The year's at the spring
And day's at the morn;
Morning's at seven;
The hill-side's dew-pearled
The lark's on the wing;
The snail's on the thorn;
God's in his Heaven -
All's right with the world!

Those famous lines are from Browning's 1841 Pippa Passes. It's Pippa's song. Pippa is a silk mill worker in Asolo, and has three holidays per year. The poem goes through the morning, noon, evening and night of Pippa's day off. She treasures her precious free time. This is from "Morning":

Oh, Day, if I squander a wavelet of thee,
A mite of my twelve-hours treasure,
The least of thy gazes or glances,
(Be they grants thou art bound to, or gifts above measure)
One of thy choices, or one of thy chances,
(Be they tasks God imposed thee, or freaks at thy pleasure)
My Day, if I squander such labour or leisure,
Then shame fall on Asolo, mischief on me!
Thy long blue solemn hours serenely flowing,
Whence earth, we feel, gets steady help and good
Thy fitful sunshine-minutes, coming, going,
As if earth turned from work in gamesome mood
All shall be mine! But thou must treat me not
As the prosperous are treated, these who live
At hand here, and enjoy the higher lot,
In readiness to take what thou wilt give,
And free to let alone what thou refusest;
For, Day, my holiday, if thou ill-usest
Me, who am only Pippa, old-year's sorrow,
Cast off last night, will come again to-morrow
Whereas, if thou prove gentle, I shall borrow
Sufficient strength of thee for new-year's sorrow.
All other men and women that this earth
Belongs to, who all days alike possess,
Make general plenty cure particular dearth,
Get more joy, one way, if another, less:
Thou art my single day, God lends to leaven
What were all earth else, with a feel of heaven,
Sole light that helps me through the year thy suns!
Try, now! Take Asolo's Four Happiest Ones
And let thy morning rain on that superb
Great haughty Ottima; can rain disturb
Her Sebald's homage? All the while thy rain
Beats fiercest on her shrub-house window-pane,
He will but press the closer, breathe more warm
Against her cheek; how should she mind the storm?
And, morning past, if mid-day shed a gloom
O

O'er Jules and Phene, what care bride and groom
Save for their dear selves?  Tis their marriage-day;
And while they leave church, and go home their way,
Hand clasping hand, within each breast would be
Sunbeams and pleasant weather spite of thee!
Then, for another trial, obscure thy eve
With mist, will Luigi and his mother grieve?
The Lady and her child, unmatched, forsooth,
She in her age, as Luigi in his youth,
For true content? The cheerful town, warm, close,
And safe, the sooner that thou art morose,
Receives them! And yet once again, out-break
In storm at night on Monsignor, they make
Such stir about, whom they expect from Rome
To visit Asolo, his brother's home,
And say here masses proper to release
A soul from pain, what storm dares hurt his peace?
Calm would he pray, with his own thoughts to ward
Thy thunder off, nor want the angels' guard!
But Pippa just one such mischance would spoil
Her day that lightens the next twelve-month's toil
At wearisome silk-winding, coil on coil!
And here I let time slip for nought!
Aha, you foolhardy sunbeam caught
With a single splash from my ewer!
You that would mock the best pursuer,
Was my basin over-deep?
One splash of water ruins you asleep,
And up, up fleet your brilliant bits
Wheeling and counterwheeling,
Reeling, broken beyond healing
Now grow together on the ceiling!
That will task your wits!
Whoever quenched fire first, hoped to see
Morsel after morsel flee
As merrily, as giddily . . . 
Meantime, what lights my sunbeam on,
Where settles by degrees the radiant cripple?
Oh, is it surely blown, my martagon?
New-blown and ruddy as St. Agnes' nipple,
Plump as the flesh-bunch on some Turk bird's poll!
Be sure if corals, branching  'neath the ripple
Of ocean, bud there, fairies watch unroll
Such turban-flowers; I say, such lamps disperse
Thick red flame through that dusk green universe!
        I am queen of thee, floweret;
        And each fleshy blossom
        Preserve I not (safer
        Than leaves that enbower it,
        Or shells that embosom)
        From weevil and chafer?
        Laugh through my pane, then; solicit the bee;
        Gibe him, be sure; and, in midst of thy glee,
        Love thy queen, worship me!

