Written by
William Butler Yeats |
I
What shall I do with this absurdity -
O heart, O troubled heart - this caricature,
Decrepit age that has been tied to me
As to a dog's tail?
Never had I more
Excited, passionate, fantastical
Imagination, nor an ear and eye
That more expected the impossible -
No, not in boyhood when with rod and fly,
Or the humbler worm, I climbed Ben Bulben's back
And had the livelong summer day to spend.
It seems that I must bid the Muse go pack,
Choose Plato and Plotinus for a friend
Until imagination, ear and eye,
Can be content with argument and deal
In abstract things; or be derided by
A sort of battered kettle at the heel.
II
I pace upon the battlements and stare
On the foundations of a house, or where
Tree, like a sooty finger, starts from the earth;
And send imagination forth
Under the day's declining beam, and call
Images and memories
From ruin or from ancient trees,
For I would ask a question of them all.
Beyond that ridge lived Mrs. French, and once
When every silver candlestick or sconce
Lit up the dark mahogany and the wine.
A serving-man, that could divine
That most respected lady's every wish,
Ran and with the garden shears
Clipped an insolent farmer's ears
And brought them in a little covered dish.
Some few remembered still when I was young
A peasant girl commended by a Song,
Who'd lived somewhere upon that rocky place,
And praised the colour of her face,
And had the greater joy in praising her,
Remembering that, if walked she there,
Farmers jostled at the fair
So great a glory did the song confer.
And certain men, being maddened by those rhymes,
Or else by toasting her a score of times,
Rose from the table and declared it right
To test their fancy by their sight;
But they mistook the brightness of the moon
For the prosaic light of day -
Music had driven their wits astray -
And one was drowned in the great bog of Cloone.
Strange, but the man who made the song was blind;
Yet, now I have considered it, I find
That nothing strange; the tragedy began
With Homer that was a blind man,
And Helen has all living hearts betrayed.
O may the moon and sunlight seem
One inextricable beam,
For if I triumph I must make men mad.
And I myself created Hanrahan
And drove him drunk or sober through the dawn
From somewhere in the neighbouring cottages.
Caught by an old man's juggleries
He stumbled, tumbled, fumbled to and fro
And had but broken knees for hire
And horrible splendour of desire;
I thought it all out twenty years ago:
Good fellows shuffled cards in an old bawn;
And when that ancient ruffian's turn was on
He so bewitched the cards under his thumb
That all but the one card became
A pack of hounds and not a pack of cards,
And that he changed into a hare.
Hanrahan rose in frenzy there
And followed up those baying creatures towards -
O towards I have forgotten what - enough!
I must recall a man that neither love
Nor music nor an enemy's clipped ear
Could, he was so harried, cheer;
A figure that has grown so fabulous
There's not a neighbour left to say
When he finished his dog's day:
An ancient bankrupt master of this house.
Before that ruin came, for centuries,
Rough men-at-arms, cross-gartered to the knees
Or shod in iron, climbed the narrow stairs,
And certain men-at-arms there were
Whose images, in the Great Memory stored,
Come with loud cry and panting breast
To break upon a sleeper's rest
While their great wooden dice beat on the board.
As I would question all, come all who can;
Come old, necessitous. half-mounted man;
And bring beauty's blind rambling celebrant;
The red man the juggler sent
Through God-forsaken meadows; Mrs. French,
Gifted with so fine an ear;
The man drowned in a bog's mire,
When mocking Muses chose the country wench.
Did all old men and women, rich and poor,
Who trod upon these rocks or passed this door,
Whether in public or in secret rage
As I do now against old age?
But I have found an answer in those eyes
That are impatient to be gone;
Go therefore; but leave Hanrahan,
For I need all his mighty memories.
Old lecher with a love on every wind,
Bring up out of that deep considering mind
All that you have discovered in the grave,
For it is certain that you have
Reckoned up every unforeknown, unseeing
plunge, lured by a softening eye,
Or by a touch or a sigh,
Into the labyrinth of another's being;
Does the imagination dwell the most
Upon a woman won or woman lost?
If on the lost, admit you turned aside
From a great labyrinth out of pride,
Cowardice, some silly over-subtle thought
Or anything called conscience once;
And that if memory recur, the sun's
Under eclipse and the day blotted out.
III
It is time that I wrote my will;
I choose upstanding men
That climb the streams until
The fountain leap, and at dawn
Drop their cast at the side
Of dripping stone; I declare
They shall inherit my pride,
The pride of people that were
Bound neither to Cause nor to State.
