and, wondering, find
the path of least resistance, the earth's orbit
around the sun's delirious clarity. Once you sniff
the aphrodisiac of disaster, you know: there's no reason
for the anxiety--or for expecting to be free of it;
try telling Franz Kafka he has no reason to feel guilty;
or so I say to well-meaning mongers of common sense.
They way I figure, you start with the names
which are keys and then you throw them away
and learn to love the locked rooms, with or without
corpses inside, riddles to unravel, emptiness to possess,
a woman to wake up with a kiss (who is she?
no one knows) who begs your forgiveness (for what?
you cannot know) and then, in the authoritative tone
of one who has weathered the storm of his exile, orders you
to put up your hands and beg the rain to continue
as if it were in your power. And it is,
I feel it with each drop. I am standing
outside at the window, looking in on myself
writing these words, feeling what wretches feel, just
as the doctor ordered. And that's what I plan to do,
what the storm I was caught in reminded me to do,
to shake the superflux, distribute my appetite, fast
without so much as a glass of water, and love
each bite I haven't taken. I shall become the romantic poet
whose coat of many colors smeared
with blood, like a butcher's apron, left
in the sacred pit or brought back to my father
to confirm my death, confirms my new life
instead, an alien prince of dungeons and dreams
who sheds the disguise people recognize him by
to reveal himself to his true brothers at last
in the silence that stuns before joy descends, like rain.
|
Written by
Anne Sexton |
Who's she, that one in your arms?
She's the one I carried my bones to
and built a house that was just a cot
and built a life that was over an hour
and built a castle where no one lives
and built, in the end, a song
to go with the ceremony.
Why have you brought her here?
Why do you knock on my door
with your little stores and songs?
I had joined her the way a man joins
a woman and yet there was no place
for festivities or formalities
and these things matter to a woman
and, you see, we live in a cold climate
and are not permitted to kiss on the street
so I made up a song that wasn't true.
I made up a song called Marriage.
You come to me out of wedlock
and kick your foot on my stoop
and ask me to measure such things?
Never. Never. Not my real wife.
She's my real witch, my fork, my mare,
my mother of tears, my skirtful of hell,
the stamp of my sorrows, the stamp of my bruises
and also the children she might bear
and also a private place, a body of bones
that I would honestly buy, if I could buy,
that I would marry, if I could marry.
And should I torment you for that?
Each man has a small fate allotted to him
and yours is a passionate one.
But I am in torment. We have no place.
The cot we share is almost a prison
where I can't say buttercup, bobolink,
sugarduck, pumpkin, love ribbon, locket,
valentine, summergirl, funnygirl and all
those nonsense things one says in bed.
To say I have bedded with her is not enough.
I have not only bedded her down.
I have tied her down with a knot.
Then why do you stick your fists
into your pockets? Why do you shuffle
your feet like a schoolboy?
For years I have tied this knot in my dreams.
I have walked through a door in my dreams
and she was standing there in my mother's apron.
Once she crawled through a window that was shaped
like a keyhole and she was wearing my daughter's
pink corduroys and each time I tied these women
in a knot. Once a queen came. I tied her too.
But this is something I have actually tied
and now I have made her fast.
I sang her out. I caught her down.
I stamped her out with a song.
There was no other apartment for it.
There was no other chamber for it.
Only the knot. The bedded-down knot.
Thus I have laid my hands upon her
and have called her eyes and her mouth
as mine, as also her tongue.
Why do you ask me to make choices?
I am not a judge or a psychologist.
You own your bedded-down knot.
And yet I have real daytimes and nighttimes
with children and balconies and a good wife.
Thus I have tied these other knots,
yet I would rather not think of them
when I speak to you of her. Not now.
If she were a room to rent I would pay.
If she were a life to save I would save.
Maybe I am a man of many hearts.
A man of many hearts?
Why then do you tremble at my doorway?
A man of many hearts does not need me.
I'm caught deep in the dye of her.
I have allowed you to catch me red-handed,
catch me with my wild oats in a wild clock
for my mare, my dove and my own clean body.
People might say I have snakes in my boots
but I tell you that just once am I in the stirrups,
just once, this once, in the cup.
The love of the woman is in the song.
I called her the woman in red.
I called her the woman in pink
but she was ten colors
and ten women
I could hardly name her.
I know who she is.
You have named her enough.
Maybe I shouldn't have put it in words.
Frankly, I think I'm worse for this kissing,
drunk as a piper, kicking the traces
and determined to tie her up forever.
