Poems & Ballads (First Series)
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Title: Poems & Ballads (First Series)
Author: Algernon Charles Swinburne
Release date: February 26, 2011 [eBook #35402]
Language: English
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Poems and Ballads
First Series
By
Algernon Charles Swinburne
Taken from
The Collected Poetical Works of Algernon Charles Swinburne--Vol I
SWINBURNE'S POETICAL WORKS
I. POEMS AND BALLADS (First Series).
II. SONGS BEFORE SUNRISE, and SONGS OF TWO NATIONS.
III. POEMS AND BALLADS (SECOND AND THIRD SERIES), and SONGS OF THE
SPRING-TIDES.
IV. TRISTRAM OF LYONESSE, THE TALE OF BALEN, ATALANTA IN CALYDON,
ERECHTHEUS.
V. STUDIES IN SONG, A CENTURY OF ROUNDELS, SONNETS ON ENGLISH
DRAMATIC POETS, THE HEPTALOGIA, ETC.
VI. A MIDSUMMER HOLIDAY, ASTROPHEL, A CHANNEL PASSAGE AND OTHER
POEMS.
London: William Heinemann
POEMS & BALLADS
(FIRST SERIES)
By
Algernon Charles Swinburne
1917
London: William Heinemann
_First printed_ (_Chatto_), 1904
_Reprinted_ 1904, '09, '10, '12
(_Heinemann_), 1917
_London_: _William Heinemann_ 1917
TO
THEODORE WATTS-DUNTON
DEDICATORY EPISTLE
To my best and dearest friend I dedicate the first collected edition of
my poems, and to him I address what I have to say on the occasion.
You will agree with me that it is impossible for any man to undertake
the task of commentary, however brief and succinct, on anything he has
done or tried to do, without incurring the charge of egoism. But there
are two kinds of egoism, the furtive and the frank: and the outspoken
and open-hearted candour of Milton and Wordsworth, Corneille and Hugo,
is not the least or the lightest of their claims to the regard as well
as the respect or the reverence of their readers. Even if I were worthy
to claim kinship with the lowest or with the highest of these deathless
names, I would not seek to shelter myself under the shadow of its
authority. The question would still remain open on all sides. Whether it
is worth while for any man to offer any remarks or for any other man to
read his remarks on his own work, his own ambition, or his own attempts,
he cannot of course determine. If there are great examples of abstinence
from such a doubtful enterprise, there are likewise great examples to
the contrary. As long as the writer can succeed in evading the kindred
charges and the cognate risks of vanity and humility, there can be no
reason why he should not undertake it. And when he has nothing to regret
and nothing to recant, when he finds nothing that he could wish to
cancel, to alter, or to unsay, in any page he has ever laid before his
reader, he need not be seriously troubled by the inevitable
consciousness that the work of his early youth is not and cannot be
unnaturally unlike the work of a very young man. This would be no excuse
for it, if it were in any sense bad work: if it be so, no apology would
avail; and I certainly have none to offer.
It is now thirty-six years since my first volume of miscellaneous verse,
lyrical and dramatic and elegiac and generally heterogeneous, had as
quaint a reception and as singular a fortune as I have ever heard or
read of. I do not think you will differ from my opinion that what is
best in it cannot be divided from what is not so good by any other line
of division than that which marks off mature from immature execution--in
other words, complete from incomplete conception. For its author the
most amusing and satisfying result of the clatter aroused by it was the
deep diversion of collating and comparing the variously inaccurate
verdicts of the scornful or mournful censors who insisted on regarding
all the studies of passion or sensation attempted or achieved in it as
either confessions of positive fact or excursions of absolute fancy.
There are photographs from life in the book; and there are sketches from
imagination. Some which keen-sighted criticism has dismissed with a
smile as ideal or imaginary were as real and actual as they well could
be: others which have been taken for obvious transcripts from memory
were utterly fantastic or dramatic. If the two kinds cannot be
distinguished, it is surely rather a credit than a discredit to an
artist whose medium or material has more in common with a musician's
than with a sculptor's. Friendly and kindly critics, English and
foreign, have detected ignorance of the subject in poems taken straight
from the life, and have protested that they could not believe me were I
to swear that poems entirely or mainly fanciful were not faithful
expressions or transcriptions of the writer's actual experience and
personal emotion. But I need not remind you that all I have to say about
this book was said once for all in the year of its publication: I have
nothing to add to my notes then taken, and I have nothing to retract
from them. To parade or to disclaim experience of passion or of sorrow,
of pleasure or of pain, is the habit and the sign of a school which has
never found a disciple among the better sort of English poets, and which
I know to be no less pitifully contemptible in your opinion than in
mine.
In my next work it should be superfluous to say that there is no touch
of dramatic impersonation or imaginary emotion. The writer of 'Songs
before Sunrise,' from the first line to the last, wrote simply in
submissive obedience to Sir Philip Sidney's precept--'Look in thine
heart, and write.' The dedication of these poems, and the fact that the
dedication was accepted, must be sufficient evidence of this. They do
not pretend and they were never intended to be merely the metrical
echoes, or translations into lyric verse, of another man's doctrine.
Mazzini was no more a Pope or a Dictator than I was a parasite or a
papist. Dictation and inspiration are rather different things. These
poems, and others which followed or preceded them in print, were
inspired by such faith as is born of devotion and reverence: not by such
faith, if faith it may be called, as is synonymous with servility or
compatible with prostration of an abject or wavering spirit and a
submissive or dethroned intelligence. You know that I never pretended to
see eye to eye with my illustrious friends and masters, Victor Hugo and
Giuseppe Mazzini, in regard to the positive and passionate confidence of
their sublime and purified theology. Our betters ought to know better
than we: they would be the last to wish that we should pretend to their
knowledge, or assume a certitude which is theirs and is not ours. But on
one point we surely cannot but be at one with them: that the spirit and
the letter of all other than savage and barbarous religions are
irreconcilably at variance, and that prayer or homage addressed to an
image of our own or of other men's making, be that image avowedly
material or conventionally spiritual, is the affirmation of idolatry
with all its attendant atrocities, and the negation of all belief, all
reverence, and all love, due to the noblest object of human worship that
humanity can realise or conceive. Thus much the exercise of our common
reason might naturally suffice to show us: but when its evidence is
confirmed and fortified by the irrefragable and invariable evidence of
history, there is no room for further dispute or fuller argument on a
subject now visibly beyond reach and eternally beyond need of debate or
demonstration. I know not whether it may or may not be worth while to
add that every passing word I have since thought fit to utter on any
national or political question has been as wholly consistent with the
principles which I then did my best to proclaim and defend as any
apostasy from the faith of all republicans in the fundamental and final
principle of union, voluntary if possible and compulsory if not, would
have been ludicrous in the impudence of its inconsistency with those
simple and irreversible principles. Monarchists and anarchists may be
advocates of national dissolution and reactionary division: republicans
cannot be. The first and last article of their creed is unity: the most
grinding and crushing tyranny of a convention, a directory, or a despot,
is less incompatible with republican faith than the fissiparous
democracy of disunionists or communalists.
If the fortunes of my lyrical work were amusingly eccentric and
accidental, the varieties of opinion which have saluted the appearance
of my plays have been, or have seemed to my humility, even more
diverting and curious. I have been told by reviewers of note and
position that a single one of them is worth all my lyric and otherwise
undramatic achievements or attempts: and I have been told on equal or
similar authority that, whatever I may be in any other field, as a
dramatist I am demonstrably nothing. My first if not my strongest
ambition was to do something worth doing, and not utterly unworthy of a
young countryman of Marlowe the teacher and Webster the pupil of
Shakespeare, in the line of work which those three poets had left as a
possibly unattainable example for ambitious Englishmen. And my first
book, written while yet under academic or tutorial authority, bore
evidence of that ambition in every line. I should be the last to deny
that it also bore evidence of the fact that its writer had no more
notion of dramatic or theatrical construction than the authors of
'Tamburlaine the Great,' 'King Henry VI.,' and 'Sir Thomas Wyatt.' Not
much more, you may possibly say, was discernible in 'Chastelard': a play
also conceived and partly written by a youngster not yet emancipated
from servitude to college rule. I fear that in the former volume there
had been little if any promise of power to grapple with the realities
and subtleties of character and of motive: that whatever may be in it of
promise or of merit must be sought in the language and the style of such
better passages as may perhaps be found in single and separable speeches
of Catherine and of Rosamond. But in 'Chastelard' there are two figures
and a sketch in which I certainly seem to see something of real and
evident life. The sketch of Darnley was afterwards filled out and
finished in the subsequent tragedy of 'Bothwell.' That ambitious,
conscientious, and comprehensive piece of work is of course less
properly definable as a tragedy than by the old Shakespearean term of a
chronicle history. The radical difference between tragic history and
tragedy of either the classic or the romantic order, and consequently
between the laws which govern the one and the principles which guide the
other, you have yourself made clear and familiar to all capable
students. This play of mine was not, I think, inaccurately defined as an
epic drama in the French verses of dedication which were acknowledged by
the greatest of all French poets in a letter from which I dare only
quote one line of Olympian judgment and godlike generosity. 'Occuper ces
deux cimes, cela n'est donne qu'a vous.' Nor will I refrain from the
confession that I cannot think it an epic or a play in which any one
part is sacrificed to any other, any subordinate figure mishandled or
neglected or distorted or effaced for the sake of the predominant and
central person. And, though this has nothing or less than nothing to do
with any question of poetic merit or demerit, of dramatic success or
unsuccess, I will add that I took as much care and pains as though I had
been writing or compiling a history of the period to do loyal justice to
all the historic figures which came within the scope of my dramatic or
poetic design. There is not one which I have designedly altered or
intentionally modified: it is of course for others to decide whether
there is one which is not the living likeness of an actual or imaginable
man.
The third part of this trilogy, as far as I know or remember, found
favour only with the only man in England who could speak on the subject
of historic drama with the authority of an expert and a master. The
generally ungracious reception of 'Mary Stuart' gave me neither surprise
nor disappointment: the cordial approbation or rather the generous
applause of Sir Henry Taylor gave me all and more than all the
satisfaction I could ever have looked for in recompense of as much
painstaking and conscientious though interesting and enjoyable work as
can ever, I should imagine, have been devoted to the completion of any
comparable design. Private and personal appreciation I have always
thought and often found more valuable and delightful than all possible
or imaginable clamour of public praise. This preference will perhaps be
supposed to influence my opinion if I avow that I think I have never
written anything worthier of such reward than the closing tragedy which
may or may not have deserved but which certainly received it.
My first attempt to do something original in English which might in some
degree reproduce for English readers the likeness of a Greek tragedy,
with possibly something more of its true poetic life and charm than
could have been expected from the authors of 'Caractacus' and 'Merope,'
was perhaps too exuberant and effusive in its dialogue, as it certainly
was too irregular in the occasional license of its choral verse, to
accomplish the design or achieve the success which its author should
have aimed at. It may or may not be too long as a poem: it is, I fear,
too long for a poem of the kind to which it belongs or aims at
belonging. Poetical and mathematical truth are so different that I
doubt, however unwilling I may naturally be to doubt, whether it can
truthfully be said of 'Atalanta in Calydon' that the whole is greater
than any part of it. I hope it may be, and I can honestly say no more.
Of 'Erechtheus' I venture to believe with somewhat more confidence that
it can. Either poem, by the natural necessity of its kind and structure,
has its crowning passage or passages which cannot, however much they may
lose by detachment from their context, lose as much as the crowning
scene or scenes of an English or Shakespearean play, as opposed to an
AEschylean or Sophoclean tragedy, must lose and ought to lose by a
similar separation. The two best things in these two Greek plays, the
antiphonal lamentation for the dying Meleager and the choral
presentation of stormy battle between the forces of land and sea, lose
less by such division from the main body of the poem than would those
scenes in 'Bothwell' which deal with the turning-point in the life of
Mary Stuart on the central and conclusive day of Carberry Hill.
It might be thought pedantic or pretentious in a modern poet to divide
his poems after the old Roman fashion into sections and classes; I must
confess that I should like to see this method applied, were it but by
way of experiment in a single edition, to the work of the leading poets
of our own country and century: to see, for instance, their lyrical and
elegiac works ranged and registered apart, each kind in a class of its
own, such as is usually reserved, I know not why, for sonnets only. The
apparent formality of such an arrangement as would give us, for
instance, the odes of Coleridge and Shelley collected into a distinct
reservation or division might possibly be more than compensated to the
more capable among students by the gain in ethical or spiritual symmetry
and aesthetic or intellectual harmony. The ode or hymn--I need remind no
probable reader that the terms are synonymous in the speech of
Pindar--asserts its primacy or pre-eminence over other forms of poetry
in the very name which defines or proclaims it as essentially the song;
as something above all less pure and absolute kinds of song by the very
nature and law of its being. The Greek form, with its regular
arrangement of turn, return, and aftersong, is not to be imitated
because it is Greek, but to be adopted because it is best: the very
best, as a rule, that could be imagined for lyrical expression of the
thing conceived or lyrical aspiration towards the aim imagined. The
rhythmic reason of its rigid but not arbitrary law lies simply and
solely in the charm of its regular variations. This can be given in
English as clearly and fully, if not so sweetly and subtly, as in Greek;
and should, therefore, be expected and required in an English poem of
the same nature and proportion. The Sapphic or Alcaic ode, a simple
sequence of identical stanzas, could be imitated or revived in Latin by
translators or disciples: the scheme of it is exquisitely adequate and
sufficient for comparatively short flights of passion or emotion, ardent
or contemplative and personal or patriotic; but what can be done in
English could not be attempted in Latin. It seems strange to me, our
language being what it is, that our literature should be no richer than
it is in examples of the higher or at least the more capacious and
ambitious kind of ode. Not that the full Pindaric form of threefold or
triune structure need be or should be always adopted: but without an
accurately corresponsive or antiphonal scheme of music even the master
of masters, who is Coleridge, could not produce, even through the superb
and enchanting melodies of such a poem as his 'Dejection,' a fit and
complete companion, a full and perfect rival, to such a poem as his ode
on France.
The title of ode may more properly and fairly be so extended as to cover
all lyrical poems in stanzas or couplets than so strained as to include
a lawless lyric of such irregular and uneven build as Coleridge only and
hardly could make acceptable or admissible among more natural and lawful
forms of poetry. Law, not lawlessness, is the natural condition of
poetic life; but the law must itself be poetic and not pedantic, natural
and not conventional. It would be a trivial precision or restriction
which would refuse the title of ode to the stanzas of Milton or the
heptameters of Aristophanes; that glorious form of lyric verse which a
critic of our own day, as you may not impossibly remember, has likened
with such magnificent felicity of comparison to the gallop of the horses
of the sun. Nor, I presume, should this title be denied to a poem
written in the more modest metre--more modest as being shorter by a
foot--which was chosen for those twin poems of antiphonal correspondence
in subject and in sound, the 'Hymn to Proserpine' and the 'Hymn of Man':
the deathsong of spiritual decadence and the birthsong of spiritual
renascence. Perhaps, too, my first stanzas addressed to Victor Hugo may
be ranked as no less of an ode than that on the insurrection in Candia:
a poem which attracted, whether or not it may have deserved, the notice
and commendation of Mazzini: from whom I received, on the occasion of
its appearance, a letter which was the beginning of my personal
intercourse with the man whom I had always revered above all other men
on earth. But for this happy accident I might not feel disposed to set
much store by my first attempt at a regular ode of orthodox or
legitimate construction; I doubt whether it quite succeeded in evading
the criminal risk and the capital offence of formality; at least until
the change of note in the closing epode gave fuller scope and freer play
of wing to the musical expression. But in my later ode on Athens,
absolutely faithful as it is in form to the strictest type and the most
stringent law of Pindaric hymnology, I venture to believe that there is
no more sign of this infirmity than in the less classically regulated
poem on the Armada; which, though built on a new scheme, is nevertheless
in its way, I think, a legitimate ode, by right of its regularity in
general arrangement of corresponsive divisions. By the test of these two
poems I am content that my claims should be decided and my station
determined as a lyric poet in the higher sense of the term; a craftsman
in the most ambitious line of his art that ever aroused or ever can
arouse the emulous aspiration of his kind.
Even had I ever felt the same impulse to attempt and the same ambition
to achieve the enterprise of epic or narrative that I had always felt
with regard to lyric or dramatic work, I could never have proposed to
myself the lowly and unambitious aim of competition with the work of so
notable a contemporary workman in the humbler branch of that line as
William Morris. No conception could have been further from my mind when
I undertook to rehandle the deathless legend of Tristram than that of so
modest and preposterous a trial of rivalry. My aim was simply to present
that story, not diluted and debased as it had been in our own time by
other hands, but undefaced by improvement and undeformed by
transformation, as it was known to the age of Dante wherever the
chronicles of romance found hearing, from Ercildoune to Florence: and
not in the epic or romantic form of sustained or continuous narrative,
but mainly through a succession of dramatic scenes or pictures with
descriptive settings or backgrounds: the scenes being of the simplest
construction, duologue or monologue, without so much as the classically
permissible intervention of a third or fourth person. It is only in our
native northern form of narrative poetry, on the old and unrivalled
model of the English ballad, that I can claim to have done any work of
the kind worth reference: unless the story of Balen should be considered
as something other than a series or sequence of ballads. A more
plausible objection was brought to bear against 'Tristram of Lyonesse'
than that of failure in an enterprise which I never thought of
undertaking: the objection of an irreconcilable incongruity between the
incidents of the old legend and the meditations on man and nature, life
and death, chance and destiny, assigned to a typical hero of chivalrous
romance. And this objection might be unanswerable if the slightest
attempt had been made to treat the legend as in any possible sense
historical or capable of either rational or ideal association with
history, such as would assimilate the name and fame of Arthur to the
name and fame of any actual and indisputable Alfred or Albert of the
future. But the age when these romances actually lived and flourished
side by side with the reviving legends of Thebes and Troy, not in the
crude and bloodless forms of Celtic and archaic fancy but in the ampler
and manlier developments of Teutonic and mediaeval imagination, was the
age of Dante and of Chaucer: an age in which men were only too prone to
waste their time on the twin sciences of astrology and theology, to
expend their energies in the jungle of pseudosophy or the morass of
metaphysics. There is surely nothing more incongruous or anachronic in
the soliloquy of Tristram after his separation from Iseult than in the
lecture of Theseus after the obsequies of Arcite. Both heroes belong to
the same impossible age of an imaginary world: and each has an equal
right, should it so please his chronicler, to reason in the pauses of
action and philosophise in the intervals of adventure. After all, the
active men of the actual age of chivalry were not all of them mere
muscular machines for martial or pacific exercise of their physical
functions or abilities.
You would agree, if the point were worth discussion, that it might
savour somewhat of pretention, if not of affectation, to be over
particular in arrangement of poems according to subject rather than
form, spirit rather than method, or motive rather than execution: and
yet there might be some excuse for the fancy or the pedantry of such a
classification as should set apart, for example, poems inspired by the
influence of places, whether seen but once or familiar for years or
associated with the earliest memories within cognisance or record of the
mind, and poems inspired by the emotions of regard or regret for the
living or the dead; above all, by the rare and profound passion of
reverence and love and faith which labours and rejoices to find
utterance in some tributary sacrifice of song. Mere descriptive poetry
of the prepense and formal kind is exceptionally if not proverbially
liable to incur and to deserve the charge of dullness: it is unnecessary
to emphasise or obtrude the personal note, the presence or the emotion
of a spectator, but it is necessary to make it felt and keep it
perceptible if the poem is to have life in it or even a right to live:
felt as in Wordsworth's work it is always, perceptible as it is always
in Shelley's. This note is more plain and positive than usual in the
poem which attempts--at once a simple and an ambitious attempt--to
render the contrast and the concord of night and day on Loch Torridon:
it is, I think, duly sensible though implicitly subdued in four poems of
the West Undercliff, born or begotten of sunset in the bay and moonlight
on the cliffs, noon or morning in a living and shining garden, afternoon
or twilight on one left flowerless and forsaken. Not to you or any other
poet, nor indeed to the very humblest and simplest lover of poetry, will
it seem incongruous or strange, suggestive of imperfect sympathy with
life or deficient inspiration from nature, that the very words of Sappho
should be heard and recognised in the notes of the nightingales, the
glory of the presence of dead poets imagined in the presence of the
glory of the sky, the lustre of their advent and their passage felt
visible as in vision on the live and limpid floorwork of the cloudless
and sunset-coloured sea. The half-brained creature to whom books are
other than living things may see with the eyes of a bat and draw with
the fingers of a mole his dullard's distinction between books and life:
those who live the fuller life of a higher animal than he know that
books are to poets as much part of that life as pictures are to painters
or as music is to musicians, dead matter though they may be to the
spiritually still-born children of dirt and dullness who find it
possible and natural to live while dead in heart and brain. Marlowe and
Shakespeare, AEschylus and Sappho, do not for us live only on the dusty
shelves of libraries.
