Written by
John Greenleaf Whittier |
In the outskirts of the village
On the river's winding shores
Stand the Occidental plane-trees,
Stand the ancient sycamores.
One long century hath been numbered,
And another half-way told
Since the rustic Irish gleeman
Broke for them the virgin mould.
Deftly set to Celtic music
At his violin's sound they grew,
Through the moonlit eves of summer,
Making Amphion's fable true.
Rise again, thou poor Hugh Tallant!
Pass in erkin green along
With thy eyes brim full of laughter,
And thy mouth as full of song.
Pioneer of Erin's outcasts
With his fiddle and his pack-
Little dreamed the village Saxons
Of the myriads at his back.
How he wrought with spade and fiddle,
Delved by day and sang by night,
With a hand that never wearied
And a heart forever light,---
Still the gay tradition mingles
With a record grave and drear
Like the rollic air of Cluny
With the solemn march of Mear.
When the box-tree, white with blossoms,
Made the sweet May woodlands glad,
And the Aronia by the river
Lighted up the swarming shad,
And the bulging nets swept shoreward
With their silver-sided haul,
Midst the shouts of dripping fishers,
He was merriest of them all.
When, among the jovial huskers
Love stole in at Labor's side
With the lusty airs of England
Soft his Celtic measures vied.
Songs of love and wailing lyke-wake
And the merry fair's carouse;
Of the wild Red Fox of Erin
And the Woman of Three Cows,
By the blazing hearths of winter
Pleasant seemed his simple tales,
Midst the grimmer Yorkshire legends
And the mountain myths of Wales.
How the souls in Purgatory
Scrambled up from fate forlorn
On St.
Keven's sackcloth ladder
Slyly hitched to Satan's horn.
Of the fiddler who at Tara
Played all night to ghosts of kings;
Of the brown dwarfs, and the fairies
Dancing in their moorland rings!
Jolliest of our birds of singing
Best he loved the Bob-o-link.
"Hush!" he'd say, "the tipsy fairies!
Hear the little folks in drink!"
Merry-faced, with spade and fiddle,
Singing through the ancient town,
Only this, of poor Hugh Tallant
Hath Tradtion handed down.
Not a stone his grave discloses;
But if yet his spirit walks
Tis beneath the trees he planted
And when Bob-o-Lincoln talks.
Green memorials of the gleeman!
Linking still the river-shores,
With their shadows cast by sunset
Stand Hugh Tallant's sycamores!
When the Father of his Country
Through the north-land riding came
And the roofs were starred with banners,
And the steeples rang acclaim,---
When each war-scarred Continental
Leaving smithy, mill,.
and farm,
Waved his rusted sword in welcome,
And shot off his old king's-arm,---
Slowly passed that august Presence
Down the thronged and shouting street;
Village girls as white as angels
Scattering flowers around his feet.
Midway, where the plane-tree's shadow
Deepest fell, his rein he drew:
On his stately head, uncovered,
Cool and soft the west-wind blew.
And he stood up in his stirrups,
Looking up and looking down
On the hills of Gold and Silver
Rimming round the little town,---
On the river, full of sunshine,
To the lap of greenest vales
Winding down from wooded headlands,
Willow-skirted, white with sails.
And he said, the landscape sweeping
Slowly with his ungloved hand
"I have seen no prospect fairer
In this goodly Eastern land.
"
Then the bugles of his escort
Stirred to life the cavalcade:
And that head, so bare and stately
Vanished down the depths of shade.
Ever since, in town and farm-house,
Life has had its ebb and flow;
Thrice hath passed the human harvest
To its garner green and low.
But the trees the gleeman planted,
Through the changes, changeless stand;
As the marble calm of Tadmor
Mocks the deserts shifting sand.
Still the level moon at rising
Silvers o'er each stately shaft;
Still beneath them, half in shadow,
Singing, glides the pleasure craft;
Still beneath them, arm-enfolded,
Love and Youth together stray;
While, as heart to heart beats faster,
More and more their feet delay.
Where the ancient cobbler, Keezar,
On the open hillside justice wrought,
Singing, as he drew his stitches,
Songs his German masters taught.
Singing, with his gray hair floating
Round a rosy ample face,---
Now a thousand Saxon craftsmen
Stitch and hammer in his place.
All the pastoral lanes so grassy
Now are Traffic's dusty streets;
From the village, grown a city,
Fast the rural grace retreats.
But, still green and tall and stately,
On the river's winding shores,
Stand the occidental plane-trees,
Stand Hugh Tallant's sycamores.
|
Written by
Anne Sexton |
If you danced from midnight
to six A.
M.
who would understand?
The runaway boy
who chucks it all
to live on the Boston Common
on speed and saltines,
pissing in the duck pond,
rapping with the street priest,
trading talk like blows,
another missing person,
would understand.
The paralytic's wife
who takes her love to town,
sitting on the bar stool,
downing stingers and peanuts,
singing "That ole Ace down in the hole,"
would understand.
The passengers
from Boston to Paris
watching the movie with dawn
coming up like statues of honey,
having partaken of champagne and steak
while the world turned like a toy globe,
those murderers of the nightgown
would understand.
The amnesiac
who tunes into a new neighborhood,
having misplaced the past,
having thrown out someone else's
credit cards and monogrammed watch,
would understand.
The drunken poet
(a genius by daylight)
who places long-distance calls
at three A.
M.
and then lets you sit
holding the phone while he vomits
(he calls it "The Night of the Long Knives")
getting his kicks out of the death call,
would understand.
The insomniac
listening to his heart
thumping like a June bug,
listening on his transistor
to Long John Nebel arguing from New York,
lying on his bed like a stone table,
would understand.
The night nurse
with her eyes slit like Venetian blinds,
she of the tubes and the plasma,
listening to the heart monitor,
the death cricket bleeping,
she who calls you "we"
and keeps vigil like a ballistic missile,
would understand.
Once
this king had twelve daughters,
each more beautiful than the other.
They slept together, bed by bed
in a kind of girls' dormitory.
At night the king locked and bolted the door
.
How could they possibly escape?
Yet each morning their shoes
were danced to pieces.
Each was as worn as an old jockstrap.
The king sent out a proclamation
that anyone who could discover
where the princesses did their dancing
could take his pick of the litter.
However there was a catch.
If he failed, he would pay with his life.
Well, so it goes.
Many princes tried,
each sitting outside the dormitory,
the door ajar so he could observe
what enchantment came over the shoes.
But each time the twelve dancing princesses
gave the snoopy man a Mickey Finn
and so he was beheaded.
Poof! Like a basketball.
It so happened that a poor soldier
heard about these strange goings on
and decided to give it a try.
On his way to the castle
he met an old old woman.
Age, for a change, was of some use.
She wasn't stuffed in a nursing home.
She told him not to drink a drop of wine
and gave him a cloak that would make
him invisible when the right time came.
And thus he sat outside the dorm.
The oldest princess brought him some wine
but he fastened a sponge beneath his chin,
looking the opposite of Andy Gump.
The sponge soaked up the wine,
and thus he stayed awake.
He feigned sleep however
and the princesses sprang out of their beds
and fussed around like a Miss America Contest.
Then the eldest went to her bed
and knocked upon it and it sank into the earth.
They descended down the opening
one after the other.
They crafty soldier
put on his invisisble cloak and followed.
Yikes, said the youngest daughter,
something just stepped on my dress.
But the oldest thought it just a nail.
Next stood an avenue of trees,
each leaf make of sterling silver.
The soldier took a leaf for proof.
The youngest heard the branch break
and said, Oof! Who goes there?
But the oldest said, Those are
the royal trumpets playing triumphantly.
The next trees were made of diamonds.
He took one that flickered like Tinkerbell
and the youngest said: Wait up! He is here!
But the oldest said: Trumpets, my dear.
Next they came to a lake where lay
twelve boats with twelve enchanted princes
waiting to row them to the underground castle.
The soldier sat in the youngest's boat
and the boat was as heavy as if an icebox
had been added but the prince did not suspect.
Next came the ball where the shoes did duty.
The princesses danced like taxi girls at Roseland
as if those tickets would run right out.
They were painted in kisses with their secret hair
and though the soldier drank from their cups
they drank down their youth with nary a thought.
Cruets of champagne and cups full of rubies.
They danced until morning and the sun came up
naked and angry and so they returned
by the same strange route.
The soldier
went forward through the dormitory and into
his waiting chair to feign his druggy sleep.
That morning the soldier, his eyes fiery
like blood in a wound, his purpose brutal
as if facing a battle, hurried with his answer
as if to the Sphinx.
The shoes! The shoes!
The soldier told.
He brought forth
the silver leaf, the diamond the size of a plum.
He had won.
The dancing shoes would dance
no more.
The princesses were torn from
their night life like a baby from its pacifier.
Because he was old he picked the eldest.
At the wedding the princesses averted their eyes
and sagged like old sweatshirts.
Now the runaways would run no more and never
again would their hair be tangled into diamonds,
never again their shoes worn down to a laugh,
never the bed falling down into purgatory
to let them climb in after
with their Lucifer kicking.
|
Written by
Edwin Muir |
We were a tribe, a family, a people.
Wallace and Bruce guard now a painted field,
And all may read the folio of our fable,
Peruse the sword, the sceptre and the shield.
A simple sky roofed in that rustic day,
The busy corn-fields and the haunted holms,
The green road winding up the ferny brae.
But Knox and Melville clapped their preaching palms
And bundled all the harvesters away,
Hoodicrow Peden in the blighted corn
Hacked with his rusty beak the starving haulms.
Out of that desolation we were born.
Courage beyond the point and obdurate pride
Made us a nation, robbed us of a nation.
Defiance absolute and myriad-eyed
That could not pluck the palm plucked our damnation.
We with such courage and the bitter wit
To fell the ancient oak of loyalty,
And strip the peopled hill and altar bare,
And crush the poet with an iron text,
How could we read our souls and learn to be?
Here a dull drove of faces harsh and vexed,
We watch our cities burning in their pit,
To salve our souls grinding dull lucre out,
We, fanatics of the frustrate and the half,
Who once set Purgatory Hill in doubt.
Now smoke and dearth and money everywhere,
Mean heirlooms of each fainter generation,
And mummied housegods in their musty niches,
Burns and Scott, sham bards of a sham nation,
And spiritual defeat wrapped warm in riches,
No pride but pride of pelf.
Long since the young
Fought in great bloody battles to carve out
This towering pulpit of the Golden Calf,
Montrose, Mackail, Argyle, perverse and brave,
Twisted the stream, unhooped the ancestral hill.
Never had Dee or Don or Yarrow or Till
Huddled such thriftless honour in a grave.
Such wasted bravery idle as a song,
Such hard-won ill might prove Time's verdict wrong,
And melt to pity the annalist's iron tongue.
|
Written by
John Donne |
Oh, let me not serve so, as those men serve
Whom honour's smokes at once fatten and starve;
Poorly enrich't with great men's words or looks;
Nor so write my name in thy loving books
As those idolatrous flatterers, which still
Their Prince's styles, with many realms fulfil
Whence they no tribute have, and where no sway.
Such services I offer as shall pay
Themselves, I hate dead names: Oh then let me
Favourite in Ordinary, or no favourite be.
When my soul was in her own body sheathed,
Nor yet by oaths betrothed, nor kisses breathed
Into my Purgatory, faithless thee,
Thy heart seemed wax, and steel thy constancy:
So, careless flowers strowed on the waters face
The curled whirlpools suck, smack, and embrace,
Yet drown them; so, the taper's beamy eye
Amorously twinkling beckons the giddy fly,
Yet burns his wings; and such the devil is,
Scarce visiting them who are entirely his.
When I behold a stream which, from the spring,
Doth with doubtful melodious murmuring,
Or in a speechless slumber, calmly ride
Her wedded channels' bosom, and then chide
And bend her brows, and swell if any bough
Do but stoop down, or kiss her upmost brow:
Yet, if her often gnawing kisses win
The traiterous bank to gape, and let her in,
She rusheth violently, and doth divorce
Her from her native, and her long-kept course,
And roars, and braves it, and in gallant scorn,
In flattering eddies promising retorn,
She flouts the channel, who thenceforth is dry;
Then say I, That is she, and this am I.
