Written by
Robert Southey |
Author Note: The story of the following ballad was related to me, when a school boy, as a fact which had really happened in the North of England. I have
adopted the metre of Mr. Lewis's Alonzo and Imogene--a poem deservedly
popular.
I.
Who is she, the poor Maniac, whose wildly-fix'd eyes
Seem a heart overcharged to express?
She weeps not, yet often and deeply she sighs,
She never complains, but her silence implies
The composure of settled distress.
II.
No aid, no compassion the Maniac will seek,
Cold and hunger awake not her care:
Thro' her rags do the winds of the winter blow bleak
On her poor withered bosom half bare, and her cheek
Has the deathy pale hue of despair.
III.
Yet chearful and happy, nor distant the day,
Poor Mary the Maniac has been;
The Traveller remembers who journeyed this way
No damsel so lovely, no damsel so gay
As Mary the Maid of the Inn.
IV.
Her chearful address fill'd the guests with delight
As she welcomed them in with a smile:
Her heart was a stranger to childish affright,
And Mary would walk by the Abbey at night
When the wind whistled down the dark aisle.
V.
She loved, and young Richard had settled the day,
And she hoped to be happy for life;
But Richard was idle and worthless, and they
Who knew him would pity poor Mary and say
That she was too good for his wife.
VI.
'Twas in autumn, and stormy and dark was the night,
And fast were the windows and door;
Two guests sat enjoying the fire that burnt bright,
And smoking in silence with tranquil delight
They listen'd to hear the wind roar.
VII.
"Tis pleasant," cried one, "seated by the fire side
"To hear the wind whistle without."
"A fine night for the Abbey!" his comrade replied,
"Methinks a man's courage would now be well tried
"Who should wander the ruins about.
VIII.
"I myself, like a school-boy, should tremble to hear
"The hoarse ivy shake over my head;
"And could fancy I saw, half persuaded by fear,
"Some ugly old Abbot's white spirit appear,
"For this wind might awaken the dead!"
IX.
"I'll wager a dinner," the other one cried,
"That Mary would venture there now."
"Then wager and lose!" with a sneer he replied,
"I'll warrant she'd fancy a ghost by her side,
"And faint if she saw a white cow."
X.
"Will Mary this charge on her courage allow?"
His companion exclaim'd with a smile;
"I shall win, for I know she will venture there now,
"And earn a new bonnet by bringing a bough
"From the elder that grows in the aisle."
XI.
With fearless good humour did Mary comply,
And her way to the Abbey she bent;
The night it was dark, and the wind it was high
And as hollowly howling it swept thro' the sky
She shiver'd with cold as she went.
XII.
O'er the path so well known still proceeded the Maid
Where the Abbey rose dim on the sight,
Thro' the gate-way she entered, she felt not afraid
Yet the ruins were lonely and wild, and their shade
Seem'd to deepen the gloom of the night.
XIII.
All around her was silent, save when the rude blast
Howl'd dismally round the old pile;
Over weed-cover'd fragments still fearless she past,
And arrived in the innermost ruin at last
Where the elder tree grew in the aisle.
XIV.
Well-pleas'd did she reach it, and quickly drew near
And hastily gather'd the bough:
When the sound of a voice seem'd to rise on her ear,
She paus'd, and she listen'd, all eager to hear,
Aud her heart panted fearfully now.
XV.
The wind blew, the hoarse ivy shook over her head,
She listen'd,--nought else could she hear.
The wind ceas'd, her heart sunk in her bosom with dread
For she heard in the ruins distinctly the tread
Of footsteps approaching her near.
XVI.
Behind a wide column half breathless with fear
She crept to conceal herself there:
That instant the moon o'er a dark cloud shone clear,
And she saw in the moon-light two ruffians appear
And between them a corpse did they bear.
XVII.
Then Mary could feel her heart-blood curdle cold!
Again the rough wind hurried by,--
It blew off the hat of the one, and behold
Even close to the feet of poor Mary it roll'd,--
She felt, and expected to die.
XVIII.
"Curse the hat!" he exclaims. "Nay come on and first hide
"The dead body," his comrade replies.
She beheld them in safety pass on by her side,
She seizes the hat, fear her courage supplied,
And fast thro' the Abbey she flies.
XIX.
She ran with wild speed, she rush'd in at the door,
She gazed horribly eager around,
Then her limbs could support their faint burthen no more,
And exhausted and breathless she sunk on the floor
Unable to utter a sound.
XX.
Ere yet her pale lips could the story impart,
For a moment the hat met her view;--
Her eyes from that object convulsively start,
For--oh God what cold horror then thrill'd thro' her heart,
When the name of her Richard she knew!
XXI.
Where the old Abbey stands, on the common hard by
His gibbet is now to be seen.
Not far from the road it engages the eye,
The Traveller beholds it, and thinks with a sigh
Of poor Mary the Maid of the Inn.
|
Written by
G K Chesterton |
White founts falling in the Courts of the sun,
And the Soldan of Byzantium is smiling as they run;
There is laughter like the fountains in that face of all men feared,
It stirs the forest darkness, the darkness of his beard;
It curls the blood-red crescent, the crescent of his lips;
For the inmost sea of all the earth is shaken with his ships.
They have dared the white republics up the capes of Italy,
They have dashed the Adriatic round the Lion of the Sea,
And the Pope has cast his arms abroad for agony and loss,
And called the kings of Christendom for swords about the Cross.
The cold queen of England is looking in the glass;
The shadow of the Valois is yawning at the Mass;
From evening isles fantastical rings faint the Spanish gun,
And the Lord upon the Golden Horn is laughing in the sun.
Dim drums throbbing, in the hills half heard,
Where only on a nameless throne a crownless prince has stirred,
Where, risen from a doubtful seat and half attainted stall,
The last knight of Europe takes weapons from the wall,
The last and lingering troubadour to whom the bird has sung,
That once went singing southward when all the world was young.
In that enormous silence, tiny and unafraid,
Comes up along a winding road the noise of the Crusade.
Strong gongs groaning as the guns boom far,
Don John of Austria is going to the war,
Stiff flags straining in the night-blasts cold
In the gloom black-purple, in the glint old-gold,
Torchlight crimson on the copper kettle-drums,
Then the tuckets, then the trumpets, then the cannon, and he comes.
Don John laughing in the brave beard curled,
Spurning of his stirrups like the thrones of all the world,
Holding his head up for a flag of all the free.
Love-light of Spain--hurrah!
Death-light of Africa!
Don John of Austria
Is riding to the sea.
Mahound is in his paradise above the evening star,
(Don John of Austria is going to the war.)
He moves a mighty turban on the timeless houri's knees,
His turban that is woven of the sunsets and the seas.
He shakes the peacock gardens as he rises from his ease,
And he strides among the tree-tops and is taller than the trees;
And his voice through all the garden is a thunder sent to bring
Black Azrael and Ariel and Ammon on the wing.
Giants and the Genii,
Multiplex of wing and eye,
Whose strong obedience broke the sky
When Solomon was king.
They rush in red and purple from the red clouds of the morn,
From the temples where the yellow gods shut up their eyes in scorn;
They rise in green robes roaring from the green hells of the sea
Where fallen skies and evil hues and eyeless creatures be,
On them the sea-valves cluster and the grey sea-forests curl,
Splashed with a splendid sickness, the sickness of the pearl;
They swell in sapphire smoke out of the blue cracks of the ground,--
They gather and they wonder and give worship to Mahound.
And he saith, "Break up the mountains where the hermit-folk can hide,
And sift the red and silver sands lest bone of saint abide,
And chase the Giaours flying night and day, not giving rest,
For that which was our trouble comes again out of the west.
We have set the seal of Solomon on all things under sun,
Of knowledge and of sorrow and endurance of things done.
But a noise is in the mountains, in the mountains, and I know
The voice that shook our palaces--four hundred years ago:
It is he that saith not 'Kismet'; it is he that knows not Fate;
It is Richard, it is Raymond, it is Godfrey at the gate!
It is he whose loss is laughter when he counts the wager worth,
Put down your feet upon him, that our peace be on the earth."
For he heard drums groaning and he heard guns jar,
(Don John of Austria is going to the war.)
Sudden and still--hurrah!
Bolt from Iberia!
Don John of Austria
Is gone by Alcalar.
St. Michaels on his Mountain in the sea-roads of the north
(Don John of Austria is girt and going forth.)
Where the grey seas glitter and the sharp tides shift
And the sea-folk labour and the red sails lift.
He shakes his lance of iron and he claps his wings of stone;
The noise is gone through Normandy; the noise is gone alone;
The North is full of tangled things and texts and aching eyes,
And dead is all the innocence of anger and surprise,
And Christian killeth Christian in a narrow dusty room,
And Christian dreadeth Christ that hath a newer face of doom,
And Christian hateth Mary that God kissed in Galilee,--
But Don John of Austria is riding to the sea.
Don John calling through the blast and the eclipse
Crying with the trumpet, with the trumpet of his lips,
Trumpet that sayeth ha!
Domino gloria!
Don John of Austria
Is shouting to the ships.
King Philip's in his closet with the Fleece about his neck
(Don John of Austria is armed upon the deck.)