Worship whom else? For am I not, this day,
Whate'er I please? What shall I please to-day?
My morning, noon, eve, night how spend my day?
To-morrow I must be Pippa who winds silk,
The whole year round, to earn just bread and milk:
        But, this one day, I have leave to go,
        And play out my fancy's fullest games;
        I may fancy all day and it shall be so

The entire piece is here. Yes, Browning specialized in the dramatic monologue. I can easily imagine Pippa as a one-person stage performance. Off topic, but I always got a kick out of the name of Pippa Passes, KY, aka Caney Creek.

Break of Day

'Tis true, 'tis day; what though it be?
O wilt thou therefore rise from me?
Why should we rise, because 'tis light?
Did we lie down, because 'twas night?
Love which in spite of darkness brought us hither
Should in despite of light keep us together.

Light hath no tongue, but is all eye;
If it could speak as well as spy,
This were the worst that it could say -
That being well, I fain would stay,
And that I loved my heart and honour so,
That I would not from her, that had them, go.

Must business thee from hence remove?
Oh, that's the worst disease of love!
The poor, the foul, the false, love can
Admit, but not the busied man.
He which hath business, and makes love, doth do
Such wrong as when a married man doth woo.

Image is Picasso's Meditation, 1904

The Forge

All I know is a door into the dark.
Outside, old axles and iron hoops rusting;
Inside, the hammered anvil's short-pitched ring,
The unpredictable fantail of sparks
Or hiss when a new shoe toughens in water.
The anvil must be somewhere in the centre,
Horned as a unicorn, at one end square,
Set there immoveable: an altar
Where he expends himself in shape and music.
Sometimes, leather-aproned, hairs in his nose,
He leans out on the jamb, recalls a clatter
Of hoofs where traffic is flashing in rows;
Then grunts and goes in, with a slam and a flick
To beat real iron out, to work the bellows.

Beauty

I am as lovely as a dream in stone;
My breast on which each finds his death in turn
Inspires the poet with a love as lone
As everlasting clay, and as taciturn.
Swan-white of heart, as sphinx no mortal knows,
My throne is in the heaven's azure deep;
I hate all movement that disturbs my pose;
I smile not ever, neither do I weep.

Before my monumental attitudes,
Taken from the proudest plastic arts,
My poets pray in austere studious moods,

For I, to fold enchantment round their hearts,
Have pools of light where beauty flames and dies,
The placid mirrors of my luminous eyes.

The Ballad of East and West

Oh, East is East, and West is West, and never the twain shall meet
Till Earth and Sky stand presently at God's great Judgment Seat;
But there is neither East nor West, Border, nor Breed, nor Birth,
When two strong men stand face to face,
tho' they come from the ends of the earth!

Kamal is out with twenty men to raise the Border-side,
And he has lifted the Colonel's mare that is the Colonel's pride:
He has lifted her out of the stable-door between the dawn and the day,
And turned the calkins upon her feet, and ridden her far away.
Then up and spoke the Colonel's son that led a troop of the Guides:
"Is there never a man of all my men can say where Kamal hides?"
Then up and spoke Mahommed Khan, the son of the Ressaldar:
"If ye know the track of the morning-mist, ye know where his pickets are.
At dusk he harries the Abazai -- at dawn he is into Bonair,
But he must go by Fort Bukloh to his own place to fare,
So if ye gallop to Fort Bukloh as fast as a bird can fly,
By the favour of God ye may cut him off ere he win to the Tongue of Jagai.
But if he be past the Tongue of Jagai, right swiftly turn ye then,
For the length and the breadth of that grisly plain is sown with Kamal's men.

Rest of his poem below on Continuation page

Nights on Lake Como

What do you take from these starry nights,
O heart, in all your disarray?
Yes, what do you take from their delights
To guide you on your path by day?

What did you feel when, in the pale
Pond’s shell, its silver overswelled;
When, deep within the resting vale,
A trembling stream of starlight welled?

Can it slip into shadow, as over the ring
Of hills, a white flash passed (night’s noon),
And, as the rushing bluish wing
Of a cloud clung round the moon?

Can it shatter, like the silent blooms
That softly waft their heated prayer
Over the villas’ rich doors and rooms
To your breathing heart in the late-night air?

Can it quiver too, as, softer, lighter,
(A sinking string of pearls or lace),
The moon’s gleam over the rocking water
Fled for the dark without a trace?                 

