The Pumpkin

OH, greenly and fair in the lands of the sun,
The vines of the gourd and the rich melon run,
And the rock and the tree and the cottage enfold,
With broad leaves all greenness and blossoms all gold,
Like that which o'er Nineveh's prophet once grew,
While he waited to know that his warning was true,
And longed for the storm-cloud, and listened in vain
For the rush of the whirlwind and red fire-rain.

On the banks of the Xenil the dark Spanish maiden
Comes up with the fruit of the tangled vine laden;
And the Creole of Cuba laughs out to behold
Through orange-leaves shining the broad spheres of gold;
Yet with dearer delight from his home in the North,
On the fields of his harvest the Yankee looks forth,
Where crook-necks are coiling and yellow fruit shines,
And the sun of September melts down on his vines.

Ah! on Thanksgiving day, when from East and from West,
From North and from South comes the pilgrim and guest;
When the gray-haired New Englander sees round his board
The old broken links of affection restored;
When the care-wearied man seeks his mother once more,
And the worn matron smiles where the girl smiled before;
What moistens the lip and what brightens the eye,
What calls back the past, like the rich Pumpkin pie?

Oh, fruit loved of boyhood! the old days recalling,
When wood-grapes were purpling and brown nuts were falling!
When wild, ugly faces we carved in its skin,
Glaring out through the dark with a candle within!
When we laughed round the corn-heap, with hearts all in tune,
Our chair a broad pumpkin, - our lantern the moon,
Telling tales of the fairy who travelled like steam
In a pumpkin-shell coach, with two rats for her team!

Then thanks for thy present! none sweeter or better
E'er smoked from an oven or circled a platter!
Fairer hands never wrought at a pastry more fine,
Brighter eyes never watched o'er its baking, than thine!
And the prayer, which my mouth is too full to express,
Swells my heart that thy shadow may never be less,
That the days of thy lot may be lengthened below,
And the fame of thy worth like a pumpkin-vine grow,
And thy life be as sweet, and its last sunset sky
Golden-tinted and fair as thy own Pumpkin pie!

Flowers in Winter

HOW strange to greet, this frosty morn,
In graceful counterfeit of flower,
These children of the meadows, born
Of sunshine and of showers!

How well the conscious wood retains
The pictures of its flower-sown home,
The lights and shades, the purple stains,
And golden hues of bloom!

It was a happy thought to bring
To the dark season's frost and rime
This painted memory of spring,
This dream of summertime.

Our hearts are lighter for its sake,
Our fancy's age renews its youth,
And dim-remembered fictions take
The guise of present truth.

A wizard of the Merrimac, -
So old ancestral legends say, -
Could call green leaf and blossom back
To frosted stem and spray.

The dry logs of the cottage wall,
Beneath his touch, put out their leaves;
The clay-bound swallow, at his call,
Played round the icy eaves.

The settler saw his oaken flail
Take bud, and bloom before his eyes;
From frozen pools he saw the pale
Sweet summer lilies rise.

To their old homes, by man profaned
Came the sad dryads, exiled long,
And through their leafy tongues complained
Of household use and wrong.

The beechen platter sprouted wild,
The pipkin wore its old-time green,
The cradle o'er the sleeping child
Became a leafy screen.

Haply our gentle friend hath met,
While wandering in her sylvan quest,
Haunting his native woodlands yet,
That Druid of the West;

And while the dew on leaf and flower
Glistened in the moonlight clear and still,
Learned the dusk wizard's spell of power,
And caught his trick of skill.

But welcome, be it new or old,
The gift which makes the day more bright,
And paints, upon the ground of cold
And darkness, warmth and light!

Without is neither gold nor green;
Within, for birds, the birch-logs sing;
Yet, summer-like, we sit between
The autumn and the spring.

The one, with bridal blush of rose,
And sweetest breath of woodland balm,
And one whose matron lips unclose
In smiles of saintly calm.

Fill soft and deep, O winter snow!
The sweet azalea's oaken dells,
And hide the banks where roses blow
And swing the azure bells!

O'erlay the amber violet's leaves,
The purple aster's brookside home,
Guard all the flowers her pencil gives
A live beyond their bloom.

And she, when spring comes round again,
By greening slope and singing flood
Shall wander, seeking, not in vain
Her darlings of the wood.
John Greenleaf Whittier

Barbara Frietchie

UP from the meadows rich with corn,
Clear in the cool September morn,

The clustered spires of Frederick stand
Green-walled by the hills of Maryland.

Round about them orchards sweep,
Apple and peach trees fruited deep,

Fair as the garden of the Lord
To the eyes of the famished rebel horde,

On that pleasant morn of the early fall
When Lee marched o'er the mountain-wall;

Over the mountains winding down,
Horse and foot, into Frederick town.

Forty flags with their silver stars,
Forty flags with their crimson bars,

Flapped in the morning wind: the sun
Of noon looked down, and saw not one.

Up rose old Barbara Frietchie then,
Bowed with her fourscore years and ten;

Bravest of all in Frederick town,
She took up the flag the men hauled down;

In her attic window the staff she set,
To show that one heart was loyal yet.

Up the street came the rebel tread,
Stonewall Jackson riding ahead.

Under his slouched hat left and right
He glanced; the old flag met his sight.

"Halt!" - the dust-brown ranks stood fast.
"Fire!" - out blazed the rifle-blast.

It shivered the window, pane and sash;
It rent the banner with seam and gash.

Quick, as it fell, from the broken staff
Dame Barbara snatched the silken scarf.

She leaned far out on the window-sill,
And shook it forth with a royal will.

"Shoot, if you must, this old gray head,
But spare your country's flag," she said.

A shade of sadness, a blush of shame,
Over the face of the leader came;

The nobler nature within him stirred
To life at that woman's deed and word;

"Who touches a hair of yon gray head
Dies like a dog! March on!" he said.

All day long through Frederick street
Sounded the tread of marching feet:

All day long that free flag tost
Over the heads of the rebel host.