The walls are hung with velvet that is black and soft as sin,
And little dwarfs creep out of it and little dwarfs creep in.
He holds a crystal phial that has colours like the moon,
He touches, and it tingles, and he trembles very soon,
And his face is as a fungus of a leprous white and grey
Like plants in the high houses that are shuttered from the day,
And death is in the phial and the end of noble work,
But Don John of Austria has fired upon the Turk.
Don John's hunting, and his hounds have bayed--
Booms away past Italy the rumour of his raid.
Gun upon gun, ha! ha!
Gun upon gun, hurrah!
Don John of Austria
Has loosed the cannonade.
The Pope was in his chapel before day or battle broke,
(Don John of Austria is hidden in the smoke.)
The hidden room in man's house where God sits all the year,
The secret window whence the world looks small and very dear.
He sees as in a mirror on the monstrous twilight sea
The crescent of his cruel ships whose name is mystery;
They fling great shadows foe-wards, making Cross and Castle dark,
They veil the plum?d lions on the galleys of St. Mark;
And above the ships are palaces of brown, black-bearded chiefs,
And below the ships are prisons, where with multitudinous griefs,
Christian captives sick and sunless, all a labouring race repines
Like a race in sunken cities, like a nation in the mines.
They are lost like slaves that sweat, and in the skies of morning hung
The stair-ways of the tallest gods when tyranny was young.
They are countless, voiceless, hopeless as those fallen or fleeing on
Before the high Kings' horses in the granite of Babylon.
And many a one grows witless in his quiet room in hell
Where a yellow face looks inward through the lattice of his cell,
And he finds his God forgotten, and he seeks no more a sign--
(But Don John of Austria has burst the battle-line!)
Don John pounding from the slaughter-painted poop,
Purpling all the ocean like a bloody pirate's sloop,
Scarlet running over on the silvers and the golds,
Breaking of the hatches up and bursting of the holds,
Thronging of the thousands up that labour under sea
White for bliss and blind for sun and stunned for liberty.
Vivat Hispania!
Domino Gloria!
Don John of Austria
Has set his people free!
Cervantes on his galley sets the sword back in the sheath
(Don John of Austria rides homeward with a wreath.)
And he sees across a weary land a straggling road in Spain,
Up which a lean and foolish knight for ever rides in vain,
And he smiles, but not as Sultans smile, and settles back the blade....
(But Don John of Austria rides home from the Crusade.)
|
Written by
Erica Jong |
We have a small sculpture of Henry James on our terrace in New York City.
Nothing would surprise him.
The beast in the jungle was what he saw--
Edith Wharton's obfuscating older brother. . .
He fled the demons
of Manhattan
for fear they would devour
his inner ones
(the ones who wrote the books)
& silence the stifled screams
of his protagonists.
To Europe
like a wandering Jew--
WASP that he was--
but with the Jew's
outsider's hunger. . .
face pressed up
to the glass of sex
refusing every passion
but the passion to write
the words grew
more & more complex
& convoluted
until they utterly imprisoned him
in their fairytale brambles.
Language for me
is meant to be
a transparency,
clear water gleaming
under a covered bridge. . .
I love his spiritual sister
because she snatched clarity
from her murky history.
Tormented New Yorkers both,
but she journeyed
to the heart of light--
did he?
She took her friends on one last voyage,
through the isles of Greece
on a yacht chartered with her royalties--
a rich girl proud to be making her own money.
The light of the Middle Sea
was what she sought.
All denizens
of this demonic city caught
between pitch and black
long for the light.
But she found it
in a few of her books. . .
while Henry James
discovered
what he had probably
started with:
that beast, that jungle,
that solipsistic scream.
He did not join her
on that final cruise.
(He was on his own final cruise).
Did he want to?
I would wager yes.
I look back with love and sorrow
at them both--
dear teachers--
but she shines like Miss Liberty
to Emma Lazarus' hordes,
while he gazes within,
always, at his own
impenetrable jungle.
|
Written by
Jorie Graham |
I have put on my great coat it is cold.
It is an outer garment.
Coarse, woolen.
Of unknown origin.
*
It has a fine inner lining but it is
as an exterior that you see it — a grace.
*
I have a coat I am wearing. It is a fine admixture.
The woman who threw the threads in the two directions
has made, skillfully, something dark-true,
as the evening calls the bird up into
the branches of the shaven hedgerows,
to twitter bodily
a makeshift coat — the boxelder cut back stringently by the owner
that more might grow next year, and thicker, you know —
the birds tucked gestures on the inner branches —
and space in the heart,
not shade-giving, not
chronological...Oh transformer, logic, where are you here in this fold,
my name being called-out now but back, behind,
in the upper world....
