Written by
Lewis Carroll |
I
There was an ancient City, stricken down
With a strange frenzy, and for many a day
They paced from morn to eve the crowded town,
And danced the night away.
I asked the cause: the aged man grew sad:
They pointed to a building gray and tall,
And hoarsely answered "Step inside, my lad,
And then you'll see it all.
"
Yet what are all such gaieties to me
Whose thoughts are full of indices and surds?
x*x + 7x + 53 = 11/3
But something whispered "It will soon be done:
Bands cannot always play, nor ladies smile:
Endure with patience the distasteful fun
For just a little while!"
A change came o'er my Vision - it was night:
We clove a pathway through a frantic throng:
The steeds, wild-plunging, filled us with affright:
The chariots whirled along.
Within a marble hall a river ran -
A living tide, half muslin and half cloth:
And here one mourned a broken wreath or fan,
Yet swallowed down her wrath;
And here one offered to a thirsty fair
(His words half-drowned amid those thunders tuneful)
Some frozen viand (there were many there),
A tooth-ache in each spoonful.
There comes a happy pause, for human strength
Will not endure to dance without cessation;
And every one must reach the point at length
Of absolute prostration.
At such a moment ladies learn to give,
To partners who would urge them over-much,
A flat and yet decided negative -
Photographers love such.
There comes a welcome summons - hope revives,
And fading eyes grow bright, and pulses quicken:
Incessant pop the corks, and busy knives
Dispense the tongue and chicken.
Flushed with new life, the crowd flows back again:
And all is tangled talk and mazy motion -
Much like a waving field of golden grain,
Or a tempestuous ocean.
And thus they give the time, that Nature meant
For peaceful sleep and meditative snores,
To ceaseless din and mindless merriment
And waste of shoes and floors.
And One (we name him not) that flies the flowers,
That dreads the dances, and that shuns the salads,
They doom to pass in solitude the hours,
Writing acrostic-ballads.
How late it grows! The hour is surely past
That should have warned us with its double knock?
The twilight wanes, and morning comes at last -
"Oh, Uncle, what's o'clock?"
The Uncle gravely nods, and wisely winks.
It MAY mean much, but how is one to know?
He opens his mouth - yet out of it, methinks,
No words of wisdom flow.
II
Empress of Art, for thee I twine
This wreath with all too slender skill.
Forgive my Muse each halting line,
And for the deed accept the will!
O day of tears! Whence comes this spectre grim,
Parting, like Death's cold river, souls that love?
Is not he bound to thee, as thou to him,
By vows, unwhispered here, yet heard above?
And still it lives, that keen and heavenward flame,
Lives in his eye, and trembles in his tone:
And these wild words of fury but proclaim
A heart that beats for thee, for thee alone!
But all is lost: that mighty mind o'erthrown,
Like sweet bells jangled, piteous sight to see!
"Doubt that the stars are fire," so runs his moan,
"Doubt Truth herself, but not my love for thee!"
A sadder vision yet: thine aged sire
Shaming his hoary locks with treacherous wile!
And dost thou now doubt Truth to be a liar?
And wilt thou die, that hast forgot to smile?
Nay, get thee hence! Leave all thy winsome ways
And the faint fragrance of thy scattered flowers:
In holy silence wait the appointed days,
And weep away the leaden-footed hours.
III.
The air is bright with hues of light
And rich with laughter and with singing:
Young hearts beat high in ecstasy,
And banners wave, and bells are ringing:
But silence falls with fading day,
And there's an end to mirth and play.
Ah, well-a-day
Rest your old bones, ye wrinkled crones!
The kettle sings, the firelight dances.
Deep be it quaffed, the magic draught
That fills the soul with golden fancies!
For Youth and Pleasance will not stay,
And ye are withered, worn, and gray.
Ah, well-a-day!
O fair cold face! O form of grace,
For human passion madly yearning!
O weary air of dumb despair,
From marble won, to marble turning!
"Leave us not thus!" we fondly pray.
"We cannot let thee pass away!"
Ah, well-a-day!
IV.
My First is singular at best:
More plural is my Second:
My Third is far the pluralest -
So plural-plural, I protest
It scarcely can be reckoned!
My First is followed by a bird:
My Second by believers
In magic art: my simple Third
Follows, too often, hopes absurd
And plausible deceivers.
My First to get at wisdom tries -
A failure melancholy!
My Second men revered as wise:
My Third from heights of wisdom flies
To depths of frantic folly.
My First is ageing day by day:
My Second's age is ended:
My Third enjoys an age, they say,
That never seems to fade away,
Through centuries extended.
My Whole? I need a poet's pen
To paint her myriad phases:
The monarch, and the slave, of men -
A mountain-summit, and a den
Of dark and deadly mazes -
A flashing light - a fleeting shade -
Beginning, end, and middle
Of all that human art hath made
Or wit devised! Go, seek HER aid,
If you would read my riddle!
|
Written by
Adrienne Rich |
1.
