Written by
Robert William Service |
So easy 'tis to make a rhyme,
That did the world but know it,
Your coachman might Parnassus climb,
Your butler be a poet.
Then, oh, how charming it would be
If, when in haste hysteric
You called the page, you learned that he
Was grappling with a lyric.
Or else what rapture it would yield,
When cook sent up the salad,
To find within its depths concealed
A touching little ballad.
Or if for tea and toast you yearned,
What joy to find upon it
The chambermaid had coyly laid
A palpitating sonnet.
Your baker could the fashion set;
Your butcher might respond well;
With every tart a triolet,
With every chop a rondel.
Your tailor's bill . . . well, I'll be blowed!
Dear chap! I never knowed him . . .
He's gone and written me an ode,
Instead of what I owed him.
So easy 'tis to rhyme . . . yet stay!
Oh, terrible misgiving!
Please do not give the game away . . .
I've got to make my living.
|
Written by
Sidney Lanier |
Sometimes in morning sunlights by the river
Where in the early fall long grasses wave,
Light winds from over the moorland sink and shiver
And sigh as if just blown across a grave.
And then I pause and listen to this sighing.
I look with strange eyes on the well-known stream.
I hear wild birth-cries uttered by the dying.
I know men waking who appear to dream.
Then from the water-lilies slow uprises
The still vast face of all the life I know,
Changed now, and full of wonders and surprises,
With fire in eyes that once were glazed with snow.
Fair now the brows old Pain had erewhile wrinkled,
And peace and strength about the calm mouth dwell.
Clean of the ashes that Repentance sprinkled,
The meek head poises like a flower-bell.
All the old scars of wanton wars are vanished;
And what blue bruises grappling Sense had left
And sad remains of redder stains are banished,
And the dim blotch of heart-committed theft.
O still vast vision of transfigured features
Unvisited by secret crimes or dooms,
Remain, remain amid these water-creatures,
Stand, shine among yon water-lily blooms.
For eighteen centuries ripple down the river,
And windy times the stalks of empires wave,
-- Let the winds come from the moor and sigh and shiver,
Fain, fain am I, O Christ, to pass the grave.
|
Written by
Jorie Graham |
I have put on my great coat it is cold.
It is an outer garment.
Coarse, woolen.
Of unknown origin.
*
It has a fine inner lining but it is
as an exterior that you see it — a grace.
*
I have a coat I am wearing. It is a fine admixture.
The woman who threw the threads in the two directions
has made, skillfully, something dark-true,
as the evening calls the bird up into
the branches of the shaven hedgerows,
to twitter bodily
a makeshift coat — the boxelder cut back stringently by the owner
that more might grow next year, and thicker, you know —
the birds tucked gestures on the inner branches —
and space in the heart,
not shade-giving, not
chronological...Oh transformer, logic, where are you here in this fold,
my name being called-out now but back, behind,
in the upper world....
*
I have a coat I am wearing I was told to wear it.
Someone knelt down each morning to button it up.
I looked at their face, down low, near me.
What is longing? what is a star?
Watched each button a peapod getting tucked back in.
Watched harm with its planeloads folded up in the sleeves.
Watched grappling hooks trawl through the late-night waters.
Watched bands of stations scan unable to ascertain.
There are fingers, friend, that never grow sluggish.
They crawl up the coat and don't miss an eyehole.
Glinting in kitchenlight.
Supervised by the traffic god.
Hissed at by grassblades that wire-up outside
their stirring rhetoric — this is your land, this is my my —
*
You do understanding, don't you, by looking?
