Written by
Ogden Nash |
In Baltimore there lived a boy.
He wasn't anybody's joy.
Although his name was Jabez Dawes,
His character was full of flaws.
In school he never led his classes,
He hid old ladies' reading glasses,
His mouth was open when he chewed,
And elbows to the table glued.
He stole the milk of hungry kittens,
And walked through doors marked NO ADMITTANCE.
He said he acted thus because
There wasn't any Santa Claus.
Another trick that tickled Jabez
Was crying 'Boo' at little babies.
He brushed his teeth, they said in town,
Sideways instead of up and down.
Yet people pardoned every sin,
And viewed his antics with a grin,
Till they were told by Jabez Dawes,
'There isn't any Santa Claus!'
Deploring how he did behave,
His parents swiftly sought their grave.
They hurried through the portals pearly,
And Jabez left the funeral early.
Like whooping cough, from child to child,
He sped to spread the rumor wild:
'Sure as my name is Jabez Dawes
There isn't any Santa Claus!'
Slunk like a weasel of a marten
Through nursery and kindergarten,
Whispering low to every tot,
'There isn't any, no there's not!'
The children wept all Christmas eve
And Jabez chortled up his sleeve.
No infant dared hang up his stocking
For fear of Jabez' ribald mocking.
He sprawled on his untidy bed,
Fresh malice dancing in his head,
When presently with scalp-a-tingling,
Jabez heard a distant jingling;
He heard the crunch of sleigh and hoof
Crisply alighting on the roof.
What good to rise and bar the door?
A shower of soot was on the floor.
What was beheld by Jabez Dawes?
The fireplace full of Santa Claus!
Then Jabez fell upon his knees
With cries of 'Don't,' and 'Pretty Please.'
He howled, 'I don't know where you read it,
But anyhow, I never said it!'
'Jabez' replied the angry saint,
'It isn't I, it's you that ain't.
Although there is a Santa Claus,
There isn't any Jabez Dawes!'
Said Jabez then with impudent vim,
'Oh, yes there is, and I am him!
Your magic don't scare me, it doesn't'
And suddenly he found he wasn't!
From grimy feet to grimy locks,
Jabez became a Jack-in-the-box,
An ugly toy with springs unsprung,
Forever sticking out his tongue.
The neighbors heard his mournful squeal;
They searched for him, but not with zeal.
No trace was found of Jabez Dawes,
Which led to thunderous applause,
And people drank a loving cup
And went and hung their stockings up.
All you who sneer at Santa Claus,
Beware the fate of Jabez Dawes,
The saucy boy who mocked the saint.
Donner and Blitzen licked off his paint.
|
Written by
Derek Walcott |
There were still shards of an ancient pastoral
in those shires of the island where the cattle drank
their pools of shadow from an older sky,
surviving from when the landscape copied such objects as
"Herefords at Sunset in the valley of the Wye."
The mountain water that fell white from the mill wheel
sprinkling like petals from the star-apple trees,
and all of the windmills and sugar mills moved by mules
on the treadmill of Monday to Monday, would repeat
in tongues of water and wind and fire, in tongues
of Mission School pickaninnies, like rivers remembering
their source, Parish Trelawny, Parish St David, Parish
St Andrew, the names afflicting the pastures,
the lime groves and fences of marl stone and the cattle
with a docile longing, an epochal content.
And there were, like old wedding lace in an attic,
among the boas and parasols and the tea-colored
daguerreotypes, hints of an epochal happiness
as ordered and infinite to the child
as the great house road to the Great House
down a perspective of casuarinas plunging green manes
in time to the horses, an orderly life
reduced by lorgnettes day and night, one disc the sun,
the other the moon, reduced into a pier glass:
nannies diminished to dolls, mahogany stairways
no larger than those of an album in which
the flash of cutlery yellows, as gamboge as
the piled cakes of teatime on that latticed
bougainvillea verandah that looked down toward
a prospect of Cuyp-like Herefords under a sky
lurid as a porcelain souvenir with these words:
"Herefords at Sunset in the Valley of the Wye."
Strange, that the rancor of hatred hid in that dream
of slow rivers and lily-like parasols, in snaps
of fine old colonial families, curled at the edge
not from age of from fire or the chemicals, no, not at all,
but because, off at its edges, innocently excluded
stood the groom, the cattle boy, the housemaid, the gardeners,
the tenants, the good ******* down in the village,
their mouth in the locked jaw of a silent scream.
A scream which would open the doors to swing wildly
all night, that was bringing in heavier clouds,
more black smoke than cloud, frightening the cattle
in whose bulging eyes the Great House diminished;
a scorching wind of a scream
that began to extinguish the fireflies,
that dried the water mill creaking to a stop
as it was about to pronounce Parish Trelawny
all over, in the ancient pastoral voice,
a wind that blew all without bending anything,
neither the leaves of the album nor the lime groves;
blew Nanny floating back in white from a feather
to a chimerical, chemical pin speck that shrank
the drinking Herefords to brown porcelain cows
on a mantelpiece, Trelawny trembling with dusk,
the scorched pastures of the old benign Custos; blew
far the decent servants and the lifelong cook,
and shriveled to a shard that ancient pastoral
of dusk in a gilt-edged frame now catching the evening sun
in Jamaica, making both epochs one.
He looked out from the Great House windows on
clouds that still held the fragrance of fire,
he saw the Botanical Gardens officially drown
in a formal dusk, where governors had strolled
and black gardeners had smiled over glinting shears
at the lilies of parasols on the floating lawns,
the flame trees obeyed his will and lowered their wicks,
the flowers tightened their fists in the name of thrift,
the porcelain lamps of ripe cocoa, the magnolia's jet
dimmed on the one circuit with the ginger lilies
and left a lonely bulb on the verandah,
and, had his mandate extended to that ceiling
of star-apple candelabra, he would have ordered
the sky to sleep, saying, I'm tired,
save the starlight for victories, we can't afford it,
leave the moon on for one more hour,and that's it.
But though his power, the given mandate, extended
from tangerine daybreaks to star-apple dusks,
his hand could not dam that ceaseless torrent of dust
that carried the shacks of the poor, to their root-rock music,
down the gullies of Yallahs and August Town,
to lodge them on thorns of maca, with their rags
crucified by cactus, tins, old tires, cartons;
from the black Warieka Hills the sky glowed fierce as
the dials of a million radios,
a throbbing sunset that glowed like a grid
where the dread beat rose from the jukebox of Kingston.
He saw the fountains dried of quadrilles, the water-music
of the country dancers, the fiddlers like fifes
put aside. He had to heal
this malarial island in its bath of bay leaves,
its forests tossing with fever, the dry cattle
groaning like winches, the grass that kept shaking
its head to remember its name. No vowels left
in the mill wheel, the river. Rock stone. Rock stone.
The mountains rolled like whales through phosphorous stars,
as he swayed like a stone down fathoms into sleep,
drawn by that magnet which pulls down half the world
between a star and a star, by that black power
that has the assassin dreaming of snow,
that poleaxes the tyrant to a sleeping child.
The house is rocking at anchor, but as he falls
his mind is a mill wheel in moonlight,
and he hears, in the sleep of his moonlight, the drowned
bell of Port Royal's cathedral, sees the copper pennies
of bubbles rising from the empty eye-pockets
of green buccaneers, the parrot fish floating
from the frayed shoulders of pirates, sea horses
drawing gowned ladies in their liquid promenade
across the moss-green meadows of the sea;
he heard the drowned choirs under Palisadoes,
a hymn ascending to earth from a heaven inverted
by water, a crab climbing the steeple,
and he climbed from that submarine kingdom
as the evening lights came on in the institute,
the scholars lamplit in their own aquarium,
he saw them mouthing like parrot fish, as he passed
upward from that baptism, their history lessons,
the bubbles like ideas which he could not break:
Jamaica was captured by Penn and Venables,
Port Royal perished in a cataclysmic earthquake.