It is hardly probable that especial and familiar love of places should
give any special value to verses written under the influence of their
charm: no intimacy of years and no association with the past gave any
colour of emotion to many other studies of English land and sea which
certainly are no less faithful and possibly have no less spiritual or
poetic life in them than the four to which I have just referred, whose
localities lie all within the boundary of a mile or so. No contrast
could be stronger than that between the majestic and exquisite glory of
cliff and crag, lawn and woodland, garden and lea, to which I have done
homage though assuredly I have not done justice in these four poems--'In
the Bay,' 'On the Cliffs,' 'A Forsaken Garden,' the dedication of 'The
Sisters'--and the dreary beauty, inhuman if not unearthly in its
desolation, of the innumerable creeks and inlets, lined and paven with
sea-flowers, which make of the salt marshes a fit and funereal setting,
a fatal and appropriate foreground, for the supreme desolation of the
relics of Dunwich; the beautiful and awful solitude of a wilderness on
which the sea has forbidden man to build or live, overtopped and bounded
by the tragic and ghastly solitude of a headland on which the sea has
forbidden the works of human charity and piety to survive: between the
dense and sand-encumbered tides which are eating the desecrated wreck
and ruin of them all away, and the matchless magic, the ineffable
fascination of the sea whose beauties and delights, whose translucent
depths of water and divers-coloured banks of submarine foliage and
flowerage, but faintly reflected in the stanzas of the little ode 'Off
Shore,' complete the charm of the scenes as faintly sketched or shadowed
forth in the poems just named, or the sterner and stranger magic of the
seaboard to which tribute was paid in 'An Autumn Vision,' 'A Swimmer's
Dream,' 'On the South Coast,' 'Neap-tide': or, again, between the
sterile stretches and sad limitless outlook of the shore which faces a
hitherto undetermined and interminable sea, and the joyful and fateful
beauty of the seas off Bamborough and the seas about Sark and Guernsey.
But if there is enough of the human or personal note to bring into touch
the various poems which deal with these various impressions, there may
perhaps be no less of it discernible in such as try to render the effect
of inland or woodland solitude--the splendid oppression of nature at
noon which found utterance of old in words of such singular and
everlasting significance as panic and nympholepsy.
The retrospect across many years over the many eulogistic and elegiac
poems which I have inscribed or devoted to the commemoration or the
panegyric of the living or the dead has this in it of pride and
pleasure, that I find little to recant and nothing to repent on
reconsideration of them all. If ever a word of tributary thanksgiving
for the delight and the benefit of loyal admiration evoked in the spirit
of a boy or aroused in the intelligence of a man may seem to exceed the
limit of demonstrable accuracy, I have no apology to offer for any such
aberration from the safe path of tepid praise or conventional applause.
I can truly say with Shelley that I have been fortunate in friendships:
I might add if I cared, as he if he had cared might have added, that I
have been no less fortunate in my enemies than in my friends; and this,
though by comparison a matter of ineffable insignificance, can hardly be
to any rational and right-minded man a matter of positive indifference.
Rather should it be always a subject for thankfulness and
self-congratulation if a man can honestly and reasonably feel assured
that his friends and foes alike have been always and at almost all
points the very men he would have chosen, had choice and foresight been
allowed him, at the very outset of his career in life. I should never,
when a boy, have dared to dream that as a man I might possibly be
admitted to the personal acquaintance of the three living gods, I do not
say of my idolatry, for idolatry is a term inapplicable where the gods
are real and true, but of my whole-souled and single-hearted worship:
and yet, when writing of Landor, of Mazzini, and of Hugo, I write of men
who have honoured me with the assurance and the evidence of their
cordial and affectionate regard. However inadequate and unworthy may be
my tribute to their glory when living and their memory when dead, it is
that of one whose gratitude and devotion found unforgettable favour in
their sight. And I must be allowed to add that the redeeming quality of
entire and absolute sincerity may be claimed on behalf of every line I
have written in honour of friends, acquaintances, or strangers. My
tribute to Richard Burton was not more genuine in its expression than my
tribute to Christina Rossetti. Two noble human creatures more utterly
unlike each other it would be unspeakably impossible to conceive; but it
was as simply natural for one who honoured them both to do honest
homage, before and after they had left us, to the saintly and secluded
poetess as to the adventurous and unsaintly hero. Wherever anything is
worthy of honour and thanksgiving it is or it always should be as
natural if not as delightful to give thanks and do honour to a stranger
as to a friend, to a benefactor long since dead as to a benefactor still
alive. To the kindred spirits of Philip Sidney and Aurelio Saffi it was
almost as equal a pleasure to offer what tribute I could bring as if
Sidney also could have honoured me with his personal friendship. To
Tennyson and Browning it was no less fit that I should give honour than
that I should do homage to the memory of Bruno, the martyred friend of
Sidney. And I can hardly remember any task that I ever took more delight
in discharging than I felt in the inadequate and partial payment of a
lifelong debt to the marvellous and matchless succession of poets who
made the glory of our country incomparable for ever by the work they did
between the joyful date of the rout of the Armada and the woful date of
the outbreak of civil war.
Charles Lamb, as I need not remind you, wrote for antiquity: nor need
you be assured that when I write plays it is with a view to their being
acted at the Globe, the Red Bull, or the Black Friars. And whatever may
be the dramatic or other defects of 'Marino Faliero' or 'Locrine,' they
do certainly bear the same relation to previous plays or attempts at
plays on the same subjects as 'King Henry V.' to 'The Famous
Victories'--if not as 'King Lear,' a poem beyond comparison with all
other works of man except possibly 'Prometheus' and 'Othello,' to the
primitive and infantile scrawl or drivel of 'King Leir and his three
daughters.' The fifth act of 'Marino Faliero,' hopelessly impossible as
it is from the point of view of modern stagecraft, could hardly have
been found too untheatrical, too utterly given over to talk without
action, by the audiences which endured and applauded the magnificent
monotony of Chapman's eloquence--the fervent and inexhaustible
declamation which was offered and accepted as a substitute for study of
character and interest of action when his two finest plays, if plays
they can be called, found favour with an incredibly intelligent and an
inconceivably tolerant audience. The metrical or executive experiment
attempted and carried through in 'Locrine' would have been improper to
any but a purely and wholly romantic play or poem: I do not think that
the life of human character or the lifelikeness of dramatic dialogue has
suffered from the bondage of rhyme or has been sacrificed to the
exigence of metre. The tragedy of 'The Sisters,' however defective it
may be in theatrical interest or progressive action, is the only modern
English play I know in which realism in the reproduction of natural
dialogue and accuracy in the representation of natural intercourse
between men and women of gentle birth and breeding have been found or
made compatible with expression in genuine if simple blank verse. It is
not for me to decide whether anything in the figures which play their
parts on my imaginary though realistic stage may be worthy of sympathy,
attention, or interest: but I think they talk and act as they would have
done in life without ever lapsing into platitude or breaking out of
nature.
In 'Rosamund, Queen of the Lombards,' I took up a subject long since
mishandled by an English dramatist of all but the highest rank, and one
which in later days Alfieri had commemorated in a magnificent passage of
a wholly unhistoric and somewhat unsatisfactory play. The comparatively
slight deviation from historic records in the final catastrophe or
consummation of mine is not, I think, to say the least, injurious to the
tragic effect or the moral interest of the story.
A writer conscious of any natural command over the musical resources of
his language can hardly fail to take such pleasure in the enjoyment of
this gift or instinct as the greatest writer and the greatest versifier
of our age must have felt at its highest possible degree when composing
a musical exercise of such incomparable scope and fullness as 'Les
Djinns.' But if he be a poet after the order of Hugo or Coleridge or
Shelley, the result will be something very much more than a musical
exercise; though indeed, except to such ears as should always be kept
closed against poetry, there is no music in verse which has not in it
sufficient fullness and ripeness of meaning, sufficient adequacy of
emotion or of thought, to abide the analysis of any other than the
purblind scrutiny of prepossession or the squint-eyed inspection of
malignity. There may perhaps be somewhat more depth and variety of
feeling or reflection condensed into the narrow frame of the poems which
compose 'A Century of Roundels' than would be needed to fulfil the epic
vacuity of a Choerilus or a Coluthus. And the form chosen for my only
narrative poem was chosen as a test of the truth of my conviction that
such work could be done better on the straitest and the strictest
principles of verse than on the looser and more slippery lines of
mediaeval or modern improvisation. The impulsive and irregular verse
which had been held sufficient for the stanza selected or accepted by
Thornton and by Tennyson seemed capable of improvement and invigoration
as a vehicle or a medium for poetic narrative. And I think it has not
been found unfit to give something of dignity as well as facility to a
narrative which recasts in modern English verse one of the noblest and
loveliest old English legends. There is no episode in the cycle of
Arthurian romance more genuinely Homeric in its sublime simplicity and
its pathetic sublimity of submission to the masterdom of fate than that
which I have rather reproduced than recast in 'The Tale of Balen': and
impossible as it is to render the text or express the spirit of the
Iliad in English prose or rhyme--above all, in English blank verse--it
is possible, in such a metre as was chosen and refashioned for this
poem, to give some sense of the rage and rapture of battle for which
Homer himself could only find fit and full expression by similitudes
drawn like mine from the revels and the terrors and the glories of the
sea.
It is nothing to me that what I write should find immediate or general
acceptance: it is much to know that on the whole it has won for me the
right to address this dedication and inscribe this edition to you.
ALGERNON CHARLES SWINBURNE.
POEMS AND BALLADS
TO
MY FRIEND
EDWARD BURNE JONES
THESE POEMS
ARE AFFECTIONATELY AND ADMIRINGLY
DEDICATED
CONTENTS
POEMS AND BALLADS
PAGE
A BALLAD OF LIFE 1
A BALLAD OF DEATH 4
LAUS VENERIS 11
PHAEDRA 27
THE TRIUMPH OF TIME 34
LES NOYADES 48
A LEAVE-TAKING 52
ITYLUS 54
ANACTORIA 57
HYMN TO PROSERPINE 67
ILICET 74
HERMAPHRODITUS 79
FRAGOLETTA 82
RONDEL 85
SATIA TE SANGUINE 87
A LITANY 89
A LAMENTATION 95
ANIMA ANCEPS 100
IN THE ORCHARD 102
A MATCH 104
FAUSTINE 106
A CAMEO 113
SONG BEFORE DEATH 114
ROCOCO 115
STAGE LOVE 118
THE LEPER 119
A BALLAD OF BURDENS 125
RONDEL 128
BEFORE THE MIRROR 129
EROTION 132
IN MEMORY OF WALTER SAVAGE LANDOR 134
A SONG IN TIME OF ORDER. 1852 137
A SONG IN TIME OF REVOLUTION. 1860. 140
TO VICTOR HUGO 144
BEFORE DAWN 151
DOLORES 154
THE GARDEN OF PROSERPINE 169
HESPERIA 173
LOVE AT SEA 179
APRIL 181
BEFORE PARTING 184
THE SUNDEW 186
FELISE 188
AN INTERLUDE 199
HENDECASYLLABICS 202
SAPPHICS 204
AT ELEUSIS 208
AUGUST 215
A CHRISTMAS CAROL 218
THE MASQUE OF QUEEN BERSABE 221
ST. DOROTHY 237
THE TWO DREAMS 252
AHOLIBAH 266
LOVE AND SLEEP 272
MADONNA MIA 273
THE KING'S DAUGHTER 276
AFTER DEATH 279
MAY JANET 282
THE BLOODY SON 284
THE SEA-SWALLOWS 288
THE YEAR OF LOVE 291
DEDICATION, 1865 293
A BALLAD OF LIFE
I found in dreams a place of wind and flowers,
Full of sweet trees and colour of glad grass,
In midst whereof there was
A lady clothed like summer with sweet hours.
Her beauty, fervent as a fiery moon,
Made my blood burn and swoon
Like a flame rained upon.
Sorrow had filled her shaken eyelids' blue,
And her mouth's sad red heavy rose all through
Seemed sad with glad things gone.
She held a little cithern by the strings,
Shaped heartwise, strung with subtle-coloured hair
Of some dead lute-player
That in dead years had done delicious things.
The seven strings were named accordingly;
The first string charity,
The second tenderness,
The rest were pleasure, sorrow, sleep, and sin,
And loving-kindness, that is pity's kin
And is most pitiless.
There were three men with her, each garmented
With gold and shod with gold upon the feet;
And with plucked ears of wheat
The first man's hair was wound upon his head:
His face was red, and his mouth curled and sad;
All his gold garment had
Pale stains of dust and rust.
A riven hood was pulled across his eyes;
The token of him being upon this wise
Made for a sign of Lust.
The next was Shame, with hollow heavy face
Coloured like green wood when flame kindles it.
He hath such feeble feet
They may not well endure in any place.
His face was full of grey old miseries,
And all his blood's increase
Was even increase of pain.
The last was Fear, that is akin to Death;
He is Shame's friend, and always as Shame saith
Fear answers him again.
My soul said in me; This is marvellous,
Seeing the air's face is not so delicate
Nor the sun's grace so great,
If sin and she be kin or amorous.
And seeing where maidens served her on their knees,
I bade one crave of these
To know the cause thereof.
Then Fear said: I am Pity that was dead.
And Shame said: I am Sorrow comforted.
And Lust said: I am Love.
Thereat her hands began a lute-playing
And her sweet mouth a song in a strange tongue;
And all the while she sung
There was no sound but long tears following
Long tears upon men's faces, waxen white
With extreme sad delight.
But those three following men
Became as men raised up among the dead;
Great glad mouths open and fair cheeks made red
With child's blood come again.
Then I said: Now assuredly I see
My lady is perfect, and transfigureth
All sin and sorrow and death,
Making them fair as her own eyelids be,
Or lips wherein my whole soul's life abides;
Or as her sweet white sides
And bosom carved to kiss.
Now therefore, if her pity further me,
Doubtless for her sake all my days shall be
As righteous as she is.
Forth, ballad, and take roses in both arms,
Even till the top rose touch thee in the throat
Where the least thornprick harms;
And girdled in thy golden singing-coat,
Come thou before my lady and say this;
Borgia, thy gold hair's colour burns in me,
Thy mouth makes beat my blood in feverish rhymes;
Therefore so many as these roses be,
Kiss me so many times.
Then it may be, seeing how sweet she is,
That she will stoop herself none otherwise
Than a blown vine-branch doth,
And kiss thee with soft laughter on thine eyes,
Ballad, and on thy mouth.
A BALLAD OF DEATH
Kneel down, fair Love, and fill thyself with tears,
Girdle thyself with sighing for a girth
Upon the sides of mirth,
Cover thy lips and eyelids, let thine ears
Be filled with rumour of people sorrowing;
Make thee soft raiment out of woven sighs
Upon the flesh to cleave,
Set pains therein and many a grievous thing,
And many sorrows after each his wise
For armlet and for gorget and for sleeve.
O Love's lute heard about the lands of death,
Left hanged upon the trees that were therein;
O Love and Time and Sin,
Three singing mouths that mourn now underbreath,
Three lovers, each one evil spoken of;
O smitten lips wherethrough this voice of mine
Came softer with her praise;
Abide a little for our lady's love.
The kisses of her mouth were more than wine,
And more than peace the passage of her days.
O Love, thou knowest if she were good to see.
O Time, thou shalt not find in any land
Till, cast out of thine hand,
The sunlight and the moonlight fail from thee,
Another woman fashioned like as this.
O Sin, thou knowest that all thy shame in her
Was made a goodly thing;
Yea, she caught Shame and shamed him with her kiss,
With her fair kiss, and lips much lovelier
Than lips of amorous roses in late spring.
By night there stood over against my bed
Queen Venus with a hood striped gold and black,
Both sides drawn fully back
From brows wherein the sad blood failed of red,
And temples drained of purple and full of death.
Her curled hair had the wave of sea-water
And the sea's gold in it.
Her eyes were as a dove's that sickeneth.
Strewn dust of gold she had shed over her,
And pearl and purple and amber on her feet.
Upon her raiment of dyed sendaline
Were painted all the secret ways of love
And covered things thereof,
That hold delight as grape-flowers hold their wine;
Red mouths of maidens and red feet of doves,
And brides that kept within the bride-chamber
Their garment of soft shame,
And weeping faces of the wearied loves
That swoon in sleep and awake wearier,
With heat of lips and hair shed out like flame.
The tears that through her eyelids fell on me
Made mine own bitter where they ran between
As blood had fallen therein,
She saying; Arise, lift up thine eyes and see
If any glad thing be or any good
Now the best thing is taken forth of us;
Even she to whom all praise
Was as one flower in a great multitude,
One glorious flower of many and glorious,
One day found gracious among many days:
Even she whose handmaiden was Love--to whom
At kissing times across her stateliest bed
Kings bowed themselves and shed
Pale wine, and honey with the honeycomb,
And spikenard bruised for a burnt-offering;
Even she between whose lips the kiss became
As fire and frankincense;
Whose hair was as gold raiment on a king,
Whose eyes were as the morning purged with flame,
Whose eyelids as sweet savour issuing thence.
Then I beheld, and lo on the other side
My lady's likeness crowned and robed and dead.
Sweet still, but now not red,
Was the shut mouth whereby men lived and died.
And sweet, but emptied of the blood's blue shade,
The great curled eyelids that withheld her eyes.
And sweet, but like spoilt gold,
The weight of colour in her tresses weighed.
And sweet, but as a vesture with new dyes,
The body that was clothed with love of old.
Ah! that my tears filled all her woven hair
And all the hollow bosom of her gown--
Ah! that my tears ran down
Even to the place where many kisses were,
Even where her parted breast-flowers have place,
Even where they are cloven apart--who knows not this?
Ah! the flowers cleave apart
And their sweet fills the tender interspace;
Ah! the leaves grown thereof were things to kiss
Ere their fine gold was tarnished at the heart.
Ah! in the days when God did good to me,
Each part about her was a righteous thing;
Her mouth an almsgiving,
The glory of her garments charity,
The beauty of her bosom a good deed,
In the good days when God kept sight of us;
Love lay upon her eyes,
And on that hair whereof the world takes heed;
And all her body was more virtuous
Than souls of women fashioned otherwise.
Now, ballad, gather poppies in thine hands
And sheaves of brier and many rusted sheaves
Rain-rotten in rank lands,
Waste marigold and late unhappy leaves
And grass that fades ere any of it be mown;
And when thy bosom is filled full thereof
Seek out Death's face ere the light altereth,
And say "My master that was thrall to Love
Is become thrall to Death."
Bow down before him, ballad, sigh and groan,
But make no sojourn in thy outgoing;
For haply it may be
That when thy feet return at evening
Death shall come in with thee.
LAUS VENERIS
Lors dit en plourant; Helas trop malheureux homme et mauldict pescheur,
oncques ne verrai-je clemence et misericorde de Dieu. Ores m'en irai-je
d'icy et me cacherai dedans le mont Horsel, en requerant de faveur et
d'amoureuse merci ma doulce dame Venus, car pour son amour serai-je bien
a tout jamais damne en enfer. Voicy la fin de tous mes faicts d'armes et
de toutes mes belles chansons. Helas, trop belle estoyt la face de ma
dame et ses yeulx, et en mauvais jour je vis ces chouses-la. Lors s'en
alla tout en gemissant et se retourna chez elle, et la vescut tristement
en grand amour pres de sa dame. Puis apres advint que le pape vit un
jour esclater sur son baston force belles fleurs rouges et blanches et
maints boutons de feuilles, et ainsi vit-il reverdir toute l'escorce. Ce
dont il eut grande crainte et moult s'en esmut, et grande pitie lui prit
de ce chevalier qui s'en estoyt departi sans espoir comme un homme
miserable et damne. Doncques envoya force messaigers devers luy pour le
ramener, disant qu'il aurait de Dieu grace et bonne absolution de son
grand pesche d'amour. Mais oncques plus ne le virent; car toujours
demeura ce pauvre chevalier aupres de Venus la haulte et forte deesse es
flancs de la montagne amoureuse.
_Livre des grandes merveilles d'amour, escript en latin
et en francoys par Maistre Antoine Gaget._ 1530.
LAUS VENERIS
Asleep or waking is it? for her neck,
Kissed over close, wears yet a purple speck
Wherein the pained blood falters and goes out;
Soft, and stung softly--fairer for a fleck.
But though my lips shut sucking on the place,
There is no vein at work upon her face;
Her eyelids are so peaceable, no doubt
Deep sleep has warmed her blood through all its ways.
Lo, this is she that was the world's delight;
The old grey years were parcels of her might;
The strewings of the ways wherein she trod
Were the twain seasons of the day and night.
Lo, she was thus when her clear limbs enticed
All lips that now grow sad with kissing Christ,
Stained with blood fallen from the feet of God,
The feet and hands whereat our souls were priced.
Alas, Lord, surely thou art great and fair.
But lo her wonderfully woven hair!
And thou didst heal us with thy piteous kiss;
But see now, Lord; her mouth is lovelier.
She is right fair; what hath she done to thee?
Nay, fair Lord Christ, lift up thine eyes and see;
Had now thy mother such a lip--like this?