Ever its torn folds rose and fell
On the loyal winds that loved it well;

And through the hillgaps sunset light
Shone over it with a warm good-night.

Barbara Frietchie's work is o'er,
And the Rebel rides on his raids no more.

Honor to her! and let a tear
Fall, for her sake, on Stonewall's bier.

Over Barbara Frietchie's grave,
Flag of Freedom and Union, wave!

Peace and order and beauty draw
Round thy symbol of light and law;

And ever the stars above look down
On thy stars below in Frederick town!
John Greenleaf Whittier

The Sycamores

IN the outskirts of the village
On the river's winding shores
Stand the Occidental plane-trees,
Stand the ancient sycamores.

One long century hath been numbered,
And another half-way told
Since the rustic Irish gleeman
Broke for them the virgin mould.

Deftly set to Celtic music
At his violin's sound they grew,
Through the moonlit eves of summer,
Making Amphion's fable true.

Rise again, thou poor Hugh Tallant!
Pass in erkin green along
With thy eyes brim full of laughter,
And thy mouth as full of song.

Pioneer of Erin's outcasts
With his fiddle and his pack-
Little dreamed the village Saxons
Of the myriads at his back.

How he wrought with spade and fiddle,
Delved by day and sang by night,
With a hand that never wearied
And a heart forever light,---

Still the gay tradition mingles
With a record grave and drear
Like the rollic air of Cluny
With the solemn march of Mear.

When the box-tree, white with blossoms,
Made the sweet May woodlands glad,
And the Aronia by the river
Lighted up the swarming shad,

And the bulging nets swept shoreward
With their silver-sided haul,
Midst the shouts of dripping fishers,
He was merriest of them all.

When, among the jovial huskers
Love stole in at Labor's side
With the lusty airs of England
Soft his Celtic measures vied.

Songs of love and wailing lyke-wake
And the merry fair's carouse;
Of the wild Red Fox of Erin
And the Woman of Three Cows,

By the blazing hearths of winter
Pleasant seemed his simple tales,
Midst the grimmer Yorkshire legends
And the mountain myths of Wales.

How the souls in Purgatory
Scrambled up from fate forlorn
On St. Keven's sackcloth ladder
Slyly hitched to Satan's horn.

Of the fiddler who at Tara
Played all night to ghosts of kings;
Of the brown dwarfs, and the fairies
Dancing in their moorland rings!

Jolliest of our birds of singing
Best he loved the Bob-o-link.
"Hush!" he'd say, "the tipsy fairies!
Hear the little folks in drink!"

Merry-faced, with spade and fiddle,
Singing through the ancient town,
Only this, of poor Hugh Tallant
Hath Tradtion handed down.

Not a stone his grave discloses;
But if yet his spirit walks
Tis beneath the trees he planted
And when Bob-o-Lincoln talks.

Green memorials of the gleeman!
Linking still the river-shores,
With their shadows cast by sunset
Stand Hugh Tallant's sycamores!

When the Father of his Country
Through the north-land riding came
And the roofs were starred with banners,
And the steeples rang acclaim,---

When each war-scarred Continental
Leaving smithy, mill,.and farm,
Waved his rusted sword in welcome,
And shot off his old king's-arm,---

Slowly passed that august Presence
Down the thronged and shouting street;
Village girls as white as angels
Scattering flowers around his feet.

Midway, where the plane-tree's shadow
Deepest fell, his rein he drew:
On his stately head, uncovered,
Cool and soft the west-wind blew.

And he stood up in his stirrups,
Looking up and looking down
On the hills of Gold and Silver
Rimming round the little town,---

On the river, full of sunshine,
To the lap of greenest vales
Winding down from wooded headlands,
Willow-skirted, white with sails.

And he said, the landscape sweeping
Slowly with his ungloved hand
"I have seen no prospect fairer
In this goodly Eastern land."

Then the bugles of his escort
Stirred to life the cavalcade:
And that head, so bare and stately
Vanished down the depths of shade.

Ever since, in town and farm-house,
Life has had its ebb and flow;
Thrice hath passed the human harvest
To its garner green and low.

But the trees the gleeman planted,
Through the changes, changeless stand;
As the marble calm of Tadmor
Mocks the deserts shifting sand.

Still the level moon at rising
Silvers o'er each stately shaft;
Still beneath them, half in shadow,
Singing, glides the pleasure craft;

Still beneath them, arm-enfolded,
Love and Youth together stray;
While, as heart to heart beats faster,
More and more their feet delay.

Where the ancient cobbler, Keezar,
On the open hillside justice wrought,
Singing, as he drew his stitches,
Songs his German masters taught.

Singing, with his gray hair floating
Round a rosy ample face,---
Now a thousand Saxon craftsmen
Stitch and hammer in his place.

All the pastoral lanes so grassy
Now are Traffic's dusty streets;
From the village, grown a city,
Fast the rural grace retreats.

But, still green and tall and stately,
On the river's winding shores,
Stand the occidental plane-trees,
Stand Hugh Tallant's sycamores.
John Greenleaf Whittier

In School Days

STILL sits the school-house by the road,
A ragged beggar sleeping;
Around it still the sumachs grow,
And blackberry-vines are creeping.

Within, the master's desk is seen,
Deep-scarred by raps official;
The warping floor, the battered seats,
The jack-knife's carved initial;

The charcoal frescoes on its wall;
Its door's worn sill, betraying
The feet that, creeping slow to school,
Went storming out to playing!

Long years ago a winter sun
Shone over it at setting;
Lit up its western window-panes,
And low eaves' icy fretting.

It touched the tangled golden curls,
And brown eyes full of grieving,
Of one who still her steps delayed
When all the school were leaving.

For near it stood the little boy
Her childish favor singled;
His cap pulled low upon a face
Where pride and shame were mingled.

Pushing with restless feet the snow
To right and left, he lingered;---
As restlessly her tiny hands
The blue-checked apron fingered.

