Written by
Lewis Carroll |
Little maidens, when you look
On this little story-book,
Reading with attentive eye
Its enticing history,
Never think that hours of play
Are your only HOLIDAY,
And that in a HOUSE of joy
Lessons serve but to annoy:
If in any HOUSE you find
Children of a gentle mind,
Each the others pleasing ever--
Each the others vexing never--
Daily work and pastime daily
In their order taking gaily--
Then be very sure that they
Have a life of HOLIDAY.
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Written by
Ogden Nash |
People live forever in Jacksonville and St. Petersburg and Tampa,
But you don't have to live forever to become a grampa.
The entrance requirements for grampahood are comparatively mild,
You only have to live until your child has a child.
From that point on you start looking both ways over your shoulder,
Because sometimes you feel thirty years younger and sometimes
thirty years older.
Now you begin to realize who it was that reached the height of
imbecility,
It was whoever said that grandparents have all the fun and none of
the responsibility.
This is the most enticing spiderwebs of a tarradiddle ever spun,
Because everybody would love to have a baby around who was no
responsibility and lots of fun,
But I can think of no one but a mooncalf or a gaby
Who would trust their own child to raise a baby.
So you have to personally superintend your grandchild from diapers
to pants and from bottle to spoon,
Because you know that your own child hasn't sense enough to come
in out of a typhoon.
You don't have to live forever to become a grampa, but if you do
want to live forever,
Don't try to be clever;
If you wish to reach the end of the trail with an uncut throat,
Don't go around saying Quote I don't mind being a grampa but I
hate being married to a gramma Unquote.
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Written by
A S J Tessimond |
Cats no less liquid than their shadows
Offer no angles to the wind.
They slip, diminished, neat through loopholes
Less than themselves; will not be pinned
To rules or routes for journeys; counter
Attack with non-resistance; twist
Enticing through the curving fingers
And leave an angered empty fist.
They wait obsequious as darkness
Quick to retire, quick to return;
Admit no aim or ethics; flatter
With reservations; will not learn
To answer to their names; are seldom
Truly owned till shot or skinned.
Cats no less liquid than their shadows
Offer no angles to the wind.
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Written by
Andrew Marvell |
C.
Damon come drive thy flocks this way.
D.
No : 'tis too late they went astray.
C.
I have a grassy Scutcheon spy'd,
Where Flora blazons all her pride.
The grass I aim to feast thy Sheep :
The Flow'rs I for thy Temples keep.
D.
Grass withers; and the Flow'rs too fade.
C.
Seize the short Joyes then, ere they vade.
Seest thou that unfrequented Cave ?
D.
That den?
C.
Loves Shrine.
D.
But Virtue's Grave.
C.
In whose cool bosome we may lye
Safe from the Sun.
D.
Not Heaven's Eye.
C.
Near this, a Fountaines liquid Bell
Tinkles within the concave Shell.
D.
Might a Soul bath there and be clean,
Or slake its Drought?
C.
What is 't you mean?
D.
These once had been enticing things,
Clorinda, Pastures, Caves, and Springs.
C.
And what late change?
D.
The other day
Pan met me.
C.
What did great Pan say?
D.
Words that transcend poor Shepherds skill,
But he ere since my Songs does fill:
And his Name swells my slender Oate.
C.
Sweet must Pan sound in Damons Note.
D.
Clorinda's voice might make it sweet.
C.
Who would not in Pan's Praises meet ?
Chorus
Of Pan the flowry pastures sing,
Caves eccho and the Fountains ring.
Sing then while he doth us inspire;
For all the world is our Pan's Quire.
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Written by
Aleksandr Blok |
In your hidden memories
There are fatal tidings of doom...
A curse on sacred traditions,
A desecration of happiness;
And a power so alluring
That I am ready to repeat the rumour
That you have brought angels down from heaven,
Enticing them with your beauty...
And when you mock at faith,
That pale, greyish-purple halo
Which I once saw before
Suddenly begins to shine above you.
Are you evil or good? You are altogether from another world
They say strange things about you
For some you are the Muse and a miracle.
For me you are torment and hell.
I do not know why in the hour of dawn,
When no strength was left to me,
I did not perish, but caught sight of your face
And begged you to comfort me.
I wanted us to be enemies;
Why then did you make me a present
Of a flowery meadow and of the starry firmament --
The whole curse of your beauty?
Your fearful caresses were more treacherous
Than the northern night,
More intoxicating than the golden champagne of Aï,
Briefer than a gypsy woman's love...
And there was a fatal pleasure
In trampling on cherished and holy things;
And this passion, bitter as wormwood,
Was a frenzied delight for the heart!