A conversation begins
with a lie.
and each
speaker of the so-called common language feels
the ice-floe split, the drift apart
as if powerless, as if up against
a force of nature
A poem can being
with a lie.
And be torn up.
A conversation has other laws
recharges itself with its own
false energy, Cannot be torn
up.
Infiltrates our blood.
Repeats itself.
Inscribes with its unreturning stylus
the isolation it denies.
2.
The classical music station
playing hour upon hour in the apartment
the picking up and picking up
and again picking up the telephone
The syllables uttering
the old script over and over
The loneliness of the liar
living in the formal network of the lie
twisting the dials to drown the terror
beneath the unsaid word
3.
The technology of silence
The rituals, etiquette
the blurring of terms
silence not absence
of words or music or even
raw sounds
Silence can be a plan
rigorously executed
the blueprint of a life
It is a presence
it has a history a form
Do not confuse it
with any kind of absence
4.
How calm, how inoffensive these words
begin to seem to me
though begun in grief and anger
Can I break through this film of the abstract
without wounding myself or you
there is enough pain here
This is why the classical of the jazz music station plays?
to give a ground of meaning to our pain?
5.
The silence strips bare:
In Dreyer's Passion of Joan
Falconetti's face, hair shorn, a great geography
mutely surveyed by the camera
If there were a poetry where this could happen
not as blank space or as words
stretched like skin over meaningsof a night through which two people
have talked till dawn.
6.
The scream
of an illegitimate voice
It has ceased to hear itself, therefore
it asks itself
How do I exist?
This was the silence I wanted to break in you
I had questions but you would not answer
I had answers but you could not use them
The is useless to you and perhaps to others
7.
It was an old theme even for me:
Language cannot do everything-
chalk it on the walls where the dead poets
lie in their mausoleums
If at the will of the poet the poem
could turn into a thing
a granite flank laid bare, a lifted head
alight with dew
If it could simply look you in the face
with naked eyeballs, not letting you turn
till you, and I who long to make this thing,
were finally clarified together in its stare
8.
No.
Let me have this dust,
these pale clouds dourly lingering, these words
moving with ferocious accuracy
like the blind child's fingers
or the newborn infant's mouth
violent with hunger
No one can give me, I have long ago
taken this method
whether of bran pouring from the loose-woven sack
or of the bunsen-flame turned low and blue
If from time to time I envy
the pure annunciation to the eye
the visio beatifica
if from time to time I long to turn
like the Eleusinian hierophant
holding up a single ear of grain
for the return to the concrete and everlasting world
what in fact I keep choosing
are these words, these whispers, conversations
from which time after time the truth breaks moist and green.
|
Written by
Sylvia Plath |
Viciousness in the kitchen!
The potatoes hiss.
It is all Hollywood, windowless,
The fluorescent light wincing on and off like a terrible migraine,
Coy paper strips for doors --
Stage curtains, a widow's frizz.
And I, love, am a pathological liar,
And my child -- look at her, face down on the floor,
Little unstrung puppet, kicking to disappear --
Why she is schizophrenic,
Her face is red and white, a panic,
You have stuck her kittens outside your window
In a sort of cement well
Where they crap and puke and cry and she can't hear.
You say you can't stand her,
The bastard's a girl.
You who have blown your tubes like a bad radio
Clear of voices and history, the staticky
Noise of the new.
You say I should drown the kittens.
Their smell!
You say I should drown my girl.
She'll cut her throat at ten if she's mad at two.
The baby smiles, fat snail,
From the polished lozenges of orange linoleum.
You could eat him.
He's a boy.
You say your husband is just no good to you.
His Jew-Mama guards his sweet sex like a pearl.
You have one baby, I have two.
I should sit on a rock off Cornwall and comb my hair.
I should wear tiger pants, I should have an affair.
We should meet in another life, we should meet in air,
Me and you.
Meanwhile there's a stink of fat and baby crap.
I'm doped and thick from my last sleeping pill.
The smog of cooking, the smog of hell
Floats our heads, two venemous opposites,
Our bones, our hair.
I call you Orphan, orphan.
You are ill.
The sun gives you ulcers, the wind gives you T.
B.
Once you were beautiful.
In New York, in Hollywood, the men said: 'Through?
Gee baby, you are rare.
'
You acted, acted for the thrill.
The impotent husband slumps out for a coffee.
I try to keep him in,
An old pole for the lightning,
The acid baths, the skyfuls off of you.
He lumps it down the plastic cobbled hill,
Flogged trolley.
The sparks are blue.
The blue sparks spill,
Splitting like quartz into a million bits.
