Written by
Donald Hall |
To grow old is to lose everything.
Aging, everybody knows it.
Even when we are young,
we glimpse it sometimes, and nod our heads
when a grandfather dies.
Then we row for years on the midsummer
pond, ignorant and content. But a marriage,
that began without harm, scatters
into debris on the shore,
and a friend from school drops
cold on a rocky strand.
If a new love carries us
past middle age, our wife will die
at her strongest and most beautiful.
New women come and go. All go.
The pretty lover who announces
that she is temporary
is temporary. The bold woman,
middle-aged against our old age,
sinks under an anxiety she cannot withstand.
Another friend of decades estranges himself
in words that pollute thirty years.
Let us stifle under mud at the pond's edge
and affirm that it is fitting
and delicious to lose everything.
|
Written by
Walt Whitman |
1
EARTH, round, rolling, compact—suns, moons, animals—all these are words to be
said;
Watery, vegetable, sauroid advances—beings, premonitions, lispings of the future,
Behold! these are vast words to be said.
Were you thinking that those were the words—those upright lines? those curves,
angles,
dots?
No, those are not the words—the substantial words are in the ground and sea,
They are in the air—they are in you.
Were you thinking that those were the words—those delicious sounds out of your
friends’
mouths?
No, the real words are more delicious than they.
Human bodies are words, myriads of words;
In the best poems re-appears the body, man’s or woman’s, well-shaped, natural,
gay,
Every part able, active, receptive, without shame or the need of shame.
2
Air, soil, water, fire—these are words;
I myself am a word with them—my qualities interpenetrate with theirs—my name is
nothing to
them;
Though it were told in the three thousand languages, what would air, soil, water, fire,
know of
my
name?
A healthy presence, a friendly or commanding gesture, are words, sayings, meanings;
The charms that go with the mere looks of some men and women, are sayings and meanings
also.
3
The workmanship of souls is by the inaudible words of the earth;
The great masters know the earth’s words, and use them more than the audible words.
Amelioration is one of the earth’s words;
The earth neither lags nor hastens;
It has all attributes, growths, effects, latent in itself from the jump;
It is not half beautiful only—defects and excrescences show just as much as
perfections
show.
The earth does not withhold, it is generous enough;
The truths of the earth continually wait, they are not so conceal’d either;
They are calm, subtle, untransmissible by print;
They are imbued through all things, conveying themselves willingly,
Conveying a sentiment and invitation of the earth—I utter and utter,
I speak not, yet if you hear me not, of what avail am I to you?
To bear—to better—lacking these, of what avail am I?
4
Accouche! Accouchez!
Will you rot your own fruit in yourself there?
Will you squat and stifle there?
The earth does not argue,
Is not pathetic, has no arrangements,
Does not scream, haste, persuade, threaten, promise,
Makes no discriminations, has no conceivable failures,
Closes nothing, refuses nothing, shuts none out,
Of all the powers, objects, states, it notifies, shuts none out.
5
The earth does not exhibit itself, nor refuse to exhibit itself—possesses still
underneath;
Underneath the ostensible sounds, the august chorus of heroes, the wail of slaves,
Persuasions of lovers, curses, gasps of the dying, laughter of young people, accents of
bargainers,
Underneath these, possessing the words that never fail.
To her children, the words of the eloquent dumb great mother never fail;
The true words do not fail, for motion does not fail, and reflection does not fail;
Also the day and night do not fail, and the voyage we pursue does not fail.
6
Of the interminable sisters,
Of the ceaseless cotillions of sisters,
Of the centripetal and centrifugal sisters, the elder and younger sisters,
The beautiful sister we know dances on with the rest.
With her ample back towards every beholder,
With the fascinations of youth, and the equal fascinations of age,
Sits she whom I too love like the rest—sits undisturb’d,
Holding up in her hand what has the character of a mirror, while her eyes glance back from
it,
Glance as she sits, inviting none, denying none,
Holding a mirror day and night tirelessly before her own face.
7
Seen at hand, or seen at a distance,
Duly the twenty-four appear in public every day,
Duly approach and pass with their companions, or a companion,
Looking from no countenances of their own, but from the countenances of those who are with
them,
From the countenances of children or women, or the manly countenance,
From the open countenances of animals, or from inanimate things,
From the landscape or waters, or from the exquisite apparition of the sky,
From our countenances, mine and yours, faithfully returning them,
Every day in public appearing without fail, but never twice with the same companions.
8
Embracing man, embracing all, proceed the three hundred and sixty-five resistlessly round
the
sun;
Embracing all, soothing, supporting, follow close three hundred and sixty-five offsets of
the
first,
sure and necessary as they.
9
Tumbling on steadily, nothing dreading,
Sunshine, storm, cold, heat, forever withstanding, passing, carrying,
The Soul’s realization and determination still inheriting,
The fluid vacuum around and ahead still entering and dividing,
No balk retarding, no anchor anchoring, on no rock striking,
Swift, glad, content, unbereav’d, nothing losing,
Of all able and ready at any time to give strict account,
The divine ship sails the divine sea.
10
Whoever you are! motion and reflection are especially for you;
The divine ship sails the divine sea for you.
Whoever you are! you are he or she for whom the earth is solid and liquid,
You are he or she for whom the sun and moon hang in the sky,
For none more than you are the present and the past,
For none more than you is immortality.
11
Each man to himself, and each woman to herself, such is the word of the past and present,
and
the
word of immortality;
No one can acquire for another—not one!
