Written by
William Butler Yeats |
Hic.
On the grey sand beside the shallow stream
Under your old wind-beaten tower, where still
A lamp burns on beside the open book
That Michael Robartes left, you walk in the moon,
And, though you have passed the best of life, still trace,
Enthralled by the unconquerable delusion,
Magical shapes.
Ille.
By the help of an image
I call to my own opposite, summon all
That I have handled least, least looked upon.
Hic.
And I would find myself and not an image.
Ille.
That is our modern hope, and by its light
We have lit upon the gentle, sensitive mind
And lost the old nonchalance of the hand;
Whether we have chosen chisel, pen or brush,
We are but critics, or but half create,
Timid, entangled, empty and abashed,
Lacking the countenance of our friends.
Hic.
And yet
The chief imagination of Christendom,
Dante Alighieri, so utterly found himself
That he has made that hollow face of his
More plain to the mind's eye than any face
But that of Christ.
Ille.
And did he find himself
Or was the hunger that had made it hollow
A hunger for the apple on the bough
Most out of reach? and is that spectral image
The man that Lapo and that Guido knew?
I think he fashioned from his opposite
An image that might have been a stony face
Staring upon a Bedouin's horse-hair roof
From doored and windowed cliff, or half upturned
Among the coarse grass and the camel-dung.
He set his chisel to the hardest stone.
Being mocked by Guido for his lecherous life,
Derided and deriding, driven out
To climb that stair and eat that bitter bread,
He found the unpersuadable justice, he found
The most exalted lady loved by a man.
Hic.
Yet surely there are men who have made their art
Out of no tragic war, lovers of life,
Impulsive men that look for happiness
And sing when t"hey have found it.
Ille.
No, not sing,
For those that love the world serve it in action,
Grow rich, popular and full of influence,
And should they paint or write, still it is action:
The struggle of the fly in marmalade.
The rhetorician would deceive his neighbours,
The sentimentalist himself; while art
Is but a vision of reality.
What portion in the world can the artist have
Who has awakened from the common dream
But dissipation and despair?
Hic.
And yet
No one denies to Keats love of the world;
Remember his deliberate happiness.
Ille.
His art is happy, but who knows his mind?
I see a schoolboy when I think of him,
With face and nose pressed to a sweet-shop window,
For certainly he sank into his grave
His senses and his heart unsatisfied,
And made - being poor, ailing and ignorant,
Shut out from all the luxury of the world,
The coarse-bred son of a livery-stable keeper --
Luxuriant song.
Hic.
Why should you leave the lamp
Burning alone beside an open book,
And trace these characters upon the sands?
A style is found by sedentary toil
And by the imitation of great masters.
Ille.
Because I seek an image, not a book.
Those men that in their writings are most wise,
Own nothing but their blind, stupefied hearts.
I call to the mysterious one who yet
Shall walk the wet sands by the edge of the stream
And look most like me, being indeed my double,
And prove of all imaginable things
The most unlike, being my anti-self,
And, standing by these characters, disclose
All that I seek; and whisper it as though
He were afraid the birds, who cry aloud
Their momentary cries before it is dawn,
Would carry it away to blasphemous men.
|
Written by
Elizabeth Barrett Browning |
I.
Dead ! One of them shot by the sea in the east,
And one of them shot in the west by the sea.
Dead ! both my boys ! When you sit at the feast
And are wanting a great song for Italy free,
Let none look at me !
II.
Yet I was a poetess only last year,
And good at my art, for a woman, men said ;
But this woman, this, who is agonized here,
-- The east sea and west sea rhyme on in her head
For ever instead.
III.
What art can a woman be good at ? Oh, vain !
What art is she good at, but hurting her breast
With the milk-teeth of babes, and a smile at the pain ?
Ah boys, how you hurt ! you were strong as you pressed,
And I proud, by that test.
IV.