Neither to slaves that were spat on,
Nor to the tyrants that spat,
The people of Burke and of Grattan
That gave, though free to refuse -
pride, like that of the morn,
When the headlong light is loose,
Or that of the fabulous horn,
Or that of the sudden shower
When all streams are dry,
Or that of the hour
When the swan must fix his eye
Upon a fading gleam,
Float out upon a long
Last reach of glittering stream
And there sing his last song.
And I declare my faith:
I mock plotinus' thought
And cry in plato's teeth,
Death and life were not
Till man made up the whole,
Made lock, stock and barrel
Out of his bitter soul,
Aye, sun and moon and star, all,
And further add to that
That, being dead, we rise,
Dream and so create
Translunar paradise.
I have prepared my peace
With learned Italian things
And the proud stones of Greece,
Poet's imaginings
And memories of love,
Memories of the words of women,
All those things whereof
Man makes a superhuman,
Mirror-resembling dream.
As at the loophole there
The daws chatter and scream,
And drop twigs layer upon layer.
When they have mounted up,
The mother bird will rest
On their hollow top,
And so warm her wild nest.
I leave both faith and pride
To young upstanding men
Climbing the mountain-side,
That under bursting dawn
They may drop a fly;
Being of that metal made
Till it was broken by
This sedentary trade.
Now shall I make my soul,
Compelling it to study
In a learned school
Till the wreck of body,
Slow decay of blood,
Testy delirium
Or dull decrepitude,
Or what worse evil come -
The death of friends, or death
Of every brilliant eye
That made a catch in the breath -
Seem but the clouds of the sky
When the horizon fades;
Or a bird's sleepy cry
Among the deepening shades.
|
Written by
Eugene Field |
I'd not complain of Sister Jane, for she was good and kind,
Combining with rare comeliness distinctive gifts of mind;
Nay, I'll admit it were most fit that, worn by social cares,
She'd crave a change from parlor life to that below the stairs,
And that, eschewing needlework and music, she should take
Herself to the substantial art of manufacturing cake.
At breakfast, then, it would befall that Sister Jane would say:
"Mother, if you have got the things, I'll make some cake to-day!"
Poor mother'd cast a timid glance at father, like as not--
For father hinted sister's cooking cost a frightful lot--
But neither she nor he presumed to signify dissent,
Accepting it for gospel truth that what she wanted went!
No matter what the rest of 'em might chance to have in hand,
The whole machinery of the house came to a sudden stand;
The pots were hustled off the stove, the fire built up anew,
With every damper set just so to heat the oven through;
The kitchen-table was relieved of everything, to make
That ample space which Jane required when she compounded cake.
And, oh! the bustling here and there, the flying to and fro;
The click of forks that whipped the eggs to lather white as snow--
And what a wealth of sugar melted swiftly out of sight--
And butter? Mother said such waste would ruin father, quite!
But Sister Jane preserved a mien no pleading could confound
As she utilized the raisins and the citron by the pound.
Oh, hours of chaos, tumult, heat, vexatious din, and whirl!
Of deep humiliation for the sullen hired-girl;
Of grief for mother, hating to see things wasted so,
And of fortune for that little boy who pined to taste that dough!
It looked so sweet and yellow--sure, to taste it were no sin--
But, oh! how sister scolded if he stuck his finger in!
The chances were as ten to one, before the job was through,
That sister'd think of something else she'd great deal rather do!
So, then, she'd softly steal away, as Arabs in the night,
Leaving the girl and ma to finish up as best they might;
These tactics (artful Sister Jane) enabled her to take
Or shift the credit or the blame of that too-treacherous cake!
And yet, unhappy is the man who has no Sister Jane--
For he who has no sister seems to me to live in vain.
I never had a sister--may be that is why today
I'm wizened and dyspeptic, instead of blithe and gay;
A boy who's only forty should be full of romp and mirth,
But I (because I'm sisterless) am the oldest man on earth!
Had I a little sister--oh, how happy I should be!
I'd never let her cast her eyes on any chap but me;
I'd love her and I'd cherish her for better and for worse--
I'd buy her gowns and bonnets, and sing her praise in verse;
And--yes, what's more and vastly more--I tell you what I'd do:
I'd let her make her wondrous cake, and I would eat it, too!
I have a high opinion of the sisters, as you see--
Another fellow's sister is so very dear to me!
I love to work anear her when she's making over frocks,
When she patches little trousers or darns prosaic socks;
But I draw the line at one thing--yes, I don my hat and take
A three hours' walk when she is moved to try her hand at cake!
|
Written by
Lewis Carroll |
PREFACE
If---and the thing is wildly possible---the charge of writing
nonsense were ever brought against the author of this brief but
instructive poem, it would be based, I feel convinced, on the line
``Then the bowsprit got mixed with the rudder sometimes''
In view of this painful possibility, I will not (as I might) appeal
indignantly to my other writings as a proof that I am incapable of
such a deed: I will not (as I might) point to the strong moral
purpose of this poem itself, to the arithmetical principles so
cautiously inculcated in it, or to its noble teachings in Natural
History---I will take the more prosaic course of simply explaining
how it happened.
The Bellman, who was almost morbidly sensitive about appearances,
used to have the bowsprit unshipped once or twice a week to be
revarnished, and it more than once happened, when the time came for
replacing it, that no one on board could remember which end of the
ship it belonged to. They knew it was not of the slightest use to
appeal to the Bellman about it---he would only refer to his Naval
Code, and read out in pathetic tones Admiralty Instructions which
none of them had ever been able to understand---so it generally ended
in its being fastened on, anyhow, across the rudder. The helmsman
used to stand by with tears in his eyes: he knew it was all wrong,
but alas! Rule 42 of the Code, ``No one shall speak to the Man at the
Helm'', had been completed by the Bellman himself with the words
``and the Man at the Helm shall speak to no one''. So remonstrance
was impossible, and no steering could be done till the next
varnishing day. During these bewildering intervals the ship usually
sailed backwards.
This office was usually undertaken by the Boots, who found in it
a refuge from the Baker's constant complaints about the insufficient
blacking of his three pairs of boots.
As this poem is to some extent connected with the lay of the
Jabberwock, let me take this opportunity of answering a question that
has often been asked me, how to pronounce ``slithy toves''. The
``i'' in ``slithy'' is long, as in ``writhe''; and ``toves'' is
pronounced so as to rhyme with ``groves''. Again, the first ``o'' in
``borogoves'' is pronounced like the ``o'' in ``borrow''. I have
heard people try to give it the sound of the ``o'' in ``worry''.
Such is Human Perversity.
This also seems a fitting occasion to notice the other hard words in
that poem. Humpty-Dumpty's theory, of two meanings packed into one
word like a portmanteau, seems to me the right explanation for all.
For instance, take the two words ``fuming'' and ``furious''. Make up
your mind that you will say both words, but leave it unsettled which
you will say first. Now open your mouth and speak. If your thoughts
incline ever so little towards ``fuming'', you will say
``fuming-furious''; if they turn, by even a hair's breadth, towards
``furious'', you will say ``furious-fuming''; but if you have that
rarest of gifts, a perfectly balanced mind, you will say
``frumious''.
Supposing that, when Pistol uttered the well-known words---
``Under which king, Bezonian? Speak or die!''
Justice Shallow had felt certain that it was either William or
Richard, but had not been able to settle which, so that he could not
possibly say either name before the other, can it be doubted that,
rather than die, he would have gasped out ``Rilchiam!''.
|
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
Robert Burns |
YE Irish lords, ye knights an’ squires,
Wha represent our brughs an’ shires,
An’ doucely manage our affairs
In parliament,
To you a simple poet’s pray’rs
Are humbly sent.
Alas! my roupit Muse is hearse!
Your Honours’ hearts wi’ grief ’twad pierce,
To see her sittin on her ****
Low i’ the dust,
And scriechinh out prosaic verse,
An like to brust!
Tell them wha hae the chief direction,
Scotland an’ me’s in great affliction,
E’er sin’ they laid that curst restriction
On aqua-vit&æ;
An’ rouse them up to strong conviction,
An’ move their pity.
Stand forth an’ tell yon Premier youth
The honest, open, naked truth:
Tell him o’ mine an’ Scotland’s drouth,
His servants humble:
The muckle deevil blaw you south
If ye dissemble!
Does ony great man glunch an’ gloom?
Speak out, an’ never fash your thumb!
Let posts an’ pensions sink or soom
Wi’ them wha grant them;
If honestly they canna come,
Far better want them.
In gath’rin votes you were na slack;
Now stand as tightly by your tack:
Ne’er claw your lug, an’ fidge your back,
An’ hum an’ haw;
But raise your arm, an’ tell your crack
Before them a’.
Paint Scotland greetin owre her thrissle;
Her mutchkin stowp as toom’s a whissle;
An’ d—mn’d excisemen in a bussle,
Seizin a stell,
Triumphant crushin’t like a mussel,
Or limpet shell!
Then, on the tither hand present her—
A blackguard smuggler right behint her,
An’ cheek-for-chow, a chuffie vintner
Colleaguing join,
Picking her pouch as bare as winter
Of a’ kind coin.