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Written by
Rg Gregory |
when they look into his mind they find a hill town
somewhat surprised they go off to their learned books
outside (architecturally) he’d seems a little wind-blown
not special – a common sort of shackman by his looks
not the sure kind to want the sun to get its hooks
into his self-containment (his bunched-up notions)
thoughts crammed like the heads of ripened corn in stooks
who has a well-stocked feel – runs deep but no commotions
cool as a many-crypted church at its devotions
the learned books do say something about deception
how when you pass him in the street his back is turned
as if (of who you are) he harbours no conception
so you (of him) though wary cannot be that concerned
appearances appearances (its kudos earned)
the book crows - being too aware of inside-outs
knowing full well the volte-face nature of the scorned
the dullest horses may best play havoc with the touts
nor hillside towns dispel the speeding tourist’s doubts
you have to turn off - want to know what’s their attraction
to nose into narrow ways (climb through streaks of sun
and deep sharp shadow - such a lung’s exaction)
to catch a sense of busy life close to the bone
worn tracks between doors (waft of voices) eyes in stone
smells of food (enticing) splashes of unleashed wine
water rills carrying old bridges (a faint drone
descending like a bee-swarm) courtyards – a cool shrine
a sudden market’s noise (a local-produce mine)
and then the topmost square with church or water towers
a dance of bustling shops and sparkling language banter
and every crevice cranny bosoming out with flowers
a busy-ness of purpose and a heart’s enchanter
(the sun distributes gold – allows the blood to saunter)
the bricks of buildings glow with centuries of nous
as though the wisest grape best pours from this decanter
both tempered peace and passion welter in its throes
and fountain sprays refract what such life knows
so with the man – whose innerness the world at large
shuts out or rushes past (its own deep rifts demanding)
but to himself (in that dark realm where he’s in charge)
with all his senses geared to sapience longstanding
there’s not a day goes by without his flairs expanding
in every passageway his mind has set up stalls
and diverse thoughts and voices do their blending
so what that he (from outside rush and guff) withdraws
he and the hilltown share each other’s stilled applause
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Written by
Duncan Campbell Scott |
Set within a desert lone,
Circled by an arid sea,
Stands a figure carved in stone,
Where a fountain used to be.
Two abraded, pleading hands
Held below a shapeless mouth,
Human-like the fragment stands,
Tortured by perpetual drouth.
Once the form was drenched with spray,
Deluged with the rainbow flushes;
Surplus water dashed away
To the lotus and the rushes.
Time was clothed in rippling fashion,.
Opulence of light and air,
Beauty changing into passion
Every hour and everywhere.
And the yearning of that race
Was for something deep and tender,
Life replete with power, with grace,
Touched with vision and with splendour.
Now no rain dissolves and cools,
Dew is even as a dream,
The enticing far-off pools
In a mirage only seem.
All the traces that remain,
Of the longings of that land,
Are two hands that plead in vain
Filled with burning sand.
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Written by
John Gould Fletcher |
NOW the lusty spring is seen;
Golden yellow, gaudy blue,
Daintily invite the view:
Everywhere on every green
Roses blushing as they blow,
And enticing men to pull,
Lilies whiter than the snow,
Woodbines of sweet honey full:
All love's emblems, and all cry,
'Ladies, if not pluck'd, we die.'
Yet the lusty spring hath stay'd;
Blushing red and purest white
Daintily to love invite
Every woman, every maid:
Cherries kissing as they grow,
And inviting men to taste,
Apples even ripe below,
Winding gently to the waist:
All love's emblems, and all cry,
'Ladies, if not pluck'd, we die.'
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Written by
Robert Browning |
ANCIEN REGIME
I
Now that I, tying thy glass mask tightly,
May gaze through these faint smokes curling whitely,
As thou pliest thy trade in this devil's-smithy—
Which is the poison to poison her, prithee?
II
He is with her; and they know that I know
Where they are, what they do: they believe my tears flow
While they laugh, laugh at me, at me fled to the drear
Empty church, to pray God in, for them!—I am here.
III
Grind away, moisten and mash up thy paste,
Pound at thy powder,—I am not in haste!
Better sit thus, and observe thy strange things,
Than go where men wait me and dance at the King's.
IV
That in the mortar—you call it a gum?
Ah, the brave tree whence such gold oozings come!
And yonder soft phial, the exquisite blue,
Sure to taste sweetly,—is that poison too?
V
Had I but all of them, thee and thy treasures,
What a wild crowd of invisible pleasures!
To carry pure death in an earring, a casket,
A signet, a fan-mount, a filigree-basket!
VI
Soon, at the King's, a mere lozenge to give,
And Pauline should have just thirty minutes to live!
But to light a pastille, and Elise, with her head,
And her breast, and her arms, and her hands, should drop dead!
VII
Quick—is it finished? The colour's too grim!
Why not soft like the phial's, enticing and dim?
Let it brighten her drink, let her turn it and stir,
And try it and taste, ere she fix and prefer!
VIII
What a drop! She's not little, no minion like me—
That's why she ensnared him: this never will free
The soul from those strong, great eyes,—say, "No!"
To that pulse's magnificent come-and-go.
IX
For only last night, as they whispered, I brought
My own eyes to bear on her so, that I thought
Could I keep them one-half minute fixed, she would fall,
Shrivelled; she fell not; yet this does it all!
X
Not that I bid you spare her the pain!
Let death be felt and the proof remain;
Brand, burn up, bite into its grace—
He is sure to remember her dying face!
XI
Is it done? Take my mask off! Nay, be not morose,
It kills her, and this prevents seeing it close:
The delicate droplet, my whole fortune's fee—
If it hurts her, beside, can it ever hurt me?
XII
Now, take all my jewels, gorge gold to your fill,
You may kiss me, old man, on my mouth if you will!
But brush this dust off me, lest horror it brings
Ere I know it—next moment I dance at the King's!
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Written by
Victor Hugo |
("A quoi bon entendre les oiseaux?")
{RUY BLAS, Act II.}
Oh, why not be happy this bright summer day,
'Mid perfume of roses and newly-mown hay?
Great Nature is smiling—the birds in the air
Sing love-lays together, and all is most fair.
Then why not be happy
This bright summer day,
'Mid perfume of roses
And newly-mown hay?
The streamlets they wander through meadows so fleet,
Their music enticing fond lovers to meet;
The violets are blooming and nestling their heads
In richest profusion on moss-coated beds.
Then why not be happy
This bright summer day,
When Nature is fairest
And all is so gay?
LEOPOLD WRAY.
{Footnote 1: Music composed by Elizabeth Philip.}
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