*
I have a coat I am wearing I was told to wear it.
Someone knelt down each morning to button it up.
I looked at their face, down low, near me.
What is longing? what is a star?
Watched each button a peapod getting tucked back in.
Watched harm with its planeloads folded up in the sleeves.
Watched grappling hooks trawl through the late-night waters.
Watched bands of stations scan unable to ascertain.
There are fingers, friend, that never grow sluggish.
They crawl up the coat and don't miss an eyehole.
Glinting in kitchenlight.
Supervised by the traffic god.
Hissed at by grassblades that wire-up outside
their stirring rhetoric — this is your land, this is my my —
*
You do understanding, don't you, by looking?
The coat, which is itself a ramification, a city,
floats vulnerably above another city, ours,
the city on the hill (only with hill gone),
floats in illustration
of what once was believed, and thus was visible —
(all things believed are visible) —
floats a Jacob's ladder with hovering empty arms, an open throat,
a place where a heart might beat if it wishes,
pockets that hang awaiting the sandy whirr of a small secret,
folds where the legs could be, with their kneeling mechanism,
the floating fatigue of an after-dinner herald,
not guilty of any treason towards life except fatigue,
a skillfully cut coat, without chronology,
filled with the sensation of being suddenly completed —
as then it is, abruptly, the last stitch laid in, the knot bit off —
hung there in Gravity, as if its innermost desire,
numberless the awaitings flickering around it,
the other created things also floating but not of the same order, no,
not like this form, built so perfectly to mantle the body,
the neck like a vase awaiting its cut flower,
a skirting barely visible where the tucks indicate
the mild loss of bearing in the small of the back,
the grammar, so strict, of the two exact shoulders —
and the law of the shouldering —
and the chill allowed to skitter up through,
and those crucial spots where the fit cannot be perfect —
oh skirted loosening aswarm with lessenings,
with the mild pallors of unaccomplishment,
flaps night-air collects in,
folds... But the night does not annul its belief in,
the night preserves its love for, this one narrowing of infinity,
that floats up into the royal starpocked blue its ripped, distracted supervisor —
this coat awaiting recollection,
this coat awaiting the fleeting moment, the true moment, the hill,the vision of the hill,
and then the moment when the prize is lost, and the erotic tinglings of the dream of reason
are left to linger mildly in the weave of the fabric according to the rules,
the wool gabardine mix, with its grammatical weave,
never never destined to lose its elasticity,
its openness to abandonment,
its willingness to be disturbed.
*
July 11 ... Oaks: the organization of this tree is difficult. Speaking generally
no doubt the determining planes are concentric, a system of brief contiguous and
continuous tangents, whereas those of the cedar wd. roughly be called horizontals
and those of the beech radiating but modified by droop and by a screw-set towards
jutting points. But beyond this since the normal growth of the boughs is radiating
there is a system of spoke-wise clubs of green — sleeve-pieces. And since the
end shoots curl and carry young scanty leaf-stars these clubs are tapered, and I
have seen also pieces in profile with chiseled outlines, the blocks thus made
detached and lessening towards the end. However the knot-star is the chief thing:
it is whorled, worked round, and this is what keeps up the illusion of the tree.
Oaks differ much, and much turns on the broadness of the leaves, the narrower
giving the crisped and starry and catharine-wheel forms, the broader the flat-pieced
mailed or chard-covered ones, in wh. it is possible to see composition in dips, etc.
But I shall study them further. It was this night I believe but possibly the next
that I saw clearly the impossibility of staying in the Church of England.
*
How many coats do you think it will take?
The coat was a great-coat.
The Emperor's coat was.
How many coats do you think it will take?
The undercoat is dry. What we now want is?
The sky can analyse the coat because of the rips in it.
The sky shivers through the coat because of the rips in it.
The rips in the sky ripen through the rips in the coat.
There is no quarrel.
*
I take off my coat and carry it.
*
There is no emergency.
*
I only made that up.
*
Behind everything the sound of something dripping
The sound of something: I will vanish, others will come here, what is that?
The canvas flapping in the wind like the first notes of our absence
An origin is not an action though it occurs at the very start
Desire goes travelling into the total dark of another's soul
looking for where it breaks off
I was a hard thing to undo
*
The life of a customer
What came on the paper plate
overheard nearby
an impermanence of structure
watching the lip-reading
had loved but couldn't now recognize
*
What are the objects, then, that man should consider most important?
What sort of a question is that he asks them.
The eye only discovers the visible slowly.
It floats before us asking to be worn,
offering "we must think about objects at the very moment
when all their meaning is abandoning them"
and "the title provides a protection from significance"
and "we are responsible for the universe."