O jewel! O valuable!
That night the moon
Dragged its blood bag, sick
Animal
Up over the harbor lights.
And then grew normal,
Hard and apart and white.
The scale-sheen on the sand scared me to death.
We kept picking up handfuls, loving it,
Working it like dough, a mulatto body,
The silk grits.
A dog picked up your doggy husband.
He went on.
Now I am silent, hate
Up to my neck,
Thick, thick.
I do not speak.
I am packing the hard potatoes like good clothes,
I am packing the babies,
I am packing the sick cats.
O vase of acid,
It is love you are full of.
You know who you hate.
He is hugging his ball and chain down by the gate
That opens to the sea
Where it drives in, white and black,
Then spews it back.
Every day you fill him with soul-stuff, like a pitcher.
You are so exhausted.
Your voice my ear-ring,
Flapping and sucking, blood-loving bat.
That is that.
That is that.
You peer from the door,
Sad hag.
'Every woman's a whore.
I can't communicate.
'
I see your cute décor
Close on you like the fist of a baby
Or an anemone, that sea
Sweetheart, that kleptomaniac.
I am still raw.
I say I may be back.
You know what lies are for.
Even in your Zen heaven we shan't meet.
|
Written by
Carl Sandburg |
SMOKE of the fields in spring is one,
Smoke of the leaves in autumn another.
Smoke of a steel-mill roof or a battleship funnel,
They all go up in a line with a smokestack,
Or they twist … in the slow twist … of the wind.
If the north wind comes they run to the south.
If the west wind comes they run to the east.
By this sign
all smokes
know each other.
Smoke of the fields in spring and leaves in autumn,
Smoke of the finished steel, chilled and blue,
By the oath of work they swear: “I know you.
”
Hunted and hissed from the center
Deep down long ago when God made us over,
Deep down are the cinders we came from—
You and I and our heads of smoke.
Some of the smokes God dropped on the job
Cross on the sky and count our years
And sing in the secrets of our numbers;
Sing their dawns and sing their evenings,
Sing an old log-fire song:
You may put the damper up,
You may put the damper down,
The smoke goes up the chimney just the same.
Smoke of a city sunset skyline,
Smoke of a country dusk horizon—
They cross on the sky and count our years.
Smoke of a brick-red dust
Winds on a spiral
Out of the stacks
For a hidden and glimpsing moon.
This, said the bar-iron shed to the blooming mill,
This is the slang of coal and steel.
The day-gang hands it to the night-gang,
The night-gang hands it back.
Stammer at the slang of this—
Let us understand half of it.
In the rolling mills and sheet mills,
In the harr and boom of the blast fires,
The smoke changes its shadow
And men change their shadow;
A ******, a wop, a bohunk changes.
A bar of steel—it is only
Smoke at the heart of it, smoke and the blood of a man.
A runner of fire ran in it, ran out, ran somewhere else,
And left—smoke and the blood of a man
And the finished steel, chilled and blue.
So fire runs in, runs out, runs somewhere else again,
And the bar of steel is a gun, a wheel, a nail, a shovel,
A rudder under the sea, a steering-gear in the sky;
And always dark in the heart and through it,
Smoke and the blood of a man.
Pittsburg, Youngstown, Gary—they make their steel with men.
In the blood of men and the ink of chimneys
The smoke nights write their oaths:
Smoke into steel and blood into steel;
Homestead, Braddock, Birmingham, they make their steel with men.
Smoke and blood is the mix of steel.
The birdmen drone
in the blue; it is steel
a motor sings and zooms.
Steel barb-wire around The Works.
Steel guns in the holsters of the guards at the gates of The Works.
Steel ore-boats bring the loads clawed from the earth by steel, lifted and lugged by arms of steel, sung on its way by the clanking clam-shells.
The runners now, the handlers now, are steel; they dig and clutch and haul; they hoist their automatic knuckles from job to job; they are steel making steel.
Fire and dust and air fight in the furnaces; the pour is timed, the billets wriggle; the clinkers are dumped:
Liners on the sea, skyscrapers on the land; diving steel in the sea, climbing steel in the sky.
Finders in the dark, you Steve with a dinner bucket, you Steve clumping in the dusk on the sidewalks with an evening paper for the woman and kids, you Steve with your head wondering where we all end up—
Finders in the dark, Steve: I hook my arm in cinder sleeves; we go down the street together; it is all the same to us; you Steve and the rest of us end on the same stars; we all wear a hat in hell together, in hell or heaven.
Smoke nights now, Steve.
Smoke, smoke, lost in the sieves of yesterday;
Dumped again to the scoops and hooks today.
Smoke like the clocks and whistles, always.
Smoke nights now.
To-morrow something else.
Luck moons come and go:
Five men swim in a pot of red steel.