He saw her lift her eyes; he felt
The soft hand's light caressing,
And heard the tremble of her voice,
As if a fault confessing.

"I'm sorry that I spelt the word:
I hate to go above you,
Because,"---the brown eyes lower fell,---
"Because, you see, I love you!"

Still memory to a gray-haired man
That sweet child-face is showing.
Dear girl! the grasses on her grave
Have forty years been growing!

He lives to learn, in life's hard school,
How few who pass above him
Lament their triumph and his loss,
Like her, because they love him.
John Greenleaf Whittier

Stanzas for the Times
[Written in 1835 following a pro-slavery meeting at Faneuil Hall in Boston. Speakers there proposed restrictions on free speech in order to quiet the abolitionists.]

IS this the land our fathers loved,
The freedom which they toiled to win?
Is this the soil whereon they moved?
Are these the graves they slumber in?
Are we the sons by whom are borne
The mantles which the dead have worn?

And shall we crouch above these graves,
With craven soul and fettered lip?
Yoke in with marked and branded slaves,
And tremble at the driver's whip?
Bend to the earth our pliant knees,
And speak but as our masters please?

Shall outraged Nature cease to feel?
Shall Mercy's tears no longer flow?
Shall ruffian threats of cord and steel,
The dungeon's gloom, the assassin's blow,
Turn back the spirit roused to save
The Truth, our Country, and the slave?

Of human skulls that shrine was made,
Round which the priests of Mexico
Before their loathsome idol prayed;
Is Freedom's altar fashioned so?
And must we yield to Freedom's God,
As offering meet, the negro's blood?

Shall tongue be mute, when deeds are wrought
Which well might shame extremest hell?
Shall freemem lock the indignant thought?
Shall Pity's bosom cease to swell?
Shall Honor bleed?- shall Truth succumb?
Shall pen, and press, and soul be dumb?

No; by each spot of haunted ground,
Where Freedom weeps her children's fall;
By Plymouth's rock, and Bunker's mound;
By Griswold's stained and shattered wall;
By Warren's ghost, by Langdon's shade;
By all the memories of our dead!

By their enlarging souls, which burst
The bands and fetters round them set;
By the free Pilgrim spirit nursed
Within our inmost bosoms, yet,
By all above, around, below,
Be ours the indignant answer,- No!

No; guided by our country's laws,
For truth, and right, and suffering man,
Be ours to strive in Freedom's cause,
As Christians may, as freemen can!
Still pouring on unwilling ears
That truth oppression only fears.

What! shall we guard our neighbor still,
While woman shrieks beneath his rod,
And while he trampels down at will
The image of a common God?
Shall watch and ward be round him set,
Of Northern nerve and bayonet?

And shall we know and share with him
The danger and the growing shame?
And see our Freedom's light grow dim,
Which should have filled the world with flame?
And, writhing, feel, where'er we turn,
A world's reproach around us burn?

Is't not enough that this is borne?
And asks our haughty neighbor more?
Must fetters which his slaves have worn
Clank round the Yankee farmer's door?
Must he be told, beside his plough,
What he must speak, and when, and how?

Must he be told his freedom stands
On Slavery's dark foundations strong;
On breaking hearts and fettered hands,
On robbery, and crime, and wrong?
That all his fathers taught is vain,-
That Freedom's emblem is the chain?

Its life, its soul, from slavery drawn!
False, foul, profane! Go, teach as well
Of holy Truth from Falsehood born!
Of Heaven refreshed by airs from Hell!
Of Virtue in the arms of Vice!
Of Demons planting Paradise!

Rail on, then, brethren of the South,
Ye shall not hear the truth the less;
No seal is on the Yankee's mouth,
No fetter on the Yankee's press!
From our Green Mountains to the sea,
One voice shall thunder, We are free!

John Greenleaf Whittier

The Barefoot Boy

BLESSINGS on thee, little man,
Barefoot boy, with cheek of tan!
With thy turned-up pantaloons,
And thy merry whistled tunes;
With thy red lip, redder still
Kissed by strawberries on the hill;
With the sunshine on thy face,
Through thy torn brim's jaunty grace;
From my heart I give thee joy,-
I was once a barefoot boy!
Prince thou art,- the grown-up man
Only is republican.
Let the million-dollared ride!
Barefoot, trudging at his side,
Thou hast more than he can buy
In the reach of ear and eye,-
Outward sunshine, inward joy:
Blessings on thee, barefoot boy!

Oh for boyhood's painless play,
Sleep that wakes in laughing day,
Health that mocks the doctor's rules,
Knowledge never learned of schools,
Of the wild bee's morning chase,
Of the wild flower's time and place,
Flight of fowl and habitude
Of the tenants of the wood;
How the tortoise bears his shell,
How the woodchuck digs his cell,
And the round mole sinks his well
How the robin feeds her young,
How the oriole's nest is hung;
Where the whitest lilies blow,
Where the freshest berries grow,
Where the groundnut trails its vine,
Where the wood grape's clusters shine;
Of the black wasp's cunning way,
Mason of his walls of clay,
And the architectural plans
Of gray hornet artisans!-
For, eschewing books and tasks,
Nature answers all he asks;
Hand in hand with her he walks,
Face to face with her he talks,
Part and parcel of her joy,-
Blessings on thee, barefoot boy!

Oh for boyhood's time of June,
Crowding years in one brief moon,
When all things I heard or saw
Me, their master, waited for.
I was rich in flowers and trees,
Humming birds and honeybees;
For my sport the squirrel played,
Plied the snouted mole his spade;
For my taste the blackberry cone
Purpled over hedge and stone;
Laughed the brook for my delight
Through the day and through the night,
Whispering at the garden wall,
Talked with me from fall to fall;
Mine the sand-rimmed pickerel pond,
Mine the walnut slopes beyond,
Mine, on bending orchard trees,
Apples of Hesperides!
Still, as my horizon grew,
Larger grew my riches too;
All the world I saw or knew
Seemed a complex Chinese toy,
Fashioned for a barefoot boy!