*
I have put on my doubting, my wager, it is cold.
It is an outer garment, or, conversely a natural covering,
so coarse and woolen, also of unknown origin,
a barely apprehensible dilution of evening into
an outer garment, or, conversely a natural covering,
to twitter bodily a makeshift coat,
that more might grow next year, and thicker, you know,
not shade-giving, not chronological,
my name being called out now but from out back, behind,
an outer garment, so coarse and woolen,
also of unknown origin, not shade-giving, not chronological,
each harm with its planeloads folded up in the sleeves,
you do understand, don't you, by looking?
the jacob's ladder with its floating arms its open throat,
that more might grow next year, and thicker, you know,
filled with the sensation of being suddenly completed,
the other created things also floating but not of the same order,
not shade-giving, not chronological,
you do understand, don't you, by looking?
a neck like a vase awaiting its cut flower,
filled with the sensation of being suddenly completed,
the moment the prize is lost, the erotic tingling,
the wool-gabardine mix, its grammatical weave
— you do understand, don't you, by looking? —
never never destined to lose its elasticity,
it was this night I believe but possibly the next
I saw clearly the impossibility of staying
filled with the sensation of being suddenly completed,
also of unknown origin, not shade-giving, not chronological
since the normal growth of boughs is radiating
a system of spoke-wise clubs of green — sleeve pieces —
never never destined to lose its elasticity
my name being called out now but back, behind,
hissing how many coats do you think it will take
"or try with eyesight to divide" (there is no quarrel)
behind everything the sound of something dripping
a system of spoke-wise clubs of green — sleeve pieces
filled with the sensation of suddenly being completed
the wool gabardine mix, the grammatical weave,
the never-never-to-lose-its-elasticity: my name
flapping in the wind like the first note of my absence
hissing how many coats do you think it will take
are you a test case is it an emergency
flapping in the wind the first note of something
overheard nearby an impermanence of structure
watching the lip-reading, there is no quarrel,
I will vanish, others will come here, what is that,
never never to lose the sensation of suddenly being
completed in the wind — the first note of our quarrel —
it was this night I believe or possibly the next
filled with the sensation of being suddenly completed,
I will vanish, others will come here, what is that now
floating in the air before us with stars a test case
that I saw clearly the impossibility of staying
|
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
Johann Wolfgang von Goethe |
CHORDS are touch'd by Apollo,--the death-laden
bow, too, he bendeth;
While he the shepherdess charms, Python he lays
in the dust.
WHAT is merciful censure? To make thy faults appear
smaller?
May be to veil them? No, no! O'er them to raise
thee on high!
DEMOCRATIC food soon cloys on the multitude's stomach;
But I'll wager, ere long, other thou'lt give them instead.
WHAT in France has pass'd by, the Germans continue
to practise,
For the proudest of men flatters the people and
fawns.
WHO is the happiest of men? He who values the merits
of others,
And in their pleasure takes joy, even as though 'twere his own.
NOT in the morning alone, not only at mid-day he
charmeth;
Even at setting, the sun is still the same glorious
planet.
|
Written by
Rudyard Kipling |
Shove off from the wharf-edge! Steady!
Watch for a smooth! Give way!
If she feels the lop already
She'll stand on her head in the bay.
It's ebb--it's dusk--it's blowing--
The shoals are a mile of white,
But ( snatch her along! ) we're going
To find our master to-night.
For we hold that in all disaster
Of shipwreck, storm, or sword,
A Man must stand by his Master
When once he has pledged his word.
Raging seas have we rowed in
But we seldom saw them thus,
Our master is angry with Odin--
Odin is angry with us!
Heavy odds have we taken,
But never before such odds.
The Gods know they are forsaken.
We must risk the wrath of the Gods!
Over the crest she flies from,
Into its hollow she drops,
Cringes and clears her eyes from
The wind-torn breaker-tops,
Ere out on the shrieking shoulder
Of a hill-high surge she drives.
Meet her! Meet her and hold her!
Pull for your scoundrel lives!
The thunder below and clamor
The harm that they mean to do!
There goes Thor's own Hammer
Cracking the dark in two!
Close! But the blow has missed her,
Here comes the wind of the blow!
Row or the squall'Il twist her
Broadside on to it!--Row!
Heark'ee, Thor of the Thunder!
We are not here for a jest--
For wager, warfare, or plunder,
Or to put your power to test.
This work is none of our wishing--
We would house at home if we might--
But our master is wrecked out fishing.
We go to find him to-night.
For we hold that in all disaster--
As the Gods Themselves have said--
A Man must stand by his Master
Till one of the two is dead.