Their bones are kneaded into the bread of steel:
Their bones are knocked into coils and anvils
And the sucking plungers of sea-fighting turbines.
Look for them in the woven frame of a wireless station.
So ghosts hide in steel like heavy-armed men in mirrors.
Peepers, skulkers—they shadow-dance in laughing tombs.
They are always there and they never answer.
One of them said: “I like my job, the company is good to me, America is a wonderful country.
”
One: “Jesus, my bones ache; the company is a liar; this is a free country, like hell.
”
One: “I got a girl, a peach; we save up and go on a farm and raise pigs and be the boss ourselves.
”
And the others were roughneck singers a long ways from home.
Look for them back of a steel vault door.
They laugh at the cost.
They lift the birdmen into the blue.
It is steel a motor sings and zooms.
In the subway plugs and drums,
In the slow hydraulic drills, in gumbo or gravel,
Under dynamo shafts in the webs of armature spiders,
They shadow-dance and laugh at the cost.
The ovens light a red dome.
Spools of fire wind and wind.
Quadrangles of crimson sputter.
The lashes of dying maroon let down.
Fire and wind wash out the slag.
Forever the slag gets washed in fire and wind.
The anthem learned by the steel is:
Do this or go hungry.
Look for our rust on a plow.
Listen to us in a threshing-engine razz.
Look at our job in the running wagon wheat.
Fire and wind wash at the slag.
Box-cars, clocks, steam-shovels, churns, pistons, boilers, scissors—
Oh, the sleeping slag from the mountains, the slag-heavy pig-iron will go down many roads.
Men will stab and shoot with it, and make butter and tunnel rivers, and mow hay in swaths, and slit hogs and skin beeves, and steer airplanes across North America, Europe, Asia, round the world.
Hacked from a hard rock country, broken and baked in mills and smelters, the rusty dust waits
Till the clean hard weave of its atoms cripples and blunts the drills chewing a hole in it.
The steel of its plinths and flanges is reckoned, O God, in one-millionth of an inch.
Once when I saw the curves of fire, the rough scarf women dancing,
Dancing out of the flues and smoke-stacks—flying hair of fire, flying feet upside down;
Buckets and baskets of fire exploding and chortling, fire running wild out of the steady and fastened ovens;
Sparks cracking a harr-harr-huff from a solar-plexus of rock-ribs of the earth taking a laugh for themselves;
Ears and noses of fire, gibbering gorilla arms of fire, gold mud-pies, gold bird-wings, red jackets riding purple mules, scarlet autocrats tumbling from the humps of camels, assassinated czars straddling vermillion balloons;
I saw then the fires flash one by one: good-by: then smoke, smoke;
And in the screens the great sisters of night and cool stars, sitting women arranging their hair,
Waiting in the sky, waiting with slow easy eyes, waiting and half-murmuring:
“Since you know all
and I know nothing,
tell me what I dreamed last night.
”
Pearl cobwebs in the windy rain,
in only a flicker of wind,
are caught and lost and never known again.
A pool of moonshine comes and waits,
but never waits long: the wind picks up
loose gold like this and is gone.
A bar of steel sleeps and looks slant-eyed
on the pearl cobwebs, the pools of moonshine;
sleeps slant-eyed a million years,
sleeps with a coat of rust, a vest of moths,
a shirt of gathering sod and loam.
The wind never bothers … a bar of steel.
The wind picks only .
.
pearl cobwebs .
.
pools of moonshine.
|
Written by
C S Lewis |
1
You said 'The world is going back to Paganism'.
Oh bright Vision! I saw our dynasty in the bar of the House
Spill from their tumblers a libation to the Erinyes,
And Leavis with Lord Russell wreathed in flowers, heralded with flutes,
Leading white bulls to the cathedral of the solemn Muses
To pay where due the glory of their latest theorem.
Hestia's fire in every flat, rekindled, burned before
The Lardergods.
Unmarried daughters with obedient hands
Tended it By the hearth the white-armd venerable mother
Domum servabat, lanam faciebat.
at the hour
Of sacrifice their brothers came, silent, corrected, grave
Before their elders; on their downy cheeks easily the blush
Arose (it is the mark of freemen's children) as they trooped,
Gleaming with oil, demurely home from the palaestra or the dance.
Walk carefully, do not wake the envy of the happy gods,
Shun Hubris.
The middle of the road, the middle sort of men,
Are best.
Aidos surpasses gold.
Reverence for the aged
Is wholesome as seasonable rain, and for a man to die
Defending the city in battle is a harmonious thing.
Thus with magistral hand the Puritan Sophrosune
Cooled and schooled and tempered our uneasy motions;
Heathendom came again, the circumspection and the holy fears .
.
.
You said it.
Did you mean it? Oh inordinate liar, stop.