Yet let not thy deep bitterness beget
Careless despair in me, for that will whet
My mind to scorn; and Oh, love dulled with pain
Was ne'er so wise, nor well armed as disdain.
Then with new eyes I shall survey thee, and spy
Death in thy cheeks, and darkness in thine eye.
Though hope bred faith and love: thus taught, I shall,
As nations do from Rome, from thy love fall.
My hate shall outgrow thine, and utterly
I will renounce thy dalliance: and when I
Am the recusant, in that resolute state,
What hurts it me to be excommunicate?
|
Written by
Maxine Kumin |
And suppose the darlings get to Mantua,
suppose they cheat the crypt, what next? Begin
with him, unshaven.
Though not, I grant you, a
displeasing cockerel, there's egg yolk on his chin.
His seedy robe's aflap, he's got the rheum.
Poor dear, the cooking lard has smoked her eye.
Another Montague is in the womb
although the first babe's bottom's not yet dry.
She scrolls a weekly letter to her Nurse
who dares to send a smock through Balthasar,
and once a month, his father posts a purse.
News from Verona? Always news of war.
Such sour years it takes to right this wrong!
The fifth act runs unconscionably long.
|
Written by
Stanley Kunitz |
A roaring company that festive night;
The beast of dialectic dragged his chains,
Prowling from chair to chair is the smoking light,
While the snow hissed against the windowpanes.
Our politics, our science, and our faith
Were whiskey on the tongue; I, being rent
By the fierce divisions of our time, cried death
And death again, and my own dying meant.
Out of her secret life, the griffin-land
Where ivory empires build their stage she came,
Putting in mine her small impulsive hand,
Five-fingered gift, and the palm not tame.
The moment clanged: beauty and terror danced
Tot he wild vibration of a sister-bell,
Whose unremitting stroke discountenanced
The marvel that the mirrors blazed to tell.
A darker image took this fairer form
Who once, in the purgatory of my pride,
When innocence betrayed me in a room
Of mocking elders, swept handsome to my side,
Until we rose together, arm in arm,
And fled together back into the world.
What brought her now, in the semblance of the warm,
Out of cold spaces, damned by colder blood?
That furied woman did me grievous wrong,
But does it matter much, given our years?
We learn, as the thread plays out, that we belong
Less to what flatters us than to what scars;
So, freshly turning, as the turn condones,
For her I killed the propitiatory bird,
Kissing her down.
Peace to her bitter bones,
Who taught me the serpent's word, but yet the word.
|
Written by
Sylvia Plath |
All summer we moved in a villa brimful of echos,
Cool as the pearled interior of a conch.
Bells, hooves, of the high-stipping black goats woke us.
Around our bed the baronial furniture
Foundered through levels of light seagreen and strange.
Not one leaf wrinkled in the clearing air.
We dreamed how we were perfect, and we were.
Against bare, whitewashed walls, the furniture
Anchored itself, griffin-legged and darkly grained.
Two of us in a place meant for ten more-
Our footsteps multiplied in the shadowy chambers,
Our voices fathomed a profounder sound:
The walnut banquet table, the twelve chairs
Mirrored the intricate gestures of two others.
Heavy as a statuary, shapes not ours
Performed a dumbshow in the polished wood,
That cabinet without windows or doors:
He lifts an arm to bring her close, but she
Shies from his touch: his is an iron mood.
Seeing her freeze, he turns his face away.
They poise and grieve as in some old tragedy.
Moon-blanched and implacable, he and she
Would not be eased, released.
Our each example
Of temderness dove through their purgatory
Like a planet, a stone, swallowed in a great darkness,
Leaving no sparky track, setting up no ripple.
Nightly we left them in their desert place.
Lights out, they dogged us, sleepless and envious:
We dreamed their arguments, their stricken voices.
