Maggie's Farm

God's Grandeur (1877)

The world is charged with the grandeur of God.
It will flame out, like shining from shook foil;
It gathers to a greatness, like the ooze of oil
Crushed. Why do men then now not reck his rod?
Generations have trod, have trod, have trod;
And all is seared with trade; Bleared, smeared with toil;
And wears man's smudge and shares man's smell: the soil
Is bare now, nor can foot feel, being shod.

And for all this, nature is never spent;
There lives the dearest freshness deep down things;
And though the last lights off the  black West went
Oh, morning, at the brown brink eastward, springs —
Because the Holy Ghost over the bent
World broods with warm breast and with ah! bright wings.

A Poem for the End of the Century




When everything was fine
And the notion of sin had vanished
And the earth was ready
In universal peace
To consume and rejoice
Without creeds and utopias,

I, for unknown reasons,
Surrounded by the books
Of prophets and theologians,
Of philosophers, poets,
Searched for an answer,
Scowling, grimacing,
Waking up at night, muttering at dawn.

What oppressed me so much
Was a bit shameful.
Talking of it aloud
Would show neither tact nor prudence.
It might even seem an outrage
Against the health of mankind.

Alas, my memory
Does not want to leave me
And in it, live beings
Each with its own pain,
Each with its own dying,
Its own trepidation.

Why then innocence
On paradisal beaches,
An impeccable sky
Over the church of hygiene?
Is it because that
Was long ago?

To a saintly man
--So goes an Arab tale--
God said somewhat maliciously:
"Had I revealed to people
How great a sinner you are,
They could not praise you."

"And I," answered the pious one,
"Had I unveiled to them
How merciful you are,
They would not care for you."

To whom should I turn
With that affair so dark
Of pain and also guilt
In the structure of the world,
If either here below
Or over there on high
No power can abolish
The cause and the effect?

Don't think, don't remember
The death on the cross,
Though everyday He dies,
The only one, all-loving,
Who without any need
Consented and allowed
To exist all that is,
Including nails of torture.

Totally enigmatic.
Impossibly intricate.
Better to stop speech here.
This language is not for people.
Blessed be jubilation.
Vintages and harvests.
Even if not everyone
Is granted serenity.

Our fishing friend Harry Briscoe of Hexagraph Fly Rod Company sends us this email:

I'll start with an introduction to a wonderful gentleman, personality and writer named Gordon Wickstrom.  I came to meet Gordon at a fly-fishing trade show when he, as a member of the wandering press stopped by to check out our new concept in fly rods.  He's grown to be an excellent friend.  Gordon has published two books and writes a newsletter, now a blog, and I find his "take" on things to frequently be just a "twist" away from most of what we read these days about fly-fishing (theatre, politics, music and a great many other things).  I think that Maggie's readers would likely enjoy many of his perspectives.  Gordon is retired from a long and successful career as a professor of Literature and Theatre at Franklin and Marshall College (he's a master Shakespearean actor and director as well).  He lives in his original hometown of Boulder, Colorado and is a frequent contributor to The American Fly Fisher magazine, the journal of the American Museum of Fly Fishing.  To initiate that introduction, following are links to two columns he's written - as a sample of his work. 

Following is a link to a recent piece in Gordon Wickstrom's current blog - then another, as an introduction, and also a partial quote I lifted from another of his essays.

Transcription of a Paper Letter from One Old Fisherman to Another

Walking North with Walton

from Lines Composed a Few Miles Above Tintern Abbey, On Revisiting the Banks of the Wye During a Tour, by William Wordsworth, 1798:

And now, with gleams of half-extinguished thought,
With many recognitions dim and faint,
And somewhat of a sad perplexity,
The picture of the mind revives again:
While here I stand, not only with the sense
Of present pleasure, but with pleasing thoughts
That in this moment there is life and food
For future years. And so I dare to hope,
Though changed, no doubt, from what I was
When first I came among these hills, when like a roe
I bounded o'er the mountains, by the sides
Of the deep rivers, and the lonely streams
Wherever nature led: more like a man
Flying from something that he dreads, than one
Who sought the thing he loved.