Is nothing left of the whispering spray
Of the cypresses along the shore,
Not one of your dream thoughts that would stray
Along your round for an hour or more?

Perhaps but a verse of the wind in its reeling
And pure longing for that time that could bless
Like fragrance lost in a gentle feeling
Of inexpressible tenderness.

(translation by William Ruleman - details here)

A Considerable Speck

(Microscopic)

A speck that would have been beneath my sight
On any but a paper sheet so white
Set off across what I had written there.
And I had idly poised my pen in air
To stop it with a period of ink
When something strange about it made me think,
This was no dust speck by my breathing blown,
But unmistakably a living mite
With inclinations it could call its own.
It paused as with suspicion of my pen,
And then came racing wildly on again
To where my manuscript was not yet dry;
Then paused again and either drank or smelt--
With loathing, for again it turned to fly.
Plainly with an intelligence I dealt.
It seemed too tiny to have room for feet,
Yet must have had a set of them complete
To express how much it didn't want to die.
It ran with terror and with cunning crept.
It faltered: I could see it hesitate;
Then in the middle of the open sheet
Cower down in desperation to accept
Whatever I accorded it of fate.
I have none of the tenderer-than-thou
Collectivistic regimenting love
With which the modern world is being swept.
But this poor microscopic item now!
Since it was nothing I knew evil of
I let it lie there till I hope it slept.

I have a mind myself and recognize
Mind when I meet with it in any guise
No one can know how glad I am to find
On any sheet the least display of mind. 

A Miracle for Breakfast

 At six o'clock we were waiting for coffee,
waiting for coffee and the charitable crumb
that was going to be served from a certain balcony
--like kings of old, or like a miracle.
It was still dark. One foot of the sun
steadied itself on a long ripple in the river.

The first ferry of the day had just crossed the river.
It was so cold we hoped that the coffee
would be very hot, seeing that the sun
was not going to warm us; and that the crumb
would be a loaf each, buttered, by a miracle.
At seven a man stepped out on the balcony.

He stood for a minute alone on the balcony
looking over our heads toward the river.
A servant handed him the makings of a miracle,
consisting of one lone cup of coffee
and one roll, which he proceeded to crumb,
his head, so to speak, in the clouds--along with the sun.

Was the man crazy? What under the sun
was he trying to do, up there on his balcony!
Each man received one rather hard crumb,
which some flicked scornfully into the river,
and, in a cup, one drop of the coffee.
Some of us stood around, waiting for the miracle.

I can tell what I saw next; it was not a miracle.
A beautiful villa stood in the sun
and from its doors came the smell of hot coffee.
In front, a baroque white plaster balcony
added by birds, who nest along the river,
--I saw it with one eye close to the crumb--

and galleries and marble chambers. My crumb
my mansion, made for me by a miracle,
through ages, by insects, birds, and the river
working the stone. Every day, in the sun,
at breakfast time I sit on my balcony
with my feet up, and drink gallons of coffee.

We licked up the crumb and swallowed the coffee.
A window across the river caught the sun
as if the miracle were working, on the wrong balcony.

A piece about Bishop in the WSJ

The Fiddler of Dooney

WHEN I play on my fiddle in Dooney,
Folk dance like a wave of the sea;
My cousin is priest in Kilvarnet,
My brother in Moharabuiee.

I passed my brother and cousin:
They read in their books of prayer;
I read in my book of songs
I bought at the Sligo fair.

When we come at the end of time,
To Peter sitting in state,
He will smile on the three old spirits,
But call me first through the gate;

For the good are always the merry,
Save by an evil chance,
And the merry love the fiddle
And the merry love to dance:

And when the folk there spy me,
They will all come up to me,
With 'Here is the fiddler of Dooney!'
And dance like a wave of the sea. 

You can listen to Yeats reading it, here.

A Radio With Guts

it was on the 2nd floor on Coronado Street
I used to get drunk
and throw the radio through the window
while it was playing, and, of course,
it would break the glass in the window
and the radio would sit there on the roof
still playing
and I'd tell my woman,
"Ah, what a marvelous radio!"
the next morning I'd take the window
off the hinges
and carry it down the street
to the glass man
who would put in another pane.
I kept throwing that radio through the window
each time I got drunk
and it would sit there on the roof
still playing-
a magic radio
a radio with guts,
and each morning I'd take the window
back to the glass man.
I don't remember how it ended exactly
though I do remember
we finally moved out.
there was a woman downstairs who worked in
the garden in her bathing suit,
she really dug with that trowel
and she put her behind up in the air
and I used to sit in the window
and watch the sun shine all over that thing
while the music played. 

Sonnet

All we need is fourteen lines, well, thirteen now,
and after this one just a dozen
to launch a little ship on love's storm-tossed seas,
then only ten more left like rows of beans.
How easily it goes unless you get Elizabethan
and insist the iambic bongos must be played
and rhymes positioned at the ends of lines,
one for every station of the cross.
But hang on here while we make the turn
into the final six where all will be resolved,
where longing and heartache will find an end,
where Laura will tell Petrarch to put down his pen,
take off those crazy medieval tights,
blow out the lights, and come at last to bed.

Aubade (1937)

Hours before dawn we were woken by the quake.
My house was on a cliff. The thing could take
Bookloads off shelves, break bottles in a row.
Then the long pause and then the bigger shake.
It seemed the best thing to be up and go.

And far too large for my feet to step by.
I hoped that various buildings were brought low.
The heart of standing is you cannot fly.

It seemed quite safe till she got up and dressed.
The guarded tourist makes the guide the test.
Then I said The Garden? Laughing she said No.
Taxi for her and for me healthy rest.
It seemed the best thing to be up and go.

The language problem but you have to try.
Some solid ground for lying could she show?
The heart of standing is you cannot fly.

None of these deaths were her point at all.
The thing was that being woken he would bawl
And finding her not in earshot he would know.
I tried saying Half an Hour to pay this call.
It seemed the best thing to be up and go.

I slept, and blank as that I would yet lie.
Till you have seen what a threat holds below,
The heart of standing is you cannot fly.

Tell me again about Europe and her pains,
Who's tortured by the drought, who by the rains.
Glut me with floods where only the swine can row
Who cuts his throat and let him count his gains.
It seemed the best thing to be up and go.

A bedshift flight to a Far Eastern sky.
Only the same war on a stronger toe.
The heart of standing is you cannot fly.

Tell me more quickly what I lost by this,
Or tell me with less drama what they miss
Who call no die for a god for a throw,
Who says after two aliens had one kiss
It seemed the best thing to be up and go.

But as to risings, I can tell you why.
It is on contradiction that they grow.
It seemed the best thing to be up and go.
Up was the heartening and the strong reply.
The heart of standing is we cannot fly.

The poem is partly about WW2, I think. An "aubade" is a lyric poem about lovers separating at dawn. Sir William Empson, a poet and great literary critic, wrote the fascinating and masterful 7 Types of Ambiguity (when he was 21), which I recommend to anyone who enjoys language and writing.

Here's a review of a new bio of the passionately religion-hating Empson, and here's a 1949 Time Magazine comment on the publication of his Collected Poems.

ELEGY WRITTEN IN A COUNTRY CHURCH-YARD

The curfew tolls the knell of parting day,
The lowing herd winds slowly o'er the lea,
The ploughman homeward plods his weary way,
And leaves the world to darkness and to me.

Now fades the glimmering landscape on the sight,
And all the air a solemn stillness holds,
Save where the beetle wheels his droning flight,
And drowsy tinklings lull the distant folds:

Save that from yonder ivy-mantled tower
The moping owl does to the moon complain
Of such as, wandering near her secret bower,
Molest her ancient solitary reign.

Beneath those rugged elms, that yew-tree's shade,
Where heaves the turf in many a mouldering heap,
Each in his narrow cell for ever laid,
The rude Forefathers of the hamlet sleep.

The breezy call of incense-breathing morn,
The swallow twittering from the straw-built shed,
The cock's shrill clarion, or the echoing horn,
No more shall rouse them from their lowly bed.

For them no more the blazing hearth shall burn,
Or busy housewife ply her evening care:
No children run to lisp their sire's return,
Or climb his knees the envied kiss to share,

Oft did the harvest to their sickle yield,
Their furrow oft the stubborn glebe has broke;
How jocund did they drive their team afield!
How bow'd the woods beneath their sturdy stroke!