Before the coruscating façades of cathedrals
from Santiago to Caracas, where penitential archbishops
washed the feet of paupers (a parenthetical moment
that made the Caribbean a baptismal font,
turned butterflies to stone, and whitened like doves
the buzzards circling municipal garbage),
the Caribbean was borne like an elliptical basin
in the hands of acolytes, and a people were absolved
of a history which they did not commit;
the slave pardoned his whip, and the dispossessed
said the rosary of islands for three hundred years,
a hymn that resounded like the hum of the sea
inside a sea cave, as their knees turned to stone,
while the bodies of patriots were melting down walls
still crusted with mute outcries of La Revolucion!
"San Salvador, pray for us,St. Thomas, San Domingo,
ora pro nobis, intercede for us, Sancta Lucia
of no eyes," and when the circular chaplet
reached the last black bead of Sancta Trinidad
they began again, their knees drilled into stone,
where Colon had begun, with San Salvador's bead,
beads of black colonies round the necks of Indians.
And while they prayed for an economic miracle,
ulcers formed on the municipal portraits,
the hotels went up, and the casinos and brothels,
and the empires of tobacco, sugar, and bananas,
until a black woman, shawled like a buzzard,
climbed up the stairs and knocked at the door
of his dream, whispering in the ear of the keyhole:
"Let me in, I'm finished with praying, I'm the Revolution.
I am the darker, the older America."
She was as beautiful as a stone in the sunrise,
her voice had the gutturals of machine guns
across khaki deserts where the cactus flower
detonates like grenades, her sex was the slit throat
of an Indian, her hair had the blue-black sheen of the crow.
She was a black umbrella blown inside out
by the wind of revolution, La Madre Dolorosa,
a black rose of sorrow, a black mine of silence,
raped wife, empty mother, Aztec virgin
transfixed by arrows from a thousand guitars,
a stone full of silence, which, if it gave tongue
to the tortures done in the name of the Father,
would curdle the blood of the marauding wolf,
the fountain of generals, poets, and cripples
who danced without moving over their graves
with each revolution; her Caesarean was stitched
by the teeth of machine guns,and every sunset
she carried the Caribbean's elliptical basin
as she had once carried the penitential napkins
to be the footbath of dictators, Trujillo, Machado,
and those whose faces had yellowed like posters
on municipal walls. Now she stroked his hair
until it turned white, but she would not understand
that he wanted no other power but peace,
that he wanted a revolution without any bloodshed,
he wanted a history without any memory,
streets without statues,
and a geography without myth. He wanted no armies
but those regiments of bananas, thick lances of cane,
and he sobbed,"I am powerless, except for love."
She faded from him, because he could not kill;
she shrunk to a bat that hung day and night
in the back of his brain. He rose in his dream.
(to be continued)
|
Written by
Jane Kenyon |
1FROM THE NURSERY
When I was born, you waited
behind a pile of linen in the nursery,
and when we were alone, you lay down
on top of me, pressing
the bile of desolation into every pore.
And from that day on
everything under the sun and moon
made me sad -- even the yellow
wooden beads that slid and spun
along a spindle on my crib.
You taught me to exist without gratitude.
You ruined my manners toward God:
"We're here simply to wait for death;
the pleasures of earth are overrated."
I only appeared to belong to my mother,
to live among blocks and cotton undershirts
with snaps; among red tin lunch boxes
and report cards in ugly brown slipcases.
I was already yours -- the anti-urge,
the mutilator of souls.
2BOTTLES
Elavil, Ludiomil, Doxepin,
Norpramin, Prozac, Lithium, Xanax,
Wellbutrin, Parnate, Nardil, Zoloft.
The coated ones smell sweet or have
no smell; the powdery ones smell
like the chemistry lab at school
that made me hold my breath.