That is our way of thinking,
Now you can do as you will,
While we try to save her from sinking
And hold her head to it still.
Bale her and keep her moving,
Or she'll break her back in the trough. . . .
Who said the weather's improving,
Or the swells are taking off?
Sodden, and chafed and aching,
Gone in the loins and knees--
No matter--the day is breaking,
And there's far less weight to the seas!
Up mast, and finish baling--
In oar, and out with mead--
The rest will be two-reef sailing. . . .
That was a night indeed!
But we hold it in all disaster
(And faith, we have found it true!)
If only you stand by your Master,
The Gods will stand by you!
|
Written by
Amy Lowell |
I
Over the yawning chimney hangs the fog. Drip
-- hiss -- drip -- hiss --
fall the raindrops on the oaken log which burns, and steams,
and smokes the ceiling beams. Drip -- hiss -- the rain
never stops.
The wide, state bed shivers beneath its velvet coverlet. Above,
dim,
in the smoke, a tarnished coronet gleams dully. Overhead
hammers and chinks
the rain. Fearfully wails the wind down distant corridors,
and there comes
the swish and sigh of rushes lifted off the floors. The
arras blows sidewise
out from the wall, and then falls back again.
It is my lady's key, confided with much nice cunning, whisperingly.
He enters on a sob of wind, which gutters the candles almost to
swaling.
The fire flutters and drops. Drip -- hiss -- the rain
never stops.
He shuts the door. The rushes fall again to stillness
along the floor.
Outside, the wind goes wailing.
The velvet coverlet of the wide bed is smooth and cold. Above,
in the firelight, winks the coronet of tarnished gold. The
knight shivers
in his coat of fur, and holds out his hands to the withering flame.
She is always the same, a sweet coquette. He will wait
for her.
How the log hisses and drips! How warm
and satisfying will be her lips!
It is wide and cold, the state bed; but when her head lies under
the coronet,
and her eyes are full and wet with love, and when she holds out
her arms,
and the velvet counterpane half slips from her, and alarms
her trembling modesty, how eagerly he will leap to cover her, and
blot himself
beneath the quilt, making her laugh and tremble.
Is it guilt to free a lady from her palsied lord,
absent and fighting,
terribly abhorred?
He stirs a booted heel and kicks a rolling coal. His
spur clinks
on the hearth. Overhead, the rain hammers and chinks. She
is so pure
and whole. Only because he has her soul will she resign
herself to him,
for where the soul has gone, the body must be given as a sign. He
takes her
by the divine right of the only lover. He has sworn to
fight her lord,
and wed her after. Should he be overborne, she will die
adoring him, forlorn,
shriven by her great love.
Above, the coronet winks in the darkness. Drip
-- hiss -- fall the raindrops.
The arras blows out from the wall, and a door bangs in a far-off
hall.
The candles swale. In the gale the moat below plunges
and spatters.
Will the lady lose courage and not come?
The rain claps on a loosened rafter.
Is that laughter?
The room is filled with lisps and whispers. Something
mutters.
One candle drowns and the other gutters. Is that the
rain
which pads and patters, is it the wind through the winding entries
which chatters?
The state bed is very cold and he is alone. How
far from the wall
the arras is blown!
Christ's Death! It is no storm which makes these little
chuckling sounds.
By the Great Wounds of Holy Jesus, it is his dear lady, kissing
and
clasping someone! Through the sobbing storm he hears
her love take form
and flutter out in words. They prick into his ears and
stun his desire,
which lies within him, hard and dead, like frozen fire. And
the little noise
never stops.
Drip -- hiss -- the rain drops.
He tears down the arras from before an inner chamber's bolted door.
II
The state bed shivers in the watery dawn. Drip
-- hiss -- fall the raindrops.
For the storm never stops.
On the velvet coverlet lie two bodies, stripped
and fair in the cold,
grey air. Drip -- hiss -- fall the blood-drops, for the
bleeding never stops.
The bodies lie quietly. At each side of the bed, on the
floor, is a head.
A man's on this side, a woman's on that, and the red blood oozes
along
the rush mat.
A wisp of paper is twisted carefully into the strands
of the dead man's hair.
It says, "My Lord: Your wife's paramour has paid with
his life
for the high favour."
Through the lady's silver fillet is wound another
paper. It reads,
"Most noble Lord: Your wife's misdeeds are as a double-stranded
necklace of beads. But I have engaged that, on your return,
she shall welcome you here. She will not spurn your love
as before,
you have still the best part of her. Her blood was red,
her body white,
they will both be here for your delight. The soul inside
was a lump of dirt,
I have rid you of that with a spurt of my sword point. Good
luck
to your pleasure. She will be quite complaisant, my friend,
I wager."