Entire poem below the fold - for some reason, you need to scroll down to get to the body of the poem -

Excerpted from Snowbound:

Yet, haply, in some lull of life,
Some Truce of God which breaks its strife,
The wordling's eyes shall gather dew,
Dreaming in throngful city ways
Of winter joys his boyhood knew;
And dear and early friends the few
Who yet remain shall pause to view
These Flemish pictures of old days;
Sit with me by the homestead hearth
And stretch the hands of memory forth
To warm them at the wood-fire's blaze!
And thanks untraced to lips unknown
Shall greet me like the odors blown
From unseen meadows newly mown,
Or lilies floating in some pond,
Wood-fringed, the wayside gaze beyond;
The traveller owns the grateful sense
Of sweetness near, he knows not whence,
And, pausing takes with forehead bare
The benediction of the air.

Ahhh, the benediction of the air. Read entire wonderful but old-fashioned-sounding 1865 poem by the great north of Boston newspaper editor and abolitionist here.

Whittier's home, to which the poem refers, stands in Haverhill, MA.

It's a sentimental poem you can read to the kids - with feeling!

The author begins -

Whan that aprill with his shoures soote
The droghte of march hath perced to the roote,
And bathed every veyne in swich licour
Of which vertu engendred is the flour;
Whan zephirus eek with his sweete breeth
Inspired hath in every holt and heeth
Tendre croppes, and the yonge sonne
Hath in the ram his halve cours yronne,
And smale foweles maken melodye,
That slepen al the nyght with open ye
(so priketh hem nature in hir corages);
Thanne longen folk to goon on pilgrimages,
And palmeres for to seken straunge strondes,
To ferne halwes, kowthe in sondry londes;
And specially from every shires ende
Of engelond to caunterbury they wende,
The hooly blisful martir for to seke,
That hem hath holpen whan that they were seeke.
Bifil that in that seson on a day,
In southwerk at the tabard as I lay
Redy to wenden on my pilgrymage
To caunterbury with ful devout corage,
At nyght was come into that hostelrye
Wel nyne and twenty in a compaignye,
Of sondry folk, by aventure yfalle
In felaweshipe, and pilgrimes were they alle,
That toward caunterbury wolden ryde.
The chambres and the stables weren wyde,
And wel we weren esed atte beste.
And shortly, whan the sonne was to reste,
So hadde I spoken with hem everichon
That I was of hir felaweshipe anon,
And made forward erly for to ryse,
To take oure wey ther as I yow devyse.
But nathelees, whil I have tyme and space,
Er that I ferther in this tale pace,
Me thynketh it acordaunt to resoun
To telle yow al the condicioun
Of ech of hem, so as it semed me,
And whiche they weren, and of what degree,
And eek in what array that they were inne;
And at a knyght than wol I first bigynne.

Not aprill yet, but almost. A "palmer" is someone who wears a palm leaf as testimony of having taken a pilgrimage to the Holy Land. I am posting a "modern English" translation below the fold, but bearing in mind that Chaucer wrote in the closest thing to modern English at the time - some say invented modern English in literature. The British Isles had many languages and language variants at the time; Anglo-Saxon, French, Gaelic, Welsh, etc. Just consider how many Norman-French words he uses. What the literate and well-educated Jeff Chaucer wrote was and is pretty much modern English - and fine job he did with it.

Dover Beach (c. 1867)

The sea is calm to-night.
The tide is full, the moon lies fair
Upon the straits; on the French coast the light
Gleams and is gone; the cliffs of England stand;
Glimmering and vast, out in the tranquil bay.
Come to the window, sweet is the night-air!
Only, from the long line of spray
Where the sea meets the moon-blanched land,
Listen! you hear the grating roar
Of pebbles which the waves draw back, and fling,
At their return, up the high strand,
Begin, and cease, and then again begin,
With tremulous cadence slow, and bring
The eternal note of sadness in.

Sophocