THE HIGHER PANTHEISM IN A NUTSHELL | One, who is not, we see; but one, whom we see not, is;
Surely, this is not that; but that is assuredly this.
What, and wherefore, and whence: for under is over and under;
If thunder could be without lightning, lightning could be without thunder.
Doubt is faith in the main; but faith, on the whole, is doubt;
We cannot believe by proof; but could we believe without?
Why, and whither, and how? for barley and rye are not clover;
Neither are straight lines curves; yet over is under and over.
One and two are not one; but one and nothing is two;
Truth can hardly be false, if falsehood cannot be true.
Parallels all things are; yet many of these are askew;
You are certainly I; but certainly I am not you.
One, whom we see not, is; and one, who is not, we see;
Fiddle, we know, is diddle; and diddle, we take it, is dee. Algernon Charles Swinburne. |
NEPHELIDIA | From the depth of the dreamy decline of the dawn through a notable nimbus of nebulous moonshine, Pallid and pink as the palm of the flag-flower that flickers with fear of the flies as they float, Are they looks of our lovers that lustrously lean from a marvel of mystic miraculous moonshine, These that we feel in the blood of our blushes that thicken and threaten with throbs through the throat? Thicken and thrill as a theatre thronged at appeal of an actor's appalled agitation, Fainter with fear of the fires of the future than pale with the promise of pride in the past; Flushed with the famishing fulness of fever that reddens with radiance of rathe recreation, Gaunt as the ghastliest of glimpses that gleam through the gloom of the gloaming when ghosts go aghast? Nay, for the nick of the tick of the time is a tremulous touch on the temples of terror, Strained as the sinews yet strenuous with strife of the dead who is dumb as the dust-heaps of death; Surely no soul is it, sweet as the spasm of erotic emotional exquisite error, Bathed in the balms of beatified bliss, beatific itself by beatitude's breath. Surely no spirit or sense of a soul that was soft to the spirit and soul of our senses Sweetens the stress of surprising suspicion that sobs in the semblance and sound of a sigh; Only this oracle opens Olympian, in mystical moods and triangular tenses,— "Life is the lust of a lamp for the light that is dark till the dawn of the day when we die." Mild is the mirk and monotonous music of memory, melodiously mute as it may be, While the hope in the heart of a hero is bruised by the breach of men's rapiers, resigned to the rod; Made meek as a mother whose bosom-beats bound with the bliss-bringing bulk of a balm-breathing baby, As they grope through the grave-yard of creeds, under skies growing green at a groan for the grimness of God. Blank is the book of his bounty beholden of old, and its binding is blacker than bluer: Out of blue into black is the scheme of the skies, and their dews are the wine of the bloodshed of things: Till the darkling desire of delight shall be free as a fawn that is freed from the fangs that pursue her, Till the heart-beats of hell shall be hushed by a hymn from the hunt that has harried the kennel of kings. Algernon Charles Swinburne. |
UP THE SPOUT | I Hi! Just you drop that! Stop, I say!
Shirk work, think slink off, twist friend's wrist?
Where that spined sand's lined band's the bay—
Lined blind with true sea's blue, as due—
Promising—not to pay? II For the sea's debt leaves wet the sand;
Burst worst fate's weight's in one burst gun?
A man's own yacht, blown—What? off land?
Tack back, or veer round here, then—queer!
Reef points, though—understand? III I'm blest if I do. Sigh? be blowed!
Love's doves make break life's ropes, eh? Tropes!
Faith's brig, baulked, sides caulked, rides at road;
Hope's gropes befogged, storm-dogged and bogged—
Clogged, water-logged, her load!
IV Stowed, by Jove, right and tight, away.
No show now how best plough sea's brow,
Wrinkling—breeze quick, tease thick, ere day,
Clear sheer wave's sheen of green, I mean,
With twinkling wrinkles—eh? V Sea sprinkles wrinkles, tinkles light
Shells' bells—boy's joys that hap to snap!
It's just sea's fun, breeze done, to spite
God's rods that scourge her surge, I'd urge—
Not proper, is it—quite? VI See, fore and aft, life's craft undone!
Crank plank, split spritsail—mark, sea's lark!
That gray cold sea's old sprees, begun
When men lay dark i' the ark, no spark,
All water—just God's fun! VII Not bright, at best, his jest to these
Seemed—screamed, shrieked, wreaked on kin for sin!
When for mirth's yell earth's knell seemed please
Some dumb new grim great whim in him
Made Jews take chalk for cheese. VIII Could God's rods bruise God's Jews? Their jowls
Bobbed, sobbed, gaped, aped, the plaice in face!
None heard, 'tis odds, his—God's—folk's howls.
Now, how must I apply, to try
This hookiest-beaked of owls?
IX Well, I suppose God knows—I don't.
Time's crimes mark dark men's types, in stripes
Broad as fen's lands men's hands were wont
Leave grieve unploughed, though proud and loud
With birds' words—No! he won't! X One never should think good impossible.
Eh? say I'd hide this Jew's oil's cruse—
His shop might hold bright gold, engrossible
By spy—spring's air takes there no care
To wave the heath-flower's glossy bell! XI But gold bells chime in time there, coined—
Gold! Old Sphinx winks there—"Read my screed!"
Doctrine Jews learn, use, burn for, joined
(Through new craft's stealth) with health and wealth—
At once all three purloined! XII I rose with dawn, to pawn, no doubt,
(Miss this chance, glance untried aside?)
John's shirt, my—no! Ay, so—the lout!
Let yet the door gape, store on floor
And not a soul about? XIII Such men lay traps, perhaps—and I'm
Weak—meek—mild—child of woe, you know!
But theft, I doubt, my lout calls crime.
Shrink? Think! Love's dawn in pawn—you spawn
Of Jewry! Just in time! Algernon Charles Swinburne. |
IN IMMEMORIAM | We seek to know, and knowing seek;
We seek, we know, and every sense
Is trembling with the great Intense
And vibrating to what we speak.
We ask too much, we seek too oft,
We know enough, and should no more;
And yet we skim through Fancy's lore
And look to earth and not aloft.