What art's for a woman ? To hold on her knees
Both darlings ! to feel all their arms round her throat,
Cling, strangle a little ! to sew by degrees
And 'broider the long-clothes and neat little coat ;
To dream and to doat.
V.
To teach them .
.
.
It stings there ! I made them indeed
Speak plain the word country.
I taught them, no doubt,
That a country's a thing men should die for at need.
I prated of liberty, rights, and about
The tyrant cast out.
VI.
And when their eyes flashed .
.
.
O my beautiful eyes ! .
.
.
I exulted ; nay, let them go forth at the wheels
Of the guns, and denied not.
But then the surprise
When one sits quite alone ! Then one weeps, then one kneels !
God, how the house feels !
VII.
At first, happy news came, in gay letters moiled
With my kisses, -- of camp-life and glory, and how
They both loved me ; and, soon coming home to be spoiled
In return would fan off every fly from my brow
With their green laurel-bough.
VIII.
Then was triumph at Turin : `Ancona was free !'
And some one came out of the cheers in the street,
With a face pale as stone, to say something to me.
My Guido was dead ! I fell down at his feet,
While they cheered in the street.
IX.
I bore it ; friends soothed me ; my grief looked sublime
As the ransom of Italy.
One boy remained
To be leant on and walked with, recalling the time
When the first grew immortal, while both of us strained
To the height he had gained.
X.
And letters still came, shorter, sadder, more strong,
Writ now but in one hand, `I was not to faint, --
One loved me for two -- would be with me ere long :
And Viva l' Italia ! -- he died for, our saint,
Who forbids our complaint.
"
XI.
My Nanni would add, `he was safe, and aware
Of a presence that turned off the balls, -- was imprest
It was Guido himself, who knew what I could bear,
And how 'twas impossible, quite dispossessed,
To live on for the rest.
"
XII.
On which, without pause, up the telegraph line
Swept smoothly the next news from Gaeta : -- Shot.
Tell his mother.
Ah, ah, ` his, ' ` their ' mother, -- not ` mine, '
No voice says "My mother" again to me.
What !
You think Guido forgot ?
XIII.
Are souls straight so happy that, dizzy with Heaven,
They drop earth's affections, conceive not of woe ?
I think not.
Themselves were too lately forgiven
Through THAT Love and Sorrow which reconciled so
The Above and Below.
XIV.
O Christ of the five wounds, who look'dst through the dark
To the face of Thy mother ! consider, I pray,
How we common mothers stand desolate, mark,
Whose sons, not being Christs, die with eyes turned away,
And no last word to say !
XV.
Both boys dead ? but that's out of nature.
We all
Have been patriots, yet each house must always keep one.
'Twere imbecile, hewing out roads to a wall ;
And, when Italy 's made, for what end is it done
If we have not a son ?
XVI.
Ah, ah, ah ! when Gaeta's taken, what then ?
When the fair wicked queen sits no more at her sport
Of the fire-balls of death crashing souls out of men ?
When the guns of Cavalli with final retort
Have cut the game short ?
XVII.
When Venice and Rome keep their new jubilee,
When your flag takes all heaven for its white, green, and red,
When you have your country from mountain to sea,
When King Victor has Italy's crown on his head,
(And I have my Dead) --
XVIII.
What then ? Do not mock me.
Ah, ring your bells low,
And burn your lights faintly ! My country is there,
Above the star pricked by the last peak of snow :
My Italy 's THERE, with my brave civic Pair,
To disfranchise despair !
XIX.
Forgive me.
Some women bear children in strength,
And bite back the cry of their pain in self-scorn ;
But the birth-pangs of nations will wring us at length
Into wail such as this -- and we sit on forlorn
When the man-child is born.
XX.
Dead ! One of them shot by the sea in the east,
And one of them shot in the west by the sea.
Both ! both my boys ! If in keeping the feast
You want a great song for your Italy free,
Let none look at me !
