Written by
Lewis Carroll |
The sun was shining on the sea,
Shining with all his might;
He did his very best to make
The billows smooth and bright—
And this was odd, because it was
The middle of the night.
The moon was shining sulkily,
Because she thought the sun
Had got no business to be there
After the day was done—
"It's very rude of him," she said,
"To come and spoil the fun!"
The sea was wet as wet could be,
The sands were dry as dry.
You could not see a cloud, because
No cloud was in the sky;
No birds were flying overhead—
There were no birds to fly.
The Walrus and the Carpenter
Were walking close at hand;
They wept like anything to see
Such quantities of sand.
"If this were only cleared away,"
They said, "it would be grand!"
"If seven maids with seven mops
Swept it for half a year,
Do you suppose," the Walrus said,
"That they could get it clear?"
"I doubt it," said the Carpenter,
And shed a bitter tear.
"O Oysters, come and walk with us!"
The Walrus did beseech.
"A pleasant walk, a pleasant talk,
Along the briny beach;
We cannot do with more than four,
To give a hand to each."
The eldest Oyster looked at him,
But never a word he said;
The eldest Oyster winked his eye,
And shook his heavy head—
Meaning to say he did not choose
To leave the oyster-bed.
But four young Oysters hurried up,
All eager for the treat;
Their coats were brushed, their faces washed,
Their shoes were clean and neat—
And this was odd, because, you know,
They hadn't any feet.
Four other Oysters followed them,
And yet another four;
And thick and fast they came at last,
And more, and more, and more—
All hopping through the frothy waves,
And scrambling to the shore.
The Walrus and the Carpenter
Walked on a mile or so,
And then they rested on a rock
Conveniently low;
And all the little Oysters stood
And waited in a row.
"The time has come," the Walrus said,
"To talk of many things:
Of shoes—and ships—and sealing-wax—
And cabbages—and kings—
And why the sea is boiling hot—
And whether pigs have wings."
"But wait a bit," the Oysters cried,
"Before we have our chat;
For some of us are out of breath,
And all of us are fat!"
"No hurry!" said the Carpenter.
They thanked him much for that.
"A loaf of bread," the Walrus said,
"Is what we chiefly need;
Pepper and vinegar besides
Are very good indeed—
Now if you're ready, Oysters dear,
We can begin to feed."
"But not on us!" the Oysters cried,
Turning a little blue.
"After such kindness, that would be
A dismal thing to do!"
"The night is fine," the Walrus said,
"Do you admire the view?"
"It was so kind of you to come!
And you are very nice!"
The Carpenter said nothing but
"Cut us another slice.
I wish you were not quite so deaf—
I've had to ask you twice!"
"It seems a shame," the Walrus said,
"To play them such a trick,
After we've brought them out so far,
And made them trot so quick!"
The Carpenter said nothing but
"The butter's spread too thick!"
"I weep for you," the Walrus said;
"I deeply sympathize."
With sobs and tears he sorted out
Those of the largest size,
Holding his pocket-handkerchief
Before his streaming eyes.
"O Oysters," said the Carpenter,
"You've had a pleasant run!
Shall we be trotting home again?"
But answer came there none—
And this was scarcely odd, because
They'd eaten every one.
|
Written by
Pablo Neruda |
It so happens I am sick of being a man.
And it happens that I walk into tailorshops and movie
houses
dried up, waterproof, like a swan made of felt
steering my way in a water of wombs and ashes.
The smell of barbershops makes me break into hoarse
sobs.
The only thing I want is to lie still like stones or wool.
The only thing I want is to see no more stores, no gardens,
no more goods, no spectacles, no elevators.
It so happens that I am sick of my feet and my nails
and my hair and my shadow.
It so happens I am sick of being a man.
Still it would be marvelous
to terrify a law clerk with a cut lily,
or kill a nun with a blow on the ear.
It would be great
to go through the streets with a green knife
letting out yells until I died of the cold.
I don't want to go on being a root in the dark,
insecure, stretched out, shivering with sleep,
going on down, into the moist guts of the earth,
taking in and thinking, eating every day.
I don't want so much misery.
I don't want to go on as a root and a tomb,
alone under the ground, a warehouse with corpses,
half frozen, dying of grief.