2
Or did you mean another kind of heathenry?
Think, then, that under heaven-roof the little disc of the earth,
Fortified Midgard, lies encircled by the ravening Worm.
Over its icy bastions faces of giant and troll
Look in, ready to invade it.
The Wolf, admittedly, is bound;
But the bond wil1 break, the Beast run free.
The weary gods,
Scarred with old wounds the one-eyed Odin, Tyr who has lost a hand,
Will limp to their stations for the Last defence.
Make it your hope
To be counted worthy on that day to stand beside them;
For the end of man is to partake of their defeat and die
His second, final death in good company.
The stupid, strong
Unteachable monsters are certain to be victorious at last,
And every man of decent blood is on the losing side.
Take as your model the tall women with yellow hair in plaits
Who walked back into burning houses to die with men,
Or him who as the death spear entered into his vitals
Made critical comments on its workmanship and aim.
Are these the Pagans you spoke of? Know your betters and crouch, dogs;
You that have Vichy water in your veins and worship the event
Your goddess History (whom your fathers called the strumpet Fortune).
|
Written by
Rudyard Kipling |
The toad beneath the harrow knows
Exactly where eath tooth-point goes.
The butterfly upon the road
Preaches contentment to that toad.
Pagett, M.
P.
, was a liar, and a fluent liar therewith --
He spoke of the heat of India as the "Asian Solar Myth";
Came on a four months' visit, to "study the East," in November,
And I got him to sign an agreement vowing to stay till September.
March came in with the koil.
Pagett was cool and gay,
Called me a "bloated Brahmin," talked of my "princely pay.
"
March went out with the roses.
"Where is your heat?" said he.
"Coming," said I to Pagett, "Skittles!" said Pagett, M.
P.
April began with the punkah, coolies, and prickly-heat, --
Pagett was dear to mosquitoes, sandflies found him a treat.
He grew speckled and mumpy-hammered, I grieve to say,
Aryan brothers who fanned him, in an illiberal way.
May set in with a dust-storm, -- Pagett went down with the sun.
All the delights of the season tickled him one by one.
Imprimis -- ten day's "liver" -- due to his drinking beer;
Later, a dose of fever --slight, but he called it severe.
Dysent'ry touched him in June, after the Chota Bursat --
Lowered his portly person -- made him yearn to depart.
He didn't call me a "Brahmin," or "bloated," or "overpaid,"
But seemed to think it a wonder that any one stayed.
July was a trifle unhealthy, -- Pagett was ill with fear.
'Called it the "Cholera Morbus," hinted that life was dear.
He babbled of "Eastern Exile," and mentioned his home with tears;
But I haven't seen my children for close upon seven years.
We reached a hundred and twenty once in the Court at noon,
(I've mentioned Pagett was portly) Pagett, went off in a swoon.
That was an end to the business; Pagett, the perjured, fled
With a practical, working knowledge of "Solar Myths" in his head.
And I laughed as I drove from the station, but the mirth died out on my lips
As I thought of the fools like Pagett who write of their "Eastern trips,"
And the sneers of the traveled idiots who duly misgovern the land,
And I prayed to the Lord to deliver another one into my hand.
|
Written by
Isaac Watts |
O 'tis a lovely thing for youth
To early walk in wisdom's way;
To fear a lie, to speak the truth,
That we may trust to all they say!
But liars we can never trust,
Even when they say what is true.
And he who does one fault at first
And lies to hide it, makes it two.
Have we not known, nor heard, nor read
How God does hate deceit and wrong?
How Ananias was struck dead,
Caught with a lie upon his tongue?
So did his wife Sapphira die,
When she came in, and grew so bold
As to confirm that wicked lie,
Which just before her husband told.
The Lord delights in them that speak
The words of truth; but every liar
Must have his portion in the lake
That burns with brimstone and with fire.
|
Written by
Algernon Charles Swinburne |
Watchman, what of the night? -
Storm and thunder and rain,
Lights that waver and wane,
Leaving the watchfires unlit.
Only the balefires are bright,
And the flash of the lamps now and then
From a palace where spoilers sit,
Trampling the children of men.
Prophet, what of the night? -
I stand by the verge of the sea,
Banished, uncomforted, free,
Hearing the noise of the waves
And sudden flashes that smite
Some man's tyrannous head,
Thundering, heard among graves
That hide the hosts of his dead.
Mourners, what of the night? -
All night through without sleep
We weep, and we weep, and we weep.
Who shall give us our sons ?
Beaks of raven and kite,
Mouths of wolf and of hound,
Give us them back whom the guns
Shot for you dead on the ground.
Dead men, what of the night? -
Cannon and scaffold and sword,
Horror of gibbet and cord,
Mowed us as sheaves for the grave,
Mowed us down for the right.
We do not grudge or repent.
