Written by
Emily Dickinson |
A bird came down the walk:
He did not know I saw;
He bit an angle-worm in halves
And ate the fellow, raw.
And then he drank a dew
From a convenient grass,
And then hopped sidewise to the wall
To let a beetle pass.
He glanced with rapid eyes
That hurried all abroad,--
They looked like frightened beads, I thought;
He stirred his velvet head
Like one in danger; cautious,
I offered him a crumb,
And he unrolled his feathers
And rowed him softer home
Than oars divide the ocean,
Too silver for a seam,
Or butterflies, off banks of noon,
Leap, splashless, as they swim.
|
Written by
Edwin Arlington Robinson |
(ALCAICS)
Confused, he found her lavishing feminine
Gold upon clay, and found her inscrutable;
And yet she smiled.
Why, then, should horrors
Be as they were, without end, her playthings?
And why were dead years hungrily telling her
Lies of the dead, who told them again to her?
If now she knew, there might be kindness
Clamoring yet where a faith lay stifled.
A little faith in him, and the ruinous
Past would be for time to annihilate,
And wash out, like a tide that washes
Out of the sand what a child has drawn there.
God, what a shining handful of happiness,
Made out of days and out of eternities,
Were now the pulsing end of patience—
Could he but have what a ghost had stolen!
What was a man before him, or ten of them,
While he was here alive who could answer them,
And in their teeth fling confirmations
Harder than agates against an egg-shell?
But now the man was dead, and would come again
Never, though she might honor ineffably
The flimsy wraith of him she conjured
Out of a dream with his wand of absence.
And if the truth were now but a mummery,
Meriting pride’s implacable irony,
So much the worse for pride.
Moreover,
Save her or fail, there was conscience always.
Meanwhile, a few misgivings of innocence,
Imploring to be sheltered and credited,
Were not amiss when she revealed them.
Whether she struggled or not, he saw them.
Also, he saw that while she was hearing him
Her eyes had more and more of the past in them;
And while he told what cautious honor
Told him was all he had best be sure of,
He wondered once or twice, inadvertently,
Where shifting winds were driving his argosies,
Long anchored and as long unladen,
Over the foam for the golden chances.
“If men were not for killing so carelessly,
And women were for wiser endurances,”
He said, “we might have yet a world here
Fitter for Truth to be seen abroad in;
“If Truth were not so strange in her nakedness,
And we were less forbidden to look at it,
We might not have to look.
” He stared then
Down at the sand where the tide threw forward
Its cold, unconquered lines, that unceasingly
Foamed against hope, and fell.
He was calm enough,
Although he knew he might be silenced
Out of all calm; and the night was coming.
“I climb for you the peak of his infamy
That you may choose your fall if you cling to it.
No more for me unless you say more.
All you have left of a dream defends you:
“The truth may be as evil an augury
As it was needful now for the two of us.
We cannot have the dead between us.
Tell me to go, and I go.
”—She pondered:
“What you believe is right for the two of us
Makes it as right that you are not one of us.
If this be needful truth you tell me,
Spare me, and let me have lies hereafter.
”
She gazed away where shadows were covering
The whole cold ocean’s healing indifference.
No ship was coming.
When the darkness
Fell, she was there, and alone, still gazing.
|
Written by
Robert Burns |
IS there a whim-inspirèd fool,
Owre fast for thought, owre hot for rule,
Owre blate to seek, owre proud to snool,
Let him draw near;
And owre this grassy heap sing dool,
And drap a tear.
Is there a bard of rustic song,
Who, noteless, steals the crowds among,
That weekly this area throng,
O, pass not by!
But, with a frater-feeling strong,
Here, heave a sigh.
Is there a man, whose judgment clear
Can others teach the course to steer,
Yet runs, himself, life’s mad career,
Wild as the wave,
Here pause—and, thro’ the starting tear,
Survey this grave.
The poor inhabitant below
Was quick to learn the wise to know,
And keenly felt the friendly glow,
And softer flame;
But thoughtless follies laid him low,
And stain’d his name!