3SUGGESTION FROM A FRIEND
You wouldn't be so depressed
if you really believed in God.
4OFTEN
Often I go to bed as soon after dinner
as seems adult
(I mean I try to wait for dark)
in order to push away
from the massive pain in sleep's
frail wicker coracle.
5ONCE THERE WAS LIGHT
Once, in my early thirties, I saw
that I was a speck of light in the great
river of light that undulates through time.
I was floating with the whole
human family. We were all colors -- those
who are living now, those who have died,
those who are not yet born. For a few
moments I floated, completely calm,
and I no longer hated having to exist.
Like a crow who smells hot blood
you came flying to pull me out
of the glowing stream.
"I'll hold you up. I never let my dear
ones drown!" After that, I wept for days.
6IN AND OUT
The dog searches until he finds me
upstairs, lies down with a clatter
of elbows, puts his head on my foot.
Sometimes the sound of his breathing
saves my life -- in and out, in
and out; a pause, a long sigh. . . .
7PARDON
A piece of burned meat
wears my clothes, speaks
in my voice, dispatches obligations
haltingly, or not at all.
It is tired of trying
to be stouthearted, tired
beyond measure.
We move on to the monoamine
oxidase inhibitors. Day and night
I feel as if I had drunk six cups
of coffee, but the pain stops
abruptly. With the wonder
and bitterness of someone pardoned
for a crime she did not commit
I come back to marriage and friends,
to pink fringed hollyhocks; come back
to my desk, books, and chair.
8CREDO
Pharmaceutical wonders are at work
but I believe only in this moment
of well-being. Unholy ghost,
you are certain to come again.
Coarse, mean, you'll put your feet
on the coffee table, lean back,
and turn me into someone who can't
take the trouble to speak; someone
who can't sleep, or who does nothing
but sleep; can't read, or call
for an appointment for help.
There is nothing I can do
against your coming.
When I awake, I am still with thee.
9WOOD THRUSH
High on Nardil and June light
I wake at four,
waiting greedily for the first
note of the wood thrush. Easeful air
presses through the screen
with the wild, complex song
of the bird, and I am overcome
by ordinary contentment.
What hurt me so terribly
all my life until this moment?
How I love the small, swiftly
beating heart of the bird
singing in the great maples;
its bright, unequivocal eye.
|
Written by
Lewis Carroll |
"MY First - but don't suppose," he said,
"I'm setting you a riddle -
Is - if your Victim be in bed,
Don't touch the curtains at his head,
But take them in the middle,
"And wave them slowly in and out,
While drawing them asunder;
And in a minute's time, no doubt,
He'll raise his head and look about
With eyes of wrath and wonder.
"And here you must on no pretence
Make the first observation.
Wait for the Victim to commence:
No Ghost of any common sense
Begins a conversation.
"If he should say 'HOW CAME YOU HERE?'
(The way that YOU began, Sir,)
In such a case your course is clear -
'ON THE BAT'S BACK, MY LITTLE DEAR!'
Is the appropriate answer.
"If after this he says no more,
You'd best perhaps curtail your
Exertions - go and shake the door,
And then, if he begins to snore,
You'll know the thing's a failure.
"By day, if he should be alone -
At home or on a walk -
You merely give a hollow groan,
To indicate the kind of tone
In which you mean to talk.
"But if you find him with his friends,
The thing is rather harder.
In such a case success depends
On picking up some candle-ends,
Or butter, in the larder.
"With this you make a kind of slide
(It answers best with suet),
On which you must contrive to glide,
And swing yourself from side to side -
One soon learns how to do it.
"The Second tells us what is right
In ceremonious calls:-
'FIRST BURN A BLUE OR CRIMSON LIGHT'
(A thing I quite forgot to-night),
'THEN SCRATCH THE DOOR OR WALLS.'"
I said "You'll visit HERE no more,
If you attempt the Guy.
I'll have no bonfires on MY floor -
And, as for scratching at the door,
I'd like to see you try!"