You see the song is the life,
the life I can't live.
God, even as he passes,
hand down monogamy like slang.
I wanted to write her into the law.
But, you know, there is no law for this.
Man of many hearts, you are a fool!
The clover has grown thorns this year
and robbed the cattle of their fruit
and the stones of the river
have sucked men's eyes dry,
season after season,
and every bed has been condemned,
not by morality or law,
but by time.
|
Written by
William Allingham |
Little Cowboy, what have you heard,
Up on the lonely rath's green mound?
Only the plaintive yellow bird
Sighing in sultry fields around,
Chary, chary, chary, chee-ee! -
Only the grasshopper and the bee? -
"Tip-tap, rip-rap,
Tick-a-tack-too!
Scarlet leather, sewn together,
This will make a shoe.
Left, right, pull it tight;
Summer days are warm;
Underground in winter,
Laughing at the storm!"
Lay your ear close to the hill.
Do you not catch th etiny clamour,
Busy click of an elfin hammer.
Voice of the Lepracaun singing shrill
As he merrily plies his trade?
He's a span
And a quarter in height,
Get him in sight, hold him tight,
And you're a made
Man!
You watch your cattle the summerday,
Sup on potatoes, sleep in the hay;
how would you like to roll in your carriage,
Look for a duchess's daughter in marriage?
Seize the shoemaker - then you may!
"Big boots a -hunting,
Sandals in the hall,
White for a wedding feast,
Pink for a ball.
This way, that way,
So we makea shoe;
Getting rich every stitch,
Tick-a-tack too!"
Nine and ninety treasure crocks
This keen miser fairy hath,
Hid in the mountains, woods and rocks,
Ruin and round-tow'r, cave and rath,
And where cormorants build;
From times of old
Guarded by him;
Each of them fill'd
Full to the brim
With gold!
I caught him at work one day, myself,
In the castle ditch where fox-glove grows, -
A wrinkled, wizen'd and bearded Elf,
Spectacles stuck on his pointed nose,
Silver buckles to his hose,
Leather apron - shoe in his lap -
'Rip-rap, tip-tap,
Tick-tack-too!
(A grasshopper on my cap!
Away the moth flew!)
Buskins for a fairy prince,
Brogues for his son -
Pay me well, pay me well,
When the job is done!"
The rogue was mine, beyond a doubt.
I stared at him, he stared at me;
"Servant Sir!" "Humph" says he,
And pull'd a snuff-box out.
He took a long pinch, look'd better pleased,
The ***** little Lepracaun;
Offer'd the box with a whimsical grace, -
Pouf! He flung the dust in my face,
And while I sneezed,
Was gone!
|
Written by
Dorothy Parker |
So silent I when Love was by
He yawned, and turned away;
But Sorrow clings to my apron-strings,
I have so much to say.
|
Written by
Edna St. Vincent Millay |
I thought, as I wiped my eyes on the corner of my apron:
Penelope did this too.
And more than once: you can't keep weaving all day
And undoing it all through the night;
Your arms get tired, and the back of your neck gets tight;
And along towards morning, when you think it will never be light,
And your husband has been gone, and you don't know where, for years.
Suddenly you burst into tears;
There is simply nothing else to do.
And I thought, as I wiped my eyes on the corner of my apron:
This is an ancient gesture, authentic, antique,
In the very best tradition, classic, Greek;
Ulysses did this too.
But only as a gesture,—a gesture which implied
To the assembled throng that he was much too moved to speak.
He learned it from Penelope...
Penelope, who really cried.
|
Written by
Henry Lawson |
A day of seeming innocence,
A glorious sun and sky,
And, just above my picket fence,
Black Bonnet passing by.
In knitted gloves and quaint old dress,
Without a spot or smirch,
Her worn face lit with peacefulness,
Old Granny goes to church.
Her hair is richly white, like milk,
That long ago was fair --
And glossy still the old black silk
She keeps for "chapel wear";
Her bonnet, of a bygone style,
That long has passed away,
She must have kept a weary while
Just as it is to-day.
The parasol of days gone by --
Old days that seemed the best --
The hymn and prayer books carried high
Against her warm, thin breast;
As she had clasped -- come smiles come tears,
Come hardship, aye, and worse --
On market days, through faded years,
The slender household purse.
Although the road is rough and steep,
She takes it with a will,
For, since she hushed her first to sleep
Her way has been uphill.