Not one can grow for another—not one!
The song is to the singer, and comes back most to him;
The teaching is to the teacher, and comes back most to him;
The murder is to the murderer, and comes back most to him;
The theft is to the thief, and comes back most to him;
The love is to the lover, and comes back most to him;
The gift is to the giver, and comes back most to him—it cannot fail;
The oration is to the orator, the acting is to the actor and actress, not to the audience;
And no man understands any greatness or goodness but his own, or the indication of his
own.
12
I swear the earth shall surely be complete to him or her who shall be complete!
I swear the earth remains jagged and broken only to him or her who remains jagged and
broken!
I swear there is no greatness or power that does not emulate those of the earth!
I swear there can be no theory of any account, unless it corroborate the theory of the
earth!
No politics, art, religion, behavior, or what not, is of account, unless it compare with
the
amplitude of the earth,
Unless it face the exactness, vitality, impartiality, rectitude of the earth.
13
I swear I begin to see love with sweeter spasms than that which responds love!
It is that which contains itself—which never invites, and never refuses.
I swear I begin to see little or nothing in audible words!
I swear I think all merges toward the presentation of the unspoken meanings of the earth!
Toward him who sings the songs of the Body, and of the truths of the earth;
Toward him who makes the dictionaries of words that print cannot touch.
14
I swear I see what is better than to tell the best;
It is always to leave the best untold.
When I undertake to tell the best, I find I cannot,
My tongue is ineffectual on its pivots,
My breath will not be obedient to its organs,
I become a dumb man.
The best of the earth cannot be told anyhow—all or any is best;
It is not what you anticipated—it is cheaper, easier, nearer;
Things are not dismiss’d from the places they held before;
The earth is just as positive and direct as it was before;
Facts, religions, improvements, politics, trades, are as real as before;
But the Soul is also real,—it too is positive and direct;
No reasoning, no proof has establish’d it,
Undeniable growth has establish’d it.
15
This is a poem—a carol of words—these are hints of meanings,
These are to echo the tones of Souls, and the phrases of Souls;
If they did not echo the phrases of Souls, what were they then?
If they had not reference to you in especial, what were they then?
I swear I will never henceforth have to do with the faith that tells the best!
I will have to do only with that faith that leaves the best untold.
16
Say on, sayers!
Delve! mould! pile the words of the earth!
Work on—(it is materials you must bring, not breaths;)
Work on, age after age! nothing is to be lost;
It may have to wait long, but it will certainly come in use;
When the materials are all prepared, the architects shall appear.
I swear to you the architects shall appear without fail! I announce them and lead them;
I swear to you they will understand you, and justify you;
I swear to you the greatest among them shall be he who best knows you, and encloses all,
and is
faithful to all;
I swear to you, he and the rest shall not forget you—they shall perceive that you are
not
an
iota less than they;
I swear to you, you shall be glorified in them.
|
Written by
William Shakespeare |
Lo, here the gentle lark, weary of rest,
From his moist cabinet mounts up on high,
And wakes the morning, from whose silver breast
The sun ariseth in his majesty;
Who doth the world so gloriously behold
That cedar-tops and hills seem burnish'd gold.
Venus salutes him with this fair good-morrow;
"O thou clear god, and patron of all light,
From whom each lamp and shining star doth borrow
The beauteous influence that makes him bright,
There lives a son that suck'd an earthly mother,
May lend thee light, as thou dost lend to other."
This said, she hasteth to a myrtle grove,
Musing the morning is so much o'erworn,
And yet she hears no tidings of her love:
She hearkens for his hounds and for his horn:
Anon she hears them chant it lustily,
And all in haste she coasteth to the cry.
And as she runs, the bushes in the way
Some catch her by the neck, some kiss her face,
Some twine about her thigh to make her stay:
She wildly breaketh from their strict embrace,
Like a milch doe, whose swelling dugs do ache,
Hasting to feed her fawn, hid in some brake.
By this she hears the hounds are at a bay;
Whereat she starts, like one that spies an adder
Wreath'd up in fatal folds just in his way,
The fear whereof doth make him shake and shudder;
Even so the timorous yelping of the hounds
Appals her senses and her spirit confounds.
For now she knows it is no gentle chase,
But the blunt boar, rough bear, or lion proud,
Because the cry remaineth in one place,
Where fearfully the dogs exclaim aloud:
Finding their enemy to be so curst,
They all strain court'sy who shall cope him first.
This dismal cry rings sadly in her ear,
Through which it enters to surprise her heart;
Who, overcome by doubt and bloodless fear,
With cold-pale weakness numbs each feeling part:
Like soldiers, when their captain once doth yield,
They basely fly and dare not stay the field.
Thus stands she in a trembling ecstasy;
Till, cheering up her senses all dismay'd,
She tells them 'tis a causeless fantasy,
And childish error, that they are afraid;
Bids them leave quaking, bids them fear no more:--
And with that word she spied the hunted boar;
Whose frothy mouth, bepainted all with red,
Like milk and blood being mingled both together,
A second fear through all her sinews spread,
Which madly hurries her she knows not whither:
This way she runs, and now she will no further,
But back retires to rate the boar for murther.
A thousand spleens bear her a thousand ways;
She treads the path that she untreads again;
Her more than haste is mated with delays,
Like the proceedings of a drunken brain,
Full of respects, yet nought at all respecting;
In hand with all things, nought at all effecting.
Here kennell'd in a brake she finds a hound,
And asks the weary caitiff for his master,
And there another licking of his wound,
'Gainst venom'd sores the only sovereign plaster;
And here she meets another sadly scowling,
To whom she speaks, and he replies with howling.
When he hath ceas'd his ill-resounding noise,
Another flap-mouth'd mourner, black and grim,
Against the welkin volleys out his voice;
Another, and another, answer him,
Clapping their proud tails to the ground below,
Shaking their scratch'd ears, bleeding as they go.
Look, how the world's poor people are amazed
At apparitions, signs, and prodigies,
Whereon with fearful eyes they long have gazed,
Infusing them with dreadful prophecies;
So she at these sad signs draws up her breath
And sighing it again, exclaims on Death.
"Hard-favour'd tyrant, ugly, meagre, lean,
Hateful divorce of love,"--thus chides she Death,--
"Grim-grinning ghost, earth's worm, what dost thou mean
To stifle beauty and to steal his breath,
Who when he liv'd, his breath and beauty set
Gloss on the rose, smell to the violet?
"If he be dead,--O no, it cannot be,
Seeing his beauty, thou shouldst strike at it:--
O yes, it may; thou hast no eyes to see,
But hatefully at random dost thou hit.
Thy mark is feeble age, but thy false dart
Mistakes that aim and cleaves an infant's heart.
"Hadst thou but bid beware, then he had spoke,
And, hearing him, thy power had lost his power.
The Destinies will curse thee for this stroke;
They bid thee crop a weed, thou pluck'st a flower:
Love's golden arrow at him should have fled,
And not Death's ebon dart, to strike him dead.
"Dost thou drink tears, that thou provok'st such weeping?
What may a heavy groan advantage thee?
Why hast thou cast into eternal sleeping
Those eyes that taught all other eyes to see?
Now nature cares not for thy mortal vigour,
Since her best work is ruin'd with thy rigour."
Here overcome, as one full of despair,
She vail'd her eyelids, who, like sluices, stopt
The crystal tide that from her two cheeks fair
In the sweet channel of her bosom dropt;
But through the flood-gates breaks the silver rain,
And with his strong course opens them again.
O, how her eyes and tears did lend and borrow!
Her eyes seen in the tears, tears in her eye;
Both crystals, where they view'd each other's sorrow,
Sorrow that friendly sighs sought still to dry;
But like a stormy day, now wind, now rain,
Sighs dry her cheeks, tears make them wet again.
Variable passions throng her constant woe,
As striving who should best become her grief;
All entertain'd, each passion labours so,
That every present sorrow seemeth chief,
But none is best: then join they all together,
Like many clouds consulting for foul weather.
By this, far off she hears some huntsman hollo;
A nurse's song ne'er pleased her babe so well:
The dire imagination she did follow
This sound of hope doth labour to expel;
For now reviving joy bids her rejoice,
And flatters her it is Adonis' voice.
Whereat her tears began to turn their tide,
Being prison'd in her eye like pearls in glass;
Yet sometimes falls an orient drop beside,
Which her cheek melts, as scorning it should pass,
To wash the foul face of the sluttish ground,
Who is but drunken when she seemeth drown'd.
O hard-believing love, how strange it seems
Not to believe, and yet too credulous!
Thy weal and woe are both of them extremes;
Despair and hope make thee ridiculous:
The one doth flatter thee in thoughts unlikely,
In likely thoughts the other kills thee quickly.
Now she unweaves the web that she hath wrought;
Adonis lives, and Death is not to blame;
It was not she that call'd him all to naught:
Now she adds honours to his hateful name;
She clepes him king of graves and grave for kings,
Imperious supreme of all mortal things.
"No, no," quoth she, "sweet Death, I did but jest;
Yet pardon me I felt a kind of fear
When as I met the boar, that bloody beast,
Which knows no pity, but is still severe;
Then, gentle shadow,--truth I must confess,--
I rail'd on thee, fearing my love's decease.
"'Tis not my fault: the boar provok'd my tongue;
Be wreak'd on him, invisible commander;
'Tis he, foul creature, that hath done thee wrong;
I did but act, he's author of thy slander:
Grief hath two tongues, and never woman yet
Could rule them both without ten women's wit."
Thus hoping that Adonis is alive,
Her rash suspect she doth extenuate;
And that his beauty may the better thrive,
With Death she humbly doth insinuate;
Tells him of trophies, statues, tombs, and stories
His victories, his triumphs and his glories.
"O Jove," quoth she, "how much a fool was I
To be of such a weak and silly mind
To wail his death who lives and must not die
Till mutual overthrow of mortal kind;
For he being dead, with him is beauty slain,
And, beauty dead, black chaos comes again.
"Fie, fie, fond love, thou art so full of fear
As one with treasure laden, hemm'd with thieves;
Trifles, unwitnessed with eye or ear,
Thy coward heart with false bethinking grieves."
Even at this word she hears a merry horn,
Whereat she leaps that was but late forlorn.
As falcon to the lure, away she flies;
The grass stoops not, she treads on it so light;
And in her haste unfortunately spies
The foul boar's conquest on her fair delight;
Which seen, her eyes, as murder'd with the view,
Like stars asham'd of day, themselves withdrew;
Or, as the snail, whose tender horns being hit,
Shrinks backward in his shelly cave with pain,
And there, all smother'd up, in shade doth sit,
Long after fearing to creep forth again;
So, at his bloody view, her eyes are fled
Into the deep dark cabins of her head:
Where they resign their office and their light
To the disposing of her troubled brain;
Who bids them still consort with ugly night,
And never wound the heart with looks again;
Who, like a king perplexed in his throne,
By their suggestion gives a deadly groan,
Whereat each tributary subject quakes;
As when the wind, imprison'd in the ground,
Struggling for passage, earth's foundation shakes,
Which with cold terror doth men's minds confound.
This mutiny each part doth so surprise
That from their dark beds once more leap her eyes;
And, being open'd, threw unwilling light
Upon the wide wound that the boar had trench'd
In his soft flank; whose wonted lily white
With purple tears, that his wound wept, was drench'd:
No flower was nigh, no grass, herb, leaf, or weed,
But stole his blood and seem'd with him to bleed.
This solemn sympathy poor Venus noteth;
Over one shoulder doth she hang her head;
Dumbly she passions, franticly she doteth;
She thinks he could not die, he is not dead:
Her voice is stopt, her joints forget to bow;
Her eyes are mad that they have wept till now.
|
Written by
Amy Lowell |
I
The Trumpet-Vine Arbour
The throats of the little red trumpet-flowers are
wide open,
And the clangour of brass beats against the hot sunlight.
They bray and blare at the burning sky.
Red! Red! Coarse notes of red,
Trumpeted at the blue sky.
In long streaks of sound, molten metal,
The vine declares itself.
Clang! -- from its red and yellow trumpets.
Clang! -- from its long, nasal trumpets,
Splitting the sunlight into ribbons, tattered and shot with noise.
I sit in the cool arbour, in a green-and-gold twilight.
It is very still, for I cannot hear the trumpets,
I only know that they are red and open,
And that the sun above the arbour shakes with heat.
My quill is newly mended,
And makes fine-drawn lines with its point.
Down the long, white paper it makes little lines,
Just lines -- up -- down -- criss-cross.
My heart is strained out at the pin-point of my quill;
It is thin and writhing like the marks of the pen.
My hand marches to a squeaky tune,
It marches down the paper to a squealing of fifes.
My pen and the trumpet-flowers,
And Washington's armies away over the smoke-tree to the Southwest.
"Yankee Doodle," my Darling! It is you against the British,
Marching in your ragged shoes to batter down King George.
What have you got in your hat? Not a feather, I wager.
Just a hay-straw, for it is the harvest you are fighting for.
Hay in your hat, and the whites of their eyes for a target!
Like Bunker Hill, two years ago, when I watched all day from the
house-top
Through Father's spy-glass.
The red city, and the blue, bright water,
And puffs of smoke which you made.
Twenty miles away,
Round by Cambridge, or over the Neck,
But the smoke was white -- white!
To-day the trumpet-flowers are red -- red --
And I cannot see you fighting,
But old Mr. Dimond has fled to Canada,
And Myra sings "Yankee Doodle" at her milking.
The red throats of the trumpets bray and clang in the sunshine,
And the smoke-tree puffs dun blossoms into the blue air.
II
The City of Falling Leaves
Leaves fall,
Brown leaves,
Yellow leaves streaked with brown.
They fall,
Flutter,
Fall again.
The brown leaves,
And the streaked yellow leaves,
Loosen on their branches
And drift slowly downwards.
One,
One, two, three,
One, two, five.
All Venice is a falling of Autumn leaves --
Brown,
And yellow streaked with brown.
"That sonnet, Abate,
Beautiful,
I am quite exhausted by it.
Your phrases turn about my heart
And stifle me to swooning.
Open the window, I beg.
Lord! What a strumming of fiddles and mandolins!
'Tis really a shame to stop indoors.
Call my maid, or I will make you lace me yourself.
Fie, how hot it is, not a breath of air!
See how straight the leaves are falling.
Marianna, I will have the yellow satin caught up with silver fringe,
It peeps out delightfully from under a mantle.
Am I well painted to-day, `caro Abate mio'?
You will be proud of me at the `Ridotto', hey?
Proud of being `Cavalier Servente' to such a lady?"
"Can you doubt it, `Bellissima Contessa'?
A pinch more rouge on the right cheek,
And Venus herself shines less . . ."
"You bore me, Abate,
I vow I must change you!
A letter, Achmet?
Run and look out of the window, Abate.
I will read my letter in peace."
The little black slave with the yellow satin turban
Gazes at his mistress with strained eyes.
His yellow turban and black skin
Are gorgeous -- barbaric.
The yellow satin dress with its silver flashings
Lies on a chair
Beside a black mantle and a black mask.
Yellow and black,
Gorgeous -- barbaric.
The lady reads her letter,
And the leaves drift slowly
Past the long windows.
"How silly you look, my dear Abate,
With that great brown leaf in your wig.
Pluck it off, I beg you,
Or I shall die of laughing."
A yellow wall
Aflare in the sunlight,
Chequered with shadows,
Shadows of vine leaves,
Shadows of masks.
Masks coming, printing themselves for an instant,
Then passing on,
More masks always replacing them.
Masks with tricorns and rapiers sticking out behind
Pursuing masks with plumes and high heels,
The sunlight shining under their insteps.
One,
One, two,
One, two, three,
There is a thronging of shadows on the hot wall,
Filigreed at the top with moving leaves.
Yellow sunlight and black shadows,
Yellow and black,
Gorgeous -- barbaric.