"The Third was written to protect
The interests of the Victim,
And tells us, as I recollect,
TO TREAT HIM WITH A GRAVE RESPECT,
AND NOT TO CONTRADICT HIM."
"That's plain," said I, "as Tare and Tret,
To any comprehension:
I only wish SOME Ghosts I've met
Would not so CONSTANTLY forget
The maxim that you mention!"
"Perhaps," he said, "YOU first transgressed
The laws of hospitality:
All Ghosts instinctively detest
The Man that fails to treat his guest
With proper cordiality.
"If you address a Ghost as 'Thing!'
Or strike him with a hatchet,
He is permitted by the King
To drop all FORMAL parleying -
And then you're SURE to catch it!
"The Fourth prohibits trespassing
Where other Ghosts are quartered:
And those convicted of the thing
(Unless when pardoned by the King)
Must instantly be slaughtered.
"That simply means 'be cut up small':
Ghosts soon unite anew.
The process scarcely hurts at all -
Not more than when YOU're what you call
'Cut up' by a Review.
"The Fifth is one you may prefer
That I should quote entire:-
THE KING MUST BE ADDRESSED AS 'SIR.'
THIS, FROM A SIMPLE COURTIER,
IS ALL THE LAWS REQUIRE:
"BUT, SHOULD YOU WISH TO DO THE THING
WITH OUT-AND-OUT POLITENESS,
ACCOST HIM AS 'MY GOBLIN KING!
AND ALWAYS USE, IN ANSWERING,
THE PHRASE 'YOUR ROYAL WHITENESS!'
"I'm getting rather hoarse, I fear,
After so much reciting :
So, if you don't object, my dear,
We'll try a glass of bitter beer -
I think it looks inviting."
|
Written by
The Bible |
“Do not enter into judgment with your servant;
For before you no one alive can be righteous.”—Ps. 143:2.
“O Jehovah, do not in your indignation reprove me,
Nor in your rage correct me.
For your own arrows have sunk themselves deep into me,
And upon me your hand is come down.
There is no sound spot in my flesh because of your denunciation.
There is no peace in my bones on account of my sin.
For my own errors have passed over my head;
Like a heavy load they are too heavy for me.
My wounds have become stinky, they have festered,
Because of my foolishness.
I have become disconcerted, I have bowed low to an extreme degree;
All day long I have walked about sad.”—Ps. 38:1-6.
“Look! With error I was brought forth with birth pains,
And in sin my mother conceived me.”
“May you purify me from sin with hyssop, that I may be clean;
May you wash me, that I may become whiter even than snow.”
“Conceal your face from my sins,
And wipe out even all my errors.”—Ps. 51:5, 7, 9.
“Happy is the one whose revolt is pardoned, whose sin is covered.
Happy is the man to whose account Jehovah does not put error,
And in whose spirit there is no deceit. . . .
My sin I finally confessed to you, and my error I did not cover.
I said: ‘I shall make confession over my transgressions to Jehovah.’
And you yourself pardoned the error of my sins.”—Ps. 32:1-5.
|
Written by
Louise Gluck |
Now, in twilight, on the palace steps
the king asks forgiveness of his lady.
He is not
duplicitous; he has tried to be
true to the moment; is there another way of being
true to the self?
The lady
hides her face, somewhat
assisted by the shadows. She weeps
for her past; when one has a secret life,
one's tears are never explained.
Yet gladly would the king bear
the grief of his lady: his
is the generous heart,
in pain as in joy.
Do you know
what forgiveness mean? it mean
the world has sinned, the world
must be pardoned --
|
Written by
Edward Field |
It sometimes happens
that the woman you meet and fall in love with
is of that strange Transylvanian people
with an affinity for cats.
You take her to a restuarant, say, or a show,
on an ordinary date, being attracted
by the glitter in her slitty eyes and her catlike walk,
and afterwards of course you take her in your arms
and she turns into a black panther
and bites you to death.
Or perhaps you are saved in the nick of time
and she is tormented by the knowledge of her tendency:
That she daren't hug a man
unless she wants to risk clawing him up.
This puts you both in a difficult position--
panting lovers who are prevented from touching
not by bars but by circumstance:
You have terrible fights and say cruel things
for having the hots does not give you a sweet temper.
One night you are walking down a dark street
And hear the pad-pad of a panther following you,
but when you turn around there are only shadows,
or perhaps one shadow too many.
You approach, calling, "Who's there?"
and it leaps on you.
Luckily you have brought along your sword
and you stab it to death.
And before your eyes it turns into the woman you love,
her breast impaled on your sword,
her mouth dribbling blood saying she loved you
but couldn't help her tendency.
So death released her from the curse at last,
and you knew from the angelic smile on her dead face
that in spite of a life the devil owned,
love had won, and heaven pardoned her.
|
Written by
Johann Wolfgang von Goethe |
I feel no small reluctance in venturing to give to the public a
work of the character of that indicated by the title-page to the
present volume; for, difficult as it must always be to render satisfactorily
into one's own tongue the writings of the bards of other lands,
the responsibility assumed by the translator is immeasurably increased
when he attempts to transfer the thoughts of those great men, who
have lived for all the world and for all ages, from the language
in which they were originally clothed, to one to which they may
as yet have been strangers. Preeminently is this the case with Goethe,
the most masterly of all the master minds of modern times, whose
name is already inscribed on the tablets of immortality, and whose
fame already extends over the earth, although as yet only in its
infancy. Scarcely have two decades passed away since he ceased to
dwell among men, yet he now stands before us, not as a mere individual,
like those whom the world is wont to call great, but as a type,
as an emblem--the recognised emblem and representative of the human
mind in its present stage of culture and advancement.
Among the infinitely varied effusions of Goethe's pen, perhaps
there are none which are of as general interest as his Poems, which
breathe the very spirit of Nature, and embody the real music of
the feelings. In Germany, they are universally known, and are considered
as the most delightful of his works. Yet in this country, this kindred
country, sprung from the same stem, and so strongly resembling her
sister in so many points, they are nearly unknown. Almost the only
poetical work of the greatest Poet that the world has seen for ages,
that is really and generally read in England, is Faust, the translations
of which are almost endless; while no single person has as yet appeared
to attempt to give, in an English dress, in any collective or systematic
manner, those smaller productions of the genius of Goethe which
it is the object of the present volume to lay before the reader,
whose indulgence is requested for its many imperfections. In addition
to the beauty of the language in which the Poet has given utterance
to his thoughts, there is a depth of meaning in those thoughts which
is not easily discoverable at first sight, and the translator incurs
great risk of overlooking it, and of giving a prosaic effect to
that which in the original contains the very essence of poetry.
It is probably this difficulty that has deterred others from undertaking
the task I have set myself, and in which I do not pretend to do
more than attempt to give an idea of the minstrelsy of one so unrivalled,
by as truthful an interpretation of it as lies in my power.
The principles which have guided me on the present occasion are
the same as those followed in the translation of Schiller's complete
Poems that was published by me in 1851, namely, as literal a rendering
of the original as is consistent with good English, and also a very
strict adherence to the metre of the original. Although translators
usually allow themselves great license in both these points, it
appears to me that by so doing they of necessity destroy the very
soul of the work they profess to translate. In fact, it is not a
translation, but a paraphrase that they give. It may perhaps be
thought that the present translations go almost to the other extreme,
and that a rendering of metre, line for line, and word for word,
makes it impossible to preserve the poetry of the original both
in substance and in sound. But experience has convinced me that
it is not so, and that great fidelity is even the most essential
element of success, whether in translating poetry or prose. It was
therefore very satisfactory to me to find that the principle laid
down by me to myself in translating Schiller met with the very general,
if not universal, approval of the reader. At the same time, I have
endeavoured to profit in the case of this, the younger born of the
two attempts made by me to transplant the muse of Germany to the
shores of Britain, by the criticisms, whether friendly or hostile,
that have been evoked or provoked by the appearance of its elder
brother.