Thou knowest how sweet a thing it is to me.
Inside the Horsel here the air is hot;
Right little peace one hath for it, God wot;
The scented dusty daylight burns the air,
And my heart chokes me till I hear it not.
Behold, my Venus, my soul's body, lies
With my love laid upon her garment-wise,
Feeling my love in all her limbs and hair
And shed between her eyelids through her eyes.
She holds my heart in her sweet open hands
Hanging asleep; hard by her head there stands,
Crowned with gilt thorns and clothed with flesh like fire,
Love, wan as foam blown up the salt burnt sands--
Hot as the brackish waifs of yellow spume
That shift and steam--loose clots of arid fume
From the sea's panting mouth of dry desire;
There stands he, like one labouring at a loom.
The warp holds fast across; and every thread
That makes the woof up has dry specks of red;
Always the shuttle cleaves clean through, and he
Weaves with the hair of many a ruined head.
Love is not glad nor sorry, as I deem;
Labouring he dreams, and labours in the dream,
Till when the spool is finished, lo I see
His web, reeled off, curls and goes out like steam.
Night falls like fire; the heavy lights run low,
And as they drop, my blood and body so
Shake as the flame shakes, full of days and hours
That sleep not neither weep they as they go.
Ah yet would God this flesh of mine might be
Where air might wash and long leaves cover me,
Where tides of grass break into foam of flowers,
Or where the wind's feet shine along the sea.
Ah yet would God that stems and roots were bred
Out of my weary body and my head,
That sleep were sealed upon me with a seal,
And I were as the least of all his dead.
Would God my blood were dew to feed the grass,
Mine ears made deaf and mine eyes blind as glass,
My body broken as a turning wheel,
And my mouth stricken ere it saith Alas!
Ah God, that love were as a flower or flame,
That life were as the naming of a name,
That death were not more pitiful than desire,
That these things were not one thing and the same!
Behold now, surely somewhere there is death:
For each man hath some space of years, he saith,
A little space of time ere time expire,
A little day, a little way of breath.
And lo, between the sundawn and the sun,
His day's work and his night's work are undone;
And lo, between the nightfall and the light,
He is not, and none knoweth of such an one.
Ah God, that I were as all souls that be,
As any herb or leaf of any tree,
As men that toil through hours of labouring night,
As bones of men under the deep sharp sea.
Outside it must be winter among men;
For at the gold bars of the gates again
I heard all night and all the hours of it
The wind's wet wings and fingers drip with rain.
Knights gather, riding sharp for cold; I know
The ways and woods are strangled with the snow;
And with short song the maidens spin and sit
Until Christ's birthnight, lily-like, arow.
The scent and shadow shed about me make
The very soul in all my senses ache;
The hot hard night is fed upon my breath,
And sleep beholds me from afar awake.
Alas, but surely where the hills grow deep,
Or where the wild ways of the sea are steep,
Or in strange places somewhere there is death,
And on death's face the scattered hair of sleep.
There lover-like with lips and limbs that meet
They lie, they pluck sweet fruit of life and eat;
But me the hot and hungry days devour,
And in my mouth no fruit of theirs is sweet.
No fruit of theirs, but fruit of my desire,
For her love's sake whose lips through mine respire;
Her eyelids on her eyes like flower on flower,
Mine eyelids on mine eyes like fire on fire.
So lie we, not as sleep that lies by death,
With heavy kisses and with happy breath;
Not as man lies by woman, when the bride
Laughs low for love's sake and the words he saith.
For she lies, laughing low with love; she lies
And turns his kisses on her lips to sighs,
To sighing sound of lips unsatisfied,
And the sweet tears are tender with her eyes.
Ah, not as they, but as the souls that were
Slain in the old time, having found her fair;
Who, sleeping with her lips upon their eyes,
Heard sudden serpents hiss across her hair.
Their blood runs round the roots of time like rain:
She casts them forth and gathers them again;
With nerve and bone she weaves and multiplies
Exceeding pleasure out of extreme pain.
Her little chambers drip with flower-like red,
Her girdles, and the chaplets of her head,
Her armlets and her anklets; with her feet
She tramples all that winepress of the dead.
Her gateways smoke with fume of flowers and fires,
With loves burnt out and unassuaged desires;
Between her lips the steam of them is sweet,
The languor in her ears of many lyres.
Her beds are full of perfume and sad sound,
Her doors are made with music, and barred round
With sighing and with laughter and with tears,
With tears whereby strong souls of men are bound.
There is the knight Adonis that was slain;
With flesh and blood she chains him for a chain;
The body and the spirit in her ears
Cry, for her lips divide him vein by vein.
Yea, all she slayeth; yea, every man save me;
Me, love, thy lover that must cleave to thee
Till the ending of the days and ways of earth,
The shaking of the sources of the sea.
Me, most forsaken of all souls that fell;
Me, satiated with things insatiable;
Me, for whose sake the extreme hell makes mirth,
Yea, laughter kindles at the heart of hell.
Alas thy beauty! for thy mouth's sweet sake
My soul is bitter to me, my limbs quake
As water, as the flesh of men that weep,
As their heart's vein whose heart goes nigh to break.
Ah God, that sleep with flower-sweet finger-tips
Would crush the fruit of death upon my lips;
Ah God, that death would tread the grapes of sleep
And wring their juice upon me as it drips.
There is no change of cheer for many days,
But change of chimes high up in the air, that sways
Rung by the running fingers of the wind;
And singing sorrows heard on hidden ways.
Day smiteth day in twain, night sundereth night,
And on mine eyes the dark sits as the light;
Yea, Lord, thou knowest I know not, having sinned,
If heaven be clean or unclean in thy sight.
Yea, as if earth were sprinkled over me,
Such chafed harsh earth as chokes a sandy sea,
Each pore doth yearn, and the dried blood thereof
Gasps by sick fits, my heart swims heavily,
There is a feverish famine in my veins;
Below her bosom, where a crushed grape stains
The white and blue, there my lips caught and clove
An hour since, and what mark of me remains?
I dare not always touch her, lest the kiss
Leave my lips charred. Yea, Lord, a little bliss,
Brief bitter bliss, one hath for a great sin;
Nathless thou knowest how sweet a thing it is.
Sin, is it sin whereby men's souls are thrust
Into the pit? yet had I a good trust
To save my soul before it slipped therein,
Trod under by the fire-shod feet of lust.
For if mine eyes fail and my soul takes breath,
I look between the iron sides of death
Into sad hell where all sweet love hath end,
All but the pain that never finisheth.
There are the naked faces of great kings,
The singing folk with all their lute-playings;
There when one cometh he shall have to friend
The grave that covets and the worm that clings.
There sit the knights that were so great of hand,
The ladies that were queens of fair green land,
Grown grey and black now, brought unto the dust,
Soiled, without raiment, clad about with sand.
There is one end for all of them; they sit
Naked and sad, they drink the dregs of it,
Trodden as grapes in the wine-press of lust.
Trampled and trodden by the fiery feet.
I see the marvellous mouth whereby there fell
Cities and people whom the gods loved well,
Yet for her sake on them the fire gat hold,
And for their sakes on her the fire of hell.
And softer than the Egyptian lote-leaf is,
The queen whose face was worth the world to kiss,
Wearing at breast a suckling snake of gold;
And large pale lips of strong Semiramis,
Curled like a tiger's that curl back to feed;
Red only where the last kiss made them bleed;
Her hair most thick with many a carven gem,
Deep in the mane, great-chested, like a steed.
Yea, with red sin the faces of them shine;
But in all these there was no sin like mine;
No, not in all the strange great sins of them
That made the wine-press froth and foam with wine.
For I was of Christ's choosing, I God's knight,
No blinkard heathen stumbling for scant light;
I can well see, for all the dusty days
Gone past, the clean great time of goodly fight.
I smell the breathing battle sharp with blows,
With shriek of shafts and snapping short of bows;
The fair pure sword smites out in subtle ways,
Sounds and long lights are shed between the rows
Of beautiful mailed men; the edged light slips,
Most like a snake that takes short breath and dips
Sharp from the beautifully bending head,
With all its gracious body lithe as lips
That curl in touching you; right in this wise
My sword doth, seeming fire in mine own eyes,
Leaving all colours in them brown and red
And flecked with death; then the keen breaths like sighs,
The caught-up choked dry laughters following them,
When all the fighting face is grown a flame
For pleasure, and the pulse that stuns the ears,
And the heart's gladness of the goodly game.
Let me think yet a little; I do know
These things were sweet, but sweet such years ago,
Their savour is all turned now into tears;
Yea, ten years since, where the blue ripples blow,
The blue curled eddies of the blowing Rhine,
I felt the sharp wind shaking grass and vine
Touch my blood too, and sting me with delight
Through all this waste and weary body of mine
That never feels clear air; right gladly then
I rode alone, a great way off my men,
And heard the chiming bridle smite and smite,
And gave each rhyme thereof some rhyme again,
Till my song shifted to that iron one;
Seeing there rode up between me and the sun
Some certain of my foe's men, for his three
White wolves across their painted coats did run.
The first red-bearded, with square cheeks--alack,
I made my knave's blood turn his beard to black;
The slaying of him was a joy to see:
Perchance too, when at night he came not back,
Some woman fell a-weeping, whom this thief
Would beat when he had drunken; yet small grief
Hath any for the ridding of such knaves;
Yea, if one wept, I doubt her teen was brief.
This bitter love is sorrow in all lands,
Draining of eyelids, wringing of drenched hands,
Sighing of hearts and filling up of graves;
A sign across the head of the world he stands,
An one that hath a plague-mark on his brows;
Dust and spilt blood do track him to his house
Down under earth; sweet smells of lip and cheek,
Like a sweet snake's breath made more poisonous
With chewing of some perfumed deadly grass,
Are shed all round his passage if he pass,
And their quenched savour leaves the whole soul weak,
Sick with keen guessing whence the perfume was.
As one who hidden in deep sedge and reeds
Smells the rare scent made where a panther feeds,
And tracking ever slotwise the warm smell
Is snapped upon by the sweet mouth and bleeds,
His head far down the hot sweet throat of her--
So one tracks love, whose breath is deadlier,
And lo, one springe and you are fast in hell,
Fast as the gin's grip of a wayfarer.
I think now, as the heavy hours decease
One after one, and bitter thoughts increase
One upon one, of all sweet finished things;
The breaking of the battle; the long peace
Wherein we sat clothed softly, each man's hair
Crowned with green leaves beneath white hoods of vair;
The sounds of sharp spears at great tourneyings,
And noise of singing in the late sweet air.
I sang of love too, knowing nought thereof;
"Sweeter," I said, "the little laugh of love
Than tears out of the eyes of Magdalen,
Or any fallen feather of the Dove.
"The broken little laugh that spoils a kiss,
The ache of purple pulses, and the bliss
Of blinded eyelids that expand again--
Love draws them open with those lips of his,
"Lips that cling hard till the kissed face has grown
Of one same fire and colour with their own;
Then ere one sleep, appeased with sacrifice,
Where his lips wounded, there his lips atone."
I sang these things long since and knew them not;
"Lo, here is love, or there is love, God wot,
This man and that finds favour in his eyes,"
I said, "but I, what guerdon have I got?
"The dust of praise that is blown everywhere
In all men's faces with the common air;
The bay-leaf that wants chafing to be sweet
Before they wind it in a singer's hair."
So that one dawn I rode forth sorrowing;
I had no hope but of some evil thing,
And so rode slowly past the windy wheat
And past the vineyard and the water-spring,
Up to the Horsel. A great elder-tree
Held back its heaps of flowers to let me see
The ripe tall grass, and one that walked therein,
Naked, with hair shed over to the knee.
She walked between the blossom and the grass;
I knew the beauty of her, what she was,
The beauty of her body and her sin,
And in my flesh the sin of hers, alas!
Alas! for sorrow is all the end of this.
O sad kissed mouth, how sorrowful it is!
O breast whereat some suckling sorrow clings,
Red with the bitter blossom of a kiss!
Ah, with blind lips I felt for you, and found
About my neck your hands and hair enwound,
The hands that stifle and the hair that stings,
I felt them fasten sharply without sound.
Yea, for my sin I had great store of bliss:
Rise up, make answer for me, let thy kiss
Seal my lips hard from speaking of my sin,
Lest one go mad to hear how sweet it is.
Yet I waxed faint with fume of barren bowers,
And murmuring of the heavy-headed hours;
And let the dove's beak fret and peck within
My lips in vain, and Love shed fruitless flowers.
So that God looked upon me when your hands
Were hot about me; yea, God brake my bands
To save my soul alive, and I came forth
Like a man blind and naked in strange lands
That hears men laugh and weep, and knows not whence
Nor wherefore, but is broken in his sense;
Howbeit I met folk riding from the north
Towards Rome, to purge them of their souls' offence,
And rode with them, and spake to none; the day
Stunned me like lights upon some wizard way,
And ate like fire mine eyes and mine eyesight;
So rode I, hearing all these chant and pray,
And marvelled; till before us rose and fell
White cursed hills, like outer skirts of hell
Seen where men's eyes look through the day to night,
Like a jagged shell's lips, harsh, untunable,
Blown in between by devils' wrangling breath;
Nathless we won well past that hell and death,
Down to the sweet land where all airs are good,
Even unto Rome where God's grace tarrieth.
Then came each man and worshipped at his knees
Who in the Lord God's likeness bears the keys
To bind or loose, and called on Christ's shed blood,
And so the sweet-souled father gave him ease.
But when I came I fell down at his feet,
Saying, "Father, though the Lord's blood be right sweet,
The spot it takes not off the panther's skin,
Nor shall an Ethiop's stain be bleached with it.
"Lo, I have sinned and have spat out at God,
Wherefore his hand is heavier and his rod
More sharp because of mine exceeding sin,
And all his raiment redder than bright blood
"Before mine eyes; yea, for my sake I wot
The heat of hell is waxen seven times hot
Through my great sin." Then spake he some sweet word,
Giving me cheer; which thing availed me not;
Yea, scarce I wist if such indeed were said;
For when I ceased--lo, as one newly dead
Who hears a great cry out of hell, I heard
The crying of his voice across my head.
"Until this dry shred staff, that hath no whit
Of leaf nor bark, bear blossom and smell sweet,
Seek thou not any mercy in God's sight,
For so long shalt thou be cast out from it."
Yea, what if dried-up stems wax red and green,
Shall that thing be which is not nor has been?
Yea, what if sapless bark wax green and white,
Shall any good fruit grow upon my sin?
Nay, though sweet fruit were plucked of a dry tree,
And though men drew sweet waters of the sea,
There should not grow sweet leaves on this dead stem,
This waste wan body and shaken soul of me.
Yea, though God search it warily enough,
There is not one sound thing in all thereof;
Though he search all my veins through, searching them
He shall find nothing whole therein but love.
For I came home right heavy, with small cheer,
And lo my love, mine own soul's heart, more dear
Than mine own soul, more beautiful than God,
Who hath my being between the hands of her--
Fair still, but fair for no man saving me,
As when she came out of the naked sea
Making the foam as fire whereon she trod,
And as the inner flower of fire was she.
Yea, she laid hold upon me, and her mouth
Clove unto mine as soul to body doth,
And, laughing, made her lips luxurious;
Her hair had smells of all the sunburnt south,
Strange spice and flower, strange savour of crushed fruit,
And perfume the swart kings tread underfoot
For pleasure when their minds wax amorous,
Charred frankincense and grated sandal-root.
And I forgot fear and all weary things,
All ended prayers and perished thanksgivings,
Feeling her face with all her eager hair
Cleave to me, clinging as a fire that clings
To the body and to the raiment, burning them;
As after death I know that such-like flame
Shall cleave to me for ever; yea, what care,
Albeit I burn then, having felt the same?
Ah love, there is no better life than this;
To have known love, how bitter a thing it is,
And afterward be cast out of God's sight;
Yea, these that know not, shall they have such bliss
High up in barren heaven before his face
As we twain in the heavy-hearted place,
Remembering love and all the dead delight,
And all that time was sweet with for a space?
For till the thunder in the trumpet be,
Soul may divide from body, but not we
One from another; I hold thee with my hand,
I let mine eyes have all their will of thee,
I seal myself upon thee with my might,
Abiding alway out of all men's sight
Until God loosen over sea and land
The thunder of the trumpets of the night.
EXPLICIT LAUS VENERIS.
PHAEDRA
HIPPOLYTUS; PHAEDRA; CHORUS OF TROEZENIAN WOMEN
HIPPOLYTUS.
Lay not thine hand upon me; let me go;
Take off thine eyes that put the gods to shame;
What, wilt thou turn my loathing to thy death?
PHAEDRA.
Nay, I will never loosen hold nor breathe
Till thou have slain me; godlike for great brows
Thou art, and thewed as gods are, with clear hair:
Draw now thy sword and smite me as thou art god,
For verily I am smitten of other gods,
Why not of thee?
CHORUS.
O queen, take heed of words;
Why wilt thou eat the husk of evil speech?
Wear wisdom for that veil about thy head
And goodness for the binding of thy brows.
PHAEDRA.
Nay, but this god hath cause enow to smite;
If he will slay me, baring breast and throat,
I lean toward the stroke with silent mouth
And a great heart. Come, take thy sword and slay;
Let me not starve between desire and death,
But send me on my way with glad wet lips;
For in the vein-drawn ashen-coloured palm
Death's hollow hand holds water of sweet draught
To dip and slake dried mouths at, as a deer
Specked red from thorns laps deep and loses pain.
Yea, if mine own blood ran upon my mouth,
I would drink that. Nay, but be swift with me;
Set thy sword here between the girdle and breast,
For I shall grow a poison if I live.
Are not my cheeks as grass, my body pale,
And my breath like a dying poisoned man's?
O whatsoever of godlike names thou be,
By thy chief name I charge thee, thou strong god,
And bid thee slay me. Strike, up to the gold,
Up to the hand-grip of the hilt; strike here;
For I am Cretan of my birth; strike now;
For I am Theseus' wife; stab up to the rims,
I am born daughter to Pasiphae.
See thou spare not for greatness of my blood,
Nor for the shining letters of my name:
Make thy sword sure inside thine hand and smite,
For the bright writing of my name is black,
And I am sick with hating the sweet sun.
HIPPOLYTUS.
Let not this woman wail and cleave to me,
That am no part of the gods' wrath with her;
Loose ye her hands from me lest she take hurt.
CHORUS.
Lady, this speech and majesty are twain;
Pure shame is of one counsel with the gods.
HIPPOLYTUS.
Man is as beast when shame stands off from him.
PHAEDRA.
Man, what have I to do with shame or thee?
I am not of one counsel with the gods.
I am their kin, I have strange blood in me,
I am not of their likeness nor of thine:
My veins are mixed, and therefore am I mad,
Yea therefore chafe and turn on mine own flesh,
Half of a woman made with half a god.
But thou wast hewn out of an iron womb
And fed with molten mother-snow for milk.
A sword was nurse of thine; Hippolyta,
That had the spear to father, and the axe
To bridesman, and wet blood of sword-slain men
For wedding-water out of a noble well,
Even she did bear thee, thinking of a sword,
And thou wast made a man mistakingly.
Nay, for I love thee, I will have thy hands,
Nay, for I will not loose thee, thou art sweet,
Thou art my son, I am thy father's wife,
I ache toward thee with a bridal blood,
The pulse is heavy in all my married veins,
My whole face beats, I will feed full of thee,
My body is empty of ease, I will be fed,
I am burnt to the bone with love, thou shalt not go,
I am heartsick, and mine eyelids prick mine eyes,
Thou shalt not sleep nor eat nor say a word
Till thou hast slain me. I am not good to live.
CHORUS.
This is an evil born with all its teeth,
When love is cast out of the bound of love.
HIPPOLYTUS.
There is no hate that is so hateworthy.
PHAEDRA.
I pray thee turn that hate of thine my way,
I hate not it nor anything of thine.
Lo, maidens, how he burns about the brow,
And draws the chafing sword-strap down his hand.
What wilt thou do? wilt thou be worse than death?
Be but as sweet as is the bitterest,
The most dispiteous out of all the gods,
I am well pleased. Lo, do I crave so much?
I do but bid thee be unmerciful,
Even the one thing thou art. Pity me not:
Thou wert not quick to pity. Think of me
As of a thing thy hounds are keen upon
In the wet woods between the windy ways,
And slay me for a spoil. This body of mine
Is worth a wild beast's fell or hide of hair,
And spotted deeper than a panther's grain.
I were but dead if thou wert pure indeed;
I pray thee by thy cold green holy crown
And by the fillet-leaves of Artemis.
Nay, but thou wilt not. Death is not like thee.
Albeit men hold him worst of all the gods.
For of all gods Death only loves not gifts,[1]
Nor with burnt-offering nor blood-sacrifice
Shalt thou do aught to get thee grace of him;
He will have nought of altar and altar-song,
And from him only of all the lords in heaven
Persuasion turns a sweet averted mouth.