The coat, which is itself a ramification, a city,
floats vulnerably above another city, ours,
the city on the hill (only with hill gone),
floats in illustration
of what once was believed, and thus was visible —
(all things believed are visible) —
floats a Jacob's ladder with hovering empty arms, an open throat,
a place where a heart might beat if it wishes,
pockets that hang awaiting the sandy whirr of a small secret,
folds where the legs could be, with their kneeling mechanism,
the floating fatigue of an after-dinner herald,
not guilty of any treason towards life except fatigue,
a skillfully cut coat, without chronology,
filled with the sensation of being suddenly completed —
as then it is, abruptly, the last stitch laid in, the knot bit off —
hung there in Gravity, as if its innermost desire,
numberless the awaitings flickering around it,
the other created things also floating but not of the same order, no,
not like this form, built so perfectly to mantle the body,
the neck like a vase awaiting its cut flower,
a skirting barely visible where the tucks indicate
the mild loss of bearing in the small of the back,
the grammar, so strict, of the two exact shoulders —
and the law of the shouldering —
and the chill allowed to skitter up through,
and those crucial spots where the fit cannot be perfect —
oh skirted loosening aswarm with lessenings,
with the mild pallors of unaccomplishment,
flaps night-air collects in,
folds... But the night does not annul its belief in,
the night preserves its love for, this one narrowing of infinity,
that floats up into the royal starpocked blue its ripped, distracted supervisor —
this coat awaiting recollection,
this coat awaiting the fleeting moment, the true moment, the hill,the vision of the hill,
and then the moment when the prize is lost, and the erotic tinglings of the dream of reason
are left to linger mildly in the weave of the fabric according to the rules,
the wool gabardine mix, with its grammatical weave,
never never destined to lose its elasticity,
its openness to abandonment,
its willingness to be disturbed.
*
July 11 ... Oaks: the organization of this tree is difficult. Speaking generally
no doubt the determining planes are concentric, a system of brief contiguous and
continuous tangents, whereas those of the cedar wd. roughly be called horizontals
and those of the beech radiating but modified by droop and by a screw-set towards
jutting points. But beyond this since the normal growth of the boughs is radiating
there is a system of spoke-wise clubs of green — sleeve-pieces. And since the
end shoots curl and carry young scanty leaf-stars these clubs are tapered, and I
have seen also pieces in profile with chiseled outlines, the blocks thus made
detached and lessening towards the end. However the knot-star is the chief thing:
it is whorled, worked round, and this is what keeps up the illusion of the tree.
Oaks differ much, and much turns on the broadness of the leaves, the narrower
giving the crisped and starry and catharine-wheel forms, the broader the flat-pieced
mailed or chard-covered ones, in wh. it is possible to see composition in dips, etc.
But I shall study them further. It was this night I believe but possibly the next
that I saw clearly the impossibility of staying in the Church of England.
*
How many coats do you think it will take?
The coat was a great-coat.
The Emperor's coat was.
How many coats do you think it will take?
The undercoat is dry. What we now want is?
The sky can analyse the coat because of the rips in it.
The sky shivers through the coat because of the rips in it.
The rips in the sky ripen through the rips in the coat.
There is no quarrel.
*
I take off my coat and carry it.
*
There is no emergency.
*
I only made that up.
*
Behind everything the sound of something dripping
The sound of something: I will vanish, others will come here, what is that?
The canvas flapping in the wind like the first notes of our absence
An origin is not an action though it occurs at the very start
Desire goes travelling into the total dark of another's soul
looking for where it breaks off
I was a hard thing to undo
*
The life of a customer
What came on the paper plate
overheard nearby
an impermanence of structure
watching the lip-reading
had loved but couldn't now recognize
*
What are the objects, then, that man should consider most important?
What sort of a question is that he asks them.
The eye only discovers the visible slowly.
It floats before us asking to be worn,
offering "we must think about objects at the very moment
when all their meaning is abandoning them"
and "the title provides a protection from significance"
and "we are responsible for the universe."
*
I have put on my doubting, my wager, it is cold.
It is an outer garment, or, conversely a natural covering,
so coarse and woolen, also of unknown origin,
a barely apprehensible dilution of evening into
an outer garment, or, conversely a natural covering,
to twitter bodily a makeshift coat,
that more might grow next year, and thicker, you know,
not shade-giving, not chronological,
my name being called out now but from out back, behind,
an outer garment, so coarse and woolen,
also of unknown origin, not shade-giving, not chronological,
each harm with its planeloads folded up in the sleeves,
you do understand, don't you, by looking?
the jacob's ladder with its floating arms its open throat,
that more might grow next year, and thicker, you know,
filled with the sensation of being suddenly completed,
the other created things also floating but not of the same order,
not shade-giving, not chronological,
you do understand, don't you, by looking?
a neck like a vase awaiting its cut flower,
filled with the sensation of being suddenly completed,
the moment the prize is lost, the erotic tingling,
the wool-gabardine mix, its grammatical weave
— you do understand, don't you, by looking? —
never never destined to lose its elasticity,
it was this night I believe but possibly the next
I saw clearly the impossibility of staying
filled with the sensation of being suddenly completed,
also of unknown origin, not shade-giving, not chronological
since the normal growth of boughs is radiating
a system of spoke-wise clubs of green — sleeve pieces —
never never destined to lose its elasticity
my name being called out now but back, behind,
hissing how many coats do you think it will take
"or try with eyesight to divide" (there is no quarrel)
behind everything the sound of something dripping
a system of spoke-wise clubs of green — sleeve pieces
filled with the sensation of suddenly being completed
the wool gabardine mix, the grammatical weave,
the never-never-to-lose-its-elasticity: my name
flapping in the wind like the first note of my absence
hissing how many coats do you think it will take
are you a test case is it an emergency
flapping in the wind the first note of something
overheard nearby an impermanence of structure
watching the lip-reading, there is no quarrel,
I will vanish, others will come here, what is that,
never never to lose the sensation of suddenly being
completed in the wind — the first note of our quarrel —
it was this night I believe or possibly the next
filled with the sensation of being suddenly completed,
I will vanish, others will come here, what is that now
floating in the air before us with stars a test case
that I saw clearly the impossibility of staying
|
Written by
Carl Sandburg |
BY day the skyscraper looms in the smoke and sun and
has a soul.
Prairie and valley, streets of the city, pour people into
it and they mingle among its twenty floors and are
poured out again back to the streets, prairies and
valleys.
It is the men and women, boys and girls so poured in and
out all day that give the building a soul of dreams
and thoughts and memories.
(Dumped in the sea or fixed in a desert, who would care
for the building or speak its name or ask a policeman
the way to it?)
Elevators slide on their cables and tubes catch letters and
parcels and iron pipes carry gas and water in and
sewage out.
Wires climb with secrets, carry light and carry words,
and tell terrors and profits and loves--curses of men
grappling plans of business and questions of women
in plots of love.
Hour by hour the caissons reach down to the rock of the
earth and hold the building to a turning planet.
Hour by hour the girders play as ribs and reach out and
hold together the stone walls and floors.
Hour by hour the hand of the mason and the stuff of the
mortar clinch the pieces and parts to the shape an
architect voted.
Hour by hour the sun and the rain, the air and the rust,
and the press of time running into centuries, play
on the building inside and out and use it.
Men who sunk the pilings and mixed the mortar are laid
in graves where the wind whistles a wild song
without words
And so are men who strung the wires and fixed the pipes
and tubes and those who saw it rise floor by floor.
Souls of them all are here, even the hod carrier begging
at back doors hundreds of miles away and the brick-
layer who went to state's prison for shooting another
man while drunk.
(One man fell from a girder and broke his neck at the
end of a straight plunge--he is here--his soul has
gone into the stones of the building.)
On the office doors from tier to tier--hundreds of names
and each name standing for a face written across
with a dead child, a passionate lover, a driving
ambition for a million dollar business or a lobster's
ease of life.
Behind the signs on the doors they work and the walls
tell nothing from room to room.
Ten-dollar-a-week stenographers take letters from
corporation officers, lawyers, efficiency engineers,
and tons of letters go bundled from the building to all
ends of the earth.
Smiles and tears of each office girl go into the soul of
the building just the same as the master-men who
rule the building.
Hands of clocks turn to noon hours and each floor
empties its men and women who go away and eat
and come back to work.
Toward the end of the afternoon all work slackens and
all jobs go slower as the people feel day closing on
them.
One by one the floors are emptied. . . The uniformed
elevator men are gone. Pails clang. . . Scrubbers
work, talking in foreign tongues. Broom and water
and mop clean from the floors human dust and spit,
and machine grime of the day.
Spelled in electric fire on the roof are words telling
miles of houses and people where to buy a thing for
money. The sign speaks till midnight.
Darkness on the hallways. Voices echo. Silence
holds. . . Watchmen walk slow from floor to floor
and try the doors. Revolvers bulge from their hip
pockets. . . Steel safes stand in corners. Money
is stacked in them.
A young watchman leans at a window and sees the lights
of barges butting their way across a harbor, nets of
red and white lanterns in a railroad yard, and a span
of glooms splashed with lines of white and blurs of
crosses and clusters over the sleeping city.
By night the skyscraper looms in the smoke and the stars
and has a soul.
|
Written by
Wilfred Owen |
(Being the philosophy of many Soldiers.)