That's why Monday, when it sees me coming
with my convict face, blazes up like gasoline,
and it howls on its way like a wounded wheel,
and leaves tracks full of warm blood leading toward the
night.
And it pushes me into certain corners, into some moist
houses,
into hospitals where the bones fly out the window,
into shoeshops that smell like vinegar,
and certain streets hideous as cracks in the skin.
There are sulphur-colored birds, and hideous intestines
hanging over the doors of houses that I hate,
and there are false teeth forgotten in a coffeepot,
there are mirrors
that ought to have wept from shame and terror,
there are umbrellas everywhere, and venoms, and umbilical
cords.
I stroll along serenely, with my eyes, my shoes,
my rage, forgetting everything,
I walk by, going through office buildings and orthopedic
shops,
and courtyards with washing hanging from the line:
underwear, towels and shirts from which slow
dirty tears are falling.
|
Written by
Walt Whitman |
I SIT and look out upon all the sorrows of the world, and upon all oppression and shame;
I hear secret convulsive sobs from young men, at anguish with themselves, remorseful after
deeds
done;
I see, in low life, the mother misused by her children, dying, neglected, gaunt,
desperate;
I see the wife misused by her husband—I see the treacherous seducer of young women;
I mark the ranklings of jealousy and unrequited love, attempted to be hid—I see these
sights on
the earth;
I see the workings of battle, pestilence, tyranny—I see martyrs and prisoners;
I observe a famine at sea—I observe the sailors casting lots who shall be
kill’d, to
preserve the lives of the rest;
I observe the slights and degradations cast by arrogant persons upon laborers, the poor,
and
upon
*******, and the like;
All these—All the meanness and agony without end, I sitting, look out upon,
See, hear, and am silent.
|
Written by
Walt Whitman |
1
PROUD music of the storm!
Blast that careers so free, whistling across the prairies!
Strong hum of forest tree-tops! Wind of the mountains!
Personified dim shapes! you hidden orchestras!
You serenades of phantoms, with instruments alert,
Blending, with Nature’s rhythmus, all the tongues of nations;
You chords left us by vast composers! you choruses!
You formless, free, religious dances! you from the Orient!
You undertone of rivers, roar of pouring cataracts;
You sounds from distant guns, with galloping cavalry!
Echoes of camps, with all the different bugle-calls!
Trooping tumultuous, filling the midnight late, bending me powerless,
Entering my lonesome slumber-chamber—Why have you seiz’d me?
2
Come forward, O my Soul, and let the rest retire;
Listen—lose not—it is toward thee they tend;
Parting the midnight, entering my slumber-chamber,
For thee they sing and dance, O Soul.
A festival song!
The duet of the bridegroom and the bride—a marriage-march,
With lips of love, and hearts of lovers, fill’d to the brim with love;
The red-flush’d cheeks, and perfumes—the cortege swarming, full of friendly
faces,
young and old,
To flutes’ clear notes, and sounding harps’ cantabile.
3
Now loud approaching drums!
Victoria! see’st thou in powder-smoke the banners torn but flying? the rout of the
baffled?
Hearest those shouts of a conquering army?
(Ah, Soul, the sobs of women—the wounded groaning in agony,
The hiss and crackle of flames—the blacken’d ruins—the embers of cities,
The dirge and desolation of mankind.)
4
Now airs antique and medieval fill me!
I see and hear old harpers with their harps, at Welsh festivals:
I hear the minnesingers, singing their lays of love,
I hear the minstrels, gleemen, troubadours, of the feudal ages.
5
Now the great organ sounds,
Tremulous—while underneath, (as the hid footholds of the earth,
On which arising, rest, and leaping forth, depend,
All shapes of beauty, grace and strength—all hues we know,
Green blades of grass, and warbling birds—children that gambol and play—the
clouds of
heaven above,)
The strong base stands, and its pulsations intermits not,
Bathing, supporting, merging all the rest—maternity of all the rest;
And with it every instrument in multitudes,
The players playing—all the world’s musicians,
The solemn hymns and masses, rousing adoration,
All passionate heart-chants, sorrowful appeals,
The measureless sweet vocalists of ages,
And for their solvent setting, Earth’s own diapason,
Of winds and woods and mighty ocean waves;
A new composite orchestra—binder of years and climes—ten-fold renewer,
As of the far-back days the poets tell—the Paradiso,
The straying thence, the separation long, but now the wandering done,
The journey done, the Journeyman come home,
And Man and Art, with Nature fused again.
6
Tutti! for Earth and Heaven!
The Almighty Leader now for me, for once has signal’d with his wand.
The manly strophe of the husbands of the world,
And all the wives responding.
The tongues of violins!
(I think, O tongues, ye tell this heart, that cannot tell itself;
This brooding, yearning heart, that cannot tell itself.)
7
Ah, from a little child,
Thou knowest, Soul, how to me all sounds became music;
My mother’s voice, in lullaby or hymn;
(The voice—O tender voices—memory’s loving voices!
Last miracle of all—O dearest mother’s, sister’s, voices;)
The rain, the growing corn, the breeze among the long-leav’d corn,
The measur’d sea-surf, beating on the sand,
The twittering bird, the hawk’s sharp scream,
The wild-fowl’s notes at night, as flying low, migrating north or south,
The psalm in the country church, or mid the clustering trees, the open air camp-meeting,
The fiddler in the tavern—the glee, the long-strung sailor-song,
The lowing cattle, bleating sheep—the crowing cock at dawn.
8
All songs of current lands come sounding ’round me,
The German airs of friendship, wine and love,
Irish ballads, merry jigs and dances—English warbles,
Chansons of France, Scotch tunes—and o’er the rest,
Italia’s peerless compositions.
Across the stage, with pallor on her face, yet lurid passion,
Stalks Norma, brandishing the dagger in her hand.
I see poor crazed Lucia’s eyes’ unnatural gleam;
Her hair down her back falls loose and dishevell’d.
I see where Ernani, walking the bridal garden,
Amid the scent of night-roses, radiant, holding his bride by the hand,
Hears the infernal call, the death-pledge of the horn.
To crossing swords, and grey hairs bared to heaven,
The clear, electric base and baritone of the world,
The trombone duo—Libertad forever!
From Spanish chestnut trees’ dense shade,
By old and heavy convent walls, a wailing song,
Song of lost love—the torch of youth and life quench’d in despair,
Song of the dying swan—Fernando’s heart is breaking.
Awaking from her woes at last, retriev’d Amina sings;
Copious as stars, and glad as morning light, the torrents of her joy.
(The teeming lady comes!
The lustrious orb—Venus contralto—the blooming mother,
Sister of loftiest gods—Alboni’s self I hear.)
9
I hear those odes, symphonies, operas;
I hear in the William Tell, the music of an arous’d and angry people;
I hear Meyerbeer’s Huguenots, the Prophet, or Robert;
Gounod’s Faust, or Mozart’s Don Juan.
10
I hear the dance-music of all nations,
The waltz, (some delicious measure, lapsing, bathing me in bliss;)
The bolero, to tinkling guitars and clattering castanets.
I see religious dances old and new,
I hear the sound of the Hebrew lyre,
I see the Crusaders marching, bearing the cross on high, to the martial clang of cymbals;
I hear dervishes monotonously chanting, interspers’d with frantic shouts, as they
spin
around, turning always towards Mecca;
I see the rapt religious dances of the Persians and the Arabs;
Again, at Eleusis, home of Ceres, I see the modern Greeks dancing,
I hear them clapping their hands, as they bend their bodies,
I hear the metrical shuffling of their feet.
I see again the wild old Corybantian dance, the performers wounding each other;
I see the Roman youth, to the shrill sound of flageolets, throwing and catching their
weapons,
As they fall on their knees, and rise again.
I hear from the Mussulman mosque the muezzin calling;
I see the worshippers within, (nor form, nor sermon, argument, nor word,
But silent, strange, devout—rais’d, glowing heads—extatic faces.)
11
I hear the Egyptian harp of many strings,
The primitive chants of the Nile boatmen;
The sacred imperial hymns of China,
To the delicate sounds of the king, (the stricken wood and stone;)
Or to Hindu flutes, and the fretting twang of the vina,
A band of bayaderes.