Is there, that bears the name o’ Scot,
But feels his heart’s bluid rising hot,
To see his poor auld mither’s pot
Thus dung in staves,
An’ plunder’d o’ her hindmost groat
By gallows knaves?
Alas! I’m but a nameless wight,
Trode i’ the mire out o’ sight?
But could I like Montgomeries fight,
Or gab like Boswell, 2
There’s some sark-necks I wad draw tight,
An’ tie some hose well.
God bless your Honours! can ye see’t—
The kind, auld cantie carlin greet,
An’ no get warmly to your feet,
An’ gar them hear it,
An’ tell them wi’a patriot-heat
Ye winna bear it?
Some o’ you nicely ken the laws,
To round the period an’ pause,
An’ with rhetoric clause on clause
To mak harangues;
Then echo thro’ Saint Stephen’s wa’s
Auld Scotland’s wrangs.
Dempster, 3 a true blue Scot I’se warran’;
Thee, aith-detesting, chaste Kilkerran; 4
An’ that glib-gabbit Highland baron,
The Laird o’ Graham; 5
An’ ane, a chap that’s damn’d aulfarran’,
Dundas his name: 6
Erskine, a spunkie Norland billie; 7
True Campbells, Frederick and Ilay; 8
An’ Livistone, the bauld Sir Willie; 9
An’ mony ithers,
Whom auld Demosthenes or Tully
Might own for brithers.
See sodger Hugh, 10 my watchman stented,
If poets e’er are represented;
I ken if that your sword were wanted,
Ye’d lend a hand;
But when there’s ought to say anent it,
Ye’re at a stand.
Arouse, my boys! exert your mettle,
To get auld Scotland back her kettle;
Or faith! I’ll wad my new pleugh-pettle,
Ye’ll see’t or lang,
She’ll teach you, wi’ a reekin whittle,
Anither sang.
This while she’s been in crankous mood,
Her lost Militia fir’d her bluid;
(Deil na they never mair do guid,
Play’d her that pliskie!)
An’ now she’s like to rin red-wud
About her whisky.
An’ Lord! if ance they pit her till’t,
Her tartan petticoat she’ll kilt,
An’durk an’ pistol at her belt,
She’ll tak the streets,
An’ rin her whittle to the hilt,
I’ the first she meets!
For God sake, sirs! then speak her fair,
An’ straik her cannie wi’ the hair,
An’ to the muckle house repair,
Wi’ instant speed,
An’ strive, wi’ a’ your wit an’ lear,
To get remead.
Yon ill-tongu’d tinkler, Charlie Fox,
May taunt you wi’ his jeers and mocks;
But gie him’t het, my hearty cocks!
E’en cowe the cadie!
An’ send him to his dicing box
An’ sportin’ lady.
Tell you guid bluid o’ auld Boconnock’s, 11
I’ll be his debt twa mashlum bonnocks,
An’ drink his health in auld Nance Tinnock’s 12
Nine times a-week,
If he some scheme, like tea an’ winnocks,
Was kindly seek.
Could he some commutation broach,
I’ll pledge my aith in guid braid Scotch,
He needna fear their foul reproach
Nor erudition,
Yon mixtie-maxtie, ***** hotch-potch,
The Coalition.
Auld Scotland has a raucle tongue;
She’s just a devil wi’ a rung;
An’ if she promise auld or young
To tak their part,
Tho’ by the neck she should be strung,
She’ll no desert.
And now, ye chosen Five-and-Forty,
May still you mither’s heart support ye;
Then, tho’a minister grow dorty,
An’ kick your place,
Ye’ll snap your gingers, poor an’ hearty,
Before his face.
God bless your Honours, a’ your days,
Wi’ sowps o’ kail and brats o’ claise,
In spite o’ a’ the thievish kaes,
That haunt St. Jamie’s!
Your humble poet sings an’ prays,
While Rab his name is.
POSTSCRIPTLET half-starv’d slaves in warmer skies
See future wines, rich-clust’ring, rise;
Their lot auld Scotland ne’re envies,
But, blythe and frisky,
She eyes her freeborn, martial boys
Tak aff their whisky.
What tho’ their Phoebus kinder warms,
While fragrance blooms and beauty charms,
When wretches range, in famish’d swarms,
The scented groves;
Or, hounded forth, dishonour arms
In hungry droves!
Their gun’s a burden on their shouther;
They downa bide the stink o’ powther;
Their bauldest thought’s a hank’ring swither
To stan’ or rin,
Till skelp—a shot—they’re aff, a’throw’ther,
To save their skin.