Freely to freedom we gave
Pledges, till life should be spent.
Statesman, what of the night? -
The night will last me my time.
The gold on a crown or a crime
Looks well enough yet by the lamps.
Have we not fingers to write,
Lips to swear at a need?
Then, when danger decamps,
Bury the word with the deed.
Warrior, what of the night? -
Whether it be not or be
Night, is as one thing to me.
I for one, at the least,
Ask not of dews if they blight,
Ask not of flames if they slay,
Ask not of prince or of priest
How long ere we put them away.
Master, what of the night? -
Child, night is not at all
Anywhere, fallen or to fall,
Save in our star-stricken eyes.
Forth of our eyes it takes flight,
Look we but once nor before
Nor behind us, but straight on the skies;
Night is not then any more.
Exile, what of the night? -
The tides and the hours run out,
The seasons of death and of doubt,
The night-watches bitter and sore.
In the quicksands leftward and right
My feet sink down under me;
But I know the scents of the shore
And the broad blown breaths of the sea.
Captives, what of the night? -
It rains outside overhead
Always, a rain that is red,
And our faces are soiled with the rain.
Here in the seasons' despite
Day-time and night-time are one,
Till the curse of the kings and the chain
Break, and their toils be undone.
Christian, what of the night? -
I cannot tell; I am blind.
I halt and hearken behind
If haply the hours will go back
And return to the dear dead light,
To the watchfires and stars that of old
Shone where the sky now is black,
Glowed where the earth now is cold.
High priest, what of the night? -
The night is horrible here
With haggard faces and fear,
Blood, and the burning of fire.
Mine eyes are emptied of sight,
Mine hands are full of the dust,
If the God of my faith be a liar,
Who is it that I shall trust?
Princes, what of the night? -
Night with pestilent breath
Feeds us, children of death,
Clothes us close with her gloom.
Rapine and famine and fright
Crouch at our feet and are fed.
Earth where we pass is a tomb,
Life where we triumph is dead.
Martyrs, what of the night? -
Nay, is it night with you yet?
We, for our part, we forget
What night was, if it were.
The loud red mouths of the fight
Are silent and shut where we are.
In our eyes the tempestuous air
Shines as the face of a star.
England, what of the night? -
Night is for slumber and sleep,
Warm, no season to weep.
Let me alone till the day.
Sleep would I still if I might,
Who have slept for two hundred years.
Once I had honour, they say;
But slumber is sweeter than tears.
France, what of the night? -
Night is the prostitute's noon,
Kissed and drugged till she swoon,
Spat upon, trod upon, whored.
With bloodred rose-garlands dight,
Round me reels in the dance
Death, my saviour, my lord,
Crowned; there is no more France.
Italy, what of the night? -
Ah, child, child, it is long!
Moonbeam and starbeam and song
Leave it dumb now and dark.
Yet I perceive on the height
Eastward, not now very far,
A song too loud for the lark,
A light too strong for a star.
Germany, what of the night ? -
Long has it lulled me with dreams;
Now at midwatch, as it seems,
Light is brought back to mine eyes,
And the mastery of old and the might
Lives in the joints of mine hands,
Steadies my limbs as they rise,
Strengthens my foot as it stands.
Europe, what of the night ? -
Ask of heaven, and the sea,
And my babes on the bosom of me,
Nations of mine, but ungrown.
There is one who shall surely requite
All that endure or that err:
She can answer alone:
Ask not of me, but of her.
Liberty, what of the night ? -
I feel not the red rains fall,
Hear not the tempest at all,
Nor thunder in heaven any more.
All the distance is white
With the soundless feet of the sun.
Night, with the woes that it wore,
Night is over and done.
|
Written by
Mary Darby Robinson |
A farmer's wife, both young and gay,
And fresh as op'ning buds of May;
Had taken to herself, a Spouse,
And plighted many solemn vows,
That she a faithful mate would prove,
In meekness, duty, and in love!
That she, despising joy and wealth,
Would be, in sickness and in health,
His only comfort and his Friend--
But, mark the sequel,--and attend!
This Farmer, as the tale is told--
Was somewhat cross, and somewhat old!
His, was the wintry hour of life,
While summer smiled before his wife;
A contrast, rather form'd to cloy
The zest of matrimonial joy!
'Twas Christmas time, the peasant throng
Assembled gay, with dance and Song:
The Farmer's Kitchen long had been
Of annual sports the busy scene;
The wood-fire blaz'd, the chimney wide
Presented seats, on either side;
Long rows of wooden Trenchers, clean,
Bedeck'd with holly-boughs, were seen;
The shining Tankard's foamy ale
Gave spirits to the Goblin tale,
And many a rosy cheek--grew pale.
It happen'd, that some sport to shew
The ceiling held a MISTLETOE.