[This was Laura Savio, of Turin, a poetess and patriot, whose sonswere killed at Ancona and Gaeta.
]
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Written by
Fannie Isabelle Sherrick |
O beautiful woman, too well we know
The terrible weight of thy woman's woe,
So great that the world, in its careless way,
Remembered thy beauty for more than a day.
In the name of the truth from thy brow is torn
The crown of redemption thou long hast worn,
And into the valley of sin thou art hurled
To be trampled anew by the feet of the world.
The beautiful picture is thine no more
That hangs in the palace on Italy's shore;
The tear-stained eyes where the shadow lies,
Like a darksome cloud in the summer skies,
Will tell thy story to men no more,
For all untrue is the tale of yore;
And the far-famed picture that hangs on the wall
Is a painter's fancy—that is all.
Italia's shore is a land of light
Where the sunlight of day drowns the shadows of night;
And the great warm sun with his golden rays
Imprisons the light of eternal days;
But the tale of thy woes is a shadow there
That fills with its horror the perfumed air.
By day and by night in the palace there,
Thy picture has hung with its face so fair;
Beguiling the travelers come from afar
With its sad, sweet grace, like some voiceless star,
Till the hears that shuddered before thy sin
Recalled not the shadow that lay within,
But remembered only with pitying grace
The hopeless grief on the child-like face.
The rosy dawn with its misty light,
Shone fair on thy brow in the morning bright;
And the glittering noon with its rays of gold
Imprisoned thy soul in its jeweled hold.
Oh, fair was the picture at early dawn,
With the matchless beauty that Guido had drawn;
And fair was the face in the noon of gold,
Touched with a glory that never grew old.
But lovelier still in the shadowed eyes
Lay the burning sunset of Italy's skies;
And the beautiful face with its voiceless woe
Grew fair as a saint's in the crimson glow.
No wonder the poets grew wild at the sight,
And sung of thy beauty with mad delight,
Till the fame of the picture spread over the land,
Revealing the touch of its master-hand.
The fair Madonna with saint-like face,
Creation of Raphael's exquisite grace,
Is scarcely more famed than the child-like head
Of thou to whom sorrow forever is wed.
O beautiful woman, the world with its scorn
Will mock at the glory thou long hast worn,
And rend aside in the name of the truth
The veil of mercy that hides thy youth.
But the romance that clings to the wondrous face
Will fall on our hearts with a softened grace,
And the fair young sinner on Italy's shore
Will be loved and pitied forevermore.
|
Written by
Francesco Petrarch |
SONNET XIX.
Sennuccio mio, benchè doglioso e solo.
ON THE DEATH OF HIS FRIEND SENNUCCIO.
O friend! though left a wretched pilgrim here,
By thee though left in solitude to roam,
Yet can I mourn that thou hast found thy home,
On angel pinions borne, in bright career?
Now thou behold'st the ever-turning sphere,
And stars that journey round the concave dome;
Now thou behold'st how short of truth we come,
How blind our judgment, and thine own how clear!
That thou art happy soothes my soul oppress'd.
O friend! salute from me the laurell'd band,
Guitton and Cino, Dante, and the rest:
And tell my Laura, friend, that here I stand,
Wasting in tears, scarce of myself possess'd,
While her blest beauties all my thoughts command.
Morehead.
Sennuccio mine! I yet myself console,
Though thou hast left me, mournful and alone,
For eagerly to heaven thy spirit has flown,
[Pg 250]Free from the flesh which did so late enrol;
Thence, at one view, commands it either pole,
The planets and their wondrous courses known,
And human sight how brief and doubtful shown;
Thus with thy bliss my sorrow I control.
One favour—in the third of those bright spheres.
Guido and Dante, Cino, too, salute,
With Franceschin and all that tuneful train,
And tell my lady how I live, in tears,
(Savage and lonely as some forest brute)
Her sweet face and fair works when memory brings again.
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