Two masks stand together,
And the shadow of a leaf falls through them,
Marking the wall where they are not.
From hat-tip to shoulder-tip,
From elbow to sword-hilt,
The leaf falls.
The shadows mingle,
Blur together,
Slide along the wall and disappear.
Gold of mosaics and candles,
And night blackness lurking in the ceiling beams.
Saint Mark's glitters with flames and reflections.
A cloak brushes aside,
And the yellow of satin
Licks out over the coloured inlays of the pavement.
Under the gold crucifixes
There is a meeting of hands
Reaching from black mantles.
Sighing embraces, bold investigations,
Hide in confessionals,
Sheltered by the shuffling of feet.
Gorgeous -- barbaric
In its mail of jewels and gold,
Saint Mark's looks down at the swarm of black masks;
And outside in the palace gardens brown leaves fall,
Flutter,
Fall.
Brown,
And yellow streaked with brown.
Blue-black, the sky over Venice,
With a pricking of yellow stars.
There is no moon,
And the waves push darkly against the prow
Of the gondola,
Coming from Malamocco
And streaming toward Venice.
It is black under the gondola hood,
But the yellow of a satin dress
Glares out like the eye of a watching tiger.
Yellow compassed about with darkness,
Yellow and black,
Gorgeous -- barbaric.
The boatman sings,
It is Tasso that he sings;
The lovers seek each other beneath their mantles,
And the gondola drifts over the lagoon, aslant to the coming dawn.
But at Malamocco in front,
In Venice behind,
Fall the leaves,
Brown,
And yellow streaked with brown.
They fall,
Flutter,
Fall.
|
Written by
Henry Lawson |
So I sit and write and ponder, while the house is deaf and dumb,
Seeing visions "over yonder" of the war I know must come.
In the corner - not a vision - but a sign for coming days
Stand a box of ammunition and a rifle in green baize.
And in this, the living present, let the word go through the land,
Every tradesman, clerk and peasant should have these two things at hand.
No - no ranting song is needed, and no meeting, flag or fuss -
In the future, still unheeded, shall the spirit come to us!
Without feathers, drum or riot on the day that is to be,
We shall march down, very quiet, to our stations by the sea.
While the bitter parties stifle every voice that warns of war,
Every man should own a rifle and have cartridges in store!
|
Written by
Elizabeth Barrett Browning |
Do ye hear the children weeping, O my brothers,
Ere the sorrow comes with years?
They are leaning their young heads against their mothers,
And that cannot stop their tears.
The young lambs are bleating in the meadows,
The young birds are chirping in the nest,
The young fawns are playing with the shadows,
The young flowers are blowing toward the west—
But the young, young children, O my brothers,
They are weeping bitterly!
They are weeping in the playtime of the others,
In the country of the free.
Do you question the young children in their sorrow,
Why their tears are falling so?
The old man may weep for his tomorrow,
Which is lost in Long Ago;
The old tree is leafless in the forest,
The old year is ending in the frost,
The old wound, if stricken, is the sorest,
The old hope is hardest to be lost:
But the young, young children, O my brothers,
Do you ask them why they stand
Weeping sore before the bosoms of their mothers,
In our happy Fatherland?
They look up with their pale and sunken faces,
And their looks are sad to see,
For the man's hoary anguish draws and presses
Down the cheeks of infancy;
"Your old earth," they say, "is very dreary;
Our young feet," they say, "are very weak!
Few paces have we taken, yet are weary—
Our grave-rest is very far to seek.
Ask the aged why they weep, and not the children,
For the outside earth is cold,
And we young ones stand without, in our bewildering,
And the graves are for the old."
"True," say the children, "it may happen
That we die before our time.
Little Alice died last year—her grave is shapen
Like a snowball, in the rime.
We looked into the pit prepared to take her:
Was no room for any work in the close clay!
From the sleep wherein she lieth none will wake her,
Crying 'Get up, little Alice! it is day.'
If you listen by that grave, in sun and shower,
With your ear down, little Alice never cries;
Could we see her face, be sure we should not know her,
For the smile has time for growing in her eyes:
And merry go her moments, lulled and stilled in
The shroud by the kirk-chime.
It is good when it happens," say the children,
"That we die before our time."
Alas, alas, the children! They are seeking
Death in life, as best to have;
They are binding up their hearts away from breaking,
With a cerement from the grave.
Go out, children, from the mine and from the city,
Sing out, children, as the little thrushes do;
Pluck your handfuls of the meadow-cowslips pretty,
Laugh aloud, to feel your fingers let them through!
But they answer, "Are your cowslips of the meadows
Like our weeds anear the mine?
Leave us quiet in the dark of the coal-shadows,
From your pleasures fair and fine!
"For oh," say the children, "we are weary,
And we cannot run or leap;
If we cared for any meadows, it were merely
To drop down in them and sleep.
Our knees tremble sorely in the stooping,
We fall upon our faces, trying to go;
And, underneath our heavy eyelids drooping,
The reddest flower would look as pale as snow.
For, all day, we drag our burden tiring
Through the coal-dark, underground;
Or, all day, we drive the wheels of iron
In the factories, round and round.
"For all day the wheels are droning, turning;
Their wind comes in our faces,—
Till our hearts turn, our heads with pulses burning,
And the walls turn in their places:
Turns the sky in the high window blank and reeling,
Turns the long light that drops adown the wall,
Turn the black flies that crawl along the ceiling,—
All are turning, all the day, and we with all.