But bring a Scotchman frae his hill,
Clap in his cheek a Highland gill,
Say, such is royal George’s will,
An’ there’s the foe!
He has nae thought but how to kill
Twa at a blow.
Nae cauld, faint-hearted doubtings tease him;
Death comes, wi’ fearless eye he sees him;
Wi’bluidy hand a welcome gies him;
An’ when he fa’s,
His latest draught o’ breathin lea’es him
In faint huzzas.
Sages their solemn een may steek,
An’ raise a philosophic reek,
An’ physically causes seek,
In clime an’ season;
But tell me whisky’s name in Greek
I’ll tell the reason.
Scotland, my auld, respected mither!
Tho’ whiles ye moistify your leather,
Till, whare ye sit on craps o’ heather,
Ye tine your dam;
Freedom an’ whisky gang thegither!
Take aff your dram!
Note 1. This was written before the Act anent the Scotch distilleries, of session 1786, for which Scotland and the author return their most grateful thanks.—R. B. [back]
Note 2. James Boswell of Auchinleck, the biographer of Johnson. [back]
Note 3. George Dempster of Dunnichen. [back]
Note 4. Sir Adam Ferguson of Kilkerran, Bart. [back]
Note 5. The Marquis of Graham, eldest son of the Duke of Montrose. [back]
Note 6. Right Hon. Henry Dundas, M. P. [back]
Note 7. Probably Thomas, afterward Lord Erskine. [back]
Note 8. Lord Frederick Campbell, second brother of the Duke of Argyll, and Ilay Campbell, Lord Advocate for Scotland, afterward President of the Court of Session. [back]
Note 9. Sir Wm. Augustus Cunningham, Baronet, of Livingstone. [back]
Note 10. Col. Hugh Montgomery, afterward Earl of Eglinton. [back]
Note 11. Pitt, whose grandfather was of Boconnock in Cornwall. [back]
Note 12. A worthy old hostess of the author’s in Mauchline, where he sometimes studies politics over a glass of gude auld Scotch Drink.—R. B. [back]
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Written by
C S Lewis |
No. It's an impudent falsehood. Men did not
Invariably think the newer way Prosaic
mad, inelegant, or what not.
Was the first pointed arch esteemed a blot
Upon the church? Did anybody say How
modern and how ugly? They did not.
Plate-armour, or windows glazed, or verse fire-hot
With rhymes from France, or spices from Cathay,
Were these at first a horror? They were not.
If, then, our present arts, laws, houses, food
All set us hankering after yesterday,
Need this be only an archaising mood?
Why, any man whose purse has been let blood
By sharpers, when he finds all drained away
Must compare how he stands with how he stood.
If a quack doctor's breezy ineptitude
Has cost me a leg, must I forget straightway
All that I can't do now, all that I could?
So, when our guides unanimously decry
The backward glance, I think we can guess why.
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Written by
Robert Burns |
NAE heathen name shall I prefix,
Frae Pindus or Parnassus;
Auld Reekie dings them a’ to sticks,
For rhyme-inspiring lasses.
Jove’s tunefu’ dochters three times three
Made Homer deep their debtor;
But, gien the body half an e’e,
Nine Ferriers wad done better!
Last day my mind was in a bog,
Down George’s Street I stoited;
A creeping cauld prosaic fog
My very sense doited.
Do what I dought to set her free,
My saul lay in the mire;
Ye turned a neuk—I saw your e’e—
She took the wing like fire!
The mournfu’ sang I here enclose,
In gratitude I send you,
And pray, in rhyme as weel as prose,
A’ gude things may attend you!
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Written by
Johann Wolfgang von Goethe |
A PLAN the Muses entertain'd
Methodically to impart
To Psyche the poetic art;
Prosaic-pure her soul remain'd.
No wondrous sounds escaped her lyre
E'en in the fairest Summer night;
But Amor came with glance of fire,--
The lesson soon was learn'd aright.
1827.*
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Written by
Emily Dickinson |
Besides the Autumn poets sing
A few prosaic days
A little this side of the snow
And that side of the Haze --
A few incisive Mornings --
A few Ascetic Eves --
Gone -- Mr. Bryant's "Golden Rod" --
And Mr. Thomson's "sheaves."
Still, is the bustle in the Brook --
Sealed are the spicy valves --
Mesmeric fingers softly touch
The Eyes of many Elves --
Perhaps a squirrel may remain --
My sentiments to share --
Grant me, Oh Lord, a sunny mind --
Thy windy will to bear!
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