Written by
Robert Graves |
Through long nursery nights he stood
By my bed unwearying,
Loomed gigantic, formless, *****,
Purring in my haunted ear
That same hideous nightmare thing,
Talking, as he lapped my blood,
In a voice cruel and flat,
Saying for ever, "Cat! ... Cat! ... Cat!..."
That one word was all he said,
That one word through all my sleep,
In monotonous mock despair.
Nonsense may be light as air,
But there's Nonsense that can keep
Horror bristling round the head,
When a voice cruel and flat
Says for ever, "Cat! ... Cat! ... Cat!..."
He had faded, he was gone
Years ago with Nursery Land,
When he leapt on me again
From the clank of a night train,
Overpowered me foot and head,
Lapped my blood, while on and on
The old voice cruel and flat
Says for ever, "Cat! ... Cat! ... Cat!..."
Morphia drowsed, again I lay
In a crater by High Wood:
He was there with straddling legs,
Staring eyes as big as eggs,
Purring as he lapped my blood,
His black bulk darkening the day,
With a voice cruel and flat,
"Cat! ... Cat! ... Cat! ... Cat!..." he said, "Cat! ... Cat!..."
When I'm shot through heart and head,
And there's no choice but to die,
The last word I'll hear, no doubt,
Won't be "Charge!" or "Bomb them out!"
Nor the stretcher-bearer's cry,
"Let that body be, he's dead!"
But a voice cruel and flat
Saying for ever, "Cat! ... Cat! ... Cat!"
|
Written by
Victor Hugo |
("Enfants! Oh! revenez!")
{XXII, April, 1837}
Children, come back—come back, I say—
You whom my folly chased away
A moment since, from this my room,
With bristling wrath and words of doom!
What had you done, you bandits small,
With lips as red as roses all?
What crime?—what wild and hapless deed?
What porcelain vase by you was split
To thousand pieces? Did you need
For pastime, as you handled it,
Some Gothic missal to enrich
With your designs fantastical?
Or did your tearing fingers fall
On some old picture? Which, oh, which
Your dreadful fault? Not one of these;
Only when left yourselves to please
This morning but a moment here
'Mid papers tinted by my mind
You took some embryo verses near—
Half formed, but fully well designed
To open out. Your hearts desire
Was but to throw them on the fire,
Then watch the tinder, for the sight
Of shining sparks that twinkle bright
As little boats that sail at night,
Or like the window lights that spring
From out the dark at evening.
'Twas all, and you were well content.
Fine loss was this for anger's vent—
A strophe ill made midst your play,
Sweet sound that chased the words away
In stormy flight. An ode quite new,
With rhymes inflated—stanzas, too,
That panted, moving lazily,
And heavy Alexandrine lines
That seemed to jostle bodily,
Like children full of play designs
That spring at once from schoolroom's form.
Instead of all this angry storm,
Another might have thanked you well
For saving prey from that grim cell,
That hollowed den 'neath journals great,
Where editors who poets flout
With their demoniac laughter shout.
And I have scolded you! What fate
For charming dwarfs who never meant
To anger Hercules! And I
Have frightened you!—My chair I sent
Back to the wall, and then let fly
A shower of words the envious use—
"Get out," I said, with hard abuse,
"Leave me alone—alone I say."
Poor man alone! Ah, well-a-day,
What fine result—what triumph rare!
As one turns from the coffin'd dead
So left you me:—I could but stare
Upon the door through which you fled—
I proud and grave—but punished quite.
And what care you for this my plight!—
You have recovered liberty,
Fresh air and lovely scenery,
The spacious park and wished-for grass;
lights
And gratefully to sing.
E'e
A blade to watch what comes to pass;
Blue sky, and all the spring can show;
Nature, serenely fair to see;
The book of birds and spirits free,
God's poem, worth much more than mine,
Where flowers for perfect stanzas shine—
Flowers that a child may pluck in play,
No harsh voice frightening it away.
And I'm alone—all pleasure o'er—
Alone with pedant called "Ennui,"
For since the morning at my door
Ennui has waited patiently.
That docto-r-London born, you mark,
One Sunday in December dark,
Poor little ones—he loved you not,
And waited till the chance he got
To enter as you passed away,
And in the very corner where
You played with frolic laughter gay,
He sighs and yawns with weary air.
What can I do? Shall I read books,
Or write more verse—or turn fond looks
Upon enamels blue, sea-green,
And white—on insects rare as seen
Upon my Dresden china ware?
Or shall I touch the globe, and care
To make the heavens turn upon
Its axis? No, not one—not one
Of all these things care I to do;
All wearies me—I think of you.
In truth with you my sunshine fled,
And gayety with your light tread—
Glad noise that set me dreaming still.
'Twas my delight to watch your will,
And mark you point with finger-tips
To help your spelling out a word;
To see the pearls between your lips
When I your joyous laughter heard;
Your honest brows that looked so true,
And said "Oh, yes!" to each intent;
Your great bright eyes, that loved to view
With admiration innocent
My fine old Sèvres; the eager thought
That every kind of knowledge sought;
The elbow push with "Come and see!"
Oh, certes! spirits, sylphs, there be,
And fays the wind blows often here;
The gnomes that squat the ceiling near,
In corners made by old books dim;
The long-backed dwarfs, those goblins grim
That seem at home 'mong vases rare,
And chat to them with friendly air—
Oh, how the joyous demon throng
Must all have laughed with laughter long
To see you on my rough drafts fall,
My bald hexameters, and all
The mournful, miserable band,
And drag them with relentless hand
From out their box, with true delight
To set them each and all a-light,
And then with clapping hands to lean
Above the stove and watch the scene,
How to the mass deformed there came
A soul that showed itself in flame!
Bright tricksy children—oh, I pray
Come back and sing and dance away,
And chatter too—sometimes you may,
A giddy group, a big book seize—
Or sometimes, if it so you please,
With nimble step you'll run to me
And push the arm that holds the pen,
Till on my finished verse will be
A stroke that's like a steeple when
Seen suddenly upon a plain.
My soul longs for your breath again
To warm it. Oh, return—come here
With laugh and babble—and no fear
When with your shadow you obscure
The book I read, for I am sure,
Oh, madcaps terrible and dear,
That you were right and I was wrong.
But who has ne'er with scolding tongue
Blamed out of season. Pardon me!
You must forgive—for sad are we.
The young should not be hard and cold
And unforgiving to the old.
Children each morn your souls ope out
Like windows to the shining day,
Oh, miracle that comes about,
The miracle that children gay
Have happiness and goodness too,
Caressed by destiny are you,
Charming you are, if you but play.
But we with living overwrought,
And full of grave and sombre thought,
Are snappish oft: dear little men,
We have ill-tempered days, and then,
Are quite unjust and full of care;
It rained this morning and the air
Was chill; but clouds that dimm'd the sky
Have passed. Things spited me, and why?
But now my heart repents. Behold
What 'twas that made me cross, and scold!
All by-and-by you'll understand,
When brows are mark'd by Time's stern hand;
Then you will comprehend, be sure,
When older—that's to say, less pure.
The fault I freely own was mine.
But oh, for pardon now I pine!
Enough my punishment to meet,
You must forgive, I do entreat
With clasped hands praying—oh, come back,
Make peace, and you shall nothing lack.
See now my pencils—paper—here,
And pointless compasses, and dear
Old lacquer-work; and stoneware clear
Through glass protecting; all man's toys
So coveted by girls and boys.
Great China monsters—bodies much
Like cucumbers—you all shall touch.
I yield up all! my picture rare
Found beneath antique rubbish heap,
My great and tapestried oak chair
I will from you no longer keep.
You shall about my table climb,
And dance, or drag, without a cry
From me as if it were a crime.