But thou art worse: from thee with baffled breath
Back on my lips my prayer falls like a blow,
And beats upon them, dumb. What shall I say?
There is no word I can compel thee with
To do me good and slay me. But take heed;
I say, be wary; look between thy feet,
Lest a snare take them though the ground be good.
HIPPOLYTUS.
Shame may do most where fear is found most weak;
That which for shame's sake yet I have not done,
Shall it be done for fear's? Take thine own way;
Better the foot slip than the whole soul swerve.
PHAEDRA.
The man is choice and exquisite of mouth;
Yet in the end a curse shall curdle it.
CHORUS.
He goes with cloak upgathered to the lip,
Holding his eye as with some ill in sight.
PHAEDRA.
A bitter ill he hath i' the way thereof,
And it shall burn the sight out as with fire.
CHORUS.
Speak no such word whereto mischance is kin.
PHAEDRA.
Out of my heart and by fate's leave I speak.
CHORUS.
Set not thy heart to follow after fate.
PHAEDRA.
O women, O sweet people of this land,
O goodly city and pleasant ways thereof,
And woods with pasturing grass and great well-heads,
And hills with light and night between your leaves,
And winds with sound and silence in your lips,
And earth and water and all immortal things,
I take you to my witness what I am.
There is a god about me like as fire,
Sprung whence, who knoweth, or who hath heart to say?
A god more strong than whom slain beasts can soothe,
Or honey, or any spilth of blood-like wine,
Nor shall one please him with a whitened brow
Nor wheat nor wool nor aught of plaited leaf.
For like my mother am I stung and slain,
And round my cheeks have such red malady
And on my lips such fire and foam as hers.
This is that Ate out of Amathus
That breeds up death and gives it one for love.
She hath slain mercy, and for dead mercy's sake
(Being frighted with this sister that was slain)
Flees from before her fearful-footed shame,
And will not bear the bending of her brows
And long soft arrows flown from under them
As from bows bent. Desire flows out of her
As out of lips doth speech: and over her
Shines fire, and round her and beneath her fire.
She hath sown pain and plague in all our house,
Love loathed of love, and mates unmatchable,
Wild wedlock, and the lusts that bleat or low,
And marriage-fodder snuffed about of kine.
Lo how the heifer runs with leaping flank
Sleek under shaggy and speckled lies of hair,
And chews a horrible lip, and with harsh tongue
Laps alien froth and licks a loathlier mouth.
Alas, a foul first steam of trodden tares,
And fouler of these late grapes underfoot.
A bitter way of waves and clean-cut foam
Over the sad road of sonorous sea
The high gods gave king Theseus for no love,
Nay, but for love, yet to no loving end.
Alas the long thwarts and the fervent oars,
And blown hard sails that straightened the scant rope!
There were no strong pools in the hollow sea
To drag at them and suck down side and beak,
No wind to catch them in the teeth and hair,
No shoal, no shallow among the roaring reefs,
No gulf whereout the straining tides throw spars,
No surf where white bones twist like whirled white fire.
But like to death he came with death, and sought
And slew and spoiled and gat him that he would.
For death, for marriage, and for child-getting,
I set my curse against him as a sword;
Yea, and the severed half thereof I leave
Pittheus, because he slew not (when that face
Was tender, and the life still soft in it)
The small swathed child, but bred him for my fate.
I would I had been the first that took her death
Out from between wet hoofs and reddened teeth,
Splashed horns, fierce fetlocks of the brother bull?
For now shall I take death a deadlier way,
Gathering it up between the feet of love
Or off the knees of murder reaching it.
[1] AEsch. Fr. Niobe:--
[Greek: monos theon gar Thanatos ou doron era, k.t.l.]
THE TRIUMPH OF TIME
Before our lives divide for ever,
While time is with us and hands are free,
(Time, swift to fasten and swift to sever
Hand from hand, as we stand by the sea)
I will say no word that a man might say
Whose whole life's love goes down in a day;
For this could never have been; and never,
Though the gods and the years relent, shall be.
Is it worth a tear, is it worth an hour,
To think of things that are well outworn?
Of fruitless husk and fugitive flower,
The dream foregone and the deed forborne?
Though joy be done with and grief be vain,
Time shall not sever us wholly in twain;
Earth is not spoilt for a single shower;
But the rain has ruined the ungrown corn.
It will grow not again, this fruit of my heart,
Smitten with sunbeams, ruined with rain.
The singing seasons divide and depart,
Winter and summer depart in twain.
It will grow not again, it is ruined at root,
The bloodlike blossom, the dull red fruit;
Though the heart yet sickens, the lips yet smart,
With sullen savour of poisonous pain.
I have given no man of my fruit to eat;
I trod the grapes, I have drunken the wine.
Had you eaten and drunken and found it sweet,
This wild new growth of the corn and vine,
This wine and bread without lees or leaven,
We had grown as gods, as the gods in heaven,
Souls fair to look upon, goodly to greet,
One splendid spirit, your soul and mine.
In the change of years, in the coil of things,
In the clamour and rumour of life to be,
We, drinking love at the furthest springs,
Covered with love as a covering tree,
We had grown as gods, as the gods above,
Filled from the heart to the lips with love,
Held fast in his hands, clothed warm with his wings,
O love, my love, had you loved but me!
We had stood as the sure stars stand, and moved
As the moon moves, loving the world; and seen
Grief collapse as a thing disproved,
Death consume as a thing unclean.
Twain halves of a perfect heart, made fast
Soul to soul while the years fell past;
Had you loved me once, as you have not loved;
Had the chance been with us that has not been.
I have put my days and dreams out of mind,
Days that are over, dreams that are done.
Though we seek life through, we shall surely find
There is none of them clear to us now, not one.
But clear are these things; the grass and the sand,
Where, sure as the eyes reach, ever at hand,
With lips wide open and face burnt blind,
The strong sea-daisies feast on the sun.
The low downs lean to the sea; the stream,
One loose thin pulseless tremulous vein,
Rapid and vivid and dumb as a dream,
Works downward, sick of the sun and the rain;
No wind is rough with the rank rare flowers;
The sweet sea, mother of loves and hours,
Shudders and shines as the grey winds gleam,
Turning her smile to a fugitive pain.
Mother of loves that are swift to fade,
Mother of mutable winds and hours.
A barren mother, a mother-maid,
Cold and clean as her faint salt flowers.
I would we twain were even as she,
Lost in the night and the light of the sea,
Where faint sounds falter and wan beams wade,
Break, and are broken, and shed into showers.
The loves and hours of the life of a man,
They are swift and sad, being born of the sea.
Hours that rejoice and regret for a span,
Born with a man's breath, mortal as he;
Loves that are lost ere they come to birth,
Weeds of the wave, without fruit upon earth.
I lose what I long for, save what I can,
My love, my love, and no love for me!
It is not much that a man can save
On the sands of life, in the straits of time,
Who swims in sight of the great third wave
That never a swimmer shall cross or climb.
Some waif washed up with the strays and spars
That ebb-tide shows to the shore and the stars;
Weed from the water, grass from a grave,
A broken blossom, a ruined rhyme.
There will no man do for your sake, I think,
What I would have done for the least word said.
I had wrung life dry for your lips to drink,
Broken it up for your daily bread:
Body for body and blood for blood,
As the flow of the full sea risen to flood
That yearns and trembles before it sink,
I had given, and lain down for you, glad and dead.
Yea, hope at highest and all her fruit,
And time at fullest and all his dower,
I had given you surely, and life to boot,
Were we once made one for a single hour.
But now, you are twain, you are cloven apart,
Flesh of his flesh, but heart of my heart;
And deep in one is the bitter root,
And sweet for one is the lifelong flower.
To have died if you cared I should die for you, clung
To my life if you bade me, played my part
As it pleased you--these were the thoughts that stung,
The dreams that smote with a keener dart
Than shafts of love or arrows of death;
These were but as fire is, dust, or breath,
Or poisonous foam on the tender tongue
Of the little snakes that eat my heart.
I wish we were dead together to-day,
Lost sight of, hidden away out of sight,
Clasped and clothed in the cloven clay,
Out of the world's way, out of the light,
Out of the ages of worldly weather,
Forgotten of all men altogether,
As the world's first dead, taken wholly away,
Made one with death, filled full of the night.
How we should slumber, how we should sleep,
Far in the dark with the dreams and the dews!
And dreaming, grow to each other, and weep,
Laugh low, live softly, murmur and muse;
Yea, and it may be, struck through by the dream,
Feel the dust quicken and quiver, and seem
Alive as of old to the lips, and leap
Spirit to spirit as lovers use.
Sick dreams and sad of a dull delight;
For what shall it profit when men are dead
To have dreamed, to have loved with the whole soul's might,
To have looked for day when the day was fled?
Let come what will, there is one thing worth,
To have had fair love in the life upon earth:
To have held love safe till the day grew night,
While skies had colour and lips were red.
Would I lose you now? would I take you then,
If I lose you now that my heart has need?
And come what may after death to men,
What thing worth this will the dead years breed?
Lose life, lose all; but at least I know,
O sweet life's love, having loved you so,
Had I reached you on earth, I should lose not again,
In death nor life, nor in dream or deed.
Yea, I know this well: were you once sealed mine,
Mine in the blood's beat, mine in the breath,
Mixed into me as honey in wine,
Not time, that sayeth and gainsayeth,
Nor all strong things had severed us then;
Not wrath of gods, nor wisdom of men,
Nor all things earthly, nor all divine,
Nor joy nor sorrow, nor life nor death.
I had grown pure as the dawn and the dew,
You had grown strong as the sun or the sea.
But none shall triumph a whole life through:
For death is one, and the fates are three.
At the door of life, by the gate of breath,
There are worse things waiting for men than death;
Death could not sever my soul and you,
As these have severed your soul from me.
You have chosen and clung to the chance they sent you,
Life sweet as perfume and pure as prayer.
But will it not one day in heaven repent you?
Will they solace you wholly, the days that were?
Will you lift up your eyes between sadness and bliss,
Meet mine, and see where the great love is,
And tremble and turn and be changed? Content you;
The gate is strait; I shall not be there.
But you, had you chosen, had you stretched hand,
Had you seen good such a thing were done,
I too might have stood with the souls that stand
In the sun's sight, clothed with the light of the sun;
But who now on earth need care how I live?
Have the high gods anything left to give,
Save dust and laurels and gold and sand?
Which gifts are goodly; but I will none.
O all fair lovers about the world,
There is none of you, none, that shall comfort me.
My thoughts are as dead things, wrecked and whirled
Round and round in a gulf of the sea;
And still, through the sound and the straining stream,
Through the coil and chafe, they gleam in a dream,
The bright fine lips so cruelly curled,
And strange swift eyes where the soul sits free.
Free, without pity, withheld from woe,
Ignorant; fair as the eyes are fair.
Would I have you change now, change at a blow,
Startled and stricken, awake and aware?
Yea, if I could, would I have you see
My very love of you filling me,
And know my soul to the quick, as I know
The likeness and look of your throat and hair?
I shall not change you. Nay, though I might,
Would I change my sweet one love with a word?
I had rather your hair should change in a night,
Clear now as the plume of a black bright bird;
Your face fail suddenly, cease, turn grey,
Die as a leaf that dies in a day.
I will keep my soul in a place out of sight,
Far off, where the pulse of it is not heard.
Far off it walks, in a bleak blown space,
Full of the sound of the sorrow of years.
I have woven a veil for the weeping face,
Whose lips have drunken the wine of tears;
I have found a way for the failing feet,
A place for slumber and sorrow to meet;
There is no rumour about the place,
Nor light, nor any that sees or hears.
I have hidden my soul out of sight, and said
"Let none take pity upon thee, none
Comfort thy crying: for lo, thou art dead,
Lie still now, safe out of sight of the sun.
Have I not built thee a grave, and wrought
Thy grave-clothes on thee of grievous thought,
With soft spun verses and tears unshed,
And sweet light visions of things undone?
"I have given thee garments and balm and myrrh,
And gold, and beautiful burial things.
But thou, be at peace now, make no stir;
Is not thy grave as a royal king's?
Fret not thyself though the end were sore;
Sleep, be patient, vex me no more.
Sleep; what hast thou to do with her?
The eyes that weep, with the mouth that sings?"
Where the dead red leaves of the years lie rotten,
The cold old crimes and the deeds thrown by,
The misconceived and the misbegotten,
I would find a sin to do ere I die,
Sure to dissolve and destroy me all through,
That would set you higher in heaven, serve you
And leave you happy, when clean forgotten,
As a dead man out of mind, am I.
Your lithe hands draw me, your face burns through me,
I am swift to follow you, keen to see;
But love lacks might to redeem or undo me;
As I have been, I know I shall surely be;
"What should such fellows as I do?" Nay,
My part were worse if I chose to play;
For the worst is this after all; if they knew me,
Not a soul upon earth would pity me.
And I play not for pity of these; but you,
If you saw with your soul what man am I,
You would praise me at least that my soul all through
Clove to you, loathing the lives that lie;
The souls and lips that are bought and sold,
The smiles of silver and kisses of gold,
The lapdog loves that whine as they chew,
The little lovers that curse and cry.
There are fairer women, I hear; that may be;
But I, that I love you and find you fair,
Who are more than fair in my eyes if they be,
Do the high gods know or the great gods care?
Though the swords in my heart for one were seven,
Would the iron hollow of doubtful heaven,
That knows not itself whether night-time or day be,
Reverberate words and a foolish prayer?
I will go back to the great sweet mother,
Mother and lover of men, the sea.
I will go down to her, I and none other,
Close with her, kiss her and mix her with me;
Cling to her, strive with her, hold her fast:
O fair white mother, in days long past
Born without sister, born without brother,
Set free my soul as thy soul is free.
O fair green-girdled mother of mine,
Sea, that art clothed with the sun and the rain,
Thy sweet hard kisses are strong like wine,
Thy large embraces are keen like pain.
Save me and hide me with all thy waves,
Find me one grave of thy thousand graves,
Those pure cold populous graves of thine
Wrought without hand in a world without stain.
I shall sleep, and move with the moving ships,
Change as the winds change, veer in the tide;
My lips will feast on the foam of thy lips,
I shall rise with thy rising, with thee subside;
Sleep, and not know if she be, if she were,
Filled full with life to the eyes and hair,
As a rose is fulfilled to the roseleaf tips
With splendid summer and perfume and pride.
This woven raiment of nights and days,
Were it once cast off and unwound from me,
Naked and glad would I walk in thy ways,
Alive and aware of thy ways and thee;
Clear of the whole world, hidden at home,
Clothed with the green and crowned with the foam,
A pulse of the life of thy straits and bays,
A vein in the heart of the streams of the sea.
Fair mother, fed with the lives of men,
Thou art subtle and cruel of heart, men say.
Thou hast taken, and shalt not render again;
Thou art full of thy dead, and cold as they.
But death is the worst that comes of thee;
Thou art fed with our dead, O mother, O sea,
But when hast thou fed on our hearts? or when,
Having given us love, hast thou taken away?
O tender-hearted, O perfect lover,
Thy lips are bitter, and sweet thine heart.
The hopes that hurt and the dreams that hover,
Shall they not vanish away and apart?
But thou, thou art sure, thou art older than earth;
Thou art strong for death and fruitful of birth;
Thy depths conceal and thy gulfs discover;
From the first thou wert; in the end thou art.
And grief shall endure not for ever, I know.
As things that are not shall these things be;
We shall live through seasons of sun and of snow,
And none be grievous as this to me.
We shall hear, as one in a trance that hears,
The sound of time, the rhyme of the years;
Wrecked hope and passionate pain will grow
As tender things of a spring-tide sea.
Sea-fruit that swings in the waves that hiss,
Drowned gold and purple and royal rings.
And all time past, was it all for this?
Times unforgotten, and treasures of things?
Swift years of liking and sweet long laughter,
That wist not well of the years thereafter
Till love woke, smitten at heart by a kiss,
With lips that trembled and trailing wings?
There lived a singer in France of old
By the tideless dolorous midland sea.
In a land of sand and ruin and gold
There shone one woman, and none but she.
And finding life for her love's sake fail,
Being fain to see her, he bade set sail,
Touched land, and saw her as life grew cold,
And praised God, seeing; and so died he.
Died, praising God for his gift and grace:
For she bowed down to him weeping, and said
"Live;" and her tears were shed on his face
Or ever the life in his face was shed.
The sharp tears fell through her hair, and stung
Once, and her close lips touched him and clung
Once, and grew one with his lips for a space;
And so drew back, and the man was dead.
O brother, the gods were good to you.
Sleep, and be glad while the world endures.
Be well content as the years wear through;
Give thanks for life, and the loves and lures;
Give thanks for life, O brother, and death,
For the sweet last sound of her feet, her breath,
For gifts she gave you, gracious and few,
Tears and kisses, that lady of yours.
Rest, and be glad of the gods; but I,
How shall I praise them, or how take rest?
There is not room under all the sky
For me that know not of worst or best,
Dream or desire of the days before,
Sweet things or bitterness, any more.
Love will not come to me now though I die,
As love came close to you, breast to breast.
I shall never be friends again with roses;
I shall loathe sweet tunes, where a note grown strong
Relents and recoils, and climbs and closes,
As a wave of the sea turned back by song.
There are sounds where the soul's delight takes fire,
Face to face with its own desire;
A delight that rebels, a desire that reposes;
I shall hate sweet music my whole life long.
The pulse of war and passion of wonder,
The heavens that murmur, the sounds that shine,
The stars that sing and the loves that thunder,
The music burning at heart like wine,
An armed archangel whose hands raise up
All senses mixed in the spirit's cup
Till flesh and spirit are molten in sunder--
These things are over, and no more mine.
These were a part of the playing I heard
Once, ere my love and my heart were at strife;
Love that sings and hath wings as a bird,
Balm of the wound and heft of the knife.
Fairer than earth is the sea, and sleep
Than overwatching of eyes that weep,
Now time has done with his one sweet word,
The wine and leaven of lovely life.
I shall go my ways, tread out my measure,
Fill the days of my daily breath
With fugitive things not good to treasure,
Do as the world doth, say as it saith;
But if we had loved each other--O sweet,
Had you felt, lying under the palms of your feet,
The heart of my heart, beating harder with pleasure
To feel you tread it to dust and death--
Ah, had I not taken my life up and given
All that life gives and the years let go,
The wine and honey, the balm and leaven,
The dreams reared high and the hopes brought low?
Come life, come death, not a word be said;
Should I lose you living, and vex you dead?
I never shall tell you on earth; and in heaven,
If I cry to you then, will you hear or know?
LES NOYADES
Whatever a man of the sons of men
Shall say to his heart of the lords above,
They have shown man verily, once and again,
Marvellous mercies and infinite love.
In the wild fifth year of the change of things,
When France was glorious and blood-red, fair
With dust of battle and deaths of kings,
A queen of men, with helmeted hair,
Carrier came down to the Loire and slew,
Till all the ways and the waves waxed red:
Bound and drowned, slaying two by two,
Maidens and young men, naked and wed.
They brought on a day to his judgment-place
One rough with labour and red with fight,
And a lady noble by name and face,
Faultless, a maiden, wonderful, white.
She knew not, being for shame's sake blind,
If his eyes were hot on her face hard by.
And the judge bade strip and ship them, and bind
Bosom to bosom, to drown and die.
The white girl winced and whitened; but he
Caught fire, waxed bright as a great bright flame
Seen with thunder far out on the sea,
Laughed hard as the glad blood went and came.
Twice his lips quailed with delight, then said,
"I have but a word to you all, one word;
Bear with me; surely I am but dead;"
And all they laughed and mocked him and heard.
"Judge, when they open the judgment-roll,
I will stand upright before God and pray:
'Lord God, have mercy on one man's soul,
For his mercy was great upon earth, I say.
"'Lord, if I loved thee--Lord, if I served--
If these who darkened thy fair Son's face
I fought with, sparing not one, nor swerved
A hand's-breadth, Lord, in the perilous place--
"'I pray thee say to this man, O Lord,
_Sit thou for him at my feet on a throne_.
I will face thy wrath, though it bite as a sword,
And my soul shall burn for his soul, and atone.
"'For, Lord, thou knowest, O God most wise,
How gracious on earth were his deeds towards me.
Shall this be a small thing in thine eyes,
That is greater in mine than the whole great sea?'
"I have loved this woman my whole life long,
And even for love's sake when have I said
'I love you'? when have I done you wrong,
Living? but now I shall have you dead.
"Yea, now, do I bid you love me, love?
Love me or loathe, we are one not twain.
But God be praised in his heaven above
For this my pleasure and that my pain!
"For never a man, being mean like me,
Shall die like me till the whole world dies.
I shall drown with her, laughing for love; and she
Mix with me, touching me, lips and eyes.
"Shall she not know me and see me all through,
Me, on whose heart as a worm she trod?
You have given me, God requite it you,
What man yet never was given of God."
O sweet one love, O my life's delight,
Dear, though the days have divided us,
Lost beyond hope, taken far out of sight,
Not twice in the world shall the gods do thus.