And all day, the iron wheels are droning,
And sometimes we could pray,
'O ye wheels,' (breaking out in a mad moaning)
'Stop! be silent for today!' "
Ay, be silent! Let them hear each other breathing
For a moment, mouth to mouth!
Let them touch each other's hands, in a fresh wreathing
Of their tender human youth!
Let them feel that this cold metallic motion
Is not all the life God fashions or reveals:
Let them prove their living souls against the notion
That they live in you, or under you, O wheels!
Still, all day, the iron wheels go onward,
Grinding life down from its mark;
And the children's souls, which God is calling sunward,
Spin on blindly in the dark.
Now tell the poor young children, O my brothers,
To look up to Him and pray;
So the blessed One, who blesseth all the others,
Will bless them another day.
They answer, "Who is God that He should hear us,
While the rushing of the iron wheels is stirred?
When we sob aloud, the human creatures near us
Pass by, hearing not, or answer not a word.
And we hear not (for the wheels in their resounding)
Strangers speaking at the door:
Is it likely God, with angels singing round Him,
Hears our weeping any more?
"Two words, indeed, of praying we remember,
And at midnight's hour of harm,
'Our Father,' looking upward in the chamber,
We say softly for a charm.
We know no other words except 'Our Father,'
And we think that, in some pause of angels' song,
God may pluck them with the silence sweet to gather,
And hold both within His right hand which is strong.
'Our Father!' If He heard us, He would surely
(For they call Him good and mild)
Answer, smiling down the steep world very purely,
'Come and rest with me, my child.'
"But, no!" say the children, weeping faster,
"He is speechless as a stone:
And they tell us, of His image is the master
Who commands us to work on.
Go to!" say the children,—"up in heaven,
Dark, wheel-like, turning clouds are all we find.
Do not mock us; grief has made us unbelieving—
We look up for God, but tears have made us blind."
Do you hear the children weeping and disproving,
O my brothers, what ye preach?
For God's possible is taught by His world's loving,
And the children doubt of each.
And well may the children weep before you!
They are weary ere they run;
They have never seen the sunshine, nor the glory
Which is brighter than the sun.
They know the grief of man, without its wisdom;
They sink in man's despair, without its calm,—
Are slaves, without the liberty in Christdom,—
Are martyrs, by the pang without the palm,—
Are worn as if with age, yet unretrievingly
The harvest of its memories cannot reap,—
Are orphans of the earthly love and heavenly.
Let them weep! let them weep!
They look up with their pale and sunken faces,
And their look is dread to see,
For they mind you of their angels in high places,
With eyes turned on Deity;—
"How long," they say, "how long, O cruel nation,
Will you stand, to move the world, on a child's heart,—
Stifle down with a mailed heel its palpitation,
And tread onward to your throne amid the mart?
Our blood splashes upward, O gold-heaper,
And its purple shows your path!
But the child's sob in the silence curses deeper
Than the strong man in his wrath."
|
Written by
Johann Wolfgang von Goethe |
[Goethe began to write an opera called Lowenstuhl,
founded upon the old tradition which forms the subject of this Ballad,
but he never carried out his design.]
OH, enter old minstrel, thou time-honour'd one!
We children are here in the hall all alone,
The portals we straightway will bar.
Our mother is praying, our father is gone
To the forest, on wolves to make war.
Oh sing us a ballad, the tale then repeat,
'Till brother and I learn it right;
We long have been hoping a minstrel to meet,
For children hear tales with delight.
"At midnight, when darkness its fearful veil weaves,
His lofty and stately old castle he leaves,
But first he has buried his wealth.
What figure is that in his arms one perceives,
As the Count quits the gateway by stealth?
O'er what is his mantle so hastily thrown?
What bears he along in his flight?
A daughter it is, and she gently sleeps on"--
The children they hear with delight.
"The morning soon glimmers. the world is so wide,
In valleys and forests a home is supplied,
The bard in each village is cheer'd.
Thus lives he and wanders, while years onward glide,
And longer still waxes his beard;
But the maiden so fair in his arms grows amain,
'Neath her star all-protecting and bright,
Secured in the mantle from wind and from rain--"
The children they hear with delight.
"And year upon year with swift footstep now steals,
The mantle it fades, many rents it reveals,
The maiden no more it can hold.
The father he sees her, what rapture he feels!
His joy cannot now be controll'd.
How worthy she seems of the race whence she springs,
How noble and fair to the sight!
What wealth to her dearly-loved father she brings!"--
The children they hear with delight.
"Then comes there a princely knight galloping by,
She stretches her hand out, as soon as he's nigh,
But alms he refuses to give.
He seizes her hand, with a smile in his eye:
'Thou art mine!' he exclaims, 'while I live!'
'When thou know'st,' cries the old man, 'the treasure that's
there,
A princess thou'lt make her of right;
Betroth'd be she now, on this spot green and fair--'"
The children they hear with delight.
"So she's bless'd by the priest on the hallowed place,
And she goes with a smiling but sorrowful face,
From her father she fain would not part.
The old man still wanders with ne'er-changing pace,
He covers with joy his sad heart.
So I think of my daughter, as years pass away,
And my grandchildren far from my sight;
I bless them by night, and I bless them by day"--
The children they hear with delight.
He blesses the children: a knocking they hear,
The father it is! They spring forward in fear,
The old man they cannot conceal--
"Thou beggar, wouldst lure, then, my children so dear?
Straight seize him, ye vassals of steel!
To the dungeon most deep, with the fool-hardy knave!"
The mother from far hears the fight;
She hastens with flatt'ring entreaty to crave--
The children they hear with delight.
The vassals they suffer the Bard to stand there,
And mother and children implore him to spare,
The proud prince would stifle his ire,
'Till driven to fury at hearing their prayer,
His smouldering anger takes fire:
"Thou pitiful race! Oh, thou beggarly crew!
Eclipsing my star, once so bright!
Ye'll bring me destruction, ye sorely shall rue!"
The children they hear with affright.
The old man still stands there with dignified mien,
The vassals of steel quake before him, I ween,
The Count's fury increases in power;
"My wedded existence a curse long has been,
And these are the fruits from that flower!
'Tis ever denied, and the saying is true,
That to wed with the base-born is right;
The beggar has borne me a beggarly crew,--"
The children they hear with affright.
"If the husband, the father, thus treats you with scorn,
If the holiest bonds by him rashly are torn,
Then come to your father--to me!
The beggar may gladden life's pathway forlorn,
Though aged and weak he may be.
This castle is mine! thou hast made it thy prey,
Thy people 'twas put me to flight;
The tokens I bear will confirm what I say"--
The children they hear with delight.
"The king who erst govern'd returneth again,
And restores to the Faithful the goods that were ta'en,
I'll unseal all my treasures the while;
The laws shall be gentle, and peaceful the reign"--
The old man thus cries with a smile--
"Take courage, my son! all hath turned out for good,
And each hath a star that is bright,
Those the princess hath borne thee are princely in blood,"--
The children thy hear with delight.
1816.
|
Written by
Victor Hugo |
("Amis! ennui nous tue.")
{Bk. IV. xv., March, 1825.}
Aweary unto death, my friends, a mood by wise abhorred,
Come to the novel feast I spread, thrice-consul, Nero, lord,
The Caesar, master of the world, and eke of harmony,
Who plays the harp of many strings, a chief of minstrelsy.
My joyful call should instantly bring all who love me most,—
For ne'er were seen such arch delights from Greek or Roman host;
Nor at the free, control-less jousts, where, spite of cynic vaunts,
Austere but lenient Seneca no "Ercles" bumper daunts;
Nor where upon the Tiber floats Aglae in galley gay,
'Neath Asian tent of brilliant stripes, in gorgeous array;
Nor when to lutes and tambourines the wealthy prefect flings
A score of slaves, their fetters wreathed, to feed grim, greedy
things.
I vow to show ye Rome aflame, the whole town in a mass;
Upon this tower we'll take our stand to watch the 'wildered pass;
How paltry fights of men and beasts! here be my combatants,—
The Seven Hills my circus form, and fiends shall lead the dance.
This is more meet for him who rules to drive away his stress—
He, being god, should lightnings hurl and make a wilderness—
But, haste! for night is darkling—soon, the festival it brings;
Already see the hydra show its tongues and sombre wings,
And mark upon a shrinking prey the rush of kindling breaths;
They tap and sap the threatened walls, and bear uncounted deaths;
And 'neath caresses scorching hot the palaces decay—
Oh, that I, too, could thus caress, and burn, and blight, and slay!
Hark to the hubbub! scent the fumes! Are those real men or ghosts?
The stillness spreads of Death abroad—down come the temple posts,
Their molten bronze is coursing fast and joins with silver waves
To leap with hiss of thousand snakes where Tiber writhes and raves.
All's lost! in jasper, marble, gold, the statues totter—crash!
Spite of the names divine engraved, they are but dust and ash.
The victor-scourge sweeps swollen on, whilst north winds sound the horn
To goad the flies of fire yet beyond the flight forlorn.
Proud capital! farewell for e'er! these flames nought can subdue—
The Aqueduct of Sylla gleams, a bridge o'er hellish brew.
'Tis Nero's whim! how good to see Rome brought the lowest down;
Yet, Queen of all the earth, give thanks for such a splendrous crown!
When I was young, the Sybils pledged eternal rule to thee;
That Time himself would lay his bones before thy unbent knee.
Ha! ha! how brief indeed the space ere this "immortal star"
Shall be consumed in its own glow, and vanished—oh, how far!
How lovely conflagrations look when night is utter dark!
The youth who fired Ephesus' fane falls low beneath my mark.
The pangs of people—when I sport, what matters?—See them whirl
About, as salamanders frisk and in the brazier curl.
Take from my brow this poor rose-crown—the flames have made it pine;
If blood rains on your festive gowns, wash off with Cretan wine!
I like not overmuch that red—good taste says "gild a crime?"
"To stifle shrieks by drinking-songs" is—thanks! a hint sublime!
I punish Rome, I am avenged; did she not offer prayers
Erst unto Jove, late unto Christ?—to e'en a Jew, she dares!
Now, in thy terror, own my right to rule above them all;
Alone I rest—except this pile, I leave no single hall.
Yet I destroy to build anew, and Rome shall fairer shine—
But out, my guards, and slay the dolts who thought me not divine.
The stiffnecks, haste! annihilate! make ruin all complete—
And, slaves, bring in fresh roses—what odor is more sweet?
H.L. WILLIAMS
|
Written by
Amy Lowell |
But why did I kill him? Why? Why?
In the small, gilded room, near the stair?