The end was a splashed flourish of ink.
Hark! In the passage is heard the clink
of armour, the tread of a heavy man.
The door bursts open and standing there, his thin hair wavering
in the glare of steely daylight, is my Lord of Clair.
Over the yawning chimney hangs the fog. Drip -- hiss
-- drip -- hiss --
fall the raindrops. Overhead hammers and chinks the rain
which never stops.
The velvet coverlet is sodden and wet, yet the
roof beams are tight.
Overhead, the coronet gleams with its blackened gold, winking and
blinking.
Among the rushes three corpses are growing cold.
III
In the castle church you may see them stand,
Two sumptuous tombs on either hand
Of the choir, my Lord's and my Lady's, grand
In sculptured filigrees. And where the transepts of the
church expand,
A crusader, come from the Holy Land,
Lies with crossed legs and embroidered band.
The page's name became a brand
For shame. He was buried in crawling sand,
After having been burnt by royal command.
|
Written by
Andrew Barton Paterson |
By the winding Wollondilly where the weeping willows weep,
And the shepherd, with his billy, half awake and half asleep,
Folds his fleecy flocks that linger homewards in the setting sun
Lived my hero, Jim the Ringer, "cocky" on Mylora Run.
Jimmy loved the super's daughter, Miss Amelia Jane McGrath.
Long and earnestly he sought her, but he feared her stern papa;
And Amelia loved him truly -- but the course of love, if true,
Never yet ran smooth or duly, as I think it ought to do.
Pondering o'er his predilection, Jimmy watched McGrath, the boss,
Riding past his lone selection, looking for a station 'oss
That was running in the ranges with a mob of outlaws wild.
Mac the time of day exchanges -- off goes Jim to see his child;
Says, "The old man's after Stager, which he'll find is no light job,
And tomorrow I will wager he will try and yard the mob.
Will you come with me tomorrow? I will let the parson know,
And for ever, joy or sorrow, he will join us here below.
"I will bring the nags so speedy, Crazy Jane and Tambourine,
One more kiss -- don't think I'm greedy -- good-bye, lass, before I'm seen --
Just one more -- God bless you, dearie! Don't forget to meet me here,
Life without you is but weary; now, once more, good-bye, my dear."
* * * * *
The daylight shines on figures twain
That ride across Mylora Plain,
Laughing and talking -- Jim and Jane.
"Steady, darling. There's lots of time,
Didn't we slip the old man prime!
I knew he'd tackle that Bowneck mob,
I reckon he'll find it too big a job.
They've beaten us all. I had a try,
But the warrigal devils seem to fly.
That Sambo's a real good but of stuff
No doubt, but not quite good enough.
He'll have to gallop the livelong day,
To cut and come, to race and stay.
I hope he yards 'em, 'twill do him good;
To see us going I don't think would."
A turn in the road and, fair and square,
They meet the old man standing there.
"What's up?" "Why, running away, of course,"
Says Jim, emboldened. The old man turned,
His eye with wild excitement burned.
"I've raced all day through the scorching heat
After old Bowneck: and now I'm beat.
But over that range I think you'll find
The Bowneck mob all run stone-blind.
Will you go, and leave the mob behind?
Which will you do? Take the girl away,
Or ride like a white man should today,
And yard old Bowneck? Go or stay?"
Says Jim, "I can't throw this away,
We can bolt some other day, of course --
Amelia Jane, get off that horse!
Up you get, Old Man. Whoop, halloo!
Here goes to put old Bowneck through!"
Two distant specks om the mountain side,
Two stockwhips echoing far and wide. . . .
Amelia Jane sat down and cried.
* * * * *
"Sakes, Amelia, what's up now?
Leading old Sambo, too, I vow,
And him deadbeat. Where have you been?
'Bolted with Jim!' What do you mean>
'Met the old man with Sambo, licked
From running old Bowneck.' Well, I'm kicked --
'Ran 'em till Sambo nearly dropped?'
What did Jim do when you were stopped?
Did you bolt from father across the plain?
'Jim made you get off Crazy Jane!
And father got on, and away again
The two of 'em went to the ranges grim.'
Good boy, Jimmy! Oh, well done, Jim!
They're sure to get them now, of course,
That Tambourine is a spanking horse.
And Crazy Jane is good as gold.
And Jim, they say, rides pretty bold --
Not like your father, but very fair.
Jim will have to follow the mare."
"It never was yet in father's hide
To best my Jim on the mountain side.
Jim can rally, and Jim can ride."
But here again Amelia cried.
* * * * *
The sound of whip comes faint and far,
A rattle of hoofs, and here they are,
In all their tameless pride.