The rest of the poem is below the fold. Dalrymple recently discussed Grey: Fifty Shades of Grey)

My Mistress' Eyes Are Nothing Like the Sun

My mistress' eyes are nothing like the sun;
Coral is far more red than her lips' red:
If snow be white, why then her breasts are dun;
If hairs be wires, then wires grow on her head.
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes there is more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound:
I grant I never saw a goddess go, -
My mistress, when she walks, treads on the ground
   And yet, by heaven, I think my love as rare
   As any she belied with false compare.

To A Skylark

Hail to thee blithe spirit!

Bird thou never wert -

That from heaven or near it

Pourest thy full heart

In profuse strains of unpremeditated art.

Higher still and higher
From the earth thou springest,
Like a cloud of fire;
The blue deep thou wingest,
And singing still dost soar, and soaring ever singest.

In the golden light'ning
Of the sunken sun,
O'er which clouds are bright'ning,
Thou dost float and run,
Like an unbodied joy whose race is just begun.

The pale purple even
Melts around thy flight;
Like a star of heaven,
In the broad daylight
Thou art unseen, but yet I hear thy shrill delight.

Keen as are the arrows
Of that silver sphere
Whose intense lamp narrows
In the white dawn clear,
Until we hardly see, we feel that it is there.

Read the rest of this remarkable poem below:

A Lady at her Mirror (Translated by Len Krisak)

 As spices blend into her sleeping-drink,

She softly melts those features loosed to sleep

Inside her mirror’s fluency, and deep

Down in it, lets her smile subside and sink.

And then she waits to watch clear liquid rise

From it, and pours the hair that she’s let down

Into the mirror. From her evening gown,

She lifts one wondrous shoulder, as her eyes

Drink from her image quietly. She takes

In what a reeling lover would who’d face

That glass filled with mistrust, and then she makes

The gesture for her maid, but not before

She finds a candle at the mirror’s base,

An armoire, and the dregs of this late hour.

Krisak's translations often appear in The New English Review, with this: Len Krisak has published in The London Magazine, The Oxonian Review, PN Review, Standpoint, Agni, The Antioch Review, The Sewanee Review, The Hudson Review, The Dark Horse, Agenda, The Hopkins Review, Commonweal, Literary Imagination, The Oxford Book of Poems on Classical Mythology, and others. His latest book is Virgil’s Eclogues, University of Pennsylvania Press, 2010. Forthcoming: The Carmina of Catullus, Carcanet Press, 2015, Afterimage, Measure Press, 2014, Rilke: New Poems, Boydell & Brewer, 2015 and Ovid: The Amores and The Ars Amatoria, University of Pennsylvania Press, 2014.

What's your name?  
"Puddin Tain."
What's your other?
"Bread and Butter."
Where do you live?
"Down the lane."
What's your number?
"Cucumber."
What do you eat?
"Pork pie."
Greedy pig you ought to die!

Trad.

On His Blindness

When I consider how my light is spent

Ere half my days in this dark world and wide,

And that one Talent which is death to hide

Lodged with me useless, though my soul more bent

To serve therewith my Maker, and present

My true account, lest He returning chide,

"Doth God exact day-labour, light denied?"

I fondly ask. But Patience, to prevent

That murmur, soon replies, "God doth not need

Either man's work or his own gifts. Who best

Bear his mild yoke, they serve him best. His state

Is kingly: thousands at his bidding speed,

And post o'er land and ocean without rest;

They also serve who only stand and wait.

Milton's best-known sonnet (c. 1652) was written shortly after blindness overtook him. This poem is briefly but well-discussed here.

The Teasers

Not but they die, the teasers and the dreams,
Not but they die,
and tell the careful flood
To give them what they clamour for and why.

You could not fancy where they rip to blood
You could not fancy
nor that mud
I have heard speak that will not cake or dry.

Our claims to act appear so small to these
Our claims to act
colder lunacies
That cheat the love, the moment, the small fact.

Make no escape because they flash and die,
Make no escape
build up your love,
Leave what you die for and be safe to die.

I believe this quasi- villanelle was written in the 1930s. I have quoted a brief bio of Empson on the continuation page below, from this site.