Oh for festal dainties spread,
Like my bowl of milk and bread,-
Pewter spoon and bowl of wood,
On the doorstone, gray and rude!
O're me, like a regal tent,
Cloudy-ribbed, the sunset bent,
Purple-curtained, fringed with gold;
Looped in many a wind-swung fold;
While for music came the play
Of the pied frog's orchestra;
And to light the noisy choir,
Lit the fly his lamp of fire.
I was monarch: pomp and joy
Waited on thebarefoot boy!

Cheerily, then my little man,
Live and laugh, as boyhood can!
Though the flinty slopes be hard,
Stubble-speared the new-mown sward,
Every morn shall lead thee through
Fresh baptisms of the dew;
Every evening from thy feet
Shall the cool wind kiss the heat:
All too soon these feet must hide
In the prison cells of pride,
Lose the freedom of the sod,
Like a colt's for work be shod,
Made to tread the mills of toi,
Up and down in ceaseless moil:
Happy if their track be found
Never on forbidden ground;
Happy if they sink not in
Quick and treacherous sands of sin.
Ah! that thou shouldst know thy joy
Ere it passes, barefoot boy!

John Greenleaf Whittier

Among School Children

    I

I WALK through the long schoolroom questioning;
A kind old nun in a white hood replies;
The children learn to cipher and to sing,
To study reading-books and histories,
To cut and sew, be neat in everything
In the best modern way -- the children's eyes
In momentary wonder stare upon
A sixty-year-old smiling public man.
I dream of a Ledaean body, bent
Above a sinking fire. a tale that she
Told of a harsh reproof, or trivial event
That changed some childish day to tragedy --
Told, and it seemed that our two natures blent
Into a sphere from youthful sympathy,
Or else, to alter Plato's parable,
Into the yolk and white of the one shell.

And thinking of that fit of grief or rage
I look upon one child or t'other there
And wonder if she stood so at that age --
For even daughters of the swan can share
Something of every paddler's heritage --
And had that colour upon cheek or hair,
And thereupon my heart is driven wild:
She stands before me as a living child.
Her present image floats into the mind --
Did Quattrocento finger fashion it
Hollow of cheek as though it drank the wind
And took a mess of shadows for its meat?
And I though never of Ledaean kind
Had pretty plumage once -- enough of that,
Better to smile on all that smile, and show
There is a comfortable kind of old scarecrow.
What youthful mother, a shape upon her lap
Honey of generation had betrayed,
And that must sleep, shriek, struggle to escape
As recollection or the drug decide,
Would think her Son, did she but see that shape
With sixty or more winters on its head,
A compensation for the pang of his birth,
Or the uncertainty of his setting forth?
Plato thought nature but a spume that plays
Upon a ghostly paradigm of things;
Solider Aristotle played the taws
Upon the bottom of a king of kings;
World-famous golden-thighed Pythagoras
Fingered upon a fiddle-stick or strings
What a star sang and careless Muses heard:
Old clothes upon old sticks to scare a bird.

Both nuns and mothers worship images,
But thos the candles light are not as those
That animate a mother's reveries,
But keep a marble or a bronze repose.
And yet they too break hearts -- O presences
That passion, piety or affection knows,
And that all heavenly glory symbolise --
O self-born mockers of man's enterprise;

Labour is blossoming or dancing where
The body is not bruised to pleasure soul.
Nor beauty born out of its own despair,
Nor blear-eyed wisdom out of midnight oil.
O chestnut-tree, great-rooted blossomer,
Are you the leaf, the blossom or the bole?
O body swayed to music, O brightening glance,
How can we know the dancer from the dance?

William Butler Yeats

The Fairies

UP the airy mountain
Down the rushy glen,
We daren't go a-hunting,
For fear of little men;
Wee folk, good folk,
Trooping all together;
Green jacket, red cap,
And white owl's feather.
Down along the rocky shore
Some make their home,
They live on crispy pancakes
Of yellow tide-foam;
Some in the reeds
Of the black mountain-lake,
With frogs for their watch-dogs,
All night awake.

High on the hill-top
The old King sits;
He is now so old and gray
He's nigh lost his wits.
With a bridge of white mist
Columbkill he crosses,
On his stately journeys
From Slieveleague to Rosses;
Or going up with music,
On cold starry nights,
To sup with the Queen,
Of the gay Northern Lights.

They stole little Bridget
For seven years long;
When she came down again
Her friends were all gone.
They took her lightly back
Between the night and morrow;
They thought she was fast asleep,
But she was dead with sorrow.
They have kept her ever since
Deep within the lake,
On a bed of flag leaves,
Watching till she wake.

By the craggy hill-side,
Through the mosses bare,
They have planted thorn trees
For pleasure here and there.
Is any man so daring
As dig them up in spite?
He shall find the thornies set
In his bed at night.

Up the airy mountain
Down the rushy glen,
We daren't go a-hunting,
For fear of little men;
Wee folk, good folk,
Trooping all together;
Green jacket, red cap,
And white owl's feather.

William Allingham

Writing

A MAN who keeps a diary, pays
Due toll to many tedious days;
But life becomes eventful--then
His busy hand forgets the pen.
Most books, indeed, are records less
Of fulness than of emptiness.

William Allingham

Meadowsweet

THROUGH grass, through amber'd cornfields, our slow Stream--
Fringed with its flags and reeds and rushes tall,
And Meadowsweet, the chosen of them all
By wandering children, yellow as the cream
Of those great cows--winds on as in a dream
By mill and footbridge, hamlet old and small
(Red roofs, gray tower), and sees the sunset gleam
On mullion'd windows of an ivied Hall.

There, once upon a time, the heavy King
Trod out its perfume from the Meadowsweet,
Strown like a woman's love beneath his feet,
In stately dance or jovial banqueting,
When all was new; and in its wayfaring
Our Streamlet curved, as now, through grass and wheat.