Even I'll look on patiently
If you your jagged toys all throw
Upon my carved bench, till it show
The wood is torn; and freely too,
I'll leave in your own hands to view,
My pictured Bible—oft desired—
But which to touch your fear inspired—
With God in emperor's robes attired.
Then if to see my verses burn,
Should seem to you a pleasant turn,
Take them to freely tear away
Or burn. But, oh! not so I'd say,
If this were Méry's room to-day.
That noble poet! Happy town,
Marseilles the Greek, that him doth own!
Daughter of Homer, fair to see,
Of Virgil's son the mother she.
To you I'd say, Hold, children all,
Let but your eyes on his work fall;
These papers are the sacred nest
In which his crooning fancies rest;
To-morrow winged to Heaven they'll soar,
For new-born verse imprisoned still
In manuscript may suffer sore
At your small hands and childish will,
Without a thought of bad intent,
Of cruelty quite innocent.
You wound their feet, and bruise their wings,
And make them suffer those ill things
That children's play to young birds brings.
But mine! no matter what you do,
My poetry is all in you;
You are my inspiration bright
That gives my verse its purest light.
Children whose life is made of hope,
Whose joy, within its mystic scope,
Owes all to ignorance of ill,
You have not suffered, and you still
Know not what gloomy thoughts weigh down
The poet-writer weary grown.
What warmth is shed by your sweet smile!
How much he needs to gaze awhile
Upon your shining placid brow,
When his own brow its ache doth know;
With what delight he loves to hear
Your frolic play 'neath tree that's near,
Your joyous voices mixing well
With his own song's all-mournful swell!
Come back then, children! come to me,
If you wish not that I should be
As lonely now that you're afar
As fisherman of Etrétat,
Who listless on his elbow leans
Through all the weary winter scenes,
As tired of thought—as on Time flies—
And watching only rainy skies!
MRS. NEWTON CROSLAND.
|
Written by
Jorie Graham |
Shall I move the flowers again?
Shall I put them further to the left
into the light?
Win that fix it, will that arrange the
thing?
Yellow sky.
Faint cricket in the dried-out bush.
As I approach, my footfall in the leaves
drowns out the cricket-chirping I was
coming close to hear
Yellow sky with black leaves rearranging it.
Wind rearranging the black leaves in it.
But anyway I am indoors, of course, and this is a pane, here,
and I have arranged the flowers for you
again. Have taken the dead cordless ones, the yellow bits past apogee,
the faded cloth, the pollen-free abandoned marriage-hymn
back out, leaving the few crisp blooms to swagger, winglets, limpid
debris
Shall I arrange these few remaining flowers?
Shall I rearrange these gossamer efficiencies?
Please don't touch me with your skin.
Please let the thing evaporate.
Please tell me clearly what it is.
The party is so loud downstairs, bristling with souvenirs.
It's a philosophy of life, of course,
drinks fluorescent, whips of syntax in the air
above the heads -- how small they seem from here,
the bobbing universal heads, stuffing the void with eloquence,
and also tiny merciless darts
of truth. It's pulled on tight, the air they breathe and rip.
It's like a prize the way it's stretched on tight
over the voices, keeping them intermingling, forcing the breaths to
marry, marry,
cunning little hermeneutic cupola,
dome of occasion in which the thoughts re-
group, the footprints stall and gnaw in tiny ruts,
the napkins wave, are waved , the honeycombing
thoughts are felt to dialogue, a form of self-
congratulation, no?, or is it suffering? I'm a bit
dizzy up here rearranging things,
they will come up here soon, and need a setting for their fears,
and loves, an architecture for their evolutionary
morphic needs -- what will they need if I don't make the place? --
what will they know to miss?, what cry out for, what feel the bitter
restless irritations
for? A bit dizzy from the altitude of everlastingness,
the tireless altitudes of the created place,
in which to make a life -- a liberty -- the hollow, fetishized, and starry
place,
a bit gossamer with dream, a vortex of evaporations,
oh little dream, invisible city, invisible hill
I make here on the upper floors for you --
down there, where you are entertained, where you are passing
time, there's glass and moss on air,
there's the feeling of being numerous, mouths submitting to air, lips
to protocol,
and dreams of sense, tongues, hinges, forceps clicking
in anticipation ofas if the moment, freeze-burned by accuracies--of
could be thawed open into life again
by gladnesses, by rectitude -- no, no -- by the sinewy efforts at
sincerity -- can't you feel it gliding round you,
mutating, yielding the effort-filled phrases of your talk to air,
compounding, stemming them, honeying-open the sheerest
innuendoes till
the rightness seems to root, in the air, in the compact indoor sky,
and the rest, all round, feels like desert, falls away,
and you have the sensation of muscular timeliness,and you feel the calligraphic in you reach out like a soul
into the midst of others, in conversation,
gloved by desire, into the tiny carnage
of opinionsSo dizzy. Life buzzing beneath me
though my feeling says the hive is gone, queen gone,
the continuum continuing beneath, busy, earnest, in con-
versation. Shall I prepare. Shall I put this further
to the left, shall I move the light, the point-of-view, the shades are
drawn, to cast a glow resembling disappearance, slightly red,
will that fix it, will that make clear the task, the trellised ongoingness
and all these tiny purposes, these parables, this marketplace
of tightening truths?
Oh knit me that am crumpled dust,
the heap is all dispersed. Knit me that am. Say therefore. Say
philosophy and mean by that the pane.
Let us look out again. The yellow sky.
With black leaves rearranging it
|
Written by
Rg Gregory |
just as the dusk comes hooting
down through the shivering black leaves
of the swinging trees we (the brave ones
swaggering like marshalls through a lynch-mob)
crash-bang our way to the door
of the so-called haunted house
knock knock - kick in a pane of glass
and the dusk hoots louder in our ears
and the swinging trees ride like a mob
with murder in mind - knock knock -
the heavy knocker on the solid door
shaking the house - knock knock
knock knock - louder shaking our brave
bodies the heavy knocker of our hearts
knock knock - knock knock knock
we laugh with a harsh laughter we
have never heard before push and shove
each other in a boisterous fear
lean on heave crash open the door
fall in a heap inside - pick ourselves up
courageous still giggling and bruised.....
shush
find words bounce our voices off the walls....
shush shush
yell catcalls scream shriek roar
batter and shatter.....
shush shush shush
oh shush yourselves
no really - shush
in the air
under the stair
what can we hear
shush
are you getting scared
we knew it
we knew that if we dared....
we can hear noises
noises noises
in an empty house
the sound of our voices
echoes in crevices
rattles in doorways booms
in the hollowness of empty rooms
no that isn't all
that doesn't explain
the tall hooded silence
standing in the hall
or the whispering smell
of dust bristling the floor
scurrying like the dried-up
bones of mice to the hole
in the crumbling wall
something snatches our voices
away from us too quickly
for our voices to be all
nonsense the house is dead
it can't harm us old bricks and wood
you're letting the darkness go to your head
shout if you don't believe us shout
if anybody's there
if anybody's there
you won't get us afraid of you
whoever you are
whoever you are
this is what we think of you
boo boo boo
what's wrong
what's wrong
tell us what's wrong
listen
nothing
no nothing at all
your voices went
but they didn't return
you called
but nothing came back at all
there's something there
swallowing up words
absorbing them into air
heavy waiting alert
(daddy-longlegs pitch on skin
sinister fingers whisper
through the roots of our hair....)