Instinctively I bare my head
(A sinful one, alas!)
Whene'er I see, by church bells led,
Brave Old Black Bonnet pass.
For she has known the cold and heat
And dangers of the Track:
Has fought bush-fires to save the wheat
And little home Out Back.
By barren creeks the Bushman loves,
By stockyard, hut, and pen,
The withered hands in those old gloves
Have done the work of men.
.....
They called it "Service" long ago
When Granny yet was young,
And in the chapel, sweet and low,
As girls her daughters sung.
And when in church she bends her head
(But not as others do)
She sees her loved ones, and her dead
And hears their voices too.
Fair as the Saxons in her youth,
Not forward, and not shy;
And strong in healthy life and truth
As after years went by:
She often laughed with sinners vain,
Yet passed from faith to sight --
God gave her beauty back again
The more her hair grew white.
She came out in the Early Days,
(Green seas, and blue -- and grey) --
The village fair, and English ways,
Seemed worlds and worlds away.
She fought the haunting loneliness
Where brooding gum trees stood;
And won through sickness and distress
As Englishwomen could.
.....
By verdant swath and ivied wall
The congregation's seen --
White nothings where the shadows fall,
Black blots against the green.
The dull, suburban people meet
And buzz in little groups,
While down the white steps to the street
A quaint old figure stoops.
And then along my picket fence
Where staring wallflowers grow --
World-wise Old Age, and Common-sense! --
Black Bonnet, nodding slow.
But not alone; for on each side
A little dot attends
In snowy frock and sash of pride,
And these are Granny's friends.
To them her mind is clear and bright,
Her old ideas are new;
They know her "real talk" is right,
Her "fairy talk" is true.
And they converse as grown-ups may,
When all the news is told;
The one so wisely young to-day,
The two so wisely old.
At home, with dinner waiting there,
She smooths her hair and face,
And puts her bonnet by with care
And dons a cap of lace.
The table minds its p's and q's
Lest one perchance be hit
By some rare dart which is a part
Of her old-fashioned wit.
.....
Her son and son's wife are asleep,
She puts her apron on --
The quiet house is hers to keep,
With all the youngsters gone.
There's scarce a sound of dish on dish
Or cup slipped into cup,
When left alone, as is her wish,
Black Bonnet "washes up."
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Written by
Robert Frost |
Mary sat musing on the lamp-flame at the table
Waiting for Warren. When she heard his step,
She ran on tip-toe down the darkened passage
To meet him in the doorway with the news
And put him on his guard. 'Silas is back.'
She pushed him outward with her through the door
And shut it after her. "Be kind,' she said.
She took the market things from Warren's arms
And set them on the porch, then drew him down
To sit beside her on the wooden steps.
'When was I ever anything but kind to him?
But I'll not have the fellow back,' he said.
'I told him so last haying, didn't I?
"If he left then," I said, "that ended it."
What good is he? Who else will harbour him
At his age for the little he can do?
What help he is there's no depending on.
Off he goes always when I need him most.
'He thinks he ought to earn a little pay,
Enough at least to buy tobacco with,
won't have to beg and be beholden."
"All right," I say "I can't afford to pay
Any fixed wages, though I wish I could."
"Someone else can."
"Then someone else will have to.
I shouldn't mind his bettering himself
If that was what it was. You can be certain,
When he begins like that, there's someone at him
Trying to coax him off with pocket-money, --
In haying time, when any help is scarce.
In winter he comes back to us. I'm done.'
'Shh I not so loud: he'll hear you,' Mary said.
'I want him to: he'll have to soon or late.'
'He's worn out. He's asleep beside the stove.
When I came up from Rowe's I found him here,
Huddled against the barn-door fast asleep,
A miserable sight, and frightening, too-
You needn't smile -- I didn't recognize him-
I wasn't looking for him- and he's changed.
Wait till you see.'
'Where did you say he'd been?
'He didn't say. I dragged him to the house,
And gave him tea and tried to make him smoke.
I tried to make him talk about his travels.
Nothing would do: he just kept nodding off.'
'What did he say? Did he say anything?'
'But little.'
'Anything? Mary, confess
He said he'd come to ditch the meadow for me.'
'Warren!'
'But did he? I just want to know.'
'Of course he did. What would you have him say?
Surely you wouldn't grudge the poor old man
Some humble way to save his self-respect.
He added, if you really care to know,
He meant to dear the upper pasture, too.
That sounds like something you have heard before?