An Evening

A SUNSET'S mounded cloud;
A diamond evening-star;
Sad blue hills afar;
Love in his shroud.

Scarcely a tear to shed;
Hardly a word to say;
The end of a summer day;
Sweet Love dead.

William Allingham

A Letter to Her Husband
Absent upon Public Employment

MY head, my heart, mine eyes, my life, nay more,
My joy, my magazine, of earthly store,
If two be one, as surely thou and I,
How stayest thou there, whilst I at Ipswich lie?
So many steps, head from the heart to sever,
If but a neck, soon should we be together.
I, like the Earth this season, mourn in black,
My Sun is gone so far in's zodiac,
Whom whilst I 'joyed, nor storms, nor frost I felt,
His warmth such fridged colds did cause to melt.
My chilled limbs now numbed lie forlorn;
Return; return, sweet Sol, from Capricorn;
In this dead time, alas, what can I more
Than view those fruits which through thy heart I bore?
Which sweet contentment yield me for a space,
True living pictures of their father's face.
O strange effect! now thou art southward gone,
I weary grow the tedious day so long;
But when thou northward to me shalt return,
I wish my Sun may never set, but burn
Within the Cancer of my glowing breast,
The welcome house of him my dearest guest.
Where ever, ever stay, and go not thence,
Till nature's sad decree shall call thee hence;
Flesh of thy flesh, bone of thy bone,
I here, thou there, yet both but one.

Anne Bradstreet

To My Dear and Loving Husband

IF ever two were one then surely we.
If ever man were loved by wife, then thee;
If ever wife were happy in a man,
Compare with me, ye women, if you can.
I prize thy love more than whole mines of gold
Or all the riches that the East doth hold.
My love is such that rivers cannot quench,
Nor aught but love from thee give recompense.
Thy love is such I can no way repay,
The heavens reward thee manifold, I pray.
Then while we live, in love let's so perservere
That when we live no more, we may live ever.

Anne Bradstreet

The Prologue

To sing of wars, of captains, and of kings,
Of cities founded, commonwealths begun,
For my mean pen are too superior things:
Or how they all, or each, their dates have run;
Let poets and historians set these forth,
My obscure lines shall not so dim their work.

But when my wondering eyes and envious heart
Great Bartas' sugared lines do but read o'er,
Fool I do grudge the Muses did not part
'Twixt him and me that overfluent store;--
A Bartas can do what a Bartas will,
But simple I according to my skill.

From school-boys tongues no rhetoric we expect,
Nor yet a sweet consort from broken strings,
Nor perfect beauty where's a main defect:
My foolish, broken, blemished Muse so sings;
And this to mend, alas, no art is able,
'Cause nature made is so, irreparable.

Nor can I, like that fluent, sweet-tongued Greek
Who lisped at first, in future times speak plain;
By art he gladly found what he did seek--
A full requitl of his striving pain.
Art can do much, but this maxim's most sure:
A weak or wounded brain admits no cure.

I am obnoxious to each carping tongue
Who says my hand a needle better fits.
A poet's pen all scorn I should thus wrong;
For such despite they cast on female wits,
If what I do prove well, it won't advance--
They'll say it was stolen, or else it was by chance.

But shure the ancient Greeks were far more mild,
Else of our sex why feignéd they those Nine,
And Posey made Calliope's own child?
So 'mongst the rest they placed the Arts Divine.
But this weak knot they will full soon untie--
The Greeks did naught but play the fools and lie.

Let Greeks be Greeks, and women what they are.
Men have precenency, and still excell.
It is but vain unjustly to wage war,
Men can do best, and women know it well.
Preëminence in all and each is yours--
Yet grant some small acknowledgement of ours.

And oh, ye high flownquills that soar the skies,
And ever with your prey still catch your praise,
If e'er you deign these lowly lines your eyes,
Give thyme or parsley wreath; I ask no bays.
This mean and unrefinéd ore of mine
Will make your glistening gold but more to shine.

Anne Bradstreet

from Contemplations

WHEN I behold the heavens as in their prime,
And then the earth, though old, still clad in green,
The stones and trees insensible of time,
Nor age nor wrinkle on their front are seen;
If winter come, and greenness then doth fade,
A spring returns, and they're more youthful made.
But man grows old, lies down, remains where once he's laid.
By birth more noble than those creatures all,
Yet seems by nature and by custom cursed--
No sooner born but grief and care make fall
That state obliterate he had at first;
Nor youth, nor strength, nor wisdom spring again,
Nor habitations long their names retain,
But in oblivion to the final day remain.
Shall I then praise the heavens, the trees, the earth,
Because their beauty and their strength last longer?
Shall I wish there or never to had birth,
Because they're bigger and their bodies stronger?
Nay, they shall darken, perish, fade, and die,
And when unmade so ever shall they lie;
But man was made for endless immortality.

Anne Bradstreet

In Memory of my Dear Grandchild Anne Bradstreet, who deceased June 20, 1699, being Tree Years and Seven Months Old

WITH troubled heart and trembling hand I write.
The heavens have changed to sorrow my delight.
How oft with dissappointment have I met
When I on fading things my hopes have set.
Experience might 'fore this have made me wise
To value things according to their price.
Was ever stable joy yet found below?
Or perfect bliss without mixture of woe?
I knew she was but as a withering flower,
That's here today, perhaps gone in an hour;
Like as a bubble, or the brittle glass,
Or like a shadow turning, as it was.
More fool, then, I to look on that was lent
As if mine own, when thus impermanent.
Farewell, dear child; thou ne'er shalt come to me,
But yet a while and I shall go to thee.
Meantime my throbbing heart's cheered up with this--
Thou with thy Savior art in endless bliss.