Reader, attend! whether thy soul
Soars fancy’s flights beyond the pole,
Or darkling grubs this earthly hole,
In low pursuit:
Know, prudent, cautious, self-control
Is wisdom’s root.
|
Written by
Ogden Nash |
This is a song to celebrate banks,
Because they are full of money and you go into them and all
you hear is clinks and clanks,
Or maybe a sound like the wind in the trees on the hills,
Which is the rustling of the thousand dollar bills.
Most bankers dwell in marble halls,
Which they get to dwell in because they encourage deposits
and discourage withdrawals,
And particularly because they all observe one rule which woe
betides the banker who fails to heed it,
Which is you must never lend any money to anybody unless
they don't need it.
I know you, you cautious conservative banks!
If people are worried about their rent it is your duty to deny
them the loan of one nickel, yes, even one copper engraving
of the martyred son of the late Nancy Hanks;
Yes, if they request fifty dollars to pay for a baby you must
look at them like Tarzan looking at an uppity ape in the
jungle,
And tell them what do they think a bank is, anyhow, they had
better go get the money from their wife's aunt or ungle.
But suppose people come in and they have a million and they
want another million to pile on top of it,
Why, you brim with the milk of human kindness and you
urge them to accept every drop of it,
And you lend them the million so then they have two million
and this gives them the idea that they would be better off
with four,
So they already have two million as security so you have no
hesitation in lending them two more,
And all the vice-presidents nod their heads in rhythm,
And the only question asked is do the borrowers want the
money sent or do they want to take it withm.
Because I think they deserve our appreciation and thanks,
the jackasses who go around saying that health and happi-
ness are everything and money isn't essential,
Because as soon as they have to borrow some unimportant
money to maintain their health and happiness they starve
to death so they can't go around any more sneering at good
old money, which is nothing short of providential.
|
Written by
T S (Thomas Stearns) Eliot |
S’io credesse che mia risposta fosse
A persona che mai tornasse al mondo,
Questa fiamma staria senza piu scosse.
Ma perciocche giammai di questo fondo
Non torno vivo alcun, s’i’odo il vero,
Senza tema d’infamia ti rispondo.
Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherised upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question.
.
.
Oh, do not ask, "What is it?"
Let us go and make our visit.
In the room the women come and go
Talking of Michelangelo.
The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes,
Licked its tongue into the corners of the evening
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.
And indeed there will be time
For the yellow smoke that slides along the street
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate,
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.
In the room the women come and go
Talking of Michelangelo.
And indeed there will be time
To wonder, "Do I dare?" and, "Do I dare?"
Time to turn back and descend the stair,
With a bald spot in the middle of my hair—
(They will say: "How his hair is growing thin!")
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin—
(They will say: "But how his arms and legs are thin!")
Do I dare
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute win reverse.
For I have known them all already, known them all—
Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall
Beneath the music from a farther room.
So how should I presume?
And I have known the eyes already, known them all—
The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
Then how should I begin
To spit out all the butt-ends of my days and ways?
And how should I presume?
And I have known the arms already, known them all—
Arms that are braceleted and white and bare
(But in the lamplight, downed with light brown hair!)
Is it perfume from a dress
That makes me so digress?
Arms that lie along a table, or wrap about a shawl.
And should I then presume?
And how should I begin?
Shall I say, I have gone at dusk through narrow streets
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows?
I should have been a pair of ragged claws
Scuttling across the floors of silent seas.
.
.
.
.
.
And the afternoon, the evening, sleeps so peacefully!
Smoothed by long fingers,
Asleep .
.
.
tired .
.
.
or it malingers,
Stretched on the floor, here beside you and me.
Should I, after tea and cakes and ices,
Have the strength to force the moment to its crisis?
But though I have wept and fasted, wept and prayed,
Though I have seen my head (grown slightly bald) brought in
upon a platter,
I am no prophet-and here's no great matter;
I have seen the moment of my greatness flicker,
And I have seen the eternal Footman hold my coat, and snicker,
And in short, I was afraid.
And would it have been worth it, after all,
After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
Would it have been worth while,
To have bitten off the matter with a smile,
To have squeezed the universe into a ball
To roll it towards some overwhelming question,
To say: "I am Lazarus, come from the dead,
Come back to tell you all, I shall tell you all"—
If one, settling a pillow by her head,
Should say: "That is not what I meant at all.