Had it been so hard for my love? but I,
Though the gods gave all that a god can give,
I had chosen rather the gift to die,
Cease, and be glad above all that live.
For the Loire would have driven us down to the sea,
And the sea would have pitched us from shoal to shoal;
And I should have held you, and you held me,
As flesh holds flesh, and the soul the soul.
Could I change you, help you to love me, sweet,
Could I give you the love that would sweeten death,
We should yield, go down, locked hands and feet,
Die, drown together, and breath catch breath;
But you would have felt my soul in a kiss,
And known that once if I loved you well;
And I would have given my soul for this
To burn for ever in burning hell.
A LEAVE-TAKING
Let us go hence, my songs; she will not hear.
Let us go hence together without fear;
Keep silence now, for singing-time is over,
And over all old things and all things dear.
She loves not you nor me as all we love her.
Yea, though we sang as angels in her ear,
She would not hear.
Let us rise up and part; she will not know.
Let us go seaward as the great winds go,
Full of blown sand and foam; what help is here?
There is no help, for all these things are so,
And all the world is bitter as a tear.
And how these things are, though ye strove to show,
She would not know.
Let us go home and hence; she will not weep.
We gave love many dreams and days to keep,
Flowers without scent, and fruits that would not grow,
Saying 'If thou wilt, thrust in thy sickle and reap.'
All is reaped now; no grass is left to mow;
And we that sowed, though all we fell on sleep,
She would not weep.
Let us go hence and rest; she will not love.
She shall not hear us if we sing hereof,
Nor see love's ways, how sore they are and steep.
Come hence, let be, lie still; it is enough.
Love is a barren sea, bitter and deep;
And though she saw all heaven in flower above,
She would not love.
Let us give up, go down; she will not care.
Though all the stars made gold of all the air,
And the sea moving saw before it move
One moon-flower making all the foam-flowers fair;
Though all those waves went over us, and drove
Deep down the stifling lips and drowning hair,
She would not care.
Let us go hence, go hence; she will not see.
Sing all once more together; surely she,
She too, remembering days and words that were,
Will turn a little toward us, sighing; but we,
We are hence, we are gone, as though we had not been there.
Nay, and though all men seeing had pity on me,
She would not see.
ITYLUS
Swallow, my sister, O sister swallow,
How can thine heart be full of the spring?
A thousand summers are over and dead.
What hast thou found in the spring to follow?
What hast thou found in thine heart to sing?
What wilt thou do when the summer is shed?
O swallow, sister, O fair swift swallow,
Why wilt thou fly after spring to the south,
The soft south whither thine heart is set?
Shall not the grief of the old time follow?
Shall not the song thereof cleave to thy mouth?
Hast thou forgotten ere I forget?
Sister, my sister, O fleet sweet swallow,
Thy way is long to the sun and the south;
But I, fulfilled of my heart's desire,
Shedding my song upon height, upon hollow,
From tawny body and sweet small mouth
Feed the heart of the night with fire.
I the nightingale all spring through,
O swallow, sister, O changing swallow,
All spring through till the spring be done,
Clothed with the light of the night on the dew,
Sing, while the hours and the wild birds follow,
Take flight and follow and find the sun.
Sister, my sister, O soft light swallow,
Though all things feast in the spring's guest-chamber,
How hast thou heart to be glad thereof yet?
For where thou fliest I shall not follow,
Till life forget and death remember,
Till thou remember and I forget.
Swallow, my sister, O singing swallow,
I know not how thou hast heart to sing.
Hast thou the heart? is it all past over?
Thy lord the summer is good to follow,
And fair the feet of thy lover the spring:
But what wilt thou say to the spring thy lover?
O swallow, sister, O fleeting swallow,
My heart in me is a molten ember
And over my head the waves have met.
But thou wouldst tarry or I would follow,
Could I forget or thou remember,
Couldst thou remember and I forget.
O sweet stray sister, O shifting swallow,
The heart's division divideth us.
Thy heart is light as a leaf of a tree;
But mine goes forth among sea-gulfs hollow
To the place of the slaying of Itylus,
The feast of Daulis, the Thracian sea.
O swallow, sister, O rapid swallow,
I pray thee sing not a little space.
Are not the roofs and the lintels wet?
The woven web that was plain to follow,
The small slain body, the flowerlike face,
Can I remember if thou forget?
O sister, sister, thy first-begotten!
The hands that cling and the feet that follow,
The voice of the child's blood crying yet
_Who hath remembered me? who hath forgotten?_
Thou hast forgotten, O summer swallow,
But the world shall end when I forget.
ANACTORIA
[Greek: tinos au ty peithoi
maps sageneusas philotata?]
SAPPHO.
My life is bitter with thy love; thine eyes
Blind me, thy tresses burn me, thy sharp sighs
Divide my flesh and spirit with soft sound,
And my blood strengthens, and my veins abound.
I pray thee sigh not, speak not, draw not breath;
Let life burn down, and dream it is not death.
I would the sea had hidden us, the fire
(Wilt thou fear that, and fear not my desire?)
Severed the bones that bleach, the flesh that cleaves,
And let our sifted ashes drop like leaves.
I feel thy blood against my blood: my pain
Pains thee, and lips bruise lips, and vein stings vein.
Let fruit be crushed on fruit, let flower on flower,
Breast kindle breast, and either burn one hour.
Why wilt thou follow lesser loves? are thine
Too weak to bear these hands and lips of mine?
I charge thee for my life's sake, O too sweet
To crush love with thy cruel faultless feet,
I charge thee keep thy lips from hers or his,
Sweetest, till theirs be sweeter than my kiss.
Lest I too lure, a swallow for a dove,
Erotion or Erinna to my love.
I would my love could kill thee; I am satiated
With seeing thee live, and fain would have thee dead.
I would earth had thy body as fruit to eat,
And no mouth but some serpent's found thee sweet.
I would find grievous ways to have thee slain,
Intense device, and superflux of pain;
Vex thee with amorous agonies, and shake
Life at thy lips, and leave it there to ache;
Strain out thy soul with pangs too soft to kill,
Intolerable interludes, and infinite ill;
Relapse and reluctation of the breath,
Dumb tunes and shuddering semitones of death.
I am weary of all thy words and soft strange ways,
Of all love's fiery nights and all his days,
And all the broken kisses salt as brine
That shuddering lips make moist with waterish wine,
And eyes the bluer for all those hidden hours
That pleasure fills with tears and feeds from flowers,
Fierce at the heart with fire that half comes through,
But all the flowerlike white stained round with blue;
The fervent underlid, and that above
Lifted with laughter or abashed with love;
Thine amorous girdle, full of thee and fair,
And leavings of the lilies in thine hair.
Yea, all sweet words of thine and all thy ways,
And all the fruit of nights and flower of days,
And stinging lips wherein the hot sweet brine
That Love was born of burns and foams like wine,
And eyes insatiable of amorous hours,
Fervent as fire and delicate as flowers,
Coloured like night at heart, but cloven through
Like night with flame, dyed round like night with blue,
Clothed with deep eyelids under and above--
Yea, all thy beauty sickens me with love;
Thy girdle empty of thee and now not fair,
And ruinous lilies in thy languid hair.
Ah, take no thought for Love's sake; shall this be,
And she who loves thy lover not love thee?
Sweet soul, sweet mouth of all that laughs and lives,
Mine is she, very mine; and she forgives.
For I beheld in sleep the light that is
In her high place in Paphos, heard the kiss
Of body and soul that mix with eager tears
And laughter stinging through the eyes and ears;
Saw Love, as burning flame from crown to feet,
Imperishable, upon her storied seat;
Clear eyelids lifted toward the north and south,
A mind of many colours, and a mouth
Of many tunes and kisses; and she bowed,
With all her subtle face laughing aloud,
Bowed down upon me, saying, "Who doth thee wrong,
Sappho?" but thou--thy body is the song,
Thy mouth the music; thou art more than I,
Though my voice die not till the whole world die;
Though men that hear it madden; though love weep,
Though nature change, though shame be charmed to sleep.
Ah, wilt thou slay me lest I kiss thee dead?
Yet the queen laughed from her sweet heart and said:
"Even she that flies shall follow for thy sake,
And she shall give thee gifts that would not take,
Shall kiss that would not kiss thee" (yea, kiss me)
"When thou wouldst not"--when I would not kiss thee!
Ah, more to me than all men as thou art,
Shall not my songs assuage her at the heart?
Ah, sweet to me as life seems sweet to death,
Why should her wrath fill thee with fearful breath?
Nay, sweet, for is she God alone? hath she
Made earth and all the centuries of the sea,
Taught the sun ways to travel, woven most fine
The moonbeams, shed the starbeams forth as wine,
Bound with her myrtles, beaten with her rods,
The young men and the maidens and the gods?
Have we not lips to love with, eyes for tears,
And summer and flower of women and of years?
Stars for the foot of morning, and for noon
Sunlight, and exaltation of the moon;
Waters that answer waters, fields that wear
Lilies, and languor of the Lesbian air?
Beyond those flying feet of fluttered doves,
Are there not other gods for other loves?
Yea, though she scourge thee, sweetest, for my sake,
Blossom not thorns and flowers not blood should break.
Ah that my lips were tuneless lips, but pressed
To the bruised blossom of thy scourged white breast!
Ah that my mouth for Muses' milk were fed
On the sweet blood thy sweet small wounds had bled!
That with my tongue I felt them, and could taste
The faint flakes from thy bosom to the waist!
That I could drink thy veins as wine, and eat
Thy breasts like honey! that from face to feet
Thy body were abolished and consumed,
And in my flesh thy very flesh entombed!
Ah, ah, thy beauty! like a beast it bites,
Stings like an adder, like an arrow smites.
Ah sweet, and sweet again, and seven times sweet,
The paces and the pauses of thy feet!
Ah sweeter than all sleep or summer air
The fallen fillets fragrant from thine hair!
Yea, though their alien kisses do me wrong,
Sweeter thy lips than mine with all their song;
Thy shoulders whiter than a fleece of white,
And flower-sweet fingers, good to bruise or bite
As honeycomb of the inmost honey-cells,
With almond-shaped and roseleaf-coloured shells
And blood like purple blossom at the tips
Quivering; and pain made perfect in thy lips
For my sake when I hurt thee; O that I
Durst crush thee out of life with love, and die,
Die of thy pain and my delight, and be
Mixed with thy blood and molten into thee!
Would I not plague thee dying overmuch?
Would I not hurt thee perfectly? not touch
Thy pores of sense with torture, and make bright
Thine eyes with bloodlike tears and grievous light?
Strike pang from pang as note is struck from note,
Catch the sob's middle music in thy throat,
Take thy limbs living, and new-mould with these
A lyre of many faultless agonies?
Feed thee with fever and famine and fine drouth,
With perfect pangs convulse thy perfect mouth,
Make thy life shudder in thee and burn afresh,
And wring thy very spirit through the flesh?
Cruel? but love makes all that love him well
As wise as heaven and crueller than hell.
Me hath love made more bitter toward thee
Than death toward man; but were I made as he
Who hath made all things to break them one by one,
If my feet trod upon the stars and sun
And souls of men as his have alway trod,
God knows I might be crueller than God.
For who shall change with prayers or thanksgivings
The mystery of the cruelty of things?
Or say what God above all gods and years
With offering and blood-sacrifice of tears,
With lamentation from strange lands, from graves
Where the snake pastures, from scarred mouths of slaves,
From prison, and from plunging prows of ships
Through flamelike foam of the sea's closing lips--
With thwartings of strange signs, and wind-blown hair
Of comets, desolating the dim air,
When darkness is made fast with seals and bars,
And fierce reluctance of disastrous stars,
Eclipse, and sound of shaken hills, and wings
Darkening, and blind inexpiable things--
With sorrow of labouring moons, and altering light
And travail of the planets of the night,
And weeping of the weary Pleiads seven,
Feeds the mute melancholy lust of heaven?
Is not his incense bitterness, his meat
Murder? his hidden face and iron feet
Hath not man known, and felt them on their way
Threaten and trample all things and every day?
Hath he not sent us hunger? who hath cursed
Spirit and flesh with longing? filled with thirst
Their lips who cried unto him? who bade exceed
The fervid will, fall short the feeble deed,
Bade sink the spirit and the flesh aspire,
Pain animate the dust of dead desire,
And life yield up her flower to violent fate?
Him would I reach, him smite, him desecrate,
Pierce the cold lips of God with human breath,
And mix his immortality with death.
Why hath he made us? what had all we done
That we should live and loathe the sterile sun,
And with the moon wax paler as she wanes,
And pulse by pulse feel time grow through our veins?
Thee too the years shall cover; thou shalt be
As the rose born of one same blood with thee,
As a song sung, as a word said, and fall
Flower-wise, and be not any more at all,
Nor any memory of thee anywhere;
For never Muse has bound above thine hair
The high Pierian flower whose graft outgrows
All summer kinship of the mortal rose
And colour of deciduous days, nor shed
Reflex and flush of heaven about thine head,
Nor reddened brows made pale by floral grief
With splendid shadow from that lordlier leaf.
Yea, thou shalt be forgotten like spilt wine,
Except these kisses of my lips on thine
Brand them with immortality; but me--
Men shall not see bright fire nor hear the sea,
Nor mix their hearts with music, nor behold
Cast forth of heaven, with feet of awful gold
And plumeless wings that make the bright air blind,
Lightning, with thunder for a hound behind
Hunting through fields unfurrowed and unsown,
But in the light and laughter, in the moan
And music, and in grasp of lip and hand
And shudder of water that makes felt on land
The immeasurable tremor of all the sea,
Memories shall mix and metaphors of me.
Like me shall be the shuddering calm of night,
When all the winds of the world for pure delight
Close lips that quiver and fold up wings that ache;
When nightingales are louder for love's sake,
And leaves tremble like lute-strings or like fire;
Like me the one star swooning with desire
Even at the cold lips of the sleepless moon,
As I at thine; like me the waste white noon,
Burnt through with barren sunlight; and like me
The land-stream and the tide-stream in the sea.
I am sick with time as these with ebb and flow,
And by the yearning in my veins I know
The yearning sound of waters; and mine eyes
Burn as that beamless fire which fills the skies
With troubled stars and travailing things of flame;
And in my heart the grief consuming them
Labours, and in my veins the thirst of these,
And all the summer travail of the trees
And all the winter sickness; and the earth,
Filled full with deadly works of death and birth,
Sore spent with hungry lusts of birth and death,
Has pain like mine in her divided breath;
Her spring of leaves is barren, and her fruit
Ashes; her boughs are burdened, and her root
Fibrous and gnarled with poison; underneath
Serpents have gnawn it through with tortuous teeth
Made sharp upon the bones of all the dead,
And wild birds rend her branches overhead.
These, woven as raiment for his word and thought,
These hath God made, and me as these, and wrought
Song, and hath lit it at my lips; and me
Earth shall not gather though she feed on thee.
As a shed tear shalt thou be shed; but I--
Lo, earth may labour, men live long and die,
Years change and stars, and the high God devise
New things, and old things wane before his eyes
Who wields and wrecks them, being more strong than they--
But, having made me, me he shall not slay.
Nor slay nor satiate, like those herds of his
Who laugh and live a little, and their kiss
Contents them, and their loves are swift and sweet,
And sure death grasps and gains them with slow feet,
Love they or hate they, strive or bow their knees--
And all these end; he hath his will of these.
Yea, but albeit he slay me, hating me--
Albeit he hide me in the deep dear sea
And cover me with cool wan foam, and ease
This soul of mine as any soul of these,
And give me water and great sweet waves, and make
The very sea's name lordlier for my sake,
The whole sea sweeter--albeit I die indeed
And hide myself and sleep and no man heed,
Of me the high God hath not all his will.
Blossom of branches, and on each high hill
Clear air and wind, and under in clamorous vales
Fierce noises of the fiery nightingales,
Buds burning in the sudden spring like fire,
The wan washed sand and the waves' vain desire,
Sails seen like blown white flowers at sea, and words
That bring tears swiftest, and long notes of birds
Violently singing till the whole world sings--
I Sappho shall be one with all these things,
With all high things for ever; and my face
Seen once, my songs once heard in a strange place,
Cleave to men's lives, and waste the days thereof
With gladness and much sadness and long love.
Yea, they shall say, earth's womb has borne in vain
New things, and never this best thing again;
Borne days and men, borne fruits and wars and wine,
Seasons and songs, but no song more like mine.
And they shall know me as ye who have known me here,
Last year when I loved Atthis, and this year
When I love thee; and they shall praise me, and say
"She hath all time as all we have our day,
Shall she not live and have her will"--even I?
Yea, though thou diest, I say I shall not die.
For these shall give me of their souls, shall give
Life, and the days and loves wherewith I live,
Shall quicken me with loving, fill with breath,
Save me and serve me, strive for me with death.
Alas, that neither moon nor snow nor dew
Nor all cold things can purge me wholly through,
Assuage me nor allay me nor appease,
Till supreme sleep shall bring me bloodless ease;
Till time wax faint in all his periods;
Till fate undo the bondage of the gods,
And lay, to slake and satiate me all through,
Lotus and Lethe on my lips like dew,
And shed around and over and under me
Thick darkness and the insuperable sea.
HYMN TO PROSERPINE
(AFTER THE PROCLAMATION IN ROME OF THE CHRISTIAN FAITH)
_Vicisti, Galilaee._
I have lived long enough, having seen one thing, that love hath an
end;
Goddess and maiden and queen, be near me now and befriend.
Thou art more than the day or the morrow, the seasons that laugh or
that weep;
For these give joy and sorrow; but thou, Proserpina, sleep.
Sweet is the treading of wine, and sweet the feet of the dove;
But a goodlier gift is thine than foam of the grapes or love.
Yea, is not even Apollo, with hair and harpstring of gold,
A bitter God to follow, a beautiful God to behold?
I am sick of singing: the bays burn deep and chafe: I am fain
To rest a little from praise and grievous pleasure and pain.
For the Gods we know not of, who give us our daily breath,
We know they are cruel as love or life, and lovely as death.
O Gods dethroned and deceased, cast forth, wiped out in a day!
From your wrath is the world released, redeemed from your chains, men
say.
New Gods are crowned in the city; their flowers have broken your rods;
They are merciful, clothed with pity, the young compassionate Gods.
But for me their new device is barren, the days are bare;
Things long past over suffice, and men forgotten that were.
Time and the Gods are at strife; ye dwell in the midst thereof,
Draining a little life from the barren breasts of love.
I say to you, cease, take rest; yea, I say to you all, be at peace,
Till the bitter milk of her breast and the barren bosom shall cease.
Wilt thou yet take all, Galilean? but these thou shalt not take,
The laurel, the palms and the paean, the breasts of the nymphs in the
brake;
Breasts more soft than a dove's, that tremble with tenderer breath;
And all the wings of the Loves, and all the joy before death;
All the feet of the hours that sound as a single lyre,
Dropped and deep in the flowers, with strings that flicker like fire.
More than these wilt thou give, things fairer than all these things?
Nay, for a little we live, and life hath mutable wings.
A little while and we die; shall life not thrive as it may?
For no man under the sky lives twice, outliving his day.
And grief is a grievous thing, and a man hath enough of his tears:
Why should he labour, and bring fresh grief to blacken his years?
Thou hast conquered, O pale Galilean; the world has grown grey from
thy breath;
We have drunken of things Lethean, and fed on the fullness of death.
Laurel is green for a season, and love is sweet for a day;
But love grows bitter with treason, and laurel outlives not May.
Sleep, shall we sleep after all? for the world is not sweet in the
end;
For the old faiths loosen and fall, the new years ruin and rend.
Fate is a sea without shore, and the soul is a rock that abides;
But her ears are vexed with the roar and her face with the foam of the
tides.
O lips that the live blood faints in, the leavings of racks and rods!
O ghastly glories of saints, dead limbs of gibbeted Gods!
Though all men abase them before you in spirit, and all knees bend,
I kneel not neither adore you, but standing, look to the end.
All delicate days and pleasant, all spirits and sorrows are cast
Far out with the foam of the present that sweeps to the surf of the
past:
Where beyond the extreme sea-wall, and between the remote sea-gates,
Waste water washes, and tall ships founder, and deep death waits:
Where, mighty with deepening sides, clad about with the seas as with
wings,
And impelled of invisible tides, and fulfilled of unspeakable things,
White-eyed and poisonous-finned, shark-toothed and serpentine-curled,
Rolls, under the whitening wind of the future, the wave of the world.
The depths stand naked in sunder behind it, the storms flee away;
In the hollow before it the thunder is taken and snared as a prey;
In its sides is the north-wind bound; and its salt is of all men's
tears;
With light of ruin, and sound of changes, and pulse of years:
With travail of day after day, and with trouble of hour upon hour;
And bitter as blood is the spray; and the crests are as fangs that
devour:
And its vapour and storm of its steam as the sighing of spirits to be;
And its noise as the noise in a dream; and its depth as the roots of
the sea:
And the height of its heads as the height of the utmost stars of the
air:
And the ends of the earth at the might thereof tremble, and time is
made bare.