We might embrace, but those two never did,
Come, so unlike us, to a stiff impasse,
Burdened in such a way we seemed the lighter-
Ourselves the haunters, and they, flesh and blood;
As if, above love's ruinage, we were
The heaven those two dreamed of, in despair.
|
Written by
George Eliot |
Your soul was lifted by the wings today
Hearing the master of the violin:
You praised him, praised the great Sabastian too
Who made that fine Chaconne; but did you think
Of old Antonio Stradivari? -him
Who a good century and a half ago
Put his true work in that brown instrument
And by the nice adjustment of its frame
Gave it responsive life, continuous
With the master's finger-tips and perfected
Like them by delicate rectitude of use.
That plain white-aproned man, who stood at work
Patient and accurate full fourscore years,
Cherished his sight and touch by temperance,
And since keen sense is love of perfectness
Made perfect violins, the needed paths
For inspiration and high mastery.
No simpler man than he; he never cried,
"why was I born to this monotonous task
Of making violins?" or flung them down
To suit with hurling act well-hurled curse
At labor on such perishable stuff.
Hence neighbors in Cremona held him dull,
Called him a slave, a mill-horse, a machine.
Naldo, a painter of eclectic school,
Knowing all tricks of style at thirty-one,
And weary of them, while Antonio
At sixty-nine wrought placidly his best,
Making the violin you heard today -
Naldo would tease him oft to tell his aims.
"Perhaps thou hast some pleasant vice to feed -
the love of louis d'ors in heaps of four,
Each violin a heap - I've naught to blame;
My vices waste such heaps.
But then, why work
With painful nicety?"
Antonio then:
"I like the gold - well, yes - but not for meals.
And as my stomach, so my eye and hand,
And inward sense that works along with both,
Have hunger that can never feed on coin.
Who draws a line and satisfies his soul,
Making it crooked where it should be straight?
Antonio Stradivari has an eye
That winces at false work and loves the true.
"
Then Naldo: "'Tis a petty kind of fame
At best, that comes of making violins;
And saves no masses, either.
Thou wilt go
To purgatory none the less.
"
But he:
"'Twere purgatory here to make them ill;
And for my fame - when any master holds
'Twixt chin and hand a violin of mine,
He will be glad that Stradivari lived,
Made violins, and made them of the best.
The masters only know whose work is good:
They will choose mine, and while God gives them skill
I give them instruments to play upon,
God choosing me to help him.
"What! Were God
at fault for violins, thou absent?"
"Yes;
He were at fault for Stradivari's work.
"
"Why, many hold Giuseppe's violins
As good as thine.
"
"May be: they are different.
His quality declines: he spoils his hand
With over-drinking.
But were his the best,
He could not work for two.
My work is mine,
And, heresy or not, if my hand slacked
I should rob God - since his is fullest good -
Leaving a blank instead of violins.
I say, not God himself can make man's best
Without best men to help him.
'Tis God gives skill,
But not without men's hands: he could not make
Antonio Stradivari's violins
Without Antonio.
Get thee to thy easel.
"
|
Written by
John Milton |
XIII
To Mr.
H.
Lawes, on his Aires.
Harry whose tuneful and well measur'd Song
First taught our English Musick how to span
Words with just note and accent, not to scan
With Midas Ears, committing short and long;
Thy worth and skill exempts thee from the throng,
With praise enough for Envy to look wan;
To after age thou shalt be writ the man,
That with smooth aire couldst humor best our tongue
Thou honour'st Verse, and Verse must send her wing
To honour thee, the Priest of Phoebus Quire
That tun'st their happiest lines in Hymn or Story
Dante shall give Fame leave to set thee higher
Then his Casella, whom he woo'd to sing
Met in the milder shades of Purgatory.
Note: 9 send] lend Cambridge Autograph MS.
|
Written by
John Milton |
Harry, whose tuneful and well-measured song
First taught our English music how to span
Words with just note and accent, not to scan
With Midas’ ears, committing short and long,
Thy worth and skill exempts thee from the throng,
With praise enough for Envy to look wan;
To after age thou shalt be writ the man
That with smooth air couldst humour best our tongue.
Thou honour’st Verse, and Verse must lend her wing
To honour thee, the priest of Ph?bus’ quire,
That tunest their happiest lines in hymn or story.
Dante shall give Fame leave to set thee higher
Than his Casella, whom he wooed to sing,
Met in the milder shades of Purgatory.
|