Morning Song of Senlin
from Senlin, A Biography

IT is morning, Senlin says, and in the morning
When the light drips through the shutters like the dew,
I arise, I face the sunrise,
And do the things my fathers learned to do.
Stars in the purple dusk above the rooftops
Pale in a saffron mist and seem to die,
And I myself on a swiftly tilting planet
Stand before a glass and tie my tie.

Vine leaves tap my window,
Dew-drops sing to the garden stones,
The robin chips in the chinaberry tree
Repeating three clear tones.

It is morning. I stand by the mirror
And tie my tie once more.
While waves far off in a pale rose twilight
Crash on a white sand shore.
I stand by a mirror and comb my hair:
How small and white my face!--
The green earth tilts through a sphere of air
And bathes in a flame of space.
There are houses hanging above the stars
And stars hung under a sea. . .
And a sun far off in a shell of silence
Dapples my walls for me. . .

It is morning, Senlin says, and in the morning
Should I not pause in the light to remember God?
Upright and firm I stand on a star unstable,
He is immense and lonely as a cloud.
I will dedicate this moment before my mirror
To him alone, and for him I will comb my hair.
Accept these humble offerings, cloud of silence!
I will think of you as I descend the stair.

Vine leaves tap my window,
The snail-track shines on the stones,
Dew-drops flash from the chinaberry tree
Repeating two clear tones.

It is morning, I awake from a bed of silence,
Shining I rise from the starless waters of sleep.
The walls are about me still as in the evening,
I am the same, and the same name still I keep.
The earth revolves with me, yet makes no motion,
The stars pale silently in a coral sky.
In a whistling void I stand before my mirror,
Unconcerned, I tie my tie.

There are horses neighing on far-off hills
Tossing their long white manes,
And mountains flash in the rose-white dusk,
Their shoulders black with rains. . .

It is morning. I stand by the mirror
And surprise my soul once more;
The blue air rushes above my ceiling,
There are suns beneath my floor. . .

. . . It is morning, Senlin says, I ascend from darkness
And depart on the winds of space for I know not where,
My watch is wound, a key is in my pocket,
And the sky is darkened as I descend the stair.
There are shadows across the windows, clouds in heaven,
And a god among the stars; and I will go
Thinking of him as I might think of daybreak
And humming a tune I know. . .

Vine-leaves tap at the window,
Dew-drops sing to the garden stones,
The robin chirps in the chinaberry tree
Repeating three clear tones.

Evening Song of Senlin
from The Charnel Rose: Senlin, A Biography

IT is moonlight. Alone in the silence
I ascend my stairs once more,
While waves, remote in a pale blue starlight,
Crash on a white sand shore.
It is moonlight. The garden is silent.
I stand in my room alone.
Across my wall, from the far-off moon,
A rain of fire is thrown . . .

There are houses hanging above the stars,
And stars hung under a sea:
And a wind from the long blue vault of time
Waves my curtain for me . . .

I wait in the dark once more,
Swung between space and space:
Before my mirror I lift my hands
And face my remembered face.

Is it I who stand in a question here,
Asking to know my name? . . .
It is I, yet I know not whither I go,
Nor why, nor whence I came.

It is I, who awoke at dawn
And arose and descended the stair,
Conceiving a god in the eye of the sun, --
In a woman's hands and hair.
It is I whose flesh is gray with the stones
I builded into a wall:
With a mournful melody in my brain
Of a tune I cannot recall . . .

There are roses to kiss: and mouths to kiss;
And the sharp-pained shadow of death.
I remember a rain-drop on my cheek, --
A wind like a fragrant breath . . .
And the star I laugh on tilts through heaven;
And the heavens are dark and steep . . .
I will forget these things once more
In the silence of sleep.

Discordants

I. (Bread and Music)

MUSIC I heard with you was more than music,
And bread I broke with you was more than bread;
Now that I am without you, all is desolate;
All that was once so beautiful is dead.

Your hands once touched this table and this silver,
And I have seen your fingers hold this glass.
These things do not remember you, belovèd,
And yet your touch upon them will not pass.

For it was in my heart you moved among them,
And blessed them with your hands and with your eyes;
And in my heart they will remember always,--
They knew you once, O beautiful and wise.

II

My heart has become as hard as a city street,
The horses trample upon it, it sings like iron,
All day long and all night long they beat,
They ring like the hooves of time.

My heart has become as drab as a city park,
The grass is worn with the feet of shameless lovers,
A match is struck, there is kissing in the dark,
The moon comes, pale with sleep.

My heart is torn with the sound of raucous voices,
They shout from the slums, from the streets, from the crowded places,
And tunes from the hurdy-gurdy that coldly rejoices
Shoot arrows into my heart.


III

Dead Cleopatra lies in a crystal casket,
Wrapped and spiced by the cunningest of hands.
Around her neck they have put a golden necklace,
Her tatbebs, it is said, are worn with sands.

Dead Cleopatra was once revered in Egypt,
Warm-eyed she was, this princess of the South.
Now she is old and dry and faded,
With black bitumen they have sealed up her mouth.

O sweet clean earth, from whom the green blade cometh!
When we are dead, my best belovèd and I,
Close well above us, that we may rest forever,
Sending up grass and blossoms to the sky.

IV

In the noisy street,
Where the sifted sunlight yellows the pallid faces,
Sudden I close my eyes, and on my eyelids
Feel from the far-off sea a cool faint spray,--

A breath on my cheek,
From the tumbling breakers and foam, the hard sand shattered,
Gulls in the high wind whistling, flashing waters,
Smoke from the flashing waters blown on rocks;

--And I know once more,
O dearly belovèd! that all these seas are between us,
Tumult and madness, desolate save for the sea-gulls,
You on the farther shore, and I in this street.

All Lovely Things

ALL lovely things will have an ending,
All lovely things will fade and die,
And youth, that's now so bravely spending,
Will beg a penny by and by.

Fine ladies soon are all forgotten,
And goldenrod is dust when dead,
The sweetest flesh and flowers are rotten
And cobwebs tent the brightest head.