As already mentioned, the latter contained the whole of the Poems
of Schiller. It is impossible, in anything like the same compass,
to give all the writings of Goethe comprised under the general title
of Gedichte, or poems. They contain between 30,000 and 40,000 verses,
exclusive of his plays. and similar works. Very many of these would
be absolutely without interest to the English reader,--such as those
having only a local application, those addressed to individuals,
and so on. Others again, from their extreme length, could only be
published in separate volumes. But the impossibility of giving all
need form no obstacle to giving as much as possible; and it so happens
that the real interest of Goethe's Poems centres in those classes
of them which are not too diffuse to run any risk when translated
of offending the reader by their too great number. Those by far
the more generally admired are the Songs and Ballads, which are
about 150 in number, and the whole of which are contained in this
volume (with the exception of one or two of the former, which have
been, on consideration, left out by me owing to their trifling and
uninteresting nature). The same may be said of the Odes, Sonnets,
Miscellaneous Poems, &c.
In addition to those portions of Goethe's poetical works which
are given in this complete form, specimens of the different other
classes of them, such as the Epigrams, Elegies, &c., are added,
as well as a collection of the various Songs found in his Plays,
making a total number of about 400 Poems, embraced in the present
volume.
A sketch of the life of Goethe is prefixed, in order that the
reader may have before him both the Poet himself and the Poet's
offspring, and that he may see that the two are but one--that Goethe
lives in his works, that his works lived in him.
The dates of the different Poems are appended throughout, that
of the first publication being given, when that of the composition
is unknown. The order of arrangement adopted is that of the authorized
German editions. As Goethe would never arrange them himself in the
chronological order of their composition, it has become impossible
to do so, now that he is dead. The plan adopted in the present volume
would therefore seem to be the best, as it facilitates reference
to the original. The circumstances attending or giving rise to the
production of any of the Poems will be found specified in those
cases in which they have been ascertained by me.
Having said thus much by way of explanation, I now leave the book
to speak for itself, and to testify to its own character. Whether
viewed with a charitable eye by the kindly reader, who will make
due allowance for the difficulties attending its execution, or received
by the critic, who will judge of it only by its own merits, with
the unfriendly welcome which it very probably deserves, I trust
that I shall at least be pardoned for making an attempt, a failure
in which does not necessarily imply disgrace, and which, by leading
the way, may perhaps become the means of inducing some abler and
more worthy (but not more earnest) labourer to enter upon the same
field, the riches of which will remain unaltered and undiminished
in value, even although they may be for the moment tarnished by
the hands of the less skilful workman who first endeavours to transplant
them to a foreign soil.
|
Written by
Friedrich von Schiller |
Joy, thou goddess, fair, immortal,
Offspring of Elysium,
Mad with rapture, to the portal
Of thy holy fame we come!
Fashion's laws, indeed, may sever,
But thy magic joins again;
All mankind are brethren ever
'Neath thy mild and gentle reign.
CHORUS.
Welcome, all ye myriad creatures!
Brethren, take the kiss of love!
Yes, the starry realms above
Hide a Father's smiling features!
He, that noble prize possessing--
He that boasts a friend that's true,
He whom woman's love is blessing,
Let him join the chorus too!
Aye, and he who but one spirit
On this earth can call his own!
He who no such bliss can merit,
Let him mourn his fate alone!
CHORUS.
All who Nature's tribes are swelling
Homage pay to sympathy;
For she guides us up on high,
Where the unknown has his dwelling.
From the breasts of kindly Nature
All of joy imbibe the dew;
Good and bad alike, each creature
Would her roseate path pursue.
'Tis through her the wine-cup maddens,
Love and friends to man she gives!
Bliss the meanest reptile gladdens,--
Near God's throne the cherub lives!
CHORUS.
