Written by
Thomas Moore |
By that Lake, whose gloomy shore
Sky-lark never warbles o'er,
Where the cliff hangs high and steep,
Young Saint Kevin stole to sleep.
"Here, at least," he calmly said,
"Woman ne'er shall find my bed."
Ah! the good Saint little knew
What that wily sex can do.
'Twas from Kathleen's eyes he flew --
Eyes of most unholy blue!
She had loved him well and long,
Wish'd him hers, nor thought it wrong.
Wheresoe'er the Saint would fly,
Still he heard her light foot nigh;
East or west, where'er he turn'd,
Still her eyes before him burn'd.
On the bold cliff's bosom cast,
Tranquil now he sleeps at last;
Dreams of heaven, nor thinks that e'er
Woman's smile can haunt him there.
But nor earth nor heaven is free
From her power, if fond she be:
Even now, while calm he sleeps,
Kathleen o'er him leans and weeps.
Fearless she had track'd his feet
To this rocky wild retreat;
And when morning met his view,
Her mild glances met it too.
Ah, your Saints have cruel hearts!
Sternly from his bed he starts,
And with rude repulsive shock
Hurls her from the beetling rock.
Glendalough, thy gloomy wave
Soon was gentle Kathleen's grave!
Soon the Saint (yet ah! too late,)
Felt her love, and mourn'd her fate.
When he said, "Heaven rest her soul!"
Round the Lake light music stole;
And her ghost was seen to glide,
Smiling, o'er the fatal tide.
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Written by
William Butler Yeats |
I
Around me the images of thirty years:
An ambush; pilgrims at the water-side;
Casement upon trial, half hidden by the bars,
Guarded; Griffith staring in hysterical pride;
Kevin O'Higgins' countenance that wears
A gentle questioning look that cannot hide
A soul incapable of remorse or rest;
A revolutionary soldier kneeling to be blessed;
II
An Abbot or Archbishop with an upraised hand
Blessing the Tricolour. 'This is not,' I say,
'The dead Ireland of my youth, but an Ireland
The poets have imagined, terrible and gay.'
Before a woman's portrait suddenly I stand,
Beautiful and gentle in her Venetian way.
I met her all but fifty years ago
For twenty minutes in some studio.
III
Heart-smitten with emotion I Sink down,
My heart recovering with covered eyes;
Wherever I had looked I had looked upon
My permanent or impermanent images:
Augusta Gregory's son; her sister's son,
Hugh Lane, 'onlie begetter' of all these;
Hazel Lavery living and dying, that tale
As though some ballad-singer had sung it all;
IV
Mancini's portrait of Augusta Gregory,
'Greatest since Rembrandt,' according to John Synge;
A great ebullient portrait certainly;
But where is the brush that could show anything
Of all that pride and that humility?
And I am in despair that time may bring
Approved patterns of women or of men
But not that selfsame excellence again.
V
My mediaeval knees lack health until they bend,
But in that woman, in that household where
Honour had lived so long, all lacking found.
Childless I thought, 'My children may find here
Deep-rooted things,' but never foresaw its end,
And now that end has come I have not wept;
No fox can foul the lair the badger swept -
VI
(An image out of Spenser and the common tongue).
John Synge, I and Augusta Gregory, thought
All that we did, all that we said or sang
Must come from contact with the soil, from that
Contact everything Antaeus-like grew strong.
We three alone in modern times had brought
Everything down to that sole test again,
Dream of the noble and the beggar-man.
VII
And here's John Synge himself, that rooted man,
'Forgetting human words,' a grave deep face.
You that would judge me, do not judge alone
This book or that, come to this hallowed place
Where my friends' portraits hang and look thereon;
Ireland's history in their lineaments trace;
Think where man's glory most begins and ends,
And say my glory was I had such friends.
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