Come back, true love! Sweet youth, return!--
But time goes on, and will, unheeding,
Though hands will reach, and eyes will yearn,
And the wild days set true hearts bleeding.

Come back, true love! Sweet youth, remain!--
But goldenrod and daisies wither,
And over them blows autumn rain,
They pass, they pass, and know not whither.

Selections from Turns and Movies

I. Rose and Murray

AFTER the movie, when the lights come up,
He takes her powdered hand behind the wings;
She, all in yellow, like a buttercup,
Lifts her white face, yearns up to him, and clings;
And with a silent, gliding step they move
Over the footlights, in familiar glare,
Panther-like in the Tango whirl of love,
He fawning close on her with idiot stare.
Swiftly they cross the stage. O lyric ease!
The drunken music follows the sure feet,
The swaying elbows, intergliding knees,
Moving with slow precision on the beat.
She was a waitress in a restaurant,
He picked her up and taught her how to dance.
She feels his arms, lifts an appealing glance,
But knows he spent last evening with Zudora;
And knows that certain changes are before her.

The brilliant spotlight circles them around,
Flashing the spangles on her weighted dress.
He mimics wooing her, without a sound,
Flatters her with a smoothly smiled caress.
He fears that she will someday queer his act;
Feeling his anger. He will quit her soon.
He nods for faster music. He will contract
Another partner, under another moon.
Meanwhile, 'smooth stuff.' He lets his dry eyes flit
Over the yellow faces there below;
Maybe he'll cut down on his drinks a bit,
Not to annoy her, and spoil the show. . .
Zudora, waiting for her turn to come,
Watches them from the wings and fatly leers
At the girl's younger face, so white and dumb,
And the fixed, anguished eyes, ready for tears.

She lies beside him, with a false wedding-ring,
In a cheap room, with moonlight on the floor;
The moonlit curtains remind her much of spring,
Of a spring evening on the Coney shore.
And while he sleeps, knowing she ought to hate,
She still clings to the lover that she knew,--
The one that, with a pencil on a plate,
Drew a heart and wrote, 'I'd die for you.'

IV. Duval's Birds

The parrot, screeching, flew out into the darkness,
Circled three times above the upturned faces
With a great whir of brilliant outspread wings,
And then returned to stagger on her finger.
She bowed and smiled, eliciting applause. . .
The property man hated her dirty birds.
But it had taken years--yes, years--to train them,
To shoulder flags, strike bells by tweaking strings,
Or climb sedately little flights of stairs.
When they were stubborn, she tapped them with a wand,
And her eyes glittered a little under the eyebrows.
The red one flapped and flapped on a swinging wire;
The little white ones winked round yellow eyes.

VI. Violet Moore and Bert Moore

He thinks her little feet should pass
Where dandelions star thickly grass;
Her hands should lift in sunlit air
Sea-wind should tangle up her hair.
Green leaves, he says, have never heard
A sweeter ragtime mockingbird,
Nor has the moon-man ever seen,
Or man in the spotlight, leering green,
Such a beguiling, smiling queen.

Her eyes, he says, are stars at dusk,
Her mouth as sweet as red-rose musk;
And when she dances his young heart swells
With flutes and viols and silver bells;
His brain is dizzy, his senses swim,
When she slants her ragtime eyes at him. . .

Moonlight shadows, he bids her see,
Move no more silently than she.
It was this way, he says, she came,
Into his cold heart, bearing flame.
And now that his heart is all on fire
Will she refuse his heart's desire?--
And O! has the Moon Man ever seen
(Or the spotlight devil, leering green)
A sweeter shadow upon a screen?

VII. Zudora

Here on the pale beach, in the darkness;
With the full moon just to rise;
They sit alone, and look over the sea,
Or into each other's eyes. . .

She pokes her parasol into the sleepy sand,
Or sifts the lazy whiteness through her hand.

'A lovely night,' he says, 'the moon,
Comes up for you and me.
Just like a blind old spotlight there,
Fizzing across the sea!'

She pays no heed, nor even turns her head:
He slides his arm around her waist instead.

'Why don't we do a sketch together--
Those songs you sing are swell.
Where did you get them, anyway?
They suit you awfully well.'

She will not turn to him--will not resist.
Impassive, she submits to being kissed.

'My husband wrote all four of them.
You know,--my husband drowned.
He was always sickly, soon depressed. . .'
But still she hears the sound

Of a stateroom door shut hard, and footsteps going
Swiftly and steadily, and the dark sea flowing.

She hears the dark sea flowing, and sees his eyes
Hollow with disenchantment, sick surprise,--

And hate of her whom he had loved too well. . .
She lowers her eyes, demurely prods a shell.

'Yes. We might do an act together.
That would be very nice.'
He kisses her passionately, and thinks
She's carnal, but cold as ice.

X. The Cornet

When she came out, that white little Russian dancer,
With her bright hair, and her eyes, so young, so young,
He suddenly lost his leader, and all the players,
And only heard an immortal music sung,--

Of dryads flashing in the green woods of April,
On cobwebs trembing over the deep, wet grass:
Fleeing their shadows with laughter, with hands uplifted,
Through the whirled sinister sun he saw them pass,--

Lovely immortals gone, yet existing somewhere,
Still somewhere laughing in woods of immortal green,
Young he had lived among fires, or dreamed of living,
Lovers in youth once seen, or dreamed he had seen. . .

And watched her knees flash up, and her young hands beckon,
And the hair that streamed behind, and the taunting eyes.
He felt this place dissolving in living darkness,
And through the darkness he felt his childhood rise.

Soft, and shining, and sweet, hands filled with petals. . .
And watching her dance, he was grateful to forget
The fiddlers, leaning and drawing their bows together,
And the tired fingers on the stops of his cornet.

XIII.

How is it that I am now so softly awakened,
My leaves shaken down with music?--
Darling, I love you.

It is not your mouth, for I have known mouths before,--
Though your mouth is more alive than roses,
Roses singing softly
To green leaves after rain.