My ears rack and throb with his cry,
And his eyes goggle under his hair,
As my fingers sink into the fair
White skin of his throat. It was I!
I killed him! My God! Don't you hear?
I shook him until his red tongue
Hung flapping out through the black, *****,
Swollen lines of his lips. And I clung
With my nails drawing blood, while I flung
The loose, heavy body in fear.
Fear lest he should still not be dead.
I was drunk with the lust of his life.
The blood-drops oozed slow from his head
And dabbled a chair. And our strife
Lasted one reeling second, his knife
Lay and winked in the lights overhead.
And the waltz from the ballroom I heard,
When I called him a low, sneaking cur.
And the wail of the violins stirred
My brute anger with visions of her.
As I throttled his windpipe, the purr
Of his breath with the waltz became blurred.
I have ridden ten miles through the dark,
With that music, an infernal din,
Pounding rhythmic inside me. Just Hark!
One! Two! Three! And my fingers
sink in
To his flesh when the violins, thin
And straining with passion, grow stark.
One! Two! Three! Oh, the horror
of sound!
While she danced I was crushing his throat.
He had tasted the joy of her, wound
Round her body, and I heard him gloat
On the favour. That instant I smote.
One! Two! Three! How the dancers
swirl round!
He is here in the room, in my arm,
His limp body hangs on the spin
Of the waltz we are dancing, a swarm
Of blood-drops is hemming us in!
Round and round! One! Two! Three! And
his sin
Is red like his tongue lolling warm.
One! Two! Three! And the drums
are his knell.
He is heavy, his feet beat the floor
As I drag him about in the swell
Of the waltz. With a menacing roar,
The trumpets crash in through the door.
One! Two! Three! clangs his funeral bell.
One! Two! Three! In the chaos
of space
Rolls the earth to the hideous glee
Of death! And so cramped is this place,
I stifle and pant. One! Two! Three!
Round and round! God! 'Tis he throttles
me!
He has covered my mouth with his face!
And his blood has dripped into my heart!
And my heart beats and labours. One! Two!
Three! His dead limbs have coiled every part
Of my body in tentacles. Through
My ears the waltz jangles. Like glue
His dead body holds me athwart.
One! Two! Three! Give me air! Oh! My
God!
One! Two! Three! I am drowning
in slime!
One! Two! Three! And his corpse,
like a clod,
Beats me into a jelly! The chime,
One! Two! Three! And his
dead legs keep time.
Air! Give me air! Air! My God!
|
Written by
Rg Gregory |
(i) introduction
his home in ruins
his parents gone
frederick seeks
to reclaim his throne
to the golden mountain
he sets his path
the enchantress listening
schemes with wrath
four desperate trials
which she takes from store
to silence frederick
for ever more
(ii) the mist
softly mist suppress all sight
swirling stealthily as night
slur the sureness of his steps
suffocate his sweetest hopes
swirling curling slip and slide
persuasively seduce his stride
from following its essential course
seal his senses at its source
bemuse the soil he stands upon
till power of choice has wholly gone
seething surreptitious veil
across the face of light prevail
against this taciturn and proud
insurgent - o smother him swift cloud
yet if you cannot steal his breath
thus snuffing him to hasty death
at least in your umbrageous mask
stifle his ambitious task
mystify his restless brain
sweep him swirl him home again
(iii) the bog
once more the muffling mists enclose
frederick in their vaporous throes
forcing him with unseeing sway
to veer from his intended way
back they push and back
make him fall
stumble catch
his foot become
emmired snatch
hopelessly at fog
no grip slip further back
into the sucking fingers of the bog
into the slush
squelching and splotch-
ing the marsh
gushes and gurgles
engulfing foot leg
chuckling suckles
the heaving thigh
the plush slugged waist
sucking still and still flushing
with suggestive slurp
plop slap
sluggishly upwards
unctuous lugubrious
soaking and enjoying
with spongy gestures
the swallowed wallowing
body - the succulence
of soft shoulder
squirming
elbow
wrist
then
all.......
but no
his desperate palm
struggling to forsake
the clutches of the swamp
finds one stark branch overhanging
to fix glad fingers to and out of the maw
of the murderous mud safely delivers him
(iv) the magic forest
safely - distorted joke
from bog to twisted forest
gnarled trees writhe and fork
asphixiated trunks - angular branches
hook claw throttle frederick in their creaking
joints
jagged weird
knotted and misshapen
petrified maniacal
figures frantically contorted
grotesque eccentric in the moon-toothed
half-light
tug clutch struggle
with the haggard form
zigzag he staggers
awe-plagued giddy
near-garrotted mind-deranged
forcing his sagging limbs through the mangled danger
till almost beyond redemption beyond self-care
he once again survives to breathe free air
(v) the barrier of thorns
immediately a barrier of thorns
springs up to choke his track
thick brier evil bramble twitch
stick sharp needles in his skin
hag's spite inflicts its bitter sting
frederick (provoked to attack
stung stabbed by jabbing spines
wincing with agony and grief) seeks to hack
a clear way through
picking swinging at
the spiky barricade inch by prickly inch
smarting with anger bristling with a thin
itch and tingling of success - acute
with aching glory the afflicted victim
of a witch's pique frederick
frederick the king snips hews chops
rips slashes cracks cleaves rends pierces
pierces and shatters into pointless pieces
this mighty barrier of barbs - comes through at last
(belzivetta's malignant magic smashed)
to freedom peace of mind and dreamless sleep
|