That is not it, at all.
"
And would it have been worth it, after all,
Would it have been worth while,
After the sunsets and the dooryards and the sprinkled streets,
After the novels, after the teacups, after the skirts that trail along
the floor—
And this, and so much more?—
It is impossible to say just what I mean!
But as if a magic lantern threw the nerves in patterns on a
screen:
Would it have been worth while
If one, settling a pillow or throwing off a shawl,
And turning toward the window, should say:
"That is not it at all,
That is not what I meant, at all.
"
No! I am not Prince Hamlet, nor was meant to be;
Am an attendant lord, one that will do
To swell a progress, start a scene or two,
Advise the prince; no doubt, an easy tool
Deferential, glad to be of use,
Politic, cautious, and meticulous;
Full of high sentence, but a bit obtuse;
At times, indeed, almost ridiculous—
Almost, at times, the Fool.
I grow old .
.
.
I grow old .
.
.
I shall wear the bottoms of my trousers rolled.
Shall I part my hair behind? Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach.
I have heard the mermaids singing, each to each.
I do not think that they will sing to me.
I have seen them riding seaward on the waves
Combing the white hair of the waves blown back
When the wind blows the water white and black.
We have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown
Till human voices wake us, and we drown.
|
Written by
Jonathan Swift |
Five hours, (and who can do it less in?)
By haughty Celia spent in dressing;
The goddess from her chamber issues,
Arrayed in lace, brocades, and tissues.
Strephon, who found the room was void
And Betty otherwise employed,
Stole in and took a strict survey
Of all the litter as it lay;
Whereof, to make the matter clear,
An inventory follows here.
And first a dirty smock appeared,
Beneath the arm-pits well besmeared.
Strephon, the rogue, displayed it wide
And turned it round on every side.
On such a point few words are best,
And Strephon bids us guess the rest;
And swears how damnably the men lie
In calling Celia sweet and cleanly.
Now listen while he next produces
The various combs for various uses,
Filled up with dirt so closely fixt,
No brush could force a way betwixt.
A paste of composition rare,
Sweat, dandruff, powder, lead and hair;
A forehead cloth with oil upon't
To smooth the wrinkles on her front.
Here alum flower to stop the steams
Exhaled from sour unsavory streams;
There night-gloves made of Tripsy's hide,
Bequeath'd by Tripsy when she died,
With puppy water, beauty's help,
Distilled from Tripsy's darling whelp;
Here gallypots and vials placed,
Some filled with washes, some with paste,
Some with pomatum, paints and slops,
And ointments good for scabby chops.
Hard by a filthy basin stands,
Fouled with the scouring of her hands;
The basin takes whatever comes,
The scrapings of her teeth and gums,
A nasty compound of all hues,
For here she spits, and here she spews.
But oh! it turned poor Strephon's bowels,
When he beheld and smelt the towels,
Begummed, besmattered, and beslimed
With dirt, and sweat, and ear-wax grimed.
No object Strephon's eye escapes:
Here petticoats in frowzy heaps;
Nor be the handkerchiefs forgot
All varnished o'er with snuff and snot.
The stockings, why should I expose,
Stained with the marks of stinking toes;
Or greasy coifs and pinners reeking,
Which Celia slept at least a week in?
A pair of tweezers next he found
To pluck her brows in arches round,
Or hairs that sink the forehead low,
Or on her chin like bristles grow.
The virtues we must not let pass,
Of Celia's magnifying glass.
When frighted Strephon cast his eye on't
It shewed the visage of a giant.
A glass that can to sight disclose
The smallest worm in Celia's nose,
And faithfully direct her nail
To squeeze it out from head to tail;
(For catch it nicely by the head,
It must come out alive or dead.
)
Why Strephon will you tell the rest?
And must you needs describe the chest?
That careless wench! no creature warn her
To move it out from yonder corner;
But leave it standing full in sight
For you to exercise your spite.