Sit on the bed; I'm blind, and three parts shell,
Be careful; can't shake hands now; never shall.
Both arms have mutinied against me -- brutes.
My fingers fidget like ten idle brats.
I tried to peg out soldierly -- no use!
One dies of war like any old disease.
This bandage feels like pennies on my eyes.
I have my medals? -- Discs to make eyes close.
My glorious ribbons? -- Ripped from my own back
In scarlet shreds. (That's for your poetry book.)
A short life and a merry one, my brick!
We used to say we'd hate to live dead old, --
Yet now . . . I'd willingly be puffy, bald,
And patriotic. Buffers catch from boys
At least the jokes hurled at them. I suppose
Little I'd ever teach a son, but hitting,
Shooting, war, hunting, all the arts of hurting.
Well, that's what I learnt, -- that, and making money.
Your fifty years ahead seem none too many?
Tell me how long I've got? God! For one year
To help myself to nothing more than air!
One Spring! Is one too good to spare, too long?
Spring wind would work its own way to my lung,
And grow me legs as quick as lilac-shoots.
My servant's lamed, but listen how he shouts!
When I'm lugged out, he'll still be good for that.
Here in this mummy-case, you know, I've thought
How well I might have swept his floors for ever,
I'd ask no night off when the bustle's over,
Enjoying so the dirt. Who's prejudiced
Against a grimed hand when his own's quite dust,
Less live than specks that in the sun-shafts turn,
Less warm than dust that mixes with arms' tan?
I'd love to be a sweep, now, black as Town,
Yes, or a muckman. Must I be his load?
O Life, Life, let me breathe, -- a dug-out rat!
Not worse than ours the existences rats lead --
Nosing along at night down some safe vat,
They find a shell-proof home before they rot.
Dead men may envy living mites in cheese,
Or good germs even. Microbes have their joys,
And subdivide, and never come to death,
Certainly flowers have the easiest time on earth.
"I shall be one with nature, herb, and stone."
Shelley would tell me. Shelley would be stunned;
The dullest Tommy hugs that fancy now.
"Pushing up daisies," is their creed, you know.
To grain, then, go my fat, to buds my sap,
For all the usefulness there is in soap.
D'you think the Boche will ever stew man-soup?
Some day, no doubt, if . . .
Friend, be very sure
I shall be better off with plants that share
More peaceably the meadow and the shower.
Soft rains will touch me, -- as they could touch once,
And nothing but the sun shall make me ware.
Your guns may crash around me. I'll not hear;
Or, if I wince, I shall not know I wince.
Don't take my soul's poor comfort for your jest.
Soldiers may grow a soul when turned to fronds,
But here the thing's best left at home with friends.
My soul's a little grief, grappling your chest,
To climb your throat on sobs; easily chased
On other sighs and wiped by fresher winds.
Carry my crying spirit till it's weaned
To do without what blood remained these wounds.
|
Written by
Siegfried Sassoon |
AT dawn the ridge emerges massed and dun
In the wild purple of the glow'ring sun,
Smouldering through spouts of drifting smoke that shroud
The menacing scarred slope; and, one by one,
Tanks creep and topple forward to the wire.
The barrage roars and lifts. Then, clumsily bowed
With bombs and guns and shovels and battle-gear,
Men jostle and climb to meet the bristling fire.
Lines of grey, muttering faces, masked with fear,
They leave their trenches, going over the top,
While time ticks blank and busy on their wrists,
And hope, with furtive eyes and grappling fists,
Flounders in mud. O Jesus, make it stop!
|
Written by
Siegfried Sassoon |
I am banished from the patient men who fight
They smote my heart to pity, built my pride.
Shoulder to aching shoulder, side by side,
They trudged away from life’s broad wealds of light.
Their wrongs were mine; and ever in my sight
They went arrayed in honour. But they died,—
Not one by one: and mutinous I cried
To those who sent them out into the night.
The darkness tells how vainly I have striven
To free them from the pit where they must dwell
In outcast gloom convulsed and jagged and riven
By grappling guns. Love drove me to rebel.
