Famous Long For Children Poems

Famous Long For Children Poems. Long For Children Poetry by Famous Poets. A collection of the all-time best For Children long poems

See also: Long Member Poems

 [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...
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 “OH, let’s go up the hill and scare ourselves,
As reckless as the best of them to-night,
By setting fire to all the brush we piled
With pitchy hands to wait for rain or snow.
Oh, let’s not wait for rain to make it safe.
The pile is ours: we dragged it bough on bough
Down dark converging paths between the pines.
Let’s not care what we do with it to-night.
Divide it? No! But burn it as one pile
The way we piled it. And let’s be the talk
Of people brought to windows by a light
Thrown from somewhere against their wall-paper.
Rouse them all, both the free and not so free
With saying what they’d like to do to us
For what they’d better wait till we have done.
Let’s all but bring to life this old volcano,
If that is what the mountain ever was—
And scare ourselves. Let wild fire loose we will….”

“And scare you too?” the children said together.

“Why wouldn’t it scare me to have a fire
Begin in smudge with ropy smoke and know
That still, if I repent, I may recall it,
But in a moment not: a little spurt
Of burning fatness, and then nothing but
The fire itself can put it out, and that
By burning out, and before it burns out
It...
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 I

Because I do not hope to turn again
Because I do not hope
Because I do not hope to turn
Desiring this man's gift and that man's scope
I no longer strive to strive towards such things
(Why should the agèd eagle stretch its wings?)
Why should I mourn
The vanished power of the usual reign?

Because I do not hope to know
The infirm glory of the positive hour
Because I do not think
Because I know I shall not know
The one veritable transitory power
Because I cannot drink
There, where trees flower, and springs flow, for there is
nothing again

Because I know that time is always time
And place is always and only place
And what is actual is actual only for one time
And only for one place
I rejoice that things are as they are and
I renounce the blessèd face
And renounce the voice
Because I cannot hope to turn again
Consequently I rejoice, having to construct something
Upon which to rejoice

And pray to God to have mercy upon us
And pray that I may forget
These matters that with myself I too much discuss
Too much explain
Because I do not hope to turn again
Let these words answer
For what is done, not to be done again
May the judgement not be too heavy upon us

Because these wings are no longer wings...
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 Morn in the wake of the morning star 
Came furrowing all the orient into gold. 
We rose, and each by other drest with care 
Descended to the court that lay three parts 
In shadow, but the Muses' heads were touched 
Above the darkness from their native East. 

There while we stood beside the fount, and watched 
Or seemed to watch the dancing bubble, approached 
Melissa, tinged with wan from lack of sleep, 
Or grief, and glowing round her dewy eyes 
The circled Iris of a night of tears; 
'And fly,' she cried, 'O fly, while yet you may! 
My mother knows:' and when I asked her 'how,' 
'My fault' she wept 'my fault! and yet not mine; 
Yet mine in part. O hear me, pardon me. 
My mother, 'tis her wont from night to night 
To rail at Lady Psyche and her side. 
She says the Princess should have been the Head, 
Herself and Lady Psyche the two arms; 
And so it was agreed when first they came; 
But Lady Psyche was the right hand now, 
And the left, or not, or seldom used; 
Hers more than half the students, all the love. 
And so last night she fell...
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 Fanfare of northwest wind, a bluejay wind
announces autumn, and the equinox
rolls back blue bays to a far afternoon.
Somewhere beyond the Gorge Li Po is gone,
looking for friendship or an old love's sleeve
or writing letters to his children, lost,
and to his children's children, and to us.
What was his light? of lamp or moon or sun?
Say that it changed, for better or for worse,
sifted by leaves, sifted by snow; on mulberry silk
a slant of witch-light; on the pure text
a slant of genius; emptying mind and heart
for winecups and more winecups and more words.
What was his time? Say that it was a change,
but constant as a changing thing may be,
from chicory's moon-dark blue down the taut scale
to chicory's tenderest pink, in a pink field
such as imagination dreams of thought.
But of the heart beneath the winecup moon
the tears that fell beneath the winecup moon
for children lost, lost lovers, and lost friends,
what can we say but that it never ends?
Even for us it never ends, only begins.
Yet to spell down the poem on her page,
margining her phrases, parsing forth
the sevenfold prism of meaning, up the scale
from chicory pink to blue, is to assume
Li Po himself: as he before assumed
the poets and the sages who...
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 1.1 Lo now! four other acts upon the stage,
1.2 Childhood, and Youth, the Manly, and Old-age.
1.3 The first: son unto Phlegm, grand-child to water,
1.4 Unstable, supple, moist, and cold's his Nature.
1.5 The second: frolic claims his pedigree;
1.6 From blood and air, for hot and moist is he.
1.7 The third of fire and choler is compos'd,
1.8 Vindicative, and quarrelsome dispos'd.
1.9 The last, of earth and heavy melancholy,
1.10 Solid, hating all lightness, and all folly.
1.11 Childhood was cloth'd in white, and given to show,
1.12 His spring was intermixed with some snow.
1.13 Upon his head a Garland Nature set:
1.14 Of Daisy, Primrose, and the Violet.
1.15 Such cold mean flowers (as these) blossom betime,
1.16 Before the Sun hath throughly warm'd the clime.
1.17 His hobby striding, did not ride, but run,
1.18 And in his hand an hour-glass new begun,
1.19 In dangers every moment of a fall,
1.20 And when 'tis broke, then ends his life and all.
1.21 But if he held till it have run its last,
1.22 Then may he live till threescore years or past.
1.23 Next, youth came up in gorgeous attire
1.24 (As that fond age, doth most of all desire),
1.25 His Suit of Crimson, and his Scarf of Green.
1.26 In's countenance, his pride...
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 Of that sort of Dramatic Poem which is call'd Tragedy.


TRAGEDY, as it was antiently compos'd, hath been ever held the
gravest, moralest, and most profitable of all other Poems:
therefore said by Aristotle to be of power by raising pity and fear,
or terror, to purge the mind of those and such like passions, that is
to temper and reduce them to just measure with a kind of delight,
stirr'd up by reading or seeing those passions well imitated. Nor is
Nature wanting in her own effects to make good his assertion: for
so in Physic things of melancholic hue and quality are us'd against
melancholy, sowr against sowr, salt to remove salt humours.
Hence Philosophers and other gravest Writers, as Cicero, Plutarch
and others, frequently cite out of Tragic Poets, both to adorn and
illustrate thir discourse. The Apostle Paul himself thought it not
unworthy to insert a verse of Euripides into the Text of Holy
Scripture, I Cor. 15. 33. and Paraeus commenting on the
Revelation, divides the whole Book as a Tragedy, into Acts
distinguisht each by a Chorus of Heavenly Harpings and Song
between. Heretofore Men in highest dignity have labour'd not a
little to be thought able to compose a Tragedy. Of that honour
Dionysius the elder was no less ambitious, then...
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