A something comes from out the gloom;
I know it not, nor seek to know;
I only see it swell and grow,
And more than this world would presume.
Meseems, a circling void I fill,
And I, unchanged where all is changed;
It seems unreal; I own it strange,
Yet nurse the thoughts I cannot kill.
I hear the ocean's surging tide,
Raise quiring on its carol-tune;
I watch the golden-sickled moon,
And clearer voices call beside.
O Sea! whose ancient ripples lie
On red-ribbed sands where seaweeds shone;
O Moon! whose golden sickle's gone;
O Voices all! like ye I die! Cuthbert Bede. |
LUCY LAKE | Poor Lucy Lake was overgrown,
But somewhat underbrained.
She did not know enough, I own,
To go in when it rained.
Yet Lucy was constrained to go;
Green bedding,—you infer.
Few people knew she died, but oh,
The difference to her! Newton Mackintosh. |
THE COCK AND THE BULL | You see this pebble-stone? It's a thing I bought
Of a bit of a chit of a boy i' the mid o' the day—
I like to dock the smaller parts-o'-speech,
As we curtail the already cur-tailed cur
(You catch the paronomasia, play 'po' words?)
Did, rather, i' the pre-Landseerian days.
Well, to my muttons. I purchased the concern,
And clapt it i' my poke, having given for same
By way o' chop, swop, barter or exchange—
"Chop" was my snickering dandiprat's own term—
One shilling and fourpence, current coin o' the realm.
O-n-e one and f-o-u-r four
Pence, one and fourpence—you are with me, sir?—
What hour it skills not: ten or eleven o' the clock,
One day (and what a roaring day it was
Go shop or sight-see—bar a spit o' rain!)
In February, eighteen sixty nine,
Alexandrina Victoria, Fidei,
Hm—hm—how runs the jargon? being on the throne.
Such, sir, are all the facts, succinctly put,
The basis or substratum—what you will—
Of the impending eighty thousand lines.
"Not much in 'em either," quoth perhaps simple Hodge.
But there's a superstructure. Wait a bit.
Mark first the rationale of the thing:
Hear logic rivel and levigate the deed.
That shilling—and for matter o' that, the pence—
I had o' course upo' me—wi' me say—
(Mecum's the Latin, make a note o' that)
When I popp'd pen i' stand, scratched ear, wiped snout,
(Let everybody wipe his own himself)
Sniff'd—tch!—at snuffbox; tumbled up, he-heed,
Haw-haw'd (not he-haw'd, that's another guess thing):
Then fumbled at, and stumbled out of, door,
I shoved the timber ope wi' my omoplat;
And in vestibulo, i' the lobby to-wit,
(Iacobi Facciolati's rendering, sir,)
Donned galligaskins, antigropeloes,
And so forth; and, complete with hat and gloves,
One on and one a-dangle i' in my hand,
And ombrifuge (Lord love you!) cas o' rain,
I flopped forth, 'sbuddikins! on my own ten toes,
(I do assure you there be ten of them)
And went clump-clumping up hill and down dale
To find myself o' the sudden i' front o' the boy.
Put case I hadn't 'em on me, could I ha' bought
This sort-o'-kind-o'-what-you-might-call-toy,
This pebble-thing, o' the boy-thing? Q. E. D.
That's proven without aid for mumping Pope,
Sleek porporate or bloated cardinal.
(Isn't it, old Fatchops? You're in Euclid now.)
So, having the shilling—having i' fact a lot—
And pence and halfpence, ever so many o' them,
I purchased, as I think I said before,
The pebble (lapis, lapidis, di, dem, de—
What nouns 'crease short i' the genitive, Fatchops, eh?)
O, the boy, a bare-legg'd beggarly son of a gun,
For one-and-fourpence. Here we are again.
Now Law steps in, bewigged, voluminous-jaw'd;
Investigates and re-investigates.
Was the transaction illegal? Law shakes head.
Perpend, sir, all the bearings of the case.
At first the coin was mine, the chattel his.
But now (by virtue of the said exchange
And barter) vice versa all the coin,
Rer juris operationem, vests
I' the boy and his assigns till ding o' doom;
In sÆcula sÆculo-o-orum;
(I think I hear the Abate mouth out that.)
To have and hold the same to him and them ...
Confer some idiot on Conveyancing.
Whereas the pebble and every part thereof,
And all that appertaineth thereunto,
Quodcunque pertinet ad em rem,
(I fancy, sir, my Latin's rather pat)
Or shall, will, may, might, can, could, would, or should,
Subaudi cÆtera—clap we to the close—
For what's the good of law in such a case o' the kind
Is mine to all intents and purposes.
This settled, I resume the thread o' the tale.
Now for a touch o' the vendor's quality.
He says a gen'lman bought a pebble of him,
(This pebble i' sooth, sir, which I hold i' my hand)—
And paid for 't, like a gen'lman, on the nail.
"Did I o'ercharge him a ha'penny? Devil a bit.
Fiddlepin's end! Get out, you blazing ass!
Gabble o' the goose. Don't bugaboo-baby me!
Go double or quits? Yah! tittup! what's the odds?"
—There's the transaction viewed in the vendor's light.
Next ask that dumpled hag, stood snuffling by,
With her three frowsy blowsy brats o' babes,
The scum o' the Kennel, cream o' the filth-heap—Faugh!
Aie, aie, aie, aie! [Greek: otototototoi],
('Stead which we blurt out, Hoighty toighty now)—
And the baker and candlestick maker, and Jack and Gill.
Blear'd Goody this and queasy Gaffer that,
Ask the Schoolmaster, Take Schoolmaster first.
He saw a gentleman purchase of a lad
A stone, and pay for it rite on the square,
And carry it off per saltum, jauntily
Propria quÆ maribus, gentleman's property now
(Agreeable to the law explained above).
In proprium usum, for his private ends,
The boy he chucked a brown i' the air, and bit
I' the face the shilling; heaved a thumping stone
At a lean hen that ran cluck-clucking by,
(And hit her, dead as nail i' post o' door,)
Then abiit—What's the Ciceronian phrase?
Excessit, evasit, erupit—off slogs boy;
Off like bird, avi similis—(you observed
The dative? Pretty i' the Mantuan!)—Anglice
Off in three flea skips. Hactenus, so far,
So good, tam bene. Bene, satis, male,—
Where was I with my trope 'bout one in a quag?
I did once hitch the Syntax into verse
Verbum personale, a verb personal,
Concordat—ay, "agrees," old Fatchops—cum
Nominativo, with its nominative,
Genere, i' point of gender, numero,
O' number, et persona, and person. Ut,
Instance: Sol ruit, down flops sun, et and,
Montes umbrantur, out flounce mountains. Pah!
Excuse me, sir, I think I'm going mad.
You see the trick on't, though, and can yourself
Continue the discourse ad libitum.
It takes up about eighty thousand lines,
A thing imagination boggles at;
And might, odds-bobs, sir! in judicious hands
Extend from here to Mesopotamy. Charles Stuart Calverley. |
BALLAD | The auld wife sat at her ivied door,
(Butter and eggs and a pound of cheese)
A thing she had frequently done before;
And her spectacles lay on her apron'd knees.
The piper he piped on the hilltop high,
(Butter and eggs and a pound of cheese)
Till the cow said "I die," and the goose asked "Why?"
And the dog said nothing, but search'd for fleas.
The farmer he strode through the square farmyard;
(Butter and eggs and a pound of cheese)
His last brew of ale was a trifle hard—
The connection of which the plot one sees.
The farmer's daughter hath frank blue eyes;
(Butter and eggs and a pound of cheese)
She hears the rooks caw in the windy skies,
As she sits at her lattice and shells her peas.
The farmer's daughter hath ripe red lips;
(Butter and eggs and a pound of cheese)
If you try to approach her, away she skips
Over tables and chairs with apparent ease.
The farmer's daughter hath soft brown hair;
(Butter and eggs and a pound of cheese)
And I met with a ballad, I can't say where,
Which wholly consisted of lines like these. PART II She sat with her hands 'neath her dimpled cheeks,
(Butter and eggs and a pound of cheese)
And spake not a word. While a lady speaks
There is hope, but she didn't even sneeze.
She sat, with her hands 'neath her crimson cheeks;
(Butter and eggs and a pound of cheese)
She gave up mending her father's breeks,
And let the cat roll in her new chemise.
She sat with her hands 'neath her burning cheeks,
(Butter and eggs and a pound of cheese)
And gazed at the piper for thirteen weeks;
Then she follow'd him o'er the misty leas.
Her sheep follow'd her, as their tails did them,
(Butter and eggs and a pound of cheese)
And this song is consider'd a perfect gem,
And as to the meaning, it's what you please. Charles Stuart Calverley. |
'Twas ever thus from childhood's hour!
My fondest hopes would not decay;
I never loved a tree or flower
Which was the first to fade away!
The garden, where I used to delve
Short-frock'd, still yields me pinks in plenty;
The pear-tree that I climbed at twelve
I see still blossoming, at twenty.
I never nursed a dear gazelle;
But I was given a parroquet—
(How I did nurse him if unwell!)
He's imbecile, but lingers yet.
He's green, with an enchanting tuft;
He melts me with his small black eye;
He'd look inimitable stuffed,
And knows it—but he will not die!
I had a kitten—I was rich
In pets—but all too soon my kitten
Became a full-sized cat, by which
I've more than once been scratched and bitten
And when for sleep her limbs she curl'd
One day beside her untouch'd plateful,
And glided calmly from the world,
I freely own that I was grateful.
And then I bought a dog—a queen!
Ah, Tiny, dear departing pug!
She lives, but she is past sixteen
And scarce can crawl across the rug.
I loved her beautiful and kind;
Delighted in her pert bow-wow;
But now she snaps if you don't mind;
'Twere lunacy to love her now.
I used to think, should e'er mishap
Betide my crumple-visaged Ti,
In shape of prowling thief, or trap,
Or coarse bull-terrier—I should die.
But ah! disasters have their use,
And life might e'en be too sunshiny;
Nor would I make myself a goose,
If some big dog should swallow Tiny. Charles Stuart Calverley. |
WORDSWORTHIAN REMINISCENCE | I walked and came upon a picket fence,
And every picket went straight up and down,
And all at even intervals were placed,
All painted green, all pointed at the top,
And every one inextricably nailed
Unto two several cross-beams, which did go,
Not as the pickets, but quite otherwise,
And they two crossed, but back of all were posts.
O beauteous picket fence, can I not draw
Instruction from thee? Yea, for thou dost teach,
That even as the pickets are made fast
To that which seems all at cross purposes,
So are our human lives, to the Divine,
But, oh! not purposeless, for even as they
Do keep stray cows from trespass, we, no doubt,
Together guard some plan of Deity.
Thus did I moralise. And from the beams
And pickets drew a lesson to myself,—
But where the posts came in, I could not tell. Unknown. |
INSPECT US | Out of the clothes that cover me
Tight as the skin is on the grape,
I thank whatever gods may be
For my unconquerable shape.
In the fell clutch of bone and steel
I have not whined nor cried aloud;
Whatever else I may conceal,
I show my thoughts unshamed and proud.
The forms of other actorines
I put away into the shade;
All of them flossy near-blondines
Find and shall find me unafraid.
It matters not how straight the tape,
How cold the weather is, or warm—
I am the mistress of my shape—
I am the captain of my form. Edith Daniell. |
THE MESSED DAMOZEL AT THE CUBIST EXHIBITION | The Messed Damozel leaned out
From the gold cube of Heav'n;
There were three cubes within her hands,
And the cubes in her hair were seven;
I looked, and looked, and looked, and looked—
I could not see her, even.
Her robe, a cube from clasp to hem,
Was moderately clear;
Methought I saw two cubic eyes,
When I had looked a year;
But when I turned to tell the world,
Those eyes did disappear!
It was the rampart of some house
That she was standing on;
That much, at least, was plain to me
As her I gazed upon;
But even as I gazed, alas!
The rampart, too, was gone!
(I saw her smile!) Oh, no, I didn't,
Though long mine eyes did stare;
The cubes closed down and shut her out;
I wept in deep despair;
But this I know, and know full well—
She simply wasn't there! Charles Hanson Towne. |
A MELTON MOWBRAY PORK-PIE | Strange pie that is almost a passion,
O passion immoral for pie!
Unknown are the ways that they fashion,
Unknown and unseen of the eye.
The pie that is marbled and mottled,
The pie that digests with a sigh:
For all is not Bass that is bottled,
And all is not pork that is pie. Richard Le Gallienne. |
ISRAFIDDLESTRINGS | In heaven a Spirit doth dwell
Whose heart strings are a fiddle,
(The reason he sings so well—
This fiddler Israfel),
And the giddy stars (will any one tell
Why giddy?) to attend his spell
Cease their hymns in the middle.
On the height of her go
Totters the Moon, and blushes
As the song of that fiddle rushes
Across her bow.
The red Lightning stands to listen,
And the eyes of the Pleiads glisten
As each of the seven puts its fist in
Its eye, for the mist in.
And they say—it's a riddle—
That all these listening things,
That stop in the middle
For the heart-strung fiddle
With such the Spirit sings,
Are held as on the griddle
By these unusual strings.
Wherefore thou art not wrong,
Israfel! in that thou boastest
Fiddlestrings uncommon strong;
To thee the fiddlestrings belong
With which thou toastest
Other hearts as on a prong.
Yes! heaven is thine, but this
Is a world of sours and sweets,
Where cold meats are cold meats,
And the eater's most perfect bliss
Is the shadow of him who treats.
If I could griddle
As Israfiddle
Has griddled—he fiddle as I,—
He might not fiddle so wild a riddle
As this mad melody,
While the Pleiads all would leave off in the middle
Hearing my griddle-cry. Unknown. |
AFTER DILETTANTE CONCETTI | "Why do you wear your hair like a man,
Sister Helen?
This week is the third since you began."
"I'm writing a ballad; be still if you can,
Little brother.
(O Mother Carey, mother!
What chickens are these between sea and heaven?)"
"But why does your figure appear so lean,
Sister Helen?
And why do you dress in sage, sage green?"
"Children should never be heard, if seen,
Little brother?
(O Mother Carey, mother!
What fowls are a-wing in the stormy heaven!)"
"But why is your face so yellowy white,
Sister Helen?
And why are your skirts so funnily tight?"
"Be quiet, you torment, or how can I write,
Little brother?
(O Mother Carey, mother!
How gathers thy train to the sea from the heaven!)"
"And who's Mother Carey, and what is her train,
Sister Helen?
And why do you call her again and again?"
"You troublesome boy, why that's the refrain,
Little brother.
(O Mother Carey, mother!
What work is toward in the startled heaven?)"
"And what's a refrain? What a curious word,
Sister Helen!
Is the ballad you're writing about a sea-bird?"
"Not at all; why should it be? Don't be absurd,
Little brother.
(O Mother Carey, mother!
Thy brood flies lower as lowers the heaven.)"
(A big brother speaketh:)
"The refrain you've studied a meaning had,
Sister Helen!
It gave strange force to a weird ballad.
But refrains have become a ridiculous 'fad,'
Little brother.
And Mother Carey, mother,
Has a bearing on nothing in earth or heaven.
"But the finical fashion has had its day,
Sister Helen.
And let's try in the style of a different lay
To bid it adieu in poetical way,
Little brother.
So, Mother Carey, mother!
Collect your chickens and go to—heaven." | (A pause. Then the big brother singeth, accompanying himself in a plaintive wise on the triangle.) | "Look in my face. My name is Used-to-was;
I am also called Played-out, and Done to Death,
And It-will-wash-no-more. Awakeneth
Slowly but sure awakening it has,
The common-sense of man; and I, alas!
The ballad-burden trick, now known too well,
And turned to scorn, and grown contemptible—
A too transparent artifice to pass.
"What a cheap dodge I am! The cats who dart
Tin-kettled through the streets in wild surprise
Assail judicious ears not otherwise;
And yet no critics praise the urchin's 'art,'
Who to the wretched creature's caudal part
Its foolish empty-jingling 'burden' ties." H. D. Traill. |
WHENCENESS OF THE WHICH SOME DISTANCE AFTER TENNYSON | Come into the Whenceness Which,
For the fierce Because has flown:
Come into the Whenceness Which,
I am here by the Where alone;
And the Whereas odors are wafted abroad
Till I hold my nose and groan.
Queen Which of the Whichbud garden of What's
Come hither the jig is done.
In gloss of Isness and shimmer of Was,
Queen Thisness and Which in one;
Shine out, little Which, sunning over the bangs,
To the Nowness, and be its sun.
There has fallen a splendid tear
From the Is flower at the fence;
She is coming, my Which, my dear,
And as she Whistles a song of the Whence,
The Nowness cries, "She is near, she is near."
And the Thingness howls, "Alas!"
The Whoness murmurs, "Well, I should smile,"
And the Whatlet sobs, "I pass." Unknown. |
THE LITTLE STAR | Scintillate, scintillate, globule orific,
Fain would I fathom thy nature's specific.
Loftily poised in ether capacious,
Strongly resembling a gem carbonaceous.
When torrid Phoebus refuses his presence
And ceases to lamp with fierce incandescence,
Then you illumine the regions supernal,
Scintillate, scintillate, semper nocturnal.
Then the victim of hospiceless peregrination
Gratefully hails your minute coruscation.
He could not determine his journey's direction
But for your bright scintillating protection. Unknown. |
THE ORIGINAL LAMB | Oh, Mary had a little Lamb, regarding whose cuticular
The fluff exterior was white and kinked in each particular.
On each occasion when the lass was seen perambulating,
The little quadruped likewise was there a gallivating.
One day it did accompany her to the knowledge dispensary,
Which to every rule and precedent was recklessly contrary.
Immediately whereupon the pedagogue superior,
Exasperated, did eject the lamb from the interior.
Then Mary, on beholding such performance arbitrary,
Suffused her eyes with saline drops from glands called lachrymary,
And all the pupils grew thereat tumultuously hilarious,
And speculated on the case with wild conjectures various.
"What makes the lamb love Mary so?" the scholars asked the teacher.
He paused a moment, then he tried to diagnose the creature.
"Oh pecus amorem Mary habit omnia temporum."
"Thanks, teacher dear," the scholars cried, and awe crept darkly o'er 'em. Unknown. |
SAINTE MARGÉRIE | Slim feet than lilies tenderer,—
MargÉrie!
That scarce upbore the body of her,
Naked upon the stones they were;—
C'est Ça Sainte MargÉrie!
White as a shroud the silken gown,—
MargÉrie!
That flowed from shoulder to ankle down,
With clear blue shadows along it thrown;
C'est Ça Sainte MargÉrie!
On back and bosom withouten braid,—
MargÉrie!
In crispÈd glory of darkling red,
Round creamy temples her hair was shed;—
C'est Ça Sainte MargÉrie!
Eyes, like a dim sea, viewed from far,—
MargÉrie!
Lips that no earthly love shall mar,
More sweet that lips of mortals are;—
C'est Ça Sainte MargÉrie!
The chamber walls are cracked and bare;—
MargÉrie!
Without the gossips stood astare
At men her bed away that bare;—
C'est Ça Sainte MargÉrie!
Five pennies lay her hand within,—
MargÉrie!
So she her fair soul's weal might win,
Little she reck'd of dule or teen;—
C'est Ça Sainte MargÉrie!
Dank straw from dunghill gathered,—
MargÉrie!
Where fragrant swine have made their bed,
Thereon her body shall be laid;—
C'est Ça Sainte MargÉrie!
Three pennies to the poor in dole,—
MargÉrie!
One to the clerk her knell shall toll,
And one to masses for her soul;—
C'est Ça Sainte MargÉrie! Unknown. |
ROBERT FROST RELATES THE DEATH OF THE TIRED MAN | There were two of us left in the berry-patch;
Bryan O'Lin and Jack had gone to Norwich.—
They called him Jack a' Nory, half in fun
And half because it seemed to anger him.—
So there we stood and let the berries go,
Talking of men we knew and had forgotten.
A sprawling, humpbacked mountain frowned on us
And blotted out a smouldering sunset cloud
That broke in fiery ashes. "Well," he said,
"Old Adam Brown is dead and gone; you'll never
See him any more. He used to wear
A long, brown coat that buttoned down before.
That's all I ever knew of him; I guess that's all
That anyone remembers. Eh?" he said,
And then, without a pause to let me answer,
He went right on.
"How about Dr. Foster?"
"Well, how about him?" I managed to reply.
He glared at me for having interrupted.
And stopped to pick his words before he spoke;
Like one who turns all personal remarks
Into a general survey of the world.
Choosing his phrases with a finicky care
So they might fit some vague opinions,
Taken, third-hand, from last year's New York Times
And jumbled all together into a thing
He thought was his philosophy.
"Never mind;
There's more in Foster than you'd understand.
But," he continued, darkly as before,
"What do you make of Solomon Grundy's case?
You know the gossip when he first came here.
Folks said he'd gone to smash in Lunenburg,
And four years in the State Asylum here
Had almost finished him. It was Sanders' job
That put new life in him. A clear, cool day;
The second Monday in July it was.
'Born on a Monday,' that is what they said.
Remember the next few days? I guess you don't;
That was before your time. Well, Tuesday night
He said he'd go to church; and just before the prayer
He blurts right out, 'I've come here to get christened.
If I am going to have a brand new life
I'll have a new name, too.' Well, sure enough
They christened him, though I've forgotten what;
And Etta Stark, (you know, the pastor's girl)
Her head upset by what she called romance,
She went and married him on Wednesday noon.
Thursday the sun or something in the air
Got in his blood and right off he took sick.
Friday the thing got worse, and so did he;
And Saturday at four o'clock he died.
Buried on Sunday with the town decked out
As if it was a circus-day. And not a soul
Knew why they went or what he meant to them
Or what he died of. What would be your guess?"
"Well," I replied, "it seems to me that he,
Just coming from a sedentary life,
Felt a great wave of energy released,
And tried to crowd too much in one short week.
The laws of physics teach—"
"No, not at all.
He never knew 'em. He was just tired," he said. Louis Untermeyer. |
OWEN SEAMAN ESTABLISHES THE "ENTENTE CORDIALE" BY RECITING "THE SINGULAR STUPIDITY OF J. SPRATT, ESQ.," IN THE MANNER OF GUY WETMORE CARRYL. | Of all the mismated pairs ever created
The worst of the lot were the Spratts.
Their life was a series of quibbles and queries
And quarrels and squabbles and spats.
They argued at breakfast, they argued at tea,
And they argued from midnight to quarter past three.
The family Spratt-head was rather a fat-head,
And a bellicose body to boot.
He was selfish and priggish and worse, he was piggish—
A regular beast of a brute.
At table his acts were incredibly mean;
He gave his wife fat—and he gobbled the lean!
What's more, she was censured whenever she ventured
To dare to object to her fare;
He said "It ain't tasteful, but we can't be wasteful;
And someone must eat what is there!"
But his coarseness exceeded all bounds of control
When he laughed at her Art and the State of her Soul.
So what with his jeering and fleering and sneering,
He plagued her from dawn until dark.
He bellowed "I'll teach ye to read Shaw and Nietzsche"—
And he was as bad as his bark.
"The place for a woman——" he'd start, very glib....
And so on, for two or three hours ad lib.
So very malignant became his indignant
Remarks about "Culture" and "Cranks,"
That at last she revolted. She up and she bolted
And entered the militant ranks....
When she died, after breaking nine-tenths of the laws,
She left all her money and jewels to the Cause!
And THE MORAL is this (though a bit abstruse):
What's sauce for a more or less proper goose,
When it rouses the violent, feminine dander,
Is apt to be sauce for the propaganda. Louis Untermeyer. |
THE MODERN HIAWATHA | He killed the noble Mudjokivis.
Of the skin he made him mittens,
Made them with the fur side inside
Made them with the skin side outside.
He, to get the warm side inside,
Put the inside skin side outside;
He, to get the cold side outside,
Put the warm side fur side inside.
That's why he put the fur side inside,
Why he put the skin side outside.
Why he turned them inside outside. Unknown. |
SOMEWHERE-IN-EUROPE-WOCKY | 'Twas brussels, and the loos liÈge
Did meuse and arras in latour;
All vimy were the metz maubege,
And the tsing-tau namur.
"Beware the petrograd, my son—
The jaws that bite, the claws that plough!
Beware the posen, and verdun
The soldan mons glogau!"
He took his dixmude sword in hand;
Long time his altkirch foe he sought;
Then rested he 'neath the warsaw tree,
And stood awhile in thought.
And as in danzig thought he stood
The petrograd, with eyes of flame,
Came ypring through the cracow wood,
And longwied as it came.
One two! One two! and through and through
The dixmude blade went snicker-snack;
He left it dead, and with its head
He gallipolied back.
"And hast thou slain the petrograd?
Come to my arms, my krithnia boy!
O chanak day! Artois! Grenay!"
He woevred in his joy.
'Twas brussels, and the loos liÈge
Did meuse and arras in latour;
All vimy were the metz maubege,
And the tsing-tau namur. F. G. Hartswick. |
RIGID BODY SINGS | Gin a body meet a body
Flyin' through the air,
Gin a body hit a body,
Will it fly? and where?
Ilka impact has its measure,
Ne'er a' ane hae I,
Yet a' the lads they measure me,
Or, at least, they try.
Gin a body meet a body
Altogether free,
How they travel afterwards
We do not always see.
Ilka problem has its method
By analytics high;
For me, I ken na ane o' them,
But what the waur am I? J. C. Maxwell. |
A BALLAD OF HIGH ENDEAVOR | Ah Night! blind germ of days to be,
Ah, me! ah me!
(Sweet Venus, mother!)
What wail of smitten strings hear we?
(Ah me! ah me!
Hey diddle dee!)
Ravished by clouds our Lady Moon,
Ah me! ah me!
(Sweet Venus, mother!)
Sinks swooning in a lady-swoon
(Ah me! ah me!
Dum diddle dee!)
What profits it to rise i' the dark?
Ah me! ah me!
(Sweet Venus, mother!)
If love but over-soar its mark
(Ah me! ah me!
Hey diddle dee!)
What boots to fall again forlorn?
Ah me! ah me!
(Sweet Venus, mother!)
Scorned by the grinning hound of scorn,
(Ah me! ah me!
Dum diddle dee!)
Art thou not greater who art less?
Ah me! ah me!
(Sweet Venus, mother!)
Low love fulfilled of low success?
(Ah me! ah me!
Hey diddle dee!) Unknown. |
FATHER WILLIAM | "You are old, Father William," the young man said,
"And your hair has become very white;
And yet you incessantly stand on your head—
Do you think, at your age, it is right?"
"In my youth," Father William replied to his son,
"I feared it might injure the brain;
But now that I'm perfectly sure I have none,
Why, I do it again and again."
"You are old," said the youth, "as I mentioned before,
And have grown most uncommonly fat;
Yet you turned a back somersault in at the door—
Pray, what is the reason of that?"
"In my youth," said the sage, as he shook his gray locks,
"I kept all my limbs very supple
By the use of this ointment—one shilling the box—
Allow me to sell you a couple."
"You are old," said the youth, "and your jaws are too weak
For anything tougher than suet;
Yet you finished the goose, with the bones and the beak;
Pray, how did you manage to do it?"
"In my youth," said his father, "I took to the law,
And argued each case with my wife;
And the muscular strength which it gave to my jaw,
Has lasted the rest of my life."
"You are old," said the youth; "one would hardly suppose
That your eye was as steady as ever;
Yet you balanced an eel on the end of your nose—
What made you so awfully clever?"
"I have answered three questions, and that is enough,"
Said his father; "don't give yourself airs!
Do you think I can listen all day to such stuff?
Be off, or I'll kick you down-stairs!" Lewis Carroll. |
THE POETS AT TEA | 1—(Macaulay, who made it) Pour, varlet, pour the water,
The water steaming hot!
A spoonful for each man of us,
Another for the pot!
We shall not drink from amber,
Nor Capuan slave shall mix
For us the snows of Athos
With port at thirty-six;
Whiter than snow the crystals,
Grown sweet 'neath tropic fires,
More rich the herbs of China's field,
The pasture-lands more fragrance yield;
For ever let Britannia wield
The tea-pot of her sires! 2—(Tennyson, who took it hot) I think that I am drawing to an end:
For on a sudden came a gasp for breath,
And stretching of the hands, and blinded eyes,
And a great darkness falling on my soul.
O Hallelujah!... Kindly pass the milk. 3—(Swinburne, who let it get cold) As the sin that was sweet in the sinning
Is foul in the ending thereof,
As the heat of the summer's beginning
Is past in the winter of love:
O purity, painful and pleading!
O coldness, ineffably gray!
Oh, hear us, our handmaid unheeding.
And take it away!
4—(Cowper, who thoroughly enjoyed it) The cosy fire is bright and gay,
The merry kettle boils away
And hums a cheerful song.
I sing the saucer and the cup;
Pray, Mary, fill the tea-pot up,
And do not make it strong. 5—(Browning, who treated it allegorically) Tut! Bah! We take as another case—
Pass the bills on the pills on the window-sill; notice the capsule
(A sick man's fancy, no doubt, but I place
Reliance on trade-marks, Sir)—so perhaps you'll
Excuse the digression—this cup which I hold
Light-poised—Bah, it's spilt in the bed!—well, let's on go—
Hold Bohea and sugar, Sir; if you were told
The sugar was salt, would the Bohea be Congo? 6—(Wordsworth, who gave it away) "Come, little cottage girl, you seem
To want my cup of tea;
And will you take a little cream?
Now tell the truth to me."
She had a rustic, woodland grin,
Her cheek was soft as silk,
And she replied, "Sir, please put in
A little drop of milk."
"Why, what put milk into your head?
'Tis cream my cows supply;"
And five times to the child I said,
"Why, pig-head, tell me, why?"
"You call me pig-head," she replied;
"My proper name is Ruth.
I called that milk"—she blushed with pride—
"You bade me speak the truth."
7—(Poe, who got excited over it) Here's a mellow cup of tea, golden tea!
What a world of rapturous thought its fragrance brings to me!
Oh, from out the silver cells
How it wells!
How it smells!
Keeping tune, tune, tune
To the tintinnabulation of the spoon.
And the kettle on the fire
Boils its spout off with desire,
With a desperate desire
And a crystalline endeavour
Now, now to sit, or never,
On the top of the pale-faced moon,
But he always came home to tea, tea, tea, tea, tea,
Tea to the n——th. 8—(Rossetti, who took six cups of it) The lilies lie in my lady's bower
(O weary mother drive the cows to roost),
They faintly droop for a little hour;
My lady's head droops like a flower.
She took the porcelain in her hand
(O weary mother, drive the cows to roost);
She poured; I drank at her command;
Drank deep, and now—you understand!
(O weary mother, drive the cows to roost.) 9—(Burns, who liked it adulterated) Weel, gin ye speir, I'm no inclined,
Whusky or tay—to state my mind,
Fore ane or ither;
For, gin I tak the first, I'm fou,
And gin the next, I'm dull as you,
Mix a' thegither.
10—(Walt Whitman, who didn't stay more than a minute) One cup for myself-hood,
Many for you. Allons, camerados, we will drink together,
O hand-in-hand! That tea-spoon, please, when you've done with it.
What butter-colour'd hair you've got. I don't want to be personal.
All right, then, you needn't. You're a stale-cadaver.
Eighteen-pence if the bottles are returned.
Allons, from all bat-eyed formula. Barry Pain. |
HOW OFTEN | They stood on the bridge at midnight,
In a park not far from the town;
They stood on the bridge at midnight,
Because they didn't sit down.
The moon rose o'er the city,
Behind the dark church spire;
The moon rose o'er the city
And kept on rising higher.
How often, oh, how often!
They whispered words so soft;
How often, oh, how often;
How often, oh, how oft! Ben King. |
IF I SHOULD DIE TO-NIGHT | If I should die to-night
And you should come to my cold corpse and say,
Weeping and heartsick o'er my lifeless clay—
If I should die to-night,
And you should come in deepest grief and woe—
And say: "Here's that ten dollars that I owe,"
I might arise in my large white cravat
And say, "What's that?"
If I should die to-night
And you should come to my cold corpse and kneel,
Clasping my bier to show the grief you feel,
I say, if I should die to-night
And you should come to me, and there and then
Just even hint 'bout paying me that ten,
I might arise the while,
But I'd drop dead again. Ben King. |
"THE DAY IS DONE" | The day is done, and darkness
From the wing of night is loosed,
As a feather is wafted downward,
From a chicken going to roost.
I see the lights of the baker,
Gleam through the rain and mist,
And a feeling of sadness comes o'er me,
That I cannot well resist.
A feeling of sadness and longing
That is not like being sick,
And resembles sorrow only
As a brickbat resembles a brick.
Come, get for me some supper,—
A good and regular meal—
That shall soothe this restless feeling,
And banish the pain I feel.
Not from the pastry bakers,
Not from the shops for cake;
I wouldn't give a farthing
For all that they can make.
For, like the soup at dinner,
Such things would but suggest
Some dishes more substantial,
And to-night I want the best.
Go to some honest butcher,
Whose beef is fresh and nice,
As any they have in the city
And get a liberal slice.
Such things through days of labor,
And nights devoid of ease,
For sad and desperate feelings,
Are wonderful remedies.
They have an astonishing power
To aid and reinforce,
And come like the "finally, brethren,"
That follows a long discourse.
Then get me a tender sirloin
From off the bench or hook.
And lend to its sterling goodness
The science of the cook.
And the night shall be filled with comfort,
And the cares with which it begun
Shall fold up their blankets like Indians,
And silently cut and run. Phoebe Cary. |
JACOB | He dwelt among "Apartments let,"
About five stories high;
A man, I thought, that none would get,
And very few would try.
A boulder, by a larger stone
Half hidden in the mud,
Fair as a man when only one
Is in the neighborhood.
He lived unknown, and few could tell
When Jacob was not free;
But he has got a wife—and O!
The difference to me! Phoebe Cary. |
BALLAD OF THE CANAL | We were crowded in the cabin,
Not a soul had room to sleep;
It was midnight on the waters,
And the banks were very steep.
'Tis a fearful thing when sleeping,
To be startled by the shock,
And to hear the rattling trumpet
Thunder, "Coming to a lock!"
So we shuddered there in silence,
For the stoutest berth was shook,
While the wooden gates were opened
And the mate talked with the cook.
And as thus we lay in darkness,
Each one wishing we were there,
"We are through!" the captain shouted,
And he sat down on a chair.
And his little daughter whispered,
Thinking that he ought to know,
"Isn't travelling by canal-boats
Just as safe as it is slow?"
Then he kissed the little maiden,
And with better cheer we spoke,
And we trotted into Pittsburg,
When the morn looked through the smoke. Phoebe Cary. |
THERE'S A BOWER OF BEAN-VINES | There's a bower of bean-vines in Benjamin's yard,
And the cabbages grow round it, planted for greens;
In the time of my childhood 'twas terribly hard
To bend down the bean-poles, and pick off the beans.
That bower and its products I never forget,
But oft, when my landlady presses me hard,
I think, are the cabbages growing there yet,
Are the bean-vines still bearing in Benjamin's yard?