....we're not afraid of you
nothing nobody
we know you're there
what is it at the end of the passage
in the gloom by the still door
eyeing without eyes everything we do
sucking us in with its black stare
you think it's funny don't you
trying to frighten us keeping out of sight
come out here if you're anything - we'll show you
arms move suddenly along the wall
the moon riding hard on foaming clouds
stands solid in the door
and it's not a good moon at all
why did we come
we should have stayed home
but here we are in an evil room
trapped between the witchcraft of an empty house
and the cold hard grin of the moon
i'm going in
you can't
i must
you'll become air
a heavy silence
a dance of dust
there's nothing there
nothing nothing there
he gives a brave laugh
but a laugh drained of blood
and moves down the passage
to the masked door
hesitates and turns
wanting our support
frightened to his heart's core
steps no - is drawn - backwards
into a black space rapidly
dissolving in our misted eyes
we half-hear a short gasp - no more
the moon's grin is louder
as (on his restless clouds)
he bucks about the sky
no one returns to us
and in the morning
(rooted in fear
we could not leave the place
but spent the night
huddled in one big stack
in the frozen hall)
and in the morning
we find not a single trace
of the friend who went
as simply as any word
into thin air
|
Written by
Lucille Clifton |
1
the legend is whispered
in the women's tent
how the moon when she rises
full
follows some men into themselves
and changes them there
the season is short
but dreadful shapeshifters
they wear strange hands
they walk through the houses
at night their daughters
do not know them
2
who is there to protect her
from the hands of the father
not the windows which see and
say nothing not the moon
that awful eye not the woman
she will become with her
scarred tongue who who who the owl
laments into the evening who
will protect her this prettylittlegirl
3
if the little girl lies
still enough
shut enough
hard enough
shapeshifter may not
walk tonight
the full moon may not
find him here
the hair on him
bristling
rising
up
4
the poem at the end of the world
is the poem the little girl breathes
into her pillow the one
she cannot tell the one
there is no one to hear this poem
is a political poem is a war poem is a
universal poem but is not about
these things this poem
is about one human heart this poem
is the poem at the end of the world
Credit: Copyright © 1987 by Lucille Clifton. Reprinted with the permission of BOA Editions, Ltd., www.boaeditions.org.
|
Written by
Elizabeth Bishop |
Earliest morning, switching all the tracks
that cross the sky from cinder star to star,
coupling the ends of streets
to trains of light.
now draw us into daylight in our beds;
and clear away what presses on the brain:
put out the neon shapes
that float and swell and glare
down the gray avenue between the eyes
in pinks and yellows, letters and twitching signs.
Hang-over moons, wane, wane!
From the window I see
an immense city, carefully revealed,
made delicate by over-workmanship,
detail upon detail,
cornice upon facade,
reaching up so languidly up into
a weak white sky, it seems to waver there.
(Where it has slowly grown
in skies of water-glass
from fused beads of iron and copper crystals,
the little chemical "garden" in a jar
trembles and stands again,
pale blue, blue-green, and brick.)
The sparrows hurriedly begin their play.
Then, in the West, "Boom!" and a cloud of smoke.
"Boom!" and the exploding ball
of blossom blooms again.
(And all the employees who work in a plants
where such a sound says "Danger," or once said "Death,"
turn in their sleep and feel
the short hairs bristling
on backs of necks.) The cloud of smoke moves off.
A shirt is taken of a threadlike clothes-line.
Along the street below
the water-wagon comes
throwing its hissing, snowy fan across
peelings and newspapers. The water dries
light-dry, dark-wet, the pattern
of the cool watermelon.
I hear the day-springs of the morning strike
from stony walls and halls and iron beds,
scattered or grouped cascades,
alarms for the expected:
***** cupids of all persons getting up,
whose evening meal they will prepare all day,
you will dine well
on his heart, on his, and his,
so send them about your business affectionately,
dragging in the streets their unique loves.
Scourge them with roses only,
be light as helium,
for always to one, or several, morning comes
whose head has fallen over the edge of his bed,
whose face is turned
so that the image of
the city grows down into his open eyes
inverted and distorted. No. I mean
distorted and revealed,
if he sees it at all.
|
Written by
Elizabeth Bishop |
[On my birthday]
At low tide like this how sheer the water is.
White, crumbling ribs of marl protrude and glare
and the boats are dry, the pilings dry as matches.