It is not your eyes, for I have dived often in eyes,--
Though your eyes, even in the yellow glare of footlights,
Are windows into eternal dusk.

Nor is it the live white flashing of your feet,
Nor your gay hands, catching at motes in the spotlight;
Nor the abrupt thick music of your laughter,
When, against the hideous backdrop,
With all its crudities brilliantly lighted,
Suddenly you catch sight of your alarming shadow,
Whirling and contracting.

How is it, then, that I am so keenly aware,
So sensitive to the surges of the wind, or the light,
Heaving silently under blue seas of air?--
Darling, I love you, I am immersed in you.

It is not the unraveled night-time of your hair,--
Though I grow drunk when you press it upon my face:
And though when you gloss its length with a golden brush
I am strings that tremble under a bow.

It was that night I saw you dancing,
The whirl and impalpable float of your garment,
Your throat lifted, your face aglow
(Like waterlilies in moonlight were your knees).

It was that night I heard you singing
In the green-room after your dance was over,
Faint and uneven through the thickness of walls.

(How shall I come to you through the dullness of walls,
Thrusting aside the hands of bitter opinion?)

It was that afternoon, early in June,
When, tired with a sleepless night, and my act performed,
Feeling as stale as streets,
We met under dropping boughs, and you smiled to me:
And we sat by a watery surface of clouds and sky.

I hear only the susurration of intimate leaves;
The stealthy gliding of branches upon slow air.

I see only the point of your chin in sunlight;
And the sinister blue of sunlight on your hair.

The sunlight settles downward upon us in silence.

Now we thrust up through grass blades and encounter,
Pushing white hands amid the green.
Your face flowers whitely among cold leaves.

Soil clings to you, bark falls from you,
You rouse and stretch upward, exhaling earth, inhaling sky,
I touch you, and we drift off together like moons.
Earth dips from under.

We are alone in an immensity of sunlight,
Specks in an infinite golden radiance,
Whirled and tossed upon silent cataracts and torrents.
Give me your hand darling! We float downward.

XV. Dancing Adairs

Behold me, in my chiffon, gauze, and tinsel,
Flitting out of the shadow into the spotlight,
And into the shadow again, without a whisper!--
Firefly's my name, I am evanescent.

Firefly's your name. You are evanescent.
But I follow you as remorselessly as darkness,
And shut you in and enclose you, at last, and always,
Till you are lost,--as a voice is lost in silence.

Till I am lost, as a voice is lost in silence. . .
Are you the one who would close so cool about me?
My fire sheds into and through you and beyond you:
How can your fingers hold me? I am elusive.

How can my fingers hold you? You are elusive?
Yes, you are flame, but I surround and love you,
Always extend beyond you, cool, eternal,
To take you into my heart's great void of silence.

You shut me into your heart's great void of silence. . .
O sweet and soothing end for a life of whirling!
Now I am still, whose life was mazed with motion.
Now I sink into you, for love of sleep.

Conrad Aiken

Chiarascuro: Rose

           He

FILL your bowl with roses: the bowl, too, have of crystal.
Sit at the western window. Take the sun
Between your hands like a ball of flaming crystal,
Poise it to let it fall, but hold it still,
And meditate on the beauty of your existence;
The beauty of this, that you exist at all.

           She

The sun goes down, -- but without lamentation.
I close my eyes, and the stream of my sensation
In this, at least, grows clear to me:
Beauty is a word that has no meaning.
Beauty is naught to me.

           He

The last blurred raindrops fall from the half-clear sky,
Eddying lightly, rose-tinged, in the windless wake of the sun.
The swallow ascending against cold waves of cloud
Seems winging upward over huge bleak stairs of stone.
The raindrop finds its way to the heart of the leaf-bud.
But no word finds its way to the heart of you.

           She

This also is clear in the stream of my sensation:
That I am content, for the moment, Let me be.
How light the new grass looks with the rain-dust on it!
But heart is a word that has no meaning,
Heart means nothing to me.

           He

To the end of the world I pass and back again
In flights of the mind; yet always find you here,
Remote, pale, unattached . . . O Circe-too-clear-eyed,
Watching amused your fawning tiger-thoughts,
Your wolves, your grotesque apes -- relent, relent!
Be less wary for once: it is the evening.

           She

But if I close my eyes what howlings greet me!
Do not persuade. Be tranquil. Here is flesh
With all its demons. Take it, sate yourself.
But leave my thoughts to me.

Editor's Note:
A poetry textbook I once read posed a question to the reader with regard to line III asking the student, "Is this really a poem?" While you see little or nothing in the way of mechanics (rhyme, meter, etc.) you'll be struck by Crane's striking images and metaphors, and by the clear, concise language he uses to deliver them. Crane himself declined to call them poems, referring to them only as 'lines'.

Crane's view of life must have been a cynnical one. His prose works, including The Red Badge of Courage for which he is far better known, carry the same sombre tone as the Black Riders. His works revolve around the idea that man is more the victem of his fate than the decider of it, and that fate is rarely kind and frequently cruel. Crane was primarily a journalist, though criticised by his editors for providing impressions more than facts. Whether you ascribe to Crane's bleak view of fate or (hopefully) a more positive one, you will find his parables striking and difficult to forget. --Steve

Black riders came from the sea.
There was clang and clang of spear and shield,
And clash and clash of hoof and heel,
Wild shouts and the wave of hair
In the rush upon the wind:
Thus the ride of sin.

II

Three little birds in a row
Sat musing.
A man passed near that place.
Then did the little birds nudge each other.

They said, "He thinks he can sing."
They threw back their heads to laugh.
With quaint countenances
They regarded him.
They were very curious,
Those three little birds in a row.

In the desert
I saw a creature, naked, bestial,
who, squatting upon the ground,
Held his heart in his hands,
And ate of it.
I said, "Is it good, friend?"
"It is bitter -- bitter," he answered;
"But I like it
Because it is bitter,
And because it is my heart."