No, the bean-vines soon withered that once used to wave,
But some beans had been gathered, the last that hung on;
And a soup was distilled in a kettle, that gave
All the fragrance of summer when summer was gone.
Thus memory draws from delight, ere it dies,
An essence that breathes of it awfully hard;
As thus good to my taste as 'twas then to my eyes,
Is that bower of bean-vines in Benjamin's yard. Phoebe Cary. |
REUBEN | That very time I saw, (but thou couldst not),
Walking between the garden and the barn,
Reuben, all armed; a certain aim he took
At a young chicken, standing by a post,
And loosed his bullet smartly from his gun,
As he would kill a hundred thousand hens.
But I might see young Reuben's fiery shot
Lodged in the chaste board of the garden fence,
And the domesticated fowl passed on
In henly meditation, bullet free. Phoebe Cary. |
THE WIFE | Her washing ended with the day,
Yet lived she at its close,
And passed the long, long night away
In darning ragged hose.
But when the sun in all its state
Illumed the Eastern skies,
She passed about the kitchen grate
And went to making pies. Phoebe Cary. |
WHEN LOVELY WOMAN | When lovely woman wants a favor,
And finds, too late, that man won't bend,
What earthly circumstance can save her
From disappointment in the end?
The only way to bring him over,
The last experiment to try,
Whether a husband or a lover,
If he have feeling is—to cry. Phoebe Cary. |
JOHN THOMPSON'S DAUGHTER | A fellow near Kentucky's clime
Cries, "Boatman, do not tarry,
And I'll give thee a silver dime
To row us o'er the ferry."
"Now, who would cross the Ohio,
This dark and stormy water?"
"O, I am this young lady's beau,
And she, John Thompson's daughter.
"We've fled before her father's spite
With great precipitation;
And should he find us here to-night,
I'd lose my reputation.
"They've missed the girl and purse beside,
His horsemen hard have pressed me;
And who will cheer my bonny bride,
If yet they shall arrest me?"
Out spoke the boatman then in time,
"You shall not fail, don't fear it;
I'll go, not for your silver dime,
But for your manly spirit.
"And by my word, the bonny bird
In danger shall not tarry;
For though a storm is coming on,
I'll row you o'er the ferry."
By this the wind more fiercely rose,
The boat was at the landing;
And with the drenching rain their clothes
Grew wet where they were standing.
But still, as wilder rose the wind,
And as the night grew drearer;
Just back a piece came the police,
Their tramping sounded nearer.
"Oh, haste thee, haste!" the lady cries,
"It's anything but funny;
I'll leave the light of loving eyes,
But not my father's money!"
And still they hurried in the face
Of wind and rain unsparing;
John Thompson reached the landing place—
His wrath was turned to swearing.
For by the lightning's angry flash,
His child he did discover;
One lovely hand held all the cash,
And one was round her lover!
"Come back, come back!" he cried in woe,
Across the stormy water;
"But leave the purse, and you may go,
My daughter, oh, my daughter!"
'Twas vain; they reached the other shore
(Such doom the Fates assign us);
The gold he piled went with his child,
And he was left there minus. Phoebe Cary. |
A PORTRAIT | He is to weet a melancholy carle:
Thin in the waist, with bushy head of hair,
As hath the seeded thistle, when a parle
It holds with Zephyr, ere it sendeth fair
Its light balloons into the summer air;
Thereto his beard had not begun to bloom.
No brush had touched his cheek, or razor sheer;
No care had touched his cheek with mortal doom,
But new he was and bright, as scarf from Persian loom.
Ne carÈd he for wine, or half and half;
Ne carÈd he for fish, or flesh, or fowl;
And sauces held he worthless as the chaff;
He 'sdeigned the swine-head at the wassail-bowl:
Ne with lewd ribbalds sat he cheek by jowl;
Ne with sly lemans in the scorner's chair;
But after water-brooks this pilgrim's soul
Panted and all his food was woodland air;
Though he would oft-times feast on gilliflowers rare.
The slang of cities in no wise he knew,
Tipping the wink to him was heathen Greek;
He sipped no "olden Tom," or "ruin blue,"
Or Nantz, or cherry-brandy, drunk full meek
By many a damsel brave and rouge of cheek;
Nor did he know each aged watchman's beat,
Nor in obscurÈd purlieus would be seek
For curlÈd Jewesses, with ankles neat,
Who, as they walk abroad, make tinkling with their feet. John Keats. |
ANNABEL LEE | 'Twas more than a million years ago,
Or so it seems to me,
That I used to prance around and beau
The beautiful Annabel Lee.
There were other girls in the neighborhood
But none was a patch to she.
And this was the reason that long ago,
My love fell out of a tree,
And busted herself on a cruel rock;
A solemn sight to see,
For it spoiled the hat and gown and looks
Of the beautiful Annabel Lee.
We loved with a love that was lovely love,
I and my Annabel Lee,
And we went one day to gather the nuts
That men call hickoree.
And I stayed below in the rosy glow
While she shinned up the tree,
But no sooner up than down kerslup
Came the beautiful Annabel Lee.
And the pallid moon and the hectic noon
Bring gleams of dreams for me,
Of the desolate and desperate fate
Of the beautiful Annabel Lee.
And I often think as I sink on the brink
Of slumber's sea, of the warm pink link
That bound my soul to Annabel Lee;
And it wasn't just best for her interest
To climb that hickory tree,
For had she stayed below with me,
We'd had no hickory nuts maybe,
But I should have had my Annabel Lee. Stanley Huntley. |
HOME SWEET HOME WITH VARIATIONS FANTASIA I The original theme as John Howard Payne wrote it: 'Mid pleasures and palaces though we may roam,
Be it ever so humble, there's no place like home!
A charm from the skies seems to hallow it there,
Which, seek through the world, is not met with elsewhere.
Home, home! Sweet, Sweet Home!
There's no place like Home!
An exile from home, splendor dazzles in vain!
Oh, give me my lowly thatched cottage again!
The birds singing gaily that came at my call!
Give me them! and the peace of mind, dearer than all.
Home, home! Sweet, Sweet Home!
There's no place like Home!
II |