Warren, I wish you could have heard the way
He jumbled everything. I stopped to look
Two or three times -- he made me feel so *****--
To see if he was talking in his sleep.
He ran on Harold Wilson -- you remember -
The boy you had in haying four years since.
He's finished school, and teaching in his college.
Silas declares you'll have to get him back.
He says they two will make a team for work:
Between them they will lay this farm as smooth!
The way he mixed that in with other things.
He thinks young Wilson a likely lad, though daft
On education -- you know how they fought
All through July under the blazing sun,
Silas up on the cart to build the load,
Harold along beside to pitch it on.'
'Yes, I took care to keep well out of earshot.'
'Well, those days trouble Silas like a dream.
You wouldn't think they would. How some things linger!
Harold's young college boy's assurance piqued him.
After so many years he still keeps finding
Good arguments he sees he might have used.
I sympathize. I know just how it feels
To think of the right thing to say too late.
Harold's associated in his mind with Latin.
He asked me what I thought of Harold's saying
He studied Latin like the violin
Because he liked it -- that an argument!
He said he couldn't make the boy believe
He could find water with a hazel prong--
Which showed how much good school had ever done
him. He wanted to go over that. 'But most of all
He thinks if he could have another chance
To teach him how to build a load of hay --'
'I know, that's Silas' one accomplishment.
He bundles every forkful in its place,
And tags and numbers it for future reference,
So he can find and easily dislodge it
In the unloading. Silas does that well.
He takes it out in bunches like big birds' nests.
You never see him standing on the hay
He's trying to lift, straining to lift himself.'
'He thinks if he could teach him that, he'd be
Some good perhaps to someone in the world.
He hates to see a boy the fool of books.
Poor Silas, so concerned for other folk,
And nothing to look backward to with pride,
And nothing to look forward to with hope,
So now and never any different.'
Part of a moon was filling down the west,
Dragging the whole sky with it to the hills.
Its light poured softly in her lap. She saw
And spread her apron to it. She put out her hand
Among the harp-like morning-glory strings,
Taut with the dew from garden bed to eaves,
As if she played unheard the tenderness
That wrought on him beside her in the night.
'Warren,' she said, 'he has come home to die:
You needn't be afraid he'll leave you this time.'
'Home,' he mocked gently.
'Yes, what else but home?
It all depends on what you mean by home.
Of course he's nothing to us, any more
then was the hound that came a stranger to us
Out of the woods, worn out upon the trail.'
'Home is the place where, when you have to go there,
They have to take you in.'
'I should have called it
Something you somehow haven't to deserve.'
Warren leaned out and took a step or two,
Picked up a little stick, and brought it back
And broke it in his hand and tossed it by.
'Silas has better claim on' us, you think,
Than on his brother? Thirteen little miles
As the road winds would bring him to his door.
Silas has walked that far no doubt to-day.
Why didn't he go there? His brother's rich,
A somebody- director in the bank.'
'He never told us that.'
'We know it though.'
'I think his brother ought to help, of course.
I'll see to that if there is need. He ought of right
To take him in, and might be willing to-
He may be better than appearances.
But have some pity on Silas. Do you think
If he'd had any pride in claiming kin
Or anything he looked for from his brother,
He'd keep so still about him all this time?'
'I wonder what's between them.'
'I can tell you.
Silas is what he is -- we wouldn't mind him--
But just the kind that kinsfolk can't abide.
He never did a thing so very bad.
He don't know why he isn't quite as good
As anyone. He won't be made ashamed
To please his brother, worthless though he is.'
'I can't think Si ever hurt anyone.'
'No, but he hurt my heart the way he lay
And rolled his old head on that sharp-edged chair-back.
He wouldn't let me put him on the lounge.
You must go in and see what you can do.
I made the bed up for him there to-night.
You'll be surprised at him -- how much he's broken.
His working days are done; I'm sure of it.'
'I'd not be in a hurry to say that.'
'I haven't been. Go, look, see for yourself.
But, Warren, please remember how it is:
He' come to help you ditch the meadow.
He has a plan, You mustn't laugh at him.
He may not speak of it, and then he may.
I'll sit and see if that small sailing cloud
Will hit or miss the moon.'
It hit the moon.Then there were three there, making a dim row,
The moon, the little silver cloud, and she.
Warren returned-- too soon, it seemed to her,
Slipped to her side, caught up her hand and waited.
'Warren?' she questioned.
'Dead,' was all he answered.
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