A magic bough, and well design'd
To prove the coyest Maiden, kind.
A magic bough, which DRUIDS old
Its sacred mysteries enroll'd;
And which, or gossip Fame's a liar,
Still warms the soul with vivid fire;
Still promises a store of bliss
While bigots snatch their Idol's kiss.
This MISTLETOE was doom'd to be
The talisman of Destiny;
Beneath its ample boughs we're told
Full many a timid Swain grew bold;
Full many a roguish eye askance
Beheld it with impatient glance,
And many a ruddy cheek confest,
The triumphs of the beating breast;
And many a rustic rover sigh'd
Who ask'd the kiss, and was denied.
First MARG'RY smil'd and gave her Lover
A Kiss; then thank'd her stars, 'twas over!
Next, KATE, with a reluctant pace,
Was tempted to the mystic place;
Then SUE, a merry laughing jade
A dimpled yielding blush betray'd;
While JOAN her chastity to shew
Wish'd "the bold knaves would serve her so,"
She'd "teach the rogues such wanton play!"
And well she could, she knew the way.
The FARMER, mute with jealous care,
Sat sullen, in his wicker chair;
Hating the noisy gamesome host
Yet, fearful to resign his post;
He envied all their sportive strife
But most he watch'd his blooming wife,
And trembled, lest her steps should go,
Incautious, near the MISTLETOE.
Now HODGE, a youth of rustic grace
With form athletic; manly face;
On MISTRESS HOMESPUN turn'd his eye
And breath'd a soul-declaring sigh!
Old HOMESPUN, mark'd his list'ning Fair
And nestled in his wicker chair;
HODGE swore, she might his heart command--
The pipe was dropp'd from HOMESPUN'S hand!
HODGE prest her slender waist around;
The FARMER check'd his draught, and frown'd!
And now beneath the MISTLETOE
'Twas MISTRESS HOMESPUN'S turn to go;
Old Surly shook his wicker chair,
And sternly utter'd--"Let her dare!"
HODGE, to the FARMER'S wife declar'd
Such husbands never should be spar'd;
Swore, they deserv'd the worst disgrace,
That lights upon the wedded race;
And vow'd--that night he would not go
Unblest, beneath the MISTLETOE.
The merry group all recommend
An harmless Kiss, the strife to end:
"Why not ?" says MARG'RY, "who would fear,
"A dang'rous moment, once a year?"
SUSAN observ'd, that "ancient folks
"Were seldom pleas'd with youthful jokes;"
But KATE, who, till that fatal hour,
Had held, o'er HODGE, unrivall'd pow'r,
With curving lip and head aside
Look'd down and smil'd in conscious pride,
Then, anxious to conceal her care,
She humm'd--"what fools some women are!"
Now, MISTRESS HOMESPUN, sorely vex'd,
By pride and jealous rage perplex'd,
And angry, that her peevish spouse
Should doubt her matrimonial vows,
But, most of all, resolved to make
An envious rival's bosom ache;
Commanded Hodge to let her go,
Nor lead her to the Mistletoe;
"Why should you ask it o'er and o'er?"
Cried she, "we've been there twice before!"
'Tis thus, to check a rival's sway,
That Women oft themselves betray;
While VANITY, alone, pursuing,
They rashly prove, their own undoing.
|
Written by
Alfred Lord Tennyson |
I.
And Willy, my eldest-born, is gone, you say, little Anne?
Ruddy and white, and strong on his legs, he looks like a man.
And Willy's wife has written: she never was over-wise,
Never the wife for Willy: he would n't take my advice.
II.
For, Annie, you see, her father was not the man to save,
Had n't a head to manage, and drank himself into his grave.
Pretty enough, very pretty! but I was against it for one.
Eh!--but he would n't hear me--and Willy, you say, is gone.
III.
Willy, my beauty, my eldest-born, the flower of the flock;
Never a man could fling him: for Willy stood like a rock.
`Here's a leg for a babe of a week!' says doctor; and he would be bound,
There was not his like that year in twenty parishes round.
IV.
Strong of his hands, and strong on his legs, but still of his tongue!
I ought to have gone before him: I wonder he went so young.
I cannot cry for him, Annie: I have not long to stay;
Perhaps I shall see him the sooner, for he lived far away.
V.
Why do you look at me, Annie? you think I am hard and cold;
But all my children have gone before me, I am so old:
I cannot weep for Willy, nor can I weep for the rest;
Only at your age, Annie, I could have wept with the best.
VI.
For I remember a quarrel I had with your father, my dear,
All for a slanderous story, that cost me many a tear.
I mean your grandfather, Annie: it cost me a world of woe,
Seventy years ago, my darling, seventy years ago.
VII.
For Jenny, my cousin, had come to the place, and I knew right well
That Jenny had tript in her time: I knew, but I would not tell.