Absorbing, rather than being absorbed,
the water in the bight doesn't wet anything,
the color of the gas flame turned as low as possible.
One can smell it turning to gas; if one were Baudelaire
one could probably hear it turning to marimba music.
The little ocher dredge at work off the end of the dock
already plays the dry perfectly off-beat claves.
The birds are outsize. Pelicans crash
into this peculiar gas unnecessarily hard,
it seems to me, like pickaxes,
rarely coming up with anything to show for it,
and going off with humorous elbowings.
Black-and-white man-of-war birds soar
on impalpable drafts
and open their tails like scissors on the curves
or tense them like wishbones, till they tremble.
The frowsy sponge boats keep coming in
with the obliging air of retrievers,
bristling with jackstraw gaffs and hooks
and decorated with bobbles of sponges.
There is a fence of chicken wire along the dock
where, glinting like little plowshares,
the blue-gray shark tails are hung up to dry
for the Chinese-restaurant trade.
Some of the little white boats are still piled up
against each other, or lie on their sides, stove in,
and not yet salvaged, if they ever will be, from the last bad storm,
like torn-open, unanswered letters.
The bight is littered with old correspondences.
Click. Click. Goes the dredge,
and brings up a dripping jawful of marl.
All the untidy activity continues,
awful but cheerful.
|
Written by
Robert Burns |
THOU, Nature, partial Nature, I arraign;
Of thy caprice maternal I complain.
The peopled fold thy kindly care have found,
The hornèd bull, tremendous, spurns the ground;
The lordly lion has enough and more,
The forest trembles at his very roar;
Thou giv’st the ass his hide, the snail his shell,
The puny wasp, victorious, guards his cell.
Thy minions, kings defend, controul devour,
In all th’ omnipotence of rule and power:
Foxes and statesmen subtle wiles ensure;
The cit and polecat stink, and are secure:
Toads with their poison, doctors with their drug,
The priest and hedgehog, in their robes, are snug:
E’en silly women have defensive arts,
Their eyes, their tongues—and nameless other parts.
But O thou cruel stepmother and hard,
To thy poor fenceless, naked child, the Bard!
A thing unteachable in worldly skill,
And half an idiot too, more helpless still:
No heels to bear him from the op’ning dun,
No claws to dig, his hated sight to shun:
No horns, but those by luckless Hymen worn,
And those, alas! not Amalthea’s horn:
No nerves olfact’ry, true to Mammon’s foot,
Or grunting, grub sagacious, evil’s root:
The silly sheep that wanders wild astray,
Is not more friendless, is not more a prey;
Vampyre-booksellers drain him to the heart,
And viper-critics cureless venom dart.
Critics! appll’d I venture on the name,
Those cut-throat bandits in the paths of fame,
Bloody dissectors, worse than ten Monroes,
He hacks to teach, they mangle to expose:
By blockhead’s daring into madness stung,
His heart by wanton, causeless malice wrung,
His well-won ways-than life itself more dear—
By miscreants torn who ne’er one sprig must wear;
Foil’d, bleeding, tortur’d in th’ unequal strife,
The hapless Poet flounces on through life,
Till, fled each hope that once his bosom fired,
And fled each Muse that glorious once inspir’d,
Low-sunk in squalid, unprotected age,
Dead even resentment for his injur’d page,
He heeds no more the ruthless critics’ rage.
So by some hedge the generous steed deceas’d,
For half-starv’d, snarling curs a dainty feast;
By toil and famine worn to skin and bone,
Lies, senseless of each tugging *****’s son.
· · · · · · A little upright, pert, tart, tripping wight,
And still his precious self his dear delight;
Who loves his own smart shadow in the streets,
Better than e’er the fairest she he meets;
Much specious lore, but little understood,
(Veneering oft outshines the solid wood),
His solid sense, by inches you must tell,
But mete his cunning by the Scottish ell!