Dream Song 45: He stared at ruin

He stared at ruin. Ruin stared straight back.
He thought they was old friends. He felt on the stair
where her papa found them bare
they became familiar. When the papers were lost
rich with pals' secrets, he thought he had the knack
of ruin. Their paths crossed

and once they crossed in jail; they crossed in bed;
and over an unsigned letter their eyes met,
and in an Asian city
directionless & lurchy at two & three,
or trembling to a telephone's fresh threat,
and when some wired his head

to reach a wrong opinion, 'Epileptic'.
But he noted now that: they were not old friends.
He did not know this one.
This one was a stranger, come to make amends
for all the imposters, and to make it stick.
Henry nodded, un-.

Here's the wiki on Berryman.

The House by the Side of the Road

There are hermit souls that live withdrawn
In the place of their self-content;
There are souls like stars, that dwell apart,
In a fellowless firmament;
There are pioneer souls that blaze their paths
Where highways never ran
But let me live by the side of the road
And be a friend to man.

Let me live in a house by the side of the road,
Where the race of men go by
The men who are good and the men who are bad,
As good and as bad as I.
I would not sit in the scorner's seat,
Or hurl the cynic's ban
Let me live in a house by the side of the road
And be a friend to man.

I see from my house by the side of the road,
By the side of the highway of life,
The men who press with the ardor of hope,
The men who are faint with the strife.
But I turn not away from their smiles nor their tears,
Both parts of an infinite plan
Let me live in a house by the side of the road
And be a friend to man.

I know there are brook-gladdened meadows ahead
And mountains of wearisome height;
That the road passes on through the long afternoon
And stretches away to the night.
But still I rejoice when the travelers rejoice,
And weep with the strangers that moan,
Nor live in my house by the side of the road
Like a man who dwells alone.

Let me live in my house by the side of the road
It's here the race of men go by.
They are good, they are bad, they are weak, they are strong,
Wise, foolish so am I;
Then why should I sit in the scorner's seat,
Or hurl the cynic's ban?
Let me live in my house by the side of the road
And be a friend to man.

Sam Walter Foss (1858-1911) wrote plain verse for the "common man". Homey, corny, comfortably instructive stuff. In fact, for many years Foss turned out a poem a day for his local Somerville, MA newspaper. We recently saw a graveyard monument (1936) with "Let me live by the side of the road and be a friend to man." inscribed upon it.

The Wood Pile

Out walking in the frozen swamp one grey day
I paused and said, "I will turn back from here.
No, I will go on farther--and we shall see."
The hard snow held me, save where now and then
One foot went down. The view was all in straight up and down of tall slim trees
Too much alike to mark or name a place by
So as to say for certain I was here
Or somewhere else: I was just far from home.
A small bird flew before me. He was careful
To put a tree between us when he lighted,
And say no word to tell me who he was
Who was so foolish as to think what he thought.
He thought that I was after him for a feather--
The white one in his tail; like one who takes
Everything said as personal to himself.
One flight out sideways would have undeceived him.
And then there was a pile of wood for which
I forgot him and let his little fear
Carry him off the way I might have gone,
Without so much as wishing him good-night.
He went behind it to make his last stand.
It was a cord of maple, cut and split
And piled--and measured, four by four by eight.
And not another like it could I see.
No runner tracks in this year's snow looped near it.
And it was older sure than this year's cutting,
Or even last year's or the year's before.
The wood was grey and the bark warping off it
And the pile somewhat sunken. Clematis
Had wound strings round and round it like a bundle.
What held it though on one side was a tree
Still growing, and on one a stake and prop,
These latter about to fall. I thought that only
Someone who lived in turning to fresh tasks
Could so forget his handiwork on which
He spent himself, the labour of his axe,
And leave it there far from a useful fireplace
To warm the frozen swamp as best it could
With the slow smokeless burning of decay.

Image is Robert Frost's New Hampshire farmhouse.

The Sicilian Mariner's Prayer

O Sanctissima O Piissima
Dulcis Virgo Maria
Mater amta intemerata
Ora ora pro nobis

Tota pulchraes O Maria
Et macula non est in te
Mater anmata intemerata
Ora ora pro nobis

Sicut lilium inter spinas
Sic Maria inter filias
Mater amata intemerata
Ora ora pro nobis

In miseria in angustia
Ora Virgo pro nobis
Pro nobis ora in mortis hora
Ora ora pro nobis

O Sanctissima has been set to music as The Sicilan Mariner's Hymn to the Virgin. (h/t, a piece at Sippican a while ago.)