Love drives me back to grope with them through hell;
And in their tortured eyes I stand forgiven.
|
Written by
Emily Dickinson |
'Tis so appalling -- it exhilarates --
So over Horror, it half Captivates --
The Soul stares after it, secure --
A Sepulchre, fears frost, no more --
To scan a Ghost, is faint --
But grappling, conquers it --
How easy, Torment, now --
Suspense kept sawing so --
The Truth, is Bald, and Cold --
But that will hold --
If any are not sure --
We show them -- prayer --
But we, who know,
Stop hoping, now --
Looking at Death, is Dying --
Just let go the Breath --
And not the pillow at your Cheek
So Slumbereth --
Others, Can wrestle --
Yours, is done --
And so of Woe, bleak dreaded -- come,
It sets the Fright at liberty --
And Terror's free --
Gay, Ghastly, Holiday!
|
Written by
Stephen Vincent Benet |
(A Virginia Legend.)
The Planting of the Hemp.
Captain Hawk scourged clean the seas
(Black is the gap below the plank)
From the Great North Bank to the Caribbees
(Down by the marsh the hemp grows rank).
His fear was on the seaport towns,
The weight of his hand held hard the downs.
And the merchants cursed him, bitter and black,
For a red flame in the sea-fog's wrack
Was all of their ships that might come back.
For all he had one word alone,
One clod of dirt in their faces thrown,
"The hemp that shall hang me is not grown!"
His name bestrode the seas like Death.
The waters trembled at his breath.
This is the tale of how he fell,
Of the long sweep and the heavy swell,
And the rope that dragged him down to hell.
The fight was done, and the gutted ship,
Stripped like a shark the sea-gulls strip,
Lurched blindly, eaten out with flame,
Back to the land from where she came,
A skimming horror, an eyeless shame.
And Hawk stood upon his quarter-deck,
And saw the sky and saw the wreck.
Below, a butt for sailors' jeers,
White as the sky when a white squall nears,
Huddled the crowd of the prisoners.
Over the bridge of the tottering plank,
Where the sea shook and the gulf yawned blank,
They shrieked and struggled and dropped and sank,
Pinioned arms and hands bound fast.
One girl alone was left at last.
Sir Henry Gaunt was a mighty lord.
He sat in state at the Council board;
The governors were as nought to him.
From one rim to the other rim
Of his great plantations, flung out wide
Like a purple cloak, was a full month's ride.
Life and death in his white hands lay,
And his only daughter stood at bay,
Trapped like a hare in the toils that day.
He sat at wine in his gold and his lace,
And far away, in a bloody place,
Hawk came near, and she covered her face.
He rode in the fields, and the hunt was brave,
And far away his daughter gave
A shriek that the seas cried out to hear,
And he could not see and he could not save.
Her white soul withered in the mire
As paper shrivels up in fire,
And Hawk laughed, and he kissed her mouth,
And her body he took for his desire.
The Growing of the Hemp.
Sir Henry stood in the manor room,
And his eyes were hard gems in the gloom.
And he said, "Go dig me furrows five
Where the green marsh creeps like a thing alive --
There at its edge, where the rushes thrive."
And where the furrows rent the ground,
He sowed the seed of hemp around.
And the blacks shrink back and are sore afraid
At the furrows five that rib the glade,
And the voodoo work of the master's spade.
For a cold wind blows from the marshland near,
And white things move, and the night grows drear,
And they chatter and crouch and are sick with fear.
But down by the marsh, where the gray slaves glean,
The hemp sprouts up, and the earth is seen
Veiled with a tenuous mist of green.
And Hawk still scourges the Caribbees,
And many men kneel at his knees.
Sir Henry sits in his house alone,
And his eyes are hard and dull like stone.
And the waves beat, and the winds roar,
And all things are as they were before.
And the days pass, and the weeks pass,
And nothing changes but the grass.
But down where the fireflies are like eyes,
And the damps shudder, and the mists rise,
The hemp-stalks stand up toward the skies.
And down from the poop of the pirate ship
A body falls, and the great sharks grip.
Innocent, lovely, go in grace!
At last there is peace upon your face.
And Hawk laughs loud as the corpse is thrown,
"The hemp that shall hang me is not grown!"
Sir Henry's face is iron to mark,
And he gazes ever in the dark.
And the days pass, and the weeks pass,
And the world is as it always was.
But down by the marsh the sickles beam,
Glitter on glitter, gleam on gleam,
And the hemp falls down by the stagnant stream.
And Hawk beats up from the Caribbees,
Swooping to pounce in the Northern seas.