And she to be coming and slandering me, the base little liar!
But the tongue is a fire as you know, my dear, the tongue is a fire.
VIII.
And the parson made it his text that week, and he said likewise,
That a lie which is half a truth is ever the blackest of lies,
That a lie which is all a lie may be met and fought with outright,
But a lie which is part a truth is a harder matter to fight.
IX.
And Willy had not been down to the farm for a week and a day;
And all things look'd half-dead, tho' it was the middle of May.
Jenny, to slander me, who knew what Jenny had been!
But soiling another, Annie, will never make oneself clean.
X.
And I cried myself well-nigh blind, and all of an evening late
I climb'd to the top of the garth, and stood by the road at the gate.
The moon like a rick on fire was rising over the dale,
And whit, whit, whit, in the bush beside me chirrupt the nightingale.
XI.
All of a sudden he stopt: there past by the gate of the farm,
Willy,--he did n't see me,--and Jenny hung on his arm.
Out into the road I started, and spoke I scarce knew how;
Ah, there's no fool like the old one -- it makes me angry now.
XII.
Willy stood up like a man, and look'd the thing that he meant;
Jenny, the viper, made me a mocking courtesy and went.
And I said, `Let us part: in a hundred years it'll all be the same,
You cannot love me at all, if you love not my good name.
'
XIII.
And he turn'd, and I saw his eyes all wet, in the sweet moonshine:
Sweetheart, I love you so well that your good name is mine.
And what do I care for Jane, let her speak of you well of ill;
But marry me out of hand: we two shall be happy still.
'
XIV.
`Marry you, Willy!' said I, `but I needs must speak my mind,
And I fear you'll listen to tales, be jealous and hard and unkind.
'
But he turn'd and claspt me in his arms, and answer'd, `No, love, no;'
Seventy years ago, my darling, seventy years ago.
XV.
So Willy and I were wedded: I wore a lilac gown;
And the ringers rang with a will, and he gave the ringers a crown.
But the first that ever I bare was dead before he was born,
Shadow and shine is life, little Annie, flower and thorn.
XVI.
That was the first time, too, that ever I thought of death.
There lay the sweet little body that never had drawn a breath.
I had not wept, little Anne, not since I had been a wife;
But I wept like a child that day, for the babe had fought for his life.
XVII.
His dear little face was troubled, as if with anger or pain:
I look'd at the still little body--his trouble had all been in vain.
For Willy I cannot weep, I shall see him another morn:
But I wept like a child for the child that was dead before he was born.
XVIII.
But he cheer'd me, my good man, for he seldom said me nay:
Kind, like a man, was he; like a man, too, would have his way:
Never jealous--not he: we had many a happy year;
And he died, and I could not weep--my own time seem'd so near.
XIX.
But I wish'd it had been God's will that I, too, then could have died:
I began to be tired a little, and fain had slept at his side.
And that was ten years back, or more, if I don't forget:
But as to the children, Annie, they're all about me yet.
XX.
Pattering over the boards, my Annie who left me at two,
Patter she goes, my own little Annie, an Annie like you:
Pattering over the boards, she comes and goes at her will,
While Harry is in the five-acre and Charlie ploughing the hill.
XXI.
And Harry and Charlie, I hear them too--they sing to their team:
Often they come to the door in a pleasant kind of a dream.
They come and sit by my chair, they hover about my bed--
I am not always certain if they be alive or dead.
XXII.
And yet I know for a truth, there's none of them left alive;
For Harry went at sixty, your father at sixty- five:
And Willy, my eldest born, at nigh threescore and ten;
I knew them all as babies, and now they're elderly men.
XXIII.
For mine is a time of peace, it is not often I grieve;
I am oftener sitting at home in my father's farm at eve:
And the neighbors come and laugh and gossip, and so do I;
I find myself often laughing at things that have long gone by.
XXIV.
To be sure the preacher says, our sins should make us sad:
But mine is a time of peace, and there is Grace to be had;
And God, not man, is the Judge of us all when life shall cease;
And in this Book, little Annie, the message is one of Peace.
XXV.
And age is a time of peace, so it be free from pain,
And happy has been my life; but I would not live it again.
I seem to be tired a little, that's all, and long for rest;
Only at your age, Annie, I could have wept with the best.
XXVI.
So Willy has gone, my beauty, my eldest-born, my flower;
But how can I weep for Willy, he has but gone for an hour,--
Gone for a minute, my son, from this room into the next;
I, too, shall go in a minute.
What time have I to be vext?
XXVII.
And Willy's wife has written, she never was over-wise.
Get me my glasses, Annie: thank God that I keep my eyes.
There is but a trifle left you, when I shall have past away.
But stay with the old woman now: you cannot have long to stay.
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