12
Now Asia, Africa leave me—Europe, seizing, inflates me;
To organs huge, and bands, I hear as from vast concourses of voices,
Luther’s strong hymn, Eine feste Burg ist unser Gott;
Rossini’s Stabat Mater dolorosa;
Or, floating in some high cathedral dim, with gorgeous color’d windows,
The passionate Agnus Dei, or Gloria in Excelsis.
13
Composers! mighty maestros!
And you, sweet singers of old lands—Soprani! Tenori! Bassi!
To you a new bard, carolling free in the west,
Obeisant, sends his love.
(Such led to thee, O Soul!
All senses, shows and objects, lead to thee,
But now, it seems to me, sound leads o’er all the rest.)
14
I hear the annual singing of the children in St. Paul’s Cathedral;
Or, under the high roof of some colossal hall, the symphonies, oratorios of Beethoven,
Handel,
or Haydn;
The Creation, in billows of godhood laves me.
Give me to hold all sounds, (I, madly struggling, cry,)
Fill me with all the voices of the universe,
Endow me with their throbbings—Nature’s also,
The tempests, waters, winds—operas and chants—marches and dances,
Utter—pour in—for I would take them all.
15
Then I woke softly,
And pausing, questioning awhile the music of my dream,
And questioning all those reminiscences—the tempest in its fury,
And all the songs of sopranos and tenors,
And those rapt oriental dances, of religious fervor,
And the sweet varied instruments, and the diapason of organs,
And all the artless plaints of love, and grief and death,
I said to my silent, curious Soul, out of the bed of the slumber-chamber,
Come, for I have found the clue I sought so long,
Let us go forth refresh’d amid the day,
Cheerfully tallying life, walking the world, the real,
Nourish’d henceforth by our celestial dream.
And I said, moreover,
Haply, what thou hast heard, O Soul, was not the sound of winds,
Nor dream of raging storm, nor sea-hawk’s flapping wings, nor harsh scream,
Nor vocalism of sun-bright Italy,
Nor German organ majestic—nor vast concourse of voices—nor layers of harmonies;
Nor strophes of husbands and wives—nor sound of marching soldiers,
Nor flutes, nor harps, nor the bugle-calls of camps;
But, to a new rhythmus fitted for thee,
Poems, bridging the way from Life to Death, vaguely wafted in night air, uncaught,
unwritten,
Which, let us go forth in the bold day, and write.
|
Written by
Emma Lazarus |
I
A dream of interlinking hands, of feet
Tireless to spin the unseen, fairy woof
Of the entangling waltz. Bright eyebeams meet,
Gay laughter echoes from the vaulted roof.
Warm perfumes rise; the soft unflickering glow
Of branching lights sets off the changeful charms
Of glancing gems, rich stuffs, the dazzling snow
Of necks unkerchieft, and bare, clinging arms.
Hark to the music! How beneath the strain
Of reckless revelry, vibrates and sobs
One fundamental chord of constant pain,
The pulse-beat of the poet's heart that throbs.
So yearns, though all the dancing waves rejoice,
The troubled sea's disconsolate, deep voice.
II
Who shall proclaim the golden fable false
Of Orpheus' miracles? This subtle strain
Above our prose-world's sordid loss and gain
Lightly uplifts us. With the rhythmic waltz,
The lyric prelude, the nocturnal song
Of love and languor, varied visions rise,
That melt and blend to our enchanted eyes.
The Polish poet who sleeps silenced long,
The seraph-souled musician, breathes again
Eternal eloquence, immortal pain.
Revived the exalted face we know so well,
The illuminated eyes, the fragile frame,
Slowly consuming with its inward flame,
We stir not, speak not, lest we break the spell.
III
A voice was needed, sweet and true and fine
As the sad spirit of the evening breeze,
Throbbing with human passion, yet devine
As the wild bird's untutored melodies.
A voice for him 'neath twilight heavens dim,
Who mourneth for his dead, while round him fall
The wan and noiseless leaves. A voice for him
Who sees the first green sprout, who hears the call
Of the first robin on the first spring day.
A voice for all whom Fate hath set apart,
Who, still misprized, must perish by the way,
Longing with love, for that they lack the art
Of their own soul's expression. For all these
Sing the unspoken hope, the vague, sad reveries.
IV
Then Nature shaped a poet's heart--a lyre
From out whose chords the lightest breeze that blows
Drew trembling music, wakening sweet desire.
How shall she cherish him? Behold! she throws
This precious, fragile treasure in the whirl
Of seething passions; he is scourged and stung,
Must dive in storm-vext seas, if but one pearl
Of art or beauty therefrom may be wrung.
No pure-browed pensive nymph his Muse shall be,
An amazon of thought with sovereign eyes,
Whose kiss was poison, man-brained, worldy-wise,
Inspired that elfin, delicate harmony.
Rich gain for us! But with him is it well?
The poet who must sound earth, heaven, and hell!
|
Written by
Kahlil Gibran |
Where are you, my beloved? Are you in that little
Paradise, watering the flowers who look upon you
As infants look upon the breast of their mothers?
Or are you in your chamber where the shrine of
Virtue has been placed in your honor, and upon
Which you offer my heart and soul as sacrifice?
Or amongst the books, seeking human knowledge,
While you are replete with heavenly wisdom?
Oh companion of my soul, where are you? Are you
Praying in the temple? Or calling Nature in the
Field, haven of your dreams?
Are you in the huts of the poor, consoling the
Broken-hearted with the sweetness of your soul, and
Filling their hands with your bounty?
You are God's spirit everywhere;
You are stronger than the ages.
Do you have memory of the day we met, when the halo of
You spirit surrounded us, and the Angels of Love
Floated about, singing the praise of the soul's deed?
Do you recollect our sitting in the shade of the
Branches, sheltering ourselves from Humanity, as the ribs
Protect the divine secret of the heart from injury?
Remember you the trails and forest we walked, with hands
Joined, and our heads leaning against each other, as if
We were hiding ourselves within ourselves?
Recall you the hour I bade you farewell,
And the Maritime kiss you placed on my lips?
That kiss taught me that joining of lips in Love
Reveals heavenly secrets which the tongue cannot utter!
That kiss was introduction to a great sigh,
Like the Almighty's breath that turned earth into man.
That sigh led my way into the spiritual world,
Announcing the glory of my soul; and there
It shall perpetuate until again we meet.
I remember when you kissed me and kissed me,
With tears coursing your cheeks, and you said,
"Earthly bodies must often separate for earthly purpose,
And must live apart impelled by worldly intent.
"But the spirit remains joined safely in the hands of
Love, until death arrives and takes joined souls to God.
"Go, my beloved; Love has chosen you her delegate;
Over her, for she is Beauty who offers to her follower
The cup of the sweetness of life.
As for my own empty arms, your love shall remain my
Comforting groom; you memory, my Eternal wedding."
Where are you now, my other self? Are you awake in
The silence of the night? Let the clean breeze convey
To you my heart's every beat and affection.
Are you fondling my face in your memory? That image
Is no longer my own, for Sorrow has dropped his
Shadow on my happy countenance of the past.
Sobs have withered my eyes which reflected your beauty
And dried my lips which you sweetened with kisses.
Where are you, my beloved? Do you hear my weeping
From beyond the ocean? Do you understand my need?
Do you know the greatness of my patience?
Is there any spirit in the air capable of conveying
To you the breath of this dying youth? Is there any
Secret communication between angels that will carry to
You my complaint?
Where are you, my beautiful star? The obscurity of life
Has cast me upon its bosom; sorrow has conquered me.
Sail your smile into the air; it will reach and enliven me!
Breathe your fragrance into the air; it will sustain me!
Where are you, me beloved?
Oh, how great is Love!