The fleet wild horses snort and fear,
And wheel and break as the yard draws near.
Now, Jim the Ringer, ride!
Wheel 'em! wheel 'em! Whoa back there, whoa!
And the foam flakes fly like the driven snow,
As under the whip the horses go
Adown the mountain side.
And Jim, hands down, and teeth firm set,
On a horse that never has failed him yet,
Is after them down the range.
Well ridden! well ridden! they wheel -- whoa back!
And long and loud the stockwhips crack,
Their flying course they change;
"Steadily does it -- let Sambo go!
Open those sliprails down below.
Smart! or you'll be too late.
* * * * *
"They'll follow old Sambo up -- look out!
Whee! that black horse -- give Sam a clout.
They're in! Make fast the gate."
* * * * *
The mob is safely in the yard!
The old man mounts delighted guard.
No thought has he but for his prize.
* * * * *
Jim catches poor Amelia's eyes.
"Will you come after all? The job is done,
And Crazy Jane is fit to run
For a prince's life -- now don't say no;
Slip on while the old man's down below
At the inner yard, and away we'll go.
Will you come, my girl?" "I will, you bet;
We'll manage this here elopement yet."
* * * * *
By the winding Wollondilly stands the hut of Ringer Jim.
And his loving little Meely makes a perfect god of him.
He has stalwart sons and daughters, and, I think, before he's done,
There'll be numerous "Six-fortys" taken on Mylora Run.
|
Written by
Andrew Barton Paterson |
Did you ever hear tell of Chili? I was readin' the other day
Of President Balmaceda and of how he was sent away.
It seems that he didn't suit 'em -- they thought that they'd like a change,
So they started an insurrection and chased him across the range.
They seem to be restless people -- and, judging by what you hear,
They raise up these revolutions 'bout two or three times a year;
And the man that goes out of office, he goes for the boundary quick,
For there isn't no vote by ballot -- it's bullets that does the trick.
And it ain't like a real battle, where the prisoners' lives are spared,
And they fight till there's one side beaten and then there's a truce declared,
And the man that has got the licking goes down like a blooming lord
To hand in his resignation and give up his blooming sword,
And the other man bows and takes it, and everything's all polite --
This wasn't that sort of a picnic, this wasn't that sort of a fight.
For the pris'ners they took -- they shot 'em, no odds were they small or great;
If they'd collared old Balmaceda, they reckoned to shoot him straight.
A lot of bloodthirsty devils they were -- but there ain't a doubt
They must have been real plucked uns, the way that they fought it out,
And the king of 'em all, I reckon, the man that could stand a pinch,
Was the boss of a one-horse gunboat. They called her the Admiral Lynch.
Well, he was for Balmaceda, and after the war was done,
And Balmaceda was beaten and his troops had been forced to run,
The other man fetched his army and proceeded to do things brown.
He marched 'em into the fortress and took command of the town,
Cannon and guns and horses troopin' along the road,
Rumblin' over the bridges, and never a foeman showed
Till they came in sight of the harbour -- and the very first thing they see
Was this mite of a one-horse gunboat a-lying against the quay;
And there as they watched they noticed a flutter of crimson rag
And under their eyes he hoisted old Balmaceda's flag.
Well, I tell you it fairly knocked 'em -- it just took away their breath,
For he must ha' known, if they caught him, 'twas nothin' but sudden death.
Ad' he'd got no fire in his furnace, no chance to put out to sea,
So he stood by his gun and waited with his vessel against the quay.
Well, they sent him a civil message to say that the war was done,
And most of his side were corpses, and all that were left had run,
And blood had been spilt sufficient; so they gave him a chance to decide
If he's haul down his bit of bunting and come on the winning side.
He listened and heard their message, and answered them all polite
That he was a Spanish hidalgo, and the men of his race must fight!
A gunboat against an army, and with never a chance to run,
And them with their hundred cannon and him with a single gun:
The odds were a trifle heavy -- but he wasn't the sort to flinch.
So he opened fire on the army, did the boss of the Admiral Lynch.
They pounded his boat to pieces, they silenced his single gun,
And captured the whole consignment, for none of 'em cared to run;
And it don't say whether they shot him -- it don't even give his name --
But whatever they did I'll wager that he went to his graveyard game.
I tell you those old hidalgos, so stately and so polite,
They turn out the real Maginnis when it comes to an uphill fight.
There was General Alcantara, who died in the heaviest brunt,
And General Alzereca was killed in the battle's front;
But the king of 'em all, I reckon -- the man that could stand a pinch --
Was the man who attacked the army with the gunboat Admiral Lynch.
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