In vain, the workman shewed his wit
With rings and hinges counterfeit
To make it seem in this disguise
A cabinet to vulgar eyes;
For Strephon ventured to look in,
Resolved to go through thick and thin;
He lifts the lid, there needs no more:
He smelt it all the time before.
As from within Pandora's box,
When Epimetheus oped the locks,
A sudden universal crew
Of humane evils upwards flew,
He still was comforted to find
That Hope at last remained behind;
So Strephon lifting up the lid
To view what in the chest was hid,
The vapours flew from out the vent.
But Strephon cautious never meant
The bottom of the pan to grope
And foul his hands in search of Hope.
O never may such vile machine
Be once in Celia's chamber seen!
O may she better learn to keep
"Those secrets of the hoary deep"!
As mutton cutlets, prime of meat,
Which, though with art you salt and beat
As laws of cookery require
And toast them at the clearest fire,
If from adown the hopeful chops
The fat upon the cinder drops,
To stinking smoke it turns the flame
Poisoning the flesh from whence it came;
And up exhales a greasy stench
For which you curse the careless wench;
So things which must not be exprest,
When plumpt into the reeking chest,
Send up an excremental smell
To taint the parts from whence they fell,
The petticoats and gown perfume,
Which waft a stink round every room.
Thus finishing his grand survey,
Disgusted Strephon stole away
Repeating in his amorous fits,
Oh! Celia, Celia, Celia shits!
But vengeance, Goddess never sleeping,
Soon punished Strephon for his peeping:
His foul Imagination links
Each dame he see with all her stinks;
And, if unsavory odors fly,
Conceives a lady standing by.
All women his description fits,
And both ideas jump like wits
By vicious fancy coupled fast,
And still appearing in contrast.
I pity wretched Strephon blind
To all the charms of female kind.
Should I the Queen of Love refuse
Because she rose from stinking ooze?
To him that looks behind the scene
Satira's but some pocky queen.
When Celia in her glory shows,
If Strephon would but stop his nose
(Who now so impiously blasphemes
Her ointments, daubs, and paints and creams,
Her washes, slops, and every clout
With which he makes so foul a rout),
He soon would learn to think like me
And bless his ravished sight to see
Such order from confusion sprung,
Such gaudy tulips raised from dung.
|
Written by
Annie Dillard |
New York: You take a train that rips through versts.
It feels as if the trains were running over your ears.
For many hours the train flies along the banks
of the Hudson about two feet from the water.
At the stops,
passengers run out, buy up bunches of celery,
and run back in, chewing the stalks as they go.
Bridges leap over the train with increasing frequency.
At each stop an additional story grows
onto the roofs.
Finally houses with squares
and dots of windows rise up.
No matter how far
you throw back your head, there are no tops.
Time and again, the telegraph poles are made
of wood.
Maybe it only seems that way.
In the narrow canyons between the buildings, a sort
of adventurer-wind howls and runs away
along the versts of the ten avenues.
Below
flows a solid human mass.
Only their yellow
waterproof slickers hiss like samovars and blaze.
The construction rises and with it the crane, as if
the building were being lifted up off the ground
by its pigtail.
It is hard to take it seriously.
The buildings are glowing with electricity; their evenly
cut-out windows are like a stencil.
Under awnings
the papers lie in heaps, delivered by trucks.
It is impossible to tear oneself away from this spectacle.
At midnight those leaving the theaters drink a last soda.
Puddles of rain stand cooling.
Poor people scavenge
bones.
In all directions is a labyrinth of trains
suffocated by vaults.
There is no hope, your eyes
are not accustomed to seeing such things.
They are starting to evolve an American gait out
of the cautious steps of the Indians on the paths of empty
Manhattan.
Maybe it only seems that way.
|
Written by
John Clare |
Up this green woodland-ride let's softly rove,
And list the nightingale— she dwells just here.
Hush ! let the wood-gate softly clap, for fear
The noise might drive her from her home of love ;
For here I've heard her many a merry year—
At morn, at eve, nay, all the live-long day,
As though she lived on song.
This very spot,
Just where that old-man's-beard all wildly trails
Rude arbours o'er the road, and stops the way—
And where that child its blue-bell flowers hath got,
Laughing and creeping through the mossy rails—
There have I hunted like a very boy,
Creeping on hands and knees through matted thorn
To find her nest, and see her feed her young.