Bow before him, all creation!
Mortals, own the God of love!
Seek him high the stars above,--
Yonder is his habitation!
Joy, in Nature's wide dominion,
Mightiest cause of all is found;
And 'tis joy that moves the pinion,
When the wheel of time goes round;
From the bud she lures the flower--
Suns from out their orbs of light;
Distant spheres obey her power,
Far beyond all mortal sight.
CHORUS.
As through heaven's expanse so glorious
In their orbits suns roll on,
Brethren, thus your proud race run,
Glad as warriors all-victorious!
Joy from truth's own glass of fire
Sweetly on the searcher smiles;
Lest on virtue's steeps he tire,
Joy the tedious path beguiles.
High on faith's bright hill before us,
See her banner proudly wave!
Joy, too, swells the angels' chorus,--
Bursts the bondage of the grave!
CHORUS.
Mortals, meekly wait for heaven
Suffer on in patient love!
In the starry realms above,
Bright rewards by God are given.
To the Gods we ne'er can render
Praise for every good they grant;
Let us, with devotion tender,
Minister to grief and want.
Quenched be hate and wrath forever,
Pardoned be our mortal foe--
May our tears upbraid him never,
No repentance bring him low!
CHORUS.
Sense of wrongs forget to treasure--
Brethren, live in perfect love!
In the starry realms above,
God will mete as we may measure.
Joy within the goblet flushes,
For the golden nectar, wine,
Every fierce emotion hushes,--
Fills the breast with fire divine.
Brethren, thus in rapture meeting,
Send ye round the brimming cup,--
Yonder kindly spirit greeting,
While the foam to heaven mounts up!
CHORUS.
He whom seraphs worship ever;
Whom the stars praise as they roll,
Yes to him now drain the bowl
Mortal eye can see him never!
Courage, ne'er by sorrow broken!
Aid where tears of virtue flow;
Faith to keep each promise spoken!
Truth alike to friend and foe!
'Neath kings' frowns a manly spirit!--
Brethren, noble is the prize--
Honor due to every merit!
Death to all the brood of lies!
CHORUS.
Draw the sacred circle closer!
By this bright wine plight your troth
To be faithful to your oath!
Swear it by the Star-Disposer!
Safety from the tyrant's power!
Mercy e'en to traitors base!
Hope in death's last solemn hour!
Pardon when before His face!
Lo, the dead shall rise to heaven!
Brethren hail the blest decree;
Every sin shall be forgiven,
Hell forever cease to be!
CHORUS.
When the golden bowl is broken,
Gentle sleep within the tomb!
Brethren, may a gracious doom
By the Judge of man be spoken!
|
Written by
Robert William Service |
A prisoner speaks:
Majority of twenty-three,
I face the Judge with joy and glee;
For am I not a lucky chap -
No more hanging, no more cap;
A "lifer," yes, but well I know
In fifteen years they'll let me go;
For I'll be pious in my prison,
Sing with gusto: Christ Is Risen;
Serve the hymn-books out on Sunday,
Sweep the chapel clean on Monday:
Such a model lag I'll be
In fifteen years they'll set me free.
Majority of twenty three,
You've helped me cheat the gallows tree.
I'm twenty now, at thirty-five
How I will laugh to be alive!
To leap into the world again
And bless the fools miscalled "humane,"
Who say the gibbet's wrong and so
At thirty-five they let me go,
Tat I may sail the across the sea
A killer unsuspect and free,
To change my name, to darkly thrive
By hook or crook at thirty-five.
O silent dark and beastly wood
Where with my bloodied hands I stood!
O piteous child I raped and slew!
Had she been yours, would you and you
Have pardoned me and set me free,
Majority of twenty-three?
Yet by your solemn vote you willed
I shall not die though I have killed;
Although I did no mercy show,
In mercy you will let me go. . . .
That he who kills and does not pay
May live to kill another day.
*By a majority of twenty-three the House of Commons
voted the abolition of the death penalty.
|