A man of fashion too, he made his tour,
Learn’d “vive la bagatelle et vive l’amour;”
So travell’d monkeys their grimace improve,
Polish their grin-nay, sigh for ladies’ love!
His meddling vanity, a busy fiend,
Still making work his selfish craft must mend.
· · · · · · · · · · · · · · · Crochallan came,
The old cock’d hat, the brown surtout—the same;
His grisly beard just bristling in its might—
’Twas four long nights and days from shaving-night;
His uncomb’d, hoary locks, wild-staring, thatch’d
A head, for thought profound and clear, unmatch’d;
Yet, tho’ his caustic wit was biting-rude,
His heart was warm, benevolent and good.
· · · · · · O Dulness, portion of the truly blest!
Calm, shelter’d haven of eternal rest!
Thy sons ne’er madden in the fierce extremes
Of Fortune’s polar frost, or torrid beams;
If mantling high she fills the golden cup,
With sober, selfish ease they sip it up;
Conscious the bounteous meed they well deserve,
They only wonder “some folks” do not starve!
The grave, sage hern thus easy picks his frog,
And thinks the mallard a sad worthless dog.
When disappointment snaps the thread of Hope,
When, thro’ disastrous night, they darkling grope,
With deaf endurance sluggishly they bear,
And just conclude that “fools are Fortune’s care:”
So, heavy, passive to the tempest’s shocks,
Strong on the sign-post stands the stupid ox.
Not so the idle Muses’ mad-cap train,
Not such the workings of their moon-struck brain;
In equanimity they never dwell,
By turns in soaring heaven, or vaulted hell!
|
Written by
Dame Edith Sitwell |
WHEN cold December
Froze to grisamber
The jangling bells on the sweet rose-trees--
Then fading slow
And furred is the snow
As the almond's sweet husk--
And smelling like musk.
The snow amygdaline
Under the eglantine
Where the bristling stars shine
Like a gilt porcupine--
The snow confesses
The little Princesses
On their small chioppines
Dance under the orpines.
See the casuistries
Of their slant fluttering eyes--
Gilt as the zodiac
(Dancing Herodiac).
Only the snow slides
Like gilded myrrh--
From the rose-branches--hides
Rose-roots that stir.
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Written by
Eugene Field |
(A BALLAD IN THE ANGLO-SAXON TONGUE)
When to the dreary greenwood gloam
Winfreda's husband strode that day,
The fair Winfreda bode at home
To toil the weary time away;
"While thou art gone to hunt," said she,
"I'll brew a goodly sop for thee."
Lo, from a further, gloomy wood,
A hungry wolf all bristling hied
And on the cottage threshold stood
And saw the dame at work inside;
And, as he saw the pleasing sight,
He licked his fangs so sharp and white.
Now when Winfreda saw the beast,
Straight at the grinning wolf she ran,
And, not affrighted in the least,
She hit him with her cooking pan,
And as she thwacked him on the head--
"Scat! scat!" the fair Winfreda said.
The hills gave answer to their din--
The brook in fear beheld the sight.
And all that bloody field within
Wore token of Winfreda's might.
The wolf was very loath to stay--
But, oh! he could not get away.
Winfreda swept him o'er the wold
And choked him till his gums were blue,
And till, beneath her iron hold,
His tongue hung out a yard or two,
And with his hair the riven ground
Was strewn for many leagues around.
They fought a weary time that day,
And seas of purple blood were shed,
Till by Winfreda's cunning lay
That awful wolf all limp and dead;
Winfreda saw him reel and drop--
Then back she went to brewing sop.
So when the husband came at night
From bootless chase, cold, gaunt, and grim,
Great was that Saxon lord's delight
To find the sop dished up for him;
And as he ate, Winfreda told
How she had laid the wolf out cold.
The good Winfreda of those days
Is only "pretty Birdie" now--
Sickly her soul and weak her ways--
And she, to whom we Saxons bow,
Leaps on a bench and screams with fright
If but a mouse creeps into sight.
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