And how little am I!
|
Written by
Katherine Mansfield |
I will think no more of the sea! Of the big green waves And the hollowed
shore, Of the brown rock caves No more, no more Of the swell and the weed
And the bubbling foam. Memory dwells in my far away home, She has nothing
to do with me. She is old and bent With a pack On her back. Her tears all
spent, Her voice, just a crack. With an old thorn stick She hobbles along,
And a crazy song Now slow, now quick, Wheeks in her throat. And every day
While there's light on the shore She searches for something; Her withered
claw Tumbles the seaweed; She pokes in each shell Groping and mumbling
Until the night Deepens and darkens, And covers her quite, And bids her be
silent, And bids her be still. The ghostly feet Of the whispery waves
Tiptoe beside her. They follow, follow To the rocky caves In the white
beach hollow... She hugs her hands, She sobs, she shrills, And the echoes
shriek In the rocky hills. She moans: "It is lost! Let it be! Let it be! I
am old. I'm too cold. I am frightened... the sea Is too loud... it is lost,
It is gone..." Memory Wails in my far away home. 1913
|
Written by
Lewis Carroll |
With saddest music all day long
She soothed her secret sorrow:
At night she sighed "I fear 'twas wrong
Such cheerful words to borrow.
Dearest, a sweeter, sadder song
I'll sing to thee to-morrow."
I thanked her, but I could not say
That I was glad to hear it:
I left the house at break of day,
And did not venture near it
Till time, I hoped, had worn away
Her grief, for nought could cheer it!
My dismal sister! Couldst thou know
The wretched home thou keepest!
Thy brother, drowned in daily woe,
Is thankful when thou sleepest;
For if I laugh, however low,
When thou'rt awake, thou weepest!
I took my sister t'other day
(Excuse the slang expression)
To Sadler's Wells to see the play
In hopes the new impression
Might in her thoughts, from grave to gay
Effect some slight digression.
I asked three gay young dogs from town
To join us in our folly,
Whose mirth, I thought, might serve to drown
My sister's melancholy:
The lively Jones, the sportive Brown,
And Robinson the jolly.
The maid announced the meal in tones
That I myself had taught her,
Meant to allay my sister's moans
Like oil on troubled water:
I rushed to Jones, the lively Jones,
And begged him to escort her.
Vainly he strove, with ready wit,
To joke about the weather -
To ventilate the last 'ON DIT' -
To quote the price of leather -
She groaned "Here I and Sorrow sit:
Let us lament together!"
I urged "You're wasting time, you know:
Delay will spoil the venison."
"My heart is wasted with my woe!
There is no rest - in Venice, on
The Bridge of Sighs!" she quoted low
From Byron and from Tennyson.
I need not tell of soup and fish
In solemn silence swallowed,
The sobs that ushered in each dish,
And its departure followed,
Nor yet my suicidal wish
To BE the cheese I hollowed.
Some desperate attempts were made
To start a conversation;
"Madam," the sportive Brown essayed,
"Which kind of recreation,
Hunting or fishing, have you made
Your special occupation?"
Her lips curved downwards instantly,
As if of india-rubber.
"Hounds IN FULL CRY I like," said she:
(Oh how I longed to snub her!)
"Of fish, a whale's the one for me,
IT IS SO FULL OF BLUBBER!"
The night's performance was "King John."
"It's dull," she wept, "and so-so!"
Awhile I let her tears flow on,
She said they soothed her woe so!
At length the curtain rose upon
'Bombastes Furioso.'
In vain we roared; in vain we tried
To rouse her into laughter:
Her pensive glances wandered wide
From orchestra to rafter -
"TIER UPON TIER!" she said, and sighed;
And silence followed after.
|
Written by
Charles Baudelaire |
ANGEL of gaiety, have you tasted grief?
Shame and remorse and sobs and weary spite,
And the vague terrors of the fearful night
That crush the heart up like a crumpled leaf?
Angel of gaiety, have you tasted grief?
Angel of kindness, have you tasted hate?
With hands clenched in the shade and tears of gall,
When Vengeance beats her hellish battle-call,
And makes herself the captain of our fate,
Angel of kindness, have you tasted hate?
Angel of health, did you ever know pain,
Which like an exile trails his tired footfalls
The cold length of the white infirmary walls,
With lips compressed, seeking the sun in vain?
Angel of health, did ever you know pain?
Angel of beauty, do you wrinkles know?
Know you the fear of age, the torment vile
Of reading secret horror in the smile
Of eyes your eyes have loved since long ago?
Angel of beauty, do you wrinkles know?