And vainly did I many hours employ :
All seemed as hidden as a thought unborn.
And where those crimping fern-leaves ramp among
The hazel's under boughs, I've nestled down,
And watched her while she sung ; and her renown
Hath made me marvel that so famed a bird
Should have no better dress than russet brown.
Her wings would tremble in her ecstasy,
And feathers stand on end, as 'twere with joy,
And mouth wide open to release her heart
Of its out-sobbing songs.
The happiest part
Of summer's fame she shared, for so to me
Did happy fancies shapen her employ ;
But if I touched a bush, or scarcely stirred,
All in a moment stopt.
I watched in vain :
The timid bird had left the hazel bush,
And at a distance hid to sing again.
Lost in a wilderness of listening leaves,
Rich Ecstasy would pour its luscious strain,
Till envy spurred the emulating thrush
To start less wild and scarce inferior songs ;
For while of half the year Care him bereaves,
To damp the ardour of his speckled breast ;
The nightingale to summer's life belongs,
And naked trees, and winter's nipping wrongs,
Are strangers to her music and her rest.
Her joys are evergreen, her world is wide—
Hark! there she is as usual— let's be hush—
For in this black-thorn clump, if rightly guest,
Her curious house is hidden.
Part aside
These hazel branches in a gentle way,
And stoop right cautious 'neath the rustling boughs,
For we will have another search to day,
And hunt this fern-strewn thorn-clump round and round ;
And where this reeded wood-grass idly bows,
We'll wade right through, it is a likely nook :
In such like spots, and often on the ground,
They'll build, where rude boys never think to look—
Aye, as I live ! her secret nest is here,
Upon this white-thorn stump ! I've searched about
For hours in vain.
There! put that bramble by—
Nay, trample on its branches and get near.
How subtle is the bird ! she started out,
And raised a plaintive note of danger nigh,
Ere we were past the brambles ; and now, near
Her nest, she sudden stops— as choking fear,
That might betray her home.
So even now
We'll leave it as we found it : safety's guard
Of pathless solitudes shall keep it still.
See there! she's sitting on the old oak bough,
Mute in her fears ; our presence doth retard
Her joys, and doubt turns every rapture chill.
Sing on, sweet bird! may no worse hap befall
Thy visions, than the fear that now deceives.
We will not plunder music of its dower,
Nor turn this spot of happiness to thrall ;
For melody seems hid in every flower,
That blossoms near thy home.
These harebells all
Seem bowing with the beautiful in song ;
And gaping cuckoo-flower, with spotted leaves,
Seems blushing of the singing it has heard.
How curious is the nest ; no other bird
Uses such loose materials, or weaves
Its dwelling in such spots : dead oaken leaves
Are placed without, and velvet moss within,
And little scraps of grass, and, scant and spare,
What scarcely seem materials, down and hair ;
For from men's haunts she nothing seems to win.
Yet Nature is the builder, and contrives
Homes for her children's comfort, even here ;
Where Solitude's disciples spend their lives
Unseen, save when a wanderer passes near
That loves such pleasant places.
Deep adown,
The nest is made a hermit's mossy cell.
Snug lie her curious eggs in number five,
Of deadened green, or rather olive brown ;
And the old prickly thorn-bush guards them well.
So here we'll leave them, still unknown to wrong,
As the old woodland's legacy of song.
|
Written by
Kahlil Gibran |
Spring
Come, my beloved; let us walk amidst the knolls,
For the snow is water, and Life is alive from its
Slumber and is roaming the hills and valleys.
Let us follow the footprints of Spring into the
Distant fields, and mount the hilltops to draw
Inspiration high above the cool green plains.
Dawn of Spring has unfolded her winter-kept garment
And placed it on the peach and citrus trees; and
They appear as brides in the ceremonial custom of
the Night of Kedre.
The sprigs of grapevine embrace each other like
Sweethearts, and the brooks burst out in dance
Between the rocks, repeating the song of joy;
And the flowers bud suddenly from the heart of
Nature, like foam from the rich heart of the sea.