Will ye bridle the deep sea with reins, will ye chasten the high sea
with rods?
Will ye take her to chain her with chains, who is older than all ye
Gods?
All ye as a wind shall go by, as a fire shall ye pass and be past;
Ye are Gods, and behold, ye shall die, and the waves be upon you at
last.
In the darkness of time, in the deeps of the years, in the changes of
things,
Ye shall sleep as a slain man sleeps, and the world shall forget you
for kings.
Though the feet of thine high priests tread where thy lords and our
forefathers trod,
Though these that were Gods are dead, and thou being dead art a God,
Though before thee the throned Cytherean be fallen, and hidden her
head,
Yet thy kingdom shall pass, Galilean, thy dead shall go down to thee
dead.
Of the maiden thy mother men sing as a goddess with grace clad around;
Thou art throned where another was king; where another was queen she
is crowned.
Yea, once we had sight of another: but now she is queen, say these.
Not as thine, not as thine was our mother, a blossom of flowering
seas,
Clothed round with the world's desire as with raiment, and fair as the
foam,
And fleeter than kindled fire, and a goddess, and mother of Rome.
For thine came pale and a maiden, and sister to sorrow; but ours,
Her deep hair heavily laden with odour and colour of flowers,
White rose of the rose-white water, a silver splendour, a flame,
Bent down unto us that besought her, and earth grew sweet with her
name.
For thine came weeping, a slave among slaves, and rejected; but she
Came flushed from the full-flushed wave, and imperial, her foot on the
sea.
And the wonderful waters knew her, the winds and the viewless ways,
And the roses grew rosier, and bluer the sea-blue stream of the bays.
Ye are fallen, our lords, by what token? we wist that ye should not
fall.
Ye were all so fair that are broken; and one more fair than ye all.
But I turn to her still, having seen she shall surely abide in the
end;
Goddess and maiden and queen, be near me now and befriend.
O daughter of earth, of my mother, her crown and blossom of birth,
I am also, I also, thy brother; I go as I came unto earth.
In the night where thine eyes are as moons are in heaven, the night
where thou art,
Where the silence is more than all tunes, where sleep overflows from
the heart,
Where the poppies are sweet as the rose in our world, and the red rose
is white,
And the wind falls faint as it blows with the fume of the flowers of
the night,
And the murmur of spirits that sleep in the shadow of Gods from afar
Grows dim in thine ears and deep as the deep dim soul of a star,
In the sweet low light of thy face, under heavens untrod by the sun,
Let my soul with their souls find place, and forget what is done and
undone.
Thou art more than the Gods who number the days of our temporal
breath:
For these give labour and slumber; but thou, Proserpina, death.
Therefore now at thy feet I abide for a season in silence. I know
I shall die as my fathers died, and sleep as they sleep; even so.
For the glass of the years is brittle wherein we gaze for a span;
A little soul for a little bears up this corpse which is man.[2]
So long I endure, no longer; and laugh not again, neither weep.
For there is no God found stronger than death; and death is a sleep.
[2] [Greek: psycharion ei bastazon nekron].
EPICTETUS.
ILICET
There is an end of joy and sorrow;
Peace all day long, all night, all morrow,
But never a time to laugh or weep.
The end is come of pleasant places,
The end of tender words and faces,
The end of all, the poppied sleep.
No place for sound within their hearing,
No room to hope, no time for fearing,
No lips to laugh, no lids for tears.
The old years have run out all their measure;
No chance of pain, no chance of pleasure,
No fragment of the broken years.
Outside of all the worlds and ages,
There where the fool is as the sage is,
There where the slayer is clean of blood,
No end, no passage, no beginning,
There where the sinner leaves off sinning,
There where the good man is not good.
There is not one thing with another,
But Evil saith to Good: My brother,
My brother, I am one with thee:
They shall not strive nor cry for ever:
No man shall choose between them: never
Shall this thing end and that thing be.
Wind wherein seas and stars are shaken
Shall shake them, and they shall not waken;
None that has lain down shall arise;
The stones are sealed across their places;
One shadow is shed on all their faces,
One blindness cast on all their eyes.
Sleep, is it sleep perchance that covers
Each face, as each face were his lover's?
Farewell; as men that sleep fare well.
The grave's mouth laughs unto derision
Desire and dread and dream and vision,
Delight of heaven and sorrow of hell.
No soul shall tell nor lip shall number
The names and tribes of you that slumber;
No memory, no memorial.
"Thou knowest"--who shall say thou knowest?
There is none highest and none lowest:
An end, an end, an end of all.
Good night, good sleep, good rest from sorrow
To these that shall not have good morrow;
The gods be gentle to all these.
Nay, if death be not, how shall they be?
Nay, is there help in heaven? it may be
All things and lords of things shall cease.
The stooped urn, filling, dips and flashes;
The bronzed brims are deep in ashes;
The pale old lips of death are fed.
Shall this dust gather flesh hereafter?
Shall one shed tears or fall to laughter,
At sight of all these poor old dead?
Nay, as thou wilt; these know not of it;
Thine eyes' strong weeping shall not profit,
Thy laughter shall not give thee ease;
Cry aloud, spare not, cease not crying,
Sigh, till thou cleave thy sides with sighing,
Thou shalt not raise up one of these.
Burnt spices flash, and burnt wine hisses,
The breathing flame's mouth curls and kisses
The small dried rows of frankincense;
All round the sad red blossoms smoulder,
Flowers coloured like the fire, but colder,
In sign of sweet things taken hence;
Yea, for their sake and in death's favour
Things of sweet shape and of sweet savour
We yield them, spice and flower and wine;
Yea, costlier things than wine or spices,
Whereof none knoweth how great the price is,
And fruit that comes not of the vine.
From boy's pierced throat and girl's pierced bosom
Drips, reddening round the blood-red blossom,
The slow delicious bright soft blood,
Bathing the spices and the pyre,
Bathing the flowers and fallen fire,
Bathing the blossom by the bud.
Roses whose lips the flame has deadened
Drink till the lapping leaves are reddened
And warm wet inner petals weep;
The flower whereof sick sleep gets leisure,
Barren of balm and purple pleasure,
Fumes with no native steam of sleep.
Why will ye weep? what do ye weeping?
For waking folk and people sleeping,
And sands that fill and sands that fall,
The days rose-red, the poppied hours,
Blood, wine, and spice and fire and flowers,
There is one end of one and all.
Shall such an one lend love or borrow?
Shall these be sorry for thy sorrow?
Shall these give thanks for words or breath?
Their hate is as their loving-kindness;
The frontlet of their brows is blindness,
The armlet of their arms is death.
Lo, for no noise or light of thunder
Shall these grave-clothes be rent in sunder;
He that hath taken, shall he give?
He hath rent them: shall he bind together?
He hath bound them: shall he break the tether?
He hath slain them: shall he bid them live?
A little sorrow, a little pleasure,
Fate metes us from the dusty measure
That holds the date of all of us;
We are born with travail and strong crying,
And from the birth-day to the dying
The likeness of our life is thus.
One girds himself to serve another,
Whose father was the dust, whose mother
The little dead red worm therein;
They find no fruit of things they cherish;
The goodness of a man shall perish,
It shall be one thing with his sin.
In deep wet ways by grey old gardens
Fed with sharp spring the sweet fruit hardens;
They know not what fruits wane or grow;
Red summer burns to the utmost ember;
They know not, neither can remember,
The old years and flowers they used to know.
Ah, for their sakes, so trapped and taken,
For theirs, forgotten and forsaken,
Watch, sleep not, gird thyself with prayer.
Nay, where the heart of wrath is broken,
Where long love ends as a thing spoken,
How shall thy crying enter there?
Though the iron sides of the old world falter,
The likeness of them shall not alter
For all the rumour of periods,
The stars and seasons that come after,
The tears of latter men, the laughter
Of the old unalterable gods.
Far up above the years and nations,
The high gods, clothed and crowned with patience,
Endure through days of deathlike date;
They bear the witness of things hidden;
Before their eyes all life stands chidden,
As they before the eyes of Fate.
Not for their love shall Fate retire,
Nor they relent for our desire,
Nor the graves open for their call.
The end is more than joy and anguish,
Than lives that laugh and lives that languish,
The poppied sleep, the end of all.
HERMAPHRODITUS
I
Lift up thy lips, turn round, look back for love,
Blind love that comes by night and casts out rest;
Of all things tired thy lips look weariest,
Save the long smile that they are wearied of.
Ah sweet, albeit no love be sweet enough,
Choose of two loves and cleave unto the best;
Two loves at either blossom of thy breast
Strive until one be under and one above.
Their breath is fire upon the amorous air,
Fire in thine eyes and where thy lips suspire:
And whosoever hath seen thee, being so fair,
Two things turn all his life and blood to fire;
A strong desire begot on great despair,
A great despair cast out by strong desire.
II
Where between sleep and life some brief space is,
With love like gold bound round about the head,
Sex to sweet sex with lips and limbs is wed,
Turning the fruitful feud of hers and his
To the waste wedlock of a sterile kiss;
Yet from them something like as fire is shed
That shall not be assuaged till death be dead,
Though neither life nor sleep can find out this.
Love made himself of flesh that perisheth
A pleasure-house for all the loves his kin;
But on the one side sat a man like death,
And on the other a woman sat like sin.
So with veiled eyes and sobs between his breath
Love turned himself and would not enter in.
III
Love, is it love or sleep or shadow or light
That lies between thine eyelids and thine eyes?
Like a flower laid upon a flower it lies,
Or like the night's dew laid upon the night.
Love stands upon thy left hand and thy right,
Yet by no sunset and by no moonrise
Shall make thee man and ease a woman's sighs,
Or make thee woman for a man's delight.
To what strange end hath some strange god made fair
The double blossom of two fruitless flowers?
Hid love in all the folds of all thy hair,
Fed thee on summers, watered thee with showers,
Given all the gold that all the seasons wear
To thee that art a thing of barren hours?
IV
Yea, love, I see; it is not love but fear.
Nay, sweet, it is not fear but love, I know;
Or wherefore should thy body's blossom blow
So sweetly, or thine eyelids leave so clear
Thy gracious eyes that never made a tear--
Though for their love our tears like blood should flow,
Though love and life and death should come and go,
So dreadful, so desirable, so dear?
Yea, sweet, I know; I saw in what swift wise
Beneath the woman's and the water's kiss
Thy moist limbs melted into Salmacis,
And the large light turned tender in thine eyes,
And all thy boy's breath softened into sighs;
But Love being blind, how should he know of this?
_Au Musee du Louvre, Mars 1863._
FRAGOLETTA
O Love! what shall be said of thee?
The son of grief begot by joy?
Being sightless, wilt thou see?
Being sexless, wilt thou be
Maiden or boy?
I dreamed of strange lips yesterday
And cheeks wherein the ambiguous blood
Was like a rose's--yea,
A rose's when it lay
Within the bud.
What fields have bred thee, or what groves
Concealed thee, O mysterious flower,
O double rose of Love's,
With leaves that lure the doves
From bud to bower?
I dare not kiss it, lest my lip
Press harder than an indrawn breath,
And all the sweet life slip
Forth, and the sweet leaves drip,
Bloodlike, in death.
O sole desire of my delight!
O sole delight of my desire!
Mine eyelids and eyesight
Feed on thee day and night
Like lips of fire.
Lean back thy throat of carven pearl,
Let thy mouth murmur like the dove's;
Say, Venus hath no girl,
No front of female curl,
Among her Loves.
Thy sweet low bosom, thy close hair,
Thy strait soft flanks and slenderer feet,
Thy virginal strange air,
Are these not over fair
For Love to greet?
How should he greet thee? what new name,
Fit to move all men's hearts, could move
Thee, deaf to love or shame,
Love's sister, by the same
Mother as Love?
Ah sweet, the maiden's mouth is cold,
Her breast-blossoms are simply red,
Her hair mere brown or gold,
Fold over simple fold
Binding her head.
Thy mouth is made of fire and wine,
Thy barren bosom takes my kiss
And turns my soul to thine
And turns thy lip to mine,
And mine it is.
Thou hast a serpent in thine hair,
In all the curls that close and cling;
And ah, thy breast-flower!
Ah love, thy mouth too fair
To kiss and sting!
Cleave to me, love me, kiss mine eyes,
Satiate thy lips with loving me;
Nay, for thou shalt not rise;
Lie still as Love that dies
For love of thee.
Mine arms are close about thine head,
My lips are fervent on thy face,
And where my kiss hath fed
Thy flower-like blood leaps red
To the kissed place.
O bitterness of things too sweet!
O broken singing of the dove!
Love's wings are over fleet,
And like the panther's feet
The feet of Love.
RONDEL
These many years since we began to be,
What have the gods done with us? what with me,
What with my love? they have shown me fates and fears,
Harsh springs, and fountains bitterer than the sea,
Grief a fixed star, and joy a vane that veers,
These many years.
With her, my love, with her have they done well?
But who shall answer for her? who shall tell
Sweet things or sad, such things as no man hears?
May no tears fall, if no tears ever fell,
From eyes more dear to me than starriest spheres
These many years!
But if tears ever touched, for any grief,
Those eyelids folded like a white-rose leaf,
Deep double shells wherethrough the eye-flower peers,
Let them weep once more only, sweet and brief,
Brief tears and bright, for one who gave her tears
These many years.
SATIA TE SANGUINE
If you loved me ever so little,
I could bear the bonds that gall,
I could dream the bonds were brittle;
You do not love me at all.
O beautiful lips, O bosom
More white than the moon's and warm,
A sterile, a ruinous blossom
Is blown your way in a storm.
As the lost white feverish limbs
Of the Lesbian Sappho, adrift
In foam where the sea-weed swims,
Swam loose for the streams to lift,
My heart swims blind in a sea
That stuns me; swims to and fro,
And gathers to windward and lee
Lamentation, and mourning, and woe.
A broken, an emptied boat,
Sea saps it, winds blow apart,
Sick and adrift and afloat,
The barren waif of a heart.
Where, when the gods would be cruel,
Do they go for a torture? where
Plant thorns, set pain like a jewel?
Ah, not in the flesh, not there!
The racks of earth and the rods
Are weak as foam on the sands;
In the heart is the prey for gods,
Who crucify hearts, not hands.
Mere pangs corrode and consume,
Dead when life dies in the brain;
In the infinite spirit is room
For the pulse of an infinite pain.
I wish you were dead, my dear;
I would give you, had I to give
Some death too bitter to fear;
It is better to die than live.
I wish you were stricken of thunder
And burnt with a bright flame through,
Consumed and cloven in sunder,
I dead at your feet like you.
If I could but know after all,
I might cease to hunger and ache,
Though your heart were ever so small,
If it were not a stone or a snake.
You are crueller, you that we love,
Than hatred, hunger, or death;
You have eyes and breasts like a dove,
And you kill men's hearts with a breath
As plague in a poisonous city
Insults and exults on her dead,
So you, when pallid for pity
Comes love, and fawns to be fed.
As a tame beast writhes and wheedles,
He fawns to be fed with wiles;
You carve him a cross of needles,
And whet them sharp as your smiles.
He is patient of thorn and whip,
He is dumb under axe or dart;
You suck with a sleepy red lip
The wet red wounds in his heart.
You thrill as his pulses dwindle,
You brighten and warm as he bleeds,
With insatiable eyes that kindle
And insatiable mouth that feeds.
Your hands nailed love to the tree,
You stript him, scourged him with rods,
And drowned him deep in the sea
That hides the dead and their gods.
And for all this, die will he not;
There is no man sees him but I;
You came and went and forgot;
I hope he will some day die.
A LITANY
[Greek: en ourano phaennas
krypso par' hymin augas,
mias pro nyktos hepta nyktas hexete, k.t.l.]
_Anth. Sac._
FIRST ANTIPHONE
All the bright lights of heaven
I will make dark over thee;
One night shall be as seven
That its skirts may cover thee;
I will send on thy strong men a sword,
On thy remnant a rod;
Ye shall know that I am the Lord,
Saith the Lord God.
SECOND ANTIPHONE
All the bright lights of heaven
Thou hast made dark over us;
One night has been as seven
That its skirt might cover us;
Thou hast sent on our strong men a sword,
On our remnant a rod;
We know that thou art the Lord,
O Lord our God.
THIRD ANTIPHONE
As the tresses and wings of the wind
Are scattered and shaken,
I will scatter all them that have sinned,
There shall none be taken;
As a sower that scattereth seed,
So will I scatter them;
As one breaketh and shattereth a reed,
I will break and shatter them.
FOURTH ANTIPHONE
As the wings and the locks of the wind
Are scattered and shaken,
Thou hast scattered all them that have sinned,
There was no man taken;
As a sower that scattereth seed,
So hast thou scattered us;
As one breaketh and shattereth a reed,
Thou hast broken and shattered us.
FIFTH ANTIPHONE
From all thy lovers that love thee
I God will sunder thee;
I will make darkness above thee,
And thick darkness under thee;
Before me goeth a light,
Behind me a sword;
Shall a remnant find grace in my sight?
I am the Lord.
SIXTH ANTIPHONE
From all our lovers that love us
Thou God didst sunder us;
Thou madest darkness above us,
And thick darkness under us;
Thou hast kindled thy wrath for a light,
And made ready thy sword;
Let a remnant find grace in thy sight,
We beseech thee, O Lord.
SEVENTH ANTIPHONE
Wilt thou bring fine gold for a payment
For sins on this wise?
For the glittering of raiment
And the shining of eyes,
For the painting of faces
And the sundering of trust,
For the sins of thine high places
And delight of thy lust?
For your high things ye shall have lowly,
Lamentation for song;
For, behold, I God am holy,
I the Lord am strong;
Ye shall seek me and shall not reach me
Till the wine-press be trod;
In that hour ye shall turn and beseech me,
Saith the Lord God.
EIGHTH ANTIPHONE
Not with fine gold for a payment,
But with coin of sighs,
But with rending of raiment
And with weeping of eyes,
But with shame of stricken faces
And with strewing of dust,
For the sin of stately places
And lordship of lust;
With voices of men made lowly,
Made empty of song,
O Lord God most holy,
O God most strong,
We reach out hands to reach thee
Ere the wine-press be trod;
We beseech thee, O Lord, we beseech thee,
O Lord our God.
NINTH ANTIPHONE
In that hour thou shalt say to the night,
Come down and cover us;
To the cloud on thy left and thy right,
Be thou spread over us;
A snare shall be as thy mother,
And a curse thy bride;
Thou shalt put her away, and another
Shall lie by thy side.
Thou shalt neither rise up by day
Nor lie down by night;
Would God it were dark! thou shalt say;
Would God it were light!
And the sight of thine eyes shall be made
As the burning of fire;
And thy soul shall be sorely afraid
For thy soul's desire.
Ye whom your lords loved well,
Putting silver and gold on you,
The inevitable hell
Shall surely take hold on you;
Your gold shall be for a token,
Your staff for a rod;
With the breaking of bands ye are broken,
Saith the Lord God.
TENTH ANTIPHONE
In our sorrow we said to the night,
Fall down and cover us;
To the darkness at left and at right,
Be thou shed over us;
We had breaking of spirit to mother
And cursing to bride;
And one was slain, and another
Stood up at our side.
We could not arise by day,
Nor lie down by night;
Thy sword was sharp in our way,
Thy word in our sight;
The delight of our eyelids was made
As the burning of fire;
And our souls became sorely afraid
For our soul's desire.
We whom the world loved well,
Laying silver and gold on us,
The kingdom of death and of hell
Riseth up to take hold on us;
Our gold is turned to a token,
Our staff to a rod;
Yet shalt thou bind them up that were broken,
O Lord our God.
A LAMENTATION
I
Who hath known the ways of time
Or trodden behind his feet?
There is no such man among men.
For chance overcomes him, or crime
Changes; for all things sweet
In time wax bitter again.
Who shall give sorrow enough,
Or who the abundance of tears?
Mine eyes are heavy with love
And a sword gone thorough mine ears,
A sound like a sword and fire,
For pity, for great desire;
Who shall ensure me thereof,
Lest I die, being full of my fears?
Who hath known the ways and the wrath,
The sleepless spirit, the root
And blossom of evil will,
The divine device of a god?
Who shall behold it or hath?
The twice-tongued prophets are mute,
The many speakers are still;
No foot has travelled or trod,
No hand has meted, his path.
Man's fate is a blood-red fruit,
And the mighty gods have their fill
And relax not the rein, or the rod.
Ye were mighty in heart from of old,
Ye slew with the spear, and are slain.
Keen after heat is the cold,
Sore after summer is rain,
And melteth man to the bone.
As water he weareth away,
As a flower, as an hour in a day,
Fallen from laughter to moan.
But my spirit is shaken with fear
Lest an evil thing begin,
New-born, a spear for a spear,
And one for another sin.
Or ever our tears began,
It was known from of old and said;
One law for a living man,
And another law for the dead.
For these are fearful and sad,
Vain, and things without breath;
While he lives let a man be glad,
For none hath joy of his death.