Sir Henry sits sunk deep in his chair,
And white as his hand is grown his hair.
And the days pass, and the weeks pass,
And the sands roll from the hour-glass.
But down by the marsh in the blazing sun
The hemp is smoothed and twisted and spun,
The rope made, and the work done.
The Using of the Hemp.
Captain Hawk scourged clean the seas
(Black is the gap below the plank)
From the Great North Bank to the Caribbees
(Down by the marsh the hemp grows rank).
He sailed in the broad Atlantic track,
And the ships that saw him came not back.
And once again, where the wide tides ran,
He stooped to harry a merchantman.
He bade her stop. Ten guns spake true
From her hidden ports, and a hidden crew,
Lacking his great ship through and through.
Dazed and dumb with the sudden death,
He scarce had time to draw a breath
Before the grappling-irons bit deep,
And the boarders slew his crew like sheep.
Hawk stood up straight, his breast to the steel;
His cutlass made a bloody wheel.
His cutlass made a wheel of flame.
They shrank before him as he came.
And the bodies fell in a choking crowd,
And still he thundered out aloud,
"The hemp that shall hang me is not grown!"
They fled at last. He was left alone.
Before his foe Sir Henry stood.
"The hemp is grown, and my word made good!"
And the cutlass clanged with a hissing whir
On the lashing blade of the rapier.
Hawk roared and charged like a maddened buck.
As the cobra strikes, Sir Henry struck,
Pouring his life in a single thrust,
And the cutlass shivered to sparks and dust.
Sir Henry stood on the blood-stained deck,
And set his foot on his foe's neck.
Then from the hatch, where the rent decks slope,
Where the dead roll and the wounded grope,
He dragged the serpent of the rope.
The sky was blue, and the sea was still,
The waves lapped softly, hill on hill,
And between one wave and another wave
The doomed man's cries were little and shrill.
The sea was blue, and the sky was calm;
The air dripped with a golden balm.
Like a wind-blown fruit between sea and sun,
A black thing writhed at a yard-arm.
Slowly then, and awesomely,
The ship sank, and the gallows-tree,
And there was nought between sea and sun --
Nought but the sun and the sky and the sea.
But down by the marsh where the fever breeds,
Only the water chuckles and pleads;
For the hemp clings fast to a dead man's throat,
And blind Fate gathers back her seeds.
|
Written by
D. H. Lawrence |
It is stormy, and raindrops cling like silver bees to the pane,
The thin sycamores in the playground are swinging with flattened leaves;
The heads of the boys move dimly through a yellow gloom that stains
The class; over them all the dark net of my discipline weaves.
It is no good, dear, gentleness and forbearance, I endured too long:
I have pushed my hands in the dark soil, under the flower of my soul
And the gentle leaves, and have felt where the roots are strong
Fixed in the darkness, grappling for the deep soil's little control.
And there is the dark, my darling, where the roots are entangled and fight
Each one for its hold on the oblivious darkness, I know that there
In the night where we first have being, before we rise on the light,
We are not brothers, my darling, we fight and we do not spare.
And in the original dark the roots cannot keep, cannot know
Any communion whatever, but they bind themselves on to the dark,
And drawing the darkness together, crush from it a twilight, a slow
Burning that breaks at last into leaves and a flower's bright spark.
I came to the boys with love, my dear, but they turned on me;
I came with gentleness, with my heart 'twixt my hands like a bowl,
Like a loving-cup, like a grail, but they spilt it triumphantly
And tried to break the vessel, and to violate my soul.
But what have I to do with the boys, deep down in my soul, my love?
I throw from out of the darkness my self like a flower into sight,
Like a flower from out of the night-time, I lift my face, and those
Who will may warm their hands at me, comfort this night.
But whosoever would pluck apart my flowering shall burn their hands,
So flowers are tender folk, and roots can only hide,
Yet my flowerings of love are a fire, and the scarlet brands
Of my love are roses to look at, but flames to chide.
But comfort me, my love, now the fires are low,
Now I am broken to earth like a winter destroyed, and all
Myself but a knowledge of roots, of roots in the dark that throw
A net on the undersoil, which lies passive beneath their thrall.
But comfort me, for henceforth my love is yours alone,
To you alone will I offer the bowl, to you will I give
My essence only, but love me, and I will atone
To you for my general loving, atone as long as I live.
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