Come, my beloved; let us drink the last of Winter's
Tears from the cupped lilies, and soothe our spirits
With the shower of notes from the birds, and wander
In exhilaration through the intoxicating breeze.
Let us sit by that rock, where violets hide; let us
Pursue their exchange of the sweetness of kisses.
Summer
Let us go into the fields, my beloved, for the
Time of harvest approaches, and the sun's eyes
Are ripening the grain.
Let us tend the fruit of the earth, as the
Spirit nourishes the grains of Joy from the
Seeds of Love, sowed deep in our hearts.
Let us fill our bins with the products of
Nature, as life fills so abundantly the
Domain of our hearts with her endless bounty.
Let us make the flowers our bed, and the
Sky our blanket, and rest our heads together
Upon pillows of soft hay.
Let us relax after the day's toil, and listen
To the provoking murmur of the brook.
Autumn
Let us go and gather grapes in the vineyard
For the winepress, and keep the wine in old
Vases, as the spirit keeps Knowledge of the
Ages in eternal vessels.
Let us return to our dwelling, for the wind has
Caused the yellow leaves to fall and shroud the
Withering flowers that whisper elegy to Summer.
Come home, my eternal sweetheart, for the birds
Have made pilgrimage to warmth and lest the chilled
Prairies suffering pangs of solitude.
The jasmine
And myrtle have no more tears.
Let us retreat, for the tired brook has
Ceased its song; and the bubblesome springs
Are drained of their copious weeping; and
Their cautious old hills have stored away
Their colorful garments.
Come, my beloved; Nature is justly weary
And is bidding her enthusiasm farewell
With quiet and contented melody.
Winter
Come close to me, oh companion of my full life;
Come close to me and let not Winter's touch
Enter between us.
Sit by me before the hearth,
For fire is the only fruit of Winter.
Speak to me of the glory of your heart, for
That is greater than the shrieking elements
Beyond our door.
Bind the door and seal the transoms, for the
Angry countenance of the heaven depresses my
Spirit, and the face of our snow-laden fields
Makes my soul cry.
Feed the lamp with oil and let it not dim, and
Place it by you, so I can read with tears what
Your life with me has written upon your face.
Bring Autumn's wine.
Let us drink and sing the
Song of remembrance to Spring's carefree sowing,
And Summer's watchful tending, and Autumn's
Reward in harvest.
Come close to me, oh beloved of my soul; the
Fire is cooling and fleeing under the ashes.
Embrace me, for I fear loneliness; the lamp is
Dim, and the wine which we pressed is closing
Our eyes.
Let us look upon each other before
They are shut.
Find me with your arms and embrace me; let
Slumber then embrace our souls as one.
Kiss me, my beloved, for Winter has stolen
All but our moving lips.
You are close by me, My Forever.
How deep and wide will be the ocean of Slumber,
And how recent was the dawn!
|
Written by
Vachel Lindsay |
MOVING-PICTURE ACTRESS
(After seeing the reel called "Oil and Water.
")
Beauty has a throne-room
In our humorous town,
Spoiling its hob-goblins,
Laughing shadows down.
Rank musicians torture
Ragtime ballads vile,
But we walk serenely
Down the odorous aisle.
We forgive the squalor
And the boom and squeal
For the Great Queen flashes
From the moving reel.
Just a prim blonde stranger
In her early day,
Hiding brilliant weapons,
Too averse to play,
Then she burst upon us
Dancing through the night.
Oh, her maiden radiance,
Veils and roses white.
With new powers, yet cautious,
Not too smart or skilled,
That first flash of dancing
Wrought the thing she willed:—
Mobs of us made noble
By her strong desire,
By her white, uplifting,
Royal romance-fire.
Though the tin piano
Snarls its tango rude,
Though the chairs are shaky
And the dramas crude,
Solemn are her motions,
Stately are her wiles,
Filling oafs with wisdom,
Saving souls with smiles;
'Mid the restless actors
She is rich and slow.
She will stand like marble,
She will pause and glow,
Though the film is twitching,
Keep a peaceful reign,
Ruler of her passion,
Ruler of our pain!
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