II
Who hath known the pain, the old pain of earth,
Or all the travail of the sea,
The many ways and waves, the birth
Fruitless, the labour nothing worth?
Who hath known, who knoweth, O gods? not we.
There is none shall say he hath seen,
There is none he hath known.
Though he saith, Lo, a lord have I been,
I have reaped and sown;
I have seen the desire of mine eyes,
The beginning of love,
The season of kisses and sighs
And the end thereof.
I have known the ways of the sea,
All the perilous ways,
Strange winds have spoken with me,
And the tongues of strange days.
I have hewn the pine for ships;
Where steeds run arow,
I have seen from their bridled lips
Foam blown as the snow.
With snapping of chariot-poles
And with straining of oars
I have grazed in the race the goals,
In the storm the shores;
As a greave is cleft with an arrow
At the joint of the knee,
I have cleft through the sea-straits narrow
To the heart of the sea.
When air was smitten in sunder
I have watched on high
The ways of the stars and the thunder
In the night of the sky;
Where the dark brings forth light as a flower,
As from lips that dissever;
One abideth the space of an hour,
One endureth for ever.
Lo, what hath he seen or known,
Of the way and the wave
Unbeholden, unsailed on, unsown,
From the breast to the grave?
Or ever the stars were made, or skies,
Grief was born, and the kinless night,
Mother of gods without form or name.
And light is born out of heaven and dies,
And one day knows not another's light,
But night is one, and her shape the same.
But dumb the goddesses underground
Wait, and we hear not on earth if their feet
Rise, and the night wax loud with their wings;
Dumb, without word or shadow of sound;
And sift in scales and winnow as wheat
Men's souls, and sorrow of manifold things.
III
Nor less of grief than ours
The gods wrought long ago
To bruise men one by one;
But with the incessant hours
Fresh grief and greener woe
Spring, as the sudden sun
Year after year makes flowers;
And these die down and grow,
And the next year lacks none.
As these men sleep, have slept
The old heroes in time fled,
No dream-divided sleep;
And holier eyes have wept
Than ours, when on her dead
Gods have seen Thetis weep,
With heavenly hair far-swept
Back, heavenly hands outspread
Round what she could not keep,
Could not one day withhold,
One night; and like as these
White ashes of no weight,
Held not his urn the cold
Ashes of Heracles?
For all things born one gate
Opens, no gate of gold;
Opens; and no man sees
Beyond the gods and fate.
ANIMA ANCEPS
Till death have broken
Sweet life's love-token,
Till all be spoken
That shall be said,
What dost thou praying,
O soul, and playing
With song and saying,
Things flown and fled?
For this we know not--
That fresh springs flow not
And fresh griefs grow not
When men are dead;
When strange years cover
Lover and lover,
And joys are over
And tears are shed.
If one day's sorrow
Mar the day's morrow--
If man's life borrow
And man's death pay--
If souls once taken,
If lives once shaken,
Arise, awaken,
By night, by day--
Why with strong crying
And years of sighing,
Living and dying,
Fast ye and pray?
For all your weeping,
Waking and sleeping,
Death comes to reaping
And takes away.
Though time rend after
Roof-tree from rafter,
A little laughter
Is much more worth
Than thus to measure
The hour, the treasure,
The pain, the pleasure,
The death, the birth;
Grief, when days alter,
Like joy shall falter;
Song-book and psalter,
Mourning and mirth.
Live like the swallow;
Seek not to follow
Where earth is hollow
Under the earth.
IN THE ORCHARD
(PROVENCAL BURDEN)
Leave go my hands, let me catch breath and see;
Let the dew-fall drench either side of me;
Clear apple-leaves are soft upon that moon
Seen sidelong like a blossom in the tree;
Ah God, ah God, that day should be so soon.
The grass is thick and cool, it lets us lie.
Kissed upon either cheek and either eye,
I turn to thee as some green afternoon
Turns toward sunset, and is loth to die;
Ah God, ah God, that day should be so soon.
Lie closer, lean your face upon my side,
Feel where the dew fell that has hardly dried,
Hear how the blood beats that went nigh to swoon;
The pleasure lives there when the sense has died;
Ah God, ah God, that day should be so soon.
O my fair lord, I charge you leave me this:
Is it not sweeter than a foolish kiss?
Nay take it then, my flower, my first in June,
My rose, so like a tender mouth it is:
Ah God, ah God, that day should be so soon.
Love, till dawn sunder night from day with fire,
Dividing my delight and my desire,
The crescent life and love the plenilune,
Love me though dusk begin and dark retire;
Ah God, ah God, that day should be so soon.
Ah, my heart fails, my blood draws back; I know,
When life runs over, life is near to go;
And with the slain of love love's ways are strewn,
And with their blood, if love will have it so;
Ah God, ah God, that day should be so soon.
Ah, do thy will now; slay me if thou wilt;
There is no building now the walls are built,
No quarrying now the corner-stone is hewn,
No drinking now the vine's whole blood is spilt;
Ah God, ah God, that day should be so soon.
Nay, slay me now; nay, for I will be slain;
Pluck thy red pleasure from the teeth of pain,
Break down thy vine ere yet grape-gatherers prune,
Slay me ere day can slay desire again;
Ah God, ah God, that day should be so soon.
Yea, with thy sweet lips, with thy sweet sword; yea,
Take life and all, for I will die, I say;
Love, I gave love, is life a better boon?
For sweet night's sake I will not live till day;
Ah God, ah God, that day should be so soon.
Nay, I will sleep then only; nay, but go.
Ah sweet, too sweet to me, my sweet, I know
Love, sleep, and death go to the sweet same tune;
Hold my hair fast, and kiss me through it so.
Ah God, ah God, that day should be so soon.
A MATCH
If love were what the rose is,
And I were like the leaf,
Our lives would grow together
In sad or singing weather,
Blown fields or flowerful closes,
Green pleasure or grey grief;
If love were what the rose is,
And I were like the leaf.
If I were what the words are,
And love were like the tune,
With double sound and single
Delight our lips would mingle,
With kisses glad as birds are
That get sweet rain at noon;
If I were what the words are,
And love were like the tune.
If you were life, my darling,
And I your love were death,
We'd shine and snow together
Ere March made sweet the weather
With daffodil and starling
And hours of fruitful breath;
If you were life, my darling,
And I your love were death.
If you were thrall to sorrow,
And I were page to joy,
We'd play for lives and seasons
With loving looks and treasons
And tears of night and morrow
And laughs of maid and boy;
If you were thrall to sorrow,
And I were page to joy.
If you were April's lady,
And I were lord in May,
We'd throw with leaves for hours
And draw for days with flowers,
Till day like night were shady
And night were bright like day;
If you were April's lady,
And I were lord in May.
If you were queen of pleasure,
And I were king of pain,
We'd hunt down love together,
Pluck out his flying-feather,
And teach his feet a measure,
And find his mouth a rein;
If you were queen of pleasure,
And I were king of pain.
FAUSTINE
_Ave Faustina Imperatrix, morituri te salutant._
Lean back, and get some minutes' peace;
Let your head lean
Back to the shoulder with its fleece
Of locks, Faustine.
The shapely silver shoulder stoops,
Weighed over clean
With state of splendid hair that droops
Each side, Faustine.
Let me go over your good gifts
That crown you queen;
A queen whose kingdom ebbs and shifts
Each week, Faustine.
Bright heavy brows well gathered up:
White gloss and sheen;
Carved lips that make my lips a cup
To drink, Faustine,
Wine and rank poison, milk and blood,
Being mixed therein
Since first the devil threw dice with God
For you, Faustine.
Your naked new-born soul, their stake,
Stood blind between;
God said "let him that wins her take
And keep Faustine."
But this time Satan throve, no doubt;
Long since, I ween,
God's part in you was battered out;
Long since, Faustine.
The die rang sideways as it fell,
Rang cracked and thin,
Like a man's laughter heard in hell
Far down, Faustine,
A shadow of laughter like a sigh,
Dead sorrow's kin;
So rang, thrown down, the devil's die
That won Faustine.
A suckling of his breed you were,
One hard to wean;
But God, who lost you, left you fair,
We see, Faustine.
You have the face that suits a woman
For her soul's screen--
The sort of beauty that's called human
In hell, Faustine.
You could do all things but be good
Or chaste of mien;
And that you would not if you could,
We know, Faustine.
Even he who cast seven devils out
Of Magdalene
Could hardly do as much, I doubt,
For you, Faustine.
Did Satan make you to spite God?
Or did God mean
To scourge with scorpions for a rod
Our sins, Faustine?
I know what queen at first you were,
As though I had seen
Red gold and black imperious hair
Twice crown Faustine.
As if your fed sarcophagus
Spared flesh and skin,
You come back face to face with us,
The same Faustine.
She loved the games men played with death,
Where death must win;
As though the slain man's blood and breath
Revived Faustine.
Nets caught the pike, pikes tore the net;
Lithe limbs and lean
From drained-out pores dripped thick red sweat
To soothe Faustine.
She drank the steaming drift and dust
Blown off the scene;
Blood could not ease the bitter lust
That galled Faustine.
All round the foul fat furrows reeked,
Where blood sank in;
The circus splashed and seethed and shrieked
All round Faustine.
But these are gone now: years entomb
The dust and din;
Yea, even the bath's fierce reek and fume
That slew Faustine.
Was life worth living then? and now
Is life worth sin?
Where are the imperial years? and how
Are you Faustine?
Your soul forgot her joys, forgot
Her times of teen;
Yea, this life likewise will you not
Forget, Faustine?
For in the time we know not of
Did fate begin
Weaving the web of days that wove
Your doom, Faustine.
The threads were wet with wine, and all
Were smooth to spin;
They wove you like a Bacchanal,
The first Faustine.
And Bacchus cast your mates and you
Wild grapes to glean;
Your flower-like lips were dashed with dew
From his, Faustine.
Your drenched loose hands were stretched to hold
The vine's wet green,
Long ere they coined in Roman gold
Your face, Faustine.
Then after change of soaring feather
And winnowing fin,
You woke in weeks of feverish weather,
A new Faustine.
A star upon your birthday burned,
Whose fierce serene
Red pulseless planet never yearned
In heaven, Faustine.
Stray breaths of Sapphic song that blew
Through Mitylene
Shook the fierce quivering blood in you
By night, Faustine.
The shameless nameless love that makes
Hell's iron gin
Shut on you like a trap that breaks
The soul, Faustine.
And when your veins were void and dead,
What ghosts unclean
Swarmed round the straitened barren bed
That hid Faustine?
What sterile growths of sexless root
Or epicene?
What flower of kisses without fruit
Of love, Faustine?
What adders came to shed their coats?
What coiled obscene
Small serpents with soft stretching throats
Caressed Faustine?
But the time came of famished hours,
Maimed loves and mean,
This ghastly thin-faced time of ours,
To spoil Faustine.
You seem a thing that hinges hold,
A love-machine
With clockwork joints of supple gold--
No more, Faustine.
Not godless, for you serve one God,
The Lampsacene,
Who metes the gardens with his rod;
Your lord, Faustine.
If one should love you with real love
(Such things have been,
Things your fair face knows nothing of,
It seems, Faustine);
That clear hair heavily bound back,
The lights wherein
Shift from dead blue to burnt-up black;
Your throat, Faustine,
Strong, heavy, throwing out the face
And hard bright chin
And shameful scornful lips that grace
Their shame, Faustine,
Curled lips, long-since half kissed away,
Still sweet and keen;
You'd give him--poison shall we say?
Or what, Faustine?
A CAMEO
There was a graven image of Desire
Painted with red blood on a ground of gold
Passing between the young men and the old,
And by him Pain, whose body shone like fire,
And Pleasure with gaunt hands that grasped their hire.
Of his left wrist, with fingers clenched and cold,
The insatiable Satiety kept hold,
Walking with feet unshod that pashed the mire.
The senses and the sorrows and the sins,
And the strange loves that suck the breasts of Hate
Till lips and teeth bite in their sharp indenture,
Followed like beasts with flap of wings and fins.
Death stood aloof behind a gaping grate,
Upon whose lock was written _Peradventure_.
SONG BEFORE DEATH
(FROM THE FRENCH)
1795
Sweet mother, in a minute's span
Death parts thee and my love of thee;
Sweet love, that yet art living man,
Come back, true love, to comfort me.
Back, ah, come back! ah wellaway!
But my love comes not any day.
As roses, when the warm West blows,
Break to full flower and sweeten spring,
My soul would break to a glorious rose
In such wise at his whispering.
In vain I listen; wellaway!
My love says nothing any day.
You that will weep for pity of love
On the low place where I am lain,
I pray you, having wept enough,
Tell him for whom I bore such pain
That he was yet, ah! wellaway!
My true love to my dying day.
ROCOCO
Take hands and part with laughter;
Touch lips and part with tears;
Once more and no more after,
Whatever comes with years.
We twain shall not remeasure
The ways that left us twain;
Nor crush the lees of pleasure
From sanguine grapes of pain.
We twain once well in sunder,
What will the mad gods do
For hate with me, I wonder,
Or what for love with you?
Forget them till November,
And dream there's April yet;
Forget that I remember,
And dream that I forget.
Time found our tired love sleeping,
And kissed away his breath;
But what should we do weeping,
Though light love sleep to death?
We have drained his lips at leisure,
Till there's not left to drain
A single sob of pleasure,
A single pulse of pain.
Dream that the lips once breathless
Might quicken if they would;
Say that the soul is deathless;
Dream that the gods are good;
Say March may wed September,
And time divorce regret;
But not that you remember,
And not that I forget.
We have heard from hidden places
What love scarce lives and hears:
We have seen on fervent faces
The pallor of strange tears:
We have trod the wine-vat's treasure,
Whence, ripe to steam and stain,
Foams round the feet of pleasure
The blood-red must of pain.
Remembrance may recover
And time bring back to time
The name of your first lover,
The ring of my first rhyme;
But rose-leaves of December
The frosts of June shall fret,
The day that you remember,
The day that I forget.
The snake that hides and hisses
In heaven we twain have known;
The grief of cruel kisses,
The joy whose mouth makes moan;
The pulse's pause and measure,
Where in one furtive vein
Throbs through the heart of pleasure
The purpler blood of pain.
We have done with tears and treasons
And love for treason's sake;
Room for the swift new seasons,
The years that burn and break,
Dismantle and dismember
Men's days and dreams, Juliette;
For love may not remember,
But time will not forget.
Life treads down love in flying,
Time withers him at root;
Bring all dead things and dying,
Reaped sheaf and ruined fruit,
Where, crushed by three days' pressure,
Our three days' love lies slain;
And earlier leaf of pleasure,
And latter flower of pain.
Breathe close upon the ashes,
It may be flame will leap;
Unclose the soft close lashes,
Lift up the lids, and weep.
Light love's extinguished ember,
Let one tear leave it wet
For one that you remember
And ten that you forget.
STAGE LOVE
When the game began between them for a jest,
He played king and she played queen to match the best;
Laughter soft as tears, and tears that turned to laughter,
These were things she sought for years and sorrowed after.
Pleasure with dry lips, and pain that walks by night;
All the sting and all the stain of long delight;
These were things she knew not of, that knew not of her,
When she played at half a love with half a lover.
Time was chorus, gave them cues to laugh or cry;
They would kill, befool, amuse him, let him die;
Set him webs to weave to-day and break to-morrow,
Till he died for good in play, and rose in sorrow.
What the years mean; how time dies and is not slain;
How love grows and laughs and cries and wanes again;
These were things she came to know, and take their measure,
When the play was played out so for one man's pleasure.
THE LEPER
Nothing is better, I well think,
Than love; the hidden well-water
Is not so delicate to drink:
This was well seen of me and her.
I served her in a royal house;
I served her wine and curious meat.
For will to kiss between her brows,
I had no heart to sleep or eat.
Mere scorn God knows she had of me,
A poor scribe, nowise great or fair,
Who plucked his clerk's hood back to see
Her curled-up lips and amorous hair.
I vex my head with thinking this.
Yea, though God always hated me,
And hates me now that I can kiss
Her eyes, plait up her hair to see
How she then wore it on the brows,
Yet am I glad to have her dead
Here in this wretched wattled house
Where I can kiss her eyes and head.
Nothing is better, I well know,
Than love; no amber in cold sea
Or gathered berries under snow:
That is well seen of her and me.
Three thoughts I make my pleasure of:
First I take heart and think of this:
That knight's gold hair she chose to love,
His mouth she had such will to kiss.
Then I remember that sundawn
I brought him by a privy way
Out at her lattice, and thereon
What gracious words she found to say.
(Cold rushes for such little feet--
Both feet could lie into my hand.
A marvel was it of my sweet
Her upright body could so stand.)
"Sweet friend, God give you thank and grace;
Now am I clean and whole of shame,
Nor shall men burn me in the face
For my sweet fault that scandals them."
I tell you over word by word.
She, sitting edgewise on her bed,
Holding her feet, said thus. The third,
A sweeter thing than these, I said.
God, that makes time and ruins it
And alters not, abiding God,
Changed with disease her body sweet,
The body of love wherein she abode.
Love is more sweet and comelier
Than a dove's throat strained out to sing.
All they spat out and cursed at her
And cast her forth for a base thing.
They cursed her, seeing how God had wrought
This curse to plague her, a curse of his.
Fools were they surely, seeing not
How sweeter than all sweet she is.
He that had held her by the hair,
With kissing lips blinding her eyes,
Felt her bright bosom, strained and bare,
Sigh under him, with short mad cries
Out of her throat and sobbing mouth
And body broken up with love,
With sweet hot tears his lips were loth
Her own should taste the savour of,
Yea, he inside whose grasp all night
Her fervent body leapt or lay,
Stained with sharp kisses red and white,
Found her a plague to spurn away.
I hid her in this wattled house,
I served her water and poor bread.
For joy to kiss between her brows
Time upon time I was nigh dead.
Bread failed; we got but well-water
And gathered grass with dropping seed.
I had such joy of kissing her,
I had small care to sleep or feed.
Sometimes when service made me glad
The sharp tears leapt between my lids,
Falling on her, such joy I had
To do the service God forbids.
"I pray you let me be at peace,
Get hence, make room for me to die."
She said that: her poor lip would cease,
Put up to mine, and turn to cry.
I said, "Bethink yourself how love
Fared in us twain, what either did;
Shall I unclothe my soul thereof?
That I should do this, God forbid."
Yea, though God hateth us, he knows
That hardly in a little thing
Love faileth of the work it does
Till it grow ripe for gathering.
Six months, and now my sweet is dead
A trouble takes me; I know not
If all were done well, all well said,
No word or tender deed forgot.
Too sweet, for the least part in her,
To have shed life out by fragments; yet,
Could the close mouth catch breath and stir,
I might see something I forget.
Six months, and I sit still and hold
In two cold palms her cold two feet.
Her hair, half grey half ruined gold,
Thrills me and burns me in kissing it.
Love bites and stings me through, to see
Her keen face made of sunken bones.
Her worn-off eyelids madden me,
That were shot through with purple once.
She said, "Be good with me; I grow
So tired for shame's sake, I shall die
If you say nothing:" even so.
And she is dead now, and shame put by.
Yea, and the scorn she had of me
In the old time, doubtless vexed her then.
I never should have kissed her. See
What fools God's anger makes of men!
She might have loved me a little too,
Had I been humbler for her sake.
But that new shame could make love new
She saw not--yet her shame did make.
I took too much upon my love,
Having for such mean service done
Her beauty and all the ways thereof,
Her face and all the sweet thereon.
Yea, all this while I tended her,
I know the old love held fast his part:
I know the old scorn waxed heavier,
Mixed with sad wonder, in her heart.
It may be all my love went wrong--
A scribe's work writ awry and blurred,
Scrawled after the blind evensong--
Spoilt music with no perfect word.
But surely I would fain have done
All things the best I could. Perchance
Because I failed, came short of one,
She kept at heart that other man's.
I am grown blind with all these things:
It may be now she hath in sight
Some better knowledge; still there clings
The old question. Will not God do right?[3]
[3] En ce temps-la estoyt dans ce pays grand nombre de ladres et
de meseaulx, ce dont le roy eut grand desplaisir, veu que Dieu
dust en estre moult griefvement courrouce. Ores il advint qu'une
noble damoyselle appelee Yolande de Sallieres estant atteincte et
touste guastee de ce vilain mal, tous ses amys et ses parens ayant
devant leurs yeux la paour de Dieu la firent issir fors de leurs
maisons et oncques ne voulurent recepvoir ni reconforter chose
mauldicte de Dieu et a tous les hommes puante et abhominable.
Ceste dame avoyt este moult belle et gracieuse de formes, et de
son corps elle estoyt large et de vie lascive. Pourtant nul des
amans qui l'avoyent souventesfois accollee et baisee moult
tendrement ne voulust plus heberger si laide femme et si
detestable pescheresse. Ung seul clerc qui feut premierement son
lacquays et son entremetteur en matiere d'amour la recut chez luy
et la recela dans une petite cabane. La mourut la meschinette de
grande misere et de male mort: et apres elle deceda ledist clerc
qui pour grand amour l'avoyt six mois durant soignee, lavee,
habillee et deshabillee tous les jours de ses mains propres. Mesme
dist-on que ce meschant homme et mauldict clerc se rememourant de
la grande beaute passee et guastee de ceste femme se delectoyt
maintesfois a la baiser sur sa bouche orde et lepreuse et
l'accoller doulcement de ses mains amoureuses. Aussy est-il mort
de ceste mesme maladie abhominable. Cecy advint pres
Fontainebellant en Gastinois. Et quand ouyt le roy Philippe ceste
adventure moult en estoyt esmerveille.
_Grandes Chroniques de France, 1505._
A BALLAD OF BURDENS
The burden of fair women. Vain delight,
And love self-slain in some sweet shameful way,
And sorrowful old age that comes by night
As a thief comes that has no heart by day,
And change that finds fair cheeks and leaves them grey,
And weariness that keeps awake for hire,
And grief that says what pleasure used to say;
This is the end of every man's desire.
The burden of bought kisses. This is sore,
A burden without fruit in childbearing;
Between the nightfall and the dawn threescore,
Threescore between the dawn and evening.
The shuddering in thy lips, the shuddering
In thy sad eyelids tremulous like fire,
Makes love seem shameful and a wretched thing,
This is the end of every man's desire.
The burden of sweet speeches. Nay, kneel down,
Cover thy head, and weep; for verily
These market-men that buy thy white and brown
In the last days shall take no thought for thee.
In the last days like earth thy face shall be,
Yea, like sea-marsh made thick with brine and mire,
Sad with sick leavings of the sterile sea.
This is the end of every man's desire.
The burden of long living. Thou shalt fear
Waking, and sleeping mourn upon thy bed;
And say at night "Would God the day were here,"
And say at dawn "Would God the day were dead."
With weary days thou shalt be clothed and fed,
And wear remorse of heart for thine attire,
Pain for thy girdle and sorrow upon thine head;
This is the end of every man's desire.
The burden of bright colours. Thou shalt see
Gold tarnished, and the grey above the green;
And as the thing thou seest thy face shall be,
And no more as the thing beforetime seen.
And thou shalt say of mercy "It hath been,"
And living, watch the old lips and loves expire,
And talking, tears shall take thy breath between;
This is the end of every man's desire.
The burden of sad sayings. In that day
Thou shalt tell all thy days and hours, and tell
Thy times and ways and words of love, and say
How one was dear and one desirable,
And sweet was life to hear and sweet to smell,
But now with lights reverse the old hours retire
And the last hour is shod with fire from hell;
This is the end of every man's desire.
The burden of four seasons. Rain in spring,
White rain and wind among the tender trees;
A summer of green sorrows gathering,
Rank autumn in a mist of miseries,
With sad face set towards the year, that sees
The charred ash drop out of the dropping pyre,
And winter wan with many maladies;
This is the end of every man's desire.
The burden of dead faces. Out of sight
And out of love, beyond the reach of hands,
Changed in the changing of the dark and light,
They walk and weep about the barren lands
Where no seed is nor any garner stands,
Where in short breaths the doubtful days respire,
And time's turned glass lets through the sighing sands;
This is the end of every man's desire.
The burden of much gladness. Life and lust
Forsake thee, and the face of thy delight;
And underfoot the heavy hour strews dust,
And overhead strange weathers burn and bite;
And where the red was, lo the bloodless white,
And where truth was, the likeness of a liar,
And where day was, the likeness of the night;
This is the end of every man's desire.
L'ENVOY
Princes, and ye whom pleasure quickeneth,
Heed well this rhyme before your pleasure tire;
For life is sweet, but after life is death.
This is the end of every man's desire.
RONDEL
Kissing her hair I sat against her feet,
Wove and unwove it, wound and found it sweet;
Made fast therewith her hands, drew down her eyes,
Deep as deep flowers and dreamy like dim skies;
With her own tresses bound and found her fair,
Kissing her hair.
Sleep were no sweeter than her face to me,
Sleep of cold sea-bloom under the cold sea;
What pain could get between my face and hers?
What new sweet thing would love not relish worse?
Unless, perhaps, white death had kissed me there,
Kissing her hair?
BEFORE THE MIRROR
(VERSES WRITTEN UNDER A PICTURE)
INSCRIBED TO J. A. WHISTLER
I
White rose in red rose-garden
Is not so white;
Snowdrops that plead for pardon
And pine for fright
Because the hard East blows
Over their maiden rows
Grow not as this face grows from pale to bright.
Behind the veil, forbidden,
Shut up from sight,
Love, is there sorrow hidden,
Is there delight?
Is joy thy dower or grief,
White rose of weary leaf,
Late rose whose life is brief, whose loves are light?
Soft snows that hard winds harden
Till each flake bite
Fill all the flowerless garden
Whose flowers took flight
Long since when summer ceased,
And men rose up from feast,
And warm west wind grew east, and warm day night.
II
"Come snow, come wind or thunder
High up in air,
I watch my face, and wonder
At my bright hair;
Nought else exalts or grieves
The rose at heart, that heaves
With love of her own leaves and lips that pair.
"She knows not loves that kissed her
She knows not where.
Art thou the ghost, my sister,
White sister there,
Am I the ghost, who knows?
My hand, a fallen rose,
Lies snow-white on white snows, and takes no care.
"I cannot see what pleasures
Or what pains were;
What pale new loves and treasures
New years will bear;
What beam will fall, what shower,
What grief or joy for dower;
But one thing-knows the flower; the flower is fair."
III
Glad, but not flushed with gladness,
Since joys go by;
Sad, but not bent with sadness,
Since sorrows die;
Deep in the gleaming glass
She sees all past things pass,
And all sweet life that was lie down and lie.
There glowing ghosts of flowers
Draw down, draw nigh;
And wings of swift spent hours
Take flight and fly;
She sees by formless gleams,
She hears across cold streams,
Dead mouths of many dreams that sing and sigh.
Face fallen and white throat lifted,
With sleepless eye
She sees old loves that drifted,
She knew not why,
Old loves and faded fears
Float down a stream that hears
The flowing of all men's tears beneath the sky.
EROTION
Sweet for a little even to fear, and sweet,
O love, to lay down fear at love's fair feet;
Shall not some fiery memory of his breath
Lie sweet on lips that touch the lips of death?
Yet leave me not; yet, if thou wilt, be free;
Love me no more, but love my love of thee.
Love where thou wilt, and live thy life; and I,
One thing I can, and one love cannot--die.
Pass from me; yet thine arms, thine eyes, thine hair,
Feed my desire and deaden my despair.
Yet once more ere time change us, ere my cheek
Whiten, ere hope be dumb or sorrow speak,
Yet once more ere thou hate me, one full kiss;
Keep other hours for others, save me this.
Yea, and I will not (if it please thee) weep,
Lest thou be sad; I will but sigh, and sleep.
Sweet, does death hurt? thou canst not do me wrong:
I shall not lack thee, as I loved thee, long.
Hast thou not given me above all that live
Joy, and a little sorrow shalt not give?
What even though fairer fingers of strange girls
Pass nestling through thy beautiful boy's curls
As mine did, or those curled lithe lips of thine
Meet theirs as these, all theirs come after mine;
And though I were not, though I be not, best,
I have loved and love thee more than all the rest.
O love, O lover, loose or hold me fast,
I had thee first, whoever have thee last;
Fairer or not, what need I know, what care?
To thy fair bud my blossom once seemed fair.
Why am I fair at all before thee, why
At all desired? seeing thou art fair, not I.
I shall be glad of thee, O fairest head,
Alive, alone, without thee, with thee, dead;
I shall remember while the light lives yet,
And in the night-time I shall not forget.
Though (as thou wilt) thou leave me ere life leave,
I will not, for thy love I will not, grieve;
Not as they use who love not more than I,
Who love not as I love thee though I die;
And though thy lips, once mine, be oftener prest
To many another brow and balmier breast,
And sweeter arms, or sweeter to thy mind,
Lull thee or lure, more fond thou wilt not find.
IN MEMORY OF WALTER SAVAGE LANDOR
Back to the flower-town, side by side,
The bright months bring,
New-born, the bridegroom and the bride,
Freedom and spring.
The sweet land laughs from sea to sea,
Filled full of sun;
All things come back to her, being free;
All things but one.
In many a tender wheaten plot
Flowers that were dead
Live, and old suns revive; but not
That holier head.
By this white wandering waste of sea,
Far north, I hear
One face shall never turn to me
As once this year:
Shall never smile and turn and rest
On mine as there,
Nor one most sacred hand be prest
Upon my hair.
I came as one whose thoughts half linger,
Half run before;
The youngest to the oldest singer
That England bore.
I found him whom I shall not find
Till all grief end,
In holiest age our mightiest mind,
Father and friend.
But thou, if anything endure,
If hope there be,
O spirit that man's life left pure,
Man's death set free,
Not with disdain of days that were
Look earthward now;
Let dreams revive the reverend hair,
The imperial brow;
Come back in sleep, for in the life
Where thou art not
We find none like thee. Time and strife
And the world's lot
Move thee no more; but love at least
And reverent heart
May move thee, royal and released,
Soul, as thou art.
And thou, his Florence, to thy trust
Receive and keep,
Keep safe his dedicated dust,
His sacred sleep.
So shall thy lovers, come from far,
Mix with thy name
As morning-star with evening-star
His faultless fame
A SONG IN TIME OF ORDER. 1852
Push hard across the sand,
For the salt wind gathers breath;
Shoulder and wrist and hand,
Push hard as the push of death.
The wind is as iron that rings,
The foam-heads loosen and flee;
It swells and welters and swings,
The pulse of the tide of the sea.
And up on the yellow cliff
The long corn flickers and shakes;
Push, for the wind holds stiff,
And the gunwale dips and rakes.
Good hap to the fresh fierce weather,
The quiver and beat of the sea!
While three men hold together,
The kingdoms are less by three.
Out to the sea with her there,
Out with her over the sand;
Let the kings keep the earth for their share!
We have done with the sharers of land.
They have tied the world in a tether,
They have bought over God with a fee;
While three men hold together,
The kingdoms are less by three.
We have done with the kisses that sting,
The thief's mouth red from the feast,
The blood on the hands of the king
And the lie at the lips of the priest.
Will they tie the winds in a tether,
Put a bit in the jaws of the sea?
While three men hold together,
The kingdoms are less by three.
Let our flag run out straight in the wind!
The old red shall be floated again
When the ranks that are thin shall be thinned,
When the names that were twenty are ten;
When the devil's riddle is mastered
And the galley-bench creaks with a Pope,
We shall see Buonaparte the bastard
Kick heels with his throat in a rope.
While the shepherd sets wolves on his sheep
And the emperor halters his kine,
While Shame is a watchman asleep
And Faith is a keeper of swine,
Let the wind shake our flag like a feather,
Like the plumes of the foam of the sea!
While three men hold together,
The kingdoms are less by three.
All the world has its burdens to bear,
From Cayenne to the Austrian whips;
Forth, with the rain in our hair
And the salt sweet foam in our lips;
In the teeth of the hard glad weather,
In the blown wet face of the sea;
While three men hold together,
The kingdoms are less by three.
A SONG IN TIME OF REVOLUTION. 1860
The heart of the rulers is sick, and the high-priest covers his head:
For this is the song of the quick that is heard in the ears of the
dead.
The poor and the halt and the blind are keen and mighty and fleet:
Like the noise of the blowing of wind is the sound of the noise of
their feet.
The wind has the sound of a laugh in the clamour of days and of deeds:
The priests are scattered like chaff, and the rulers broken like
reeds.
The high-priest sick from qualms, with his raiment bloodily dashed;
The thief with branded palms, and the liar with cheeks abashed.
They are smitten, they tremble greatly, they are pained for their
pleasant things:
For the house of the priests made stately, and the might in the mouth
of the kings.
They are grieved and greatly afraid; they are taken, they shall not
flee:
For the heart of the nations is made as the strength of the springs of
the sea.
They were fair in the grace of gold, they walked with delicate feet:
They were clothed with the cunning of old, and the smell of their
garments was sweet.
For the breaking of gold in their hair they halt as a man made lame:
They are utterly naked and bare; their mouths are bitter with shame.
Wilt thou judge thy people now, O king that wast found most wise?
Wilt thou lie any more, O thou whose mouth is emptied of lies?
Shall God make a pact with thee, till his hook be found in thy sides?
Wilt thou put back the time of the sea, or the place of the season of
tides?
Set a word in thy lips, to stand before God with a word in thy mouth:
That "the rain shall return in the land, and the tender dew after
drouth."
But the arm of the elders is broken, their strength is unbound and
undone:
They wait for a sign of a token; they cry, and there cometh none.
Their moan is in every place, the cry of them filleth the land:
There is shame in the sight of their face, there is fear in the thews
of their hand.
They are girdled about the reins with a curse for the girdle thereon:
For the noise of the rending of chains the face of their colour is
gone.
For the sound of the shouting of men they are grievously stricken at
heart:
They are smitten asunder with pain, their bones are smitten apart.
There is none of them all that is whole; their lips gape open for
breath;
They are clothed with sickness of soul, and the shape of the shadow of
death.
The wind is thwart in their feet; it is full of the shouting of mirth;
As one shaketh the sides of a sheet, so it shaketh the ends of the
earth.
The sword, the sword is made keen; the iron has opened its mouth;
The corn is red that was green; it is bound for the sheaves of the
south.
The sound of a word was shed, the sound of the wind as a breath,
In the ears of the souls that were dead, in the dust of the deepness
of death;
Where the face of the moon is taken, the ways of the stars undone,
The light of the whole sky shaken, the light of the face of the sun:
Where the waters are emptied and broken, the waves of the waters are
stayed;
Where God has bound for a token the darkness that maketh afraid;
Where the sword was covered and hidden, and dust had grown in its
side,
A word came forth which was bidden, the crying of one that cried:
The sides of the two-edged sword shall be bare, and its mouth shall be
red,
For the breath of the face of the Lord that is felt in the bones of
the dead.
TO VICTOR HUGO
In the fair days when God
By man as godlike trod,
And each alike was Greek, alike was free,
God's lightning spared, they said,
Alone the happier head
Whose laurels screened it; fruitless grace for thee,
To whom the high gods gave of right
Their thunders and their laurels and their light.
Sunbeams and bays before
Our master's servants wore,
For these Apollo left in all men's lands;
But far from these ere now
And watched with jealous brow
Lay the blind lightnings shut between God's hands,
And only loosed on slaves and kings
The terror of the tempest of their wings.
Born in those younger years
That shone with storms of spears
And shook in the wind blown from a dead world's pyre,
When by her back-blown hair
Napoleon caught the fair
And fierce Republic with her feet of fire,
And stayed with iron words and hands
Her flight, and freedom in a thousand lands:
Thou sawest the tides of things
Close over heads of kings,
And thine hand felt the thunder, and to thee
Laurels and lightnings were
As sunbeams and soft air
Mixed each in other, or as mist with sea
Mixed, or as memory with desire,
Or the lute's pulses with the louder lyre.
For thee man's spirit stood
Disrobed of flesh and blood,
And bare the heart of the most secret hours;
And to thine hand more tame
Than birds in winter came
High hopes and unknown flying forms of powers,
And from thy table fed, and sang
Till with the tune men's ears took fire and rang.
Even all men's eyes and ears
With fiery sound and tears
Waxed hot, and cheeks caught flame and eyelid light,
At those high songs of thine
That stung the sense like wine,
Or fell more soft than dew or snow by night,
Or wailed as in some flooded cave
Sobs the strong broken spirit of a wave.
But we, our master, we
Whose hearts, uplift to thee,
Ache with the pulse of thy remembered song,
We ask not nor await
From the clenched hands of fate,
As thou, remission of the world's old wrong;
Respite we ask not, nor release;
Freedom a man may have, he shall not peace.
Though thy most fiery hope
Storm heaven, to set wide ope
The all-sought-for gate whence God or Chance debars
All feet of men, all eyes--
The old night resumes her skies,
Her hollow hiding-place of clouds and stars,
Where nought save these is sure in sight;
And, paven with death, our days are roofed with night.
One thing we can; to be
Awhile, as men may, free;
But not by hope or pleasure the most stern
Goddess, most awful-eyed,
Sits, but on either side
Sit sorrow and the wrath of hearts that burn,
Sad faith that cannot hope or fear,
And memory grey with many a flowerless year.
Not that in stranger's wise
I lift not loving eyes
To the fair foster-mother France, that gave
Beyond the pale fleet foam
Help to my sires and home,
Whose great sweet breast could shelter those and save
Whom from her nursing breasts and hands
Their land cast forth of old on gentler lands.
Not without thoughts that ache
For theirs and for thy sake,
I, born of exiles, hail thy banished head;
I whose young song took flight
Toward the great heat and light
On me a child from thy far splendour shed,
From thine high place of soul and song,
Which, fallen on eyes yet feeble, made them strong.
Ah, not with lessening love
For memories born hereof,
I look to that sweet mother-land, and see
The old fields and fair full streams,
And skies, but fled like dreams
The feet of freedom and the thought of thee;
And all between the skies and graves
The mirth of mockers and the shame of slaves.
She, killed with noisome air,
Even she! and still so fair,
Who said "Let there be freedom," and there was
Freedom; and as a lance
The fiery eyes of France
Touched the world's sleep and as a sleep made pass
Forth of men's heavier ears and eyes
Smitten with fire and thunder from new skies.
Are they men's friends indeed
Who watch them weep and bleed?
Because thou hast loved us, shall the gods love thee?
Thou, first of men and friend,
Seest thou, even thou, the end?
Thou knowest what hath been, knowest thou what shall be?
Evils may pass and hopes endure;
But fate is dim, and all the gods obscure.
O nursed in airs apart,
O poet highest of heart,
Hast thou seen time, who hast seen so many things?
Are not the years more wise,
More sad than keenest eyes,
The years with soundless feet and sounding wings?
Passing we hear them not, but past
The clamour of them thrills us, and their blast.
Thou art chief of us, and lord;
Thy song is as a sword
Keen-edged and scented in the blade from flowers;
Thou art lord and king; but we
Lift younger eyes, and see
Less of high hope, less light on wandering hours;
Hours that have borne men down so long,
Seen the right fail, and watched uplift the wrong.
But thine imperial soul,
As years and ruins roll
To the same end, and all things and all dreams
With the same wreck and roar
Drift on the dim same shore,
Still in the bitter foam and brackish streams
Tracks the fresh water-spring to be
And sudden sweeter fountains in the sea.
As once the high God bound
With many a rivet round
Man's saviour, and with iron nailed him through,
At the wild end of things,
Where even his own bird's wings
Flagged, whence the sea shone like a drop of dew,
From Caucasus beheld below
Past fathoms of unfathomable snow;
So the strong God, the chance
Central of circumstance,
Still shows him exile who will not be slave;
All thy great fame and thee
Girt by the dim strait sea
With multitudinous walls of wandering wave;
Shows us our greatest from his throne
Fate-stricken, and rejected of his own.
Yea, he is strong, thou say'st,
A mystery many-faced,
The wild beasts know him and the wild birds flee;
The blind night sees him, death
Shrinks beaten at his breath,
And his right hand is heavy on the sea:
We know he hath made us, and is king;
We know not if he care for anything.
Thus much, no more, we know;
He bade what is be so,
Bade light be and bade night be, one by one;
Bade hope and fear, bade ill
And good redeem and kill,
Till all men be aweary of the sun
And his world burn in its own flame
And bear no witness longer of his name.
Yet though all this be thus,
Be those men praised of us
Who have loved and wrought and sorrowed and not sinned
For fame or fear or gold,
Nor waxed for winter cold,
Nor changed for changes of the worldly wind;
Praised above men of men be these,
Till this one world and work we know shall cease.
Yea, one thing more than this,
We know that one thing is,
The splendour of a spirit without blame,
That not the labouring years
Blind-born, nor any fears,
Nor men nor any gods can tire or tame;
But purer power with fiery breath
Fills, and exalts above the gulfs of death.
Praised above men be thou,
Whose laurel-laden brow,
Made for the morning, droops not in the night;
Praised and beloved, that none
Of all thy great things done
Flies higher than thy most equal spirit's flight;
Praised, that nor doubt nor hope could bend
Earth's loftiest head, found upright to the end.
BEFORE DAWN
Sweet life, if life were stronger,
Earth clear of years that wrong her,
Then two things might live longer,
Two sweeter things than they;
Delight, the rootless flower,
And love, the bloomless bower;
Delight that lives an hour,
And love that lives a day.
From evensong to daytime,
When April melts in Maytime,
Love lengthens out his playtime,
Love lessens breath by breath,
And kiss by kiss grows older
On listless throat or shoulder
Turned sideways now, turned colder
Than life that dreams of death.
This one thing once worth giving
Life gave, and seemed worth living;
Sin sweet beyond forgiving
And brief beyond regret:
To laugh and love together
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