Angle of happiness, and joy, and light,
Old David would have asked for youth afresh
From the pure touch of your enchanted flesh;
I but implore your prayers to aid my plight,
Angel of happiness, and joy, and light.
|
Written by
Algernon Charles Swinburne |
SHALL I strew on thee rose or rue or laurel,
Brother, on this that was the veil of thee?
Or quiet sea-flower moulded by the sea,
Or simplest growth of meadow-sweet or sorrel,
Such as the summer-sleepy Dryads weave,
Waked up by snow-soft sudden rains at eve?
Or wilt thou rather, as on earth before,
Half-faded fiery blossoms, pale with heat
And full of bitter summer, but more sweet
To thee than gleanings of a northern shore
Trod by no tropic feet?
For always thee the fervid languid glories
Allured of heavier suns in mightier skies;
Thine ears knew all the wandering watery sighs
Where the sea sobs round Lesbian promontories,
The barren kiss of piteous wave to wave
That knows not where is that Leucadian grave
Which hides too deep the supreme head of song.
Ah, salt and sterile as her kisses were,
The wild sea winds her and the green gulfs bear
Hither and thither, and vex and work her wrong,
Blind gods that cannot spare.
Thou sawest, in thine old singing season, brother,
Secrets and sorrows unbeheld of us:
Fierce loves, and lovely leaf-buds poisonous,
Bare to thy subtler eye, but for none other
Blowing by night in some unbreathed-in clime;
The hidden harvest of luxurious time,
Sin without shape, and pleasure without speech;
And where strange dreams in a tumultuous sleep
Make the shut eyes of stricken spirits weep;
And with each face thou sawest the shadow on each,
Seeing as men sow men reap.
O sleepless heart and sombre soul unsleeping,
That were athirst for sleep and no more life
And no more love, for peace and no more strife!
Now the dim gods of death have in their keeping
Spirit and body and all the springs of song,
Is it well now where love can do no wrong,
Where stingless pleasure has no foam or fang
Behind the unopening closure of her lips?
Is it not well where soul from body slips
And flesh from bone divides without a pang
As dew from flower-bell drips?
It is enough; the end and the beginning
Are one thing to thee, who art past the end.
O hand unclasp'd of unbeholden friend,
For thee no fruits to pluck, no palms for winning,
No triumph and no labour and no lust,
Only dead yew-leaves and a little dust.
O quiet eyes wherein the light saith naught,
Whereto the day is dumb, nor any night
With obscure finger silences your sight,
Nor in your speech the sudden soul speaks thought,
Sleep, and have sleep for light.
Now all strange hours and all strange loves are over,
Dreams and desires and sombre songs and sweet,
Hast thou found place at the great knees and feet
Of some pale Titan-woman like a lover,
Such as thy vision here solicited,
Under the shadow of her fair vast head,
The deep division of prodigious breasts,
The solemn slope of mighty limbs asleep,
The weight of awful tresses that still keep
The savour and shade of old-world pine-forests
Where the wet hill-winds weep?
Hast thou found any likeness for thy vision?
O gardener of strange flowers, what bud, what bloom,
Hast thou found sown, what gather'd in the gloom?
What of despair, of rapture, of derision,
What of life is there, what of ill or good?
Are the fruits gray like dust or bright like blood?
Does the dim ground grow any seed of ours,
The faint fields quicken any terrene root,
In low lands where the sun and moon are mute
And all the stars keep silence? Are there flowers
At all, or any fruit?
Alas, but though my flying song flies after,
O sweet strange elder singer, thy more fleet
Singing, and footprints of thy fleeter feet,
Some dim derision of mysterious laughter
From the blind tongueless warders of the dead,
Some gainless glimpse of Proserpine's veil'd head,
Some little sound of unregarded tears
Wept by effaced unprofitable eyes,
And from pale mouths some cadence of dead sighs--
These only, these the hearkening spirit hears,
Sees only such things rise.
Thou art far too far for wings of words to follow,
Far too far off for thought or any prayer.
What ails us with thee, who art wind and air?
What ails us gazing where all seen is hollow?
Yet with some fancy, yet with some desire,
Dreams pursue death as winds a flying fire,
Our dreams pursue our dead and do not find.
Still, and more swift than they, the thin flame flies,
The low light fails us in elusive skies,
Still the foil'd earnest ear is deaf, and blind
Are still the eluded eyes.
Not thee, O never thee, in all time's changes,
Not thee, but this the sound of thy sad soul,
The shadow of thy swift spirit, this shut scroll
I lay my hand on, and not death estranges
My spirit from communion of thy song--
These memories and these melodies that throng
Veil'd porches of a Muse funereal--
These I salute, these touch, these clasp and fold
As though a hand were in my hand to hold,
Or through mine ears a mourning musical
Of many mourners roll'd.
I among these, I also, in such station
As when the pyre was charr'd, and piled the sods.
And offering to the dead made, and their gods,
The old mourners had, standing to make libation,
I stand, and to the Gods and to the dead
Do reverence without prayer or praise, and shed
Offering to these unknown, the gods of gloom,
And what of honey and spice my seed-lands bear,
And what I may of fruits in this chill'd air,
And lay, Orestes-like, across the tomb
A curl of sever'd hair.
But by no hand nor any treason stricken,
Not like the low-lying head of Him, the King,
The flame that made of Troy a ruinous thing,
Thou liest and on this dust no tears could quicken.
There fall no tears like theirs that all men hear
Fall tear by sweet imperishable tear
Down the opening leaves of holy poets' pages.
Thee not Orestes, not Electra mourns;
But bending us-ward with memorial urns
The most high Muses that fulfil all ages
Weep, and our God's heart yearns.
For, sparing of his sacred strength, not often
Among us darkling here the lord of light
Makes manifest his music and his might
In hearts that open and in lips that soften
With the soft flame and heat of songs that shine.
Thy lips indeed he touch'd with bitter wine,
And nourish'd them indeed with bitter bread;
Yet surely from his hand thy soul's food came,
The fire that scarr'd thy spirit at his flame
Was lighted, and thine hungering heart he fed
Who feeds our hearts with fame.
Therefore he too now at thy soul's sunsetting,
God of all suns and songs, he too bends down
To mix his laurel with thy cypress crown,
And save thy dust from blame and from forgetting.
Therefore he too, seeing all thou wert and art,
Compassionate, with sad and sacred heart,
Mourns thee of many his children the last dead,
And hollows with strange tears and alien sighs
Thine unmelodious mouth and sunless eyes,
And over thine irrevocable head
Sheds light from the under skies.
And one weeps with him in the ways Lethean,
And stains with tears her changing bosom chill;
That obscure Venus of the hollow hill,
That thing transform'd which was the Cytherean,
With lips that lost their Grecian laugh divine
Long since, and face no more call'd Erycine--
A ghost, a bitter and luxurious god.
Thee also with fair flesh and singing spell
Did she, a sad and second prey, compel
Into the footless places once more trod,
And shadows hot from hell.
And now no sacred staff shall break in blossom,
No choral salutation lure to light
A spirit sick with perfume and sweet night
And love's tired eyes and hands and barren bosom.
There is no help for these things; none to mend,
And none to mar; not all our songs, O friend,
Will make death clear or make life durable.
Howbeit with rose and ivy and wild vine
And with wild notes about this dust of thine
At least I fill the place where white dreams dwell
And wreathe an unseen shrine.
Sleep; and if life was bitter to thee, pardon,
If sweet, give thanks; thou hast no more to live;
And to give thanks is good, and to forgive.
Out of the mystic and the mournful garden
Where all day through thine hands in barren braid
Wove the sick flowers of secrecy and shade,
Green buds of sorrow and sin, and remnants gray,
Sweet-smelling, pale with poison, sanguine-hearted,
Passions that sprang from sleep and thoughts that started,
Shall death not bring us all as thee one day
Among the days departed?
For thee, O now a silent soul, my brother,
Take at my hands this garland, and farewell.
Thin is the leaf, and chill the wintry smell,
And chill the solemn earth, a fatal mother,
With sadder than the Niobean womb,
And in the hollow of her breasts a tomb.
Content thee, howsoe'er, whose days are done;
There lies not any troublous thing before,
Nor sight nor sound to war against thee more,
For whom all winds are quiet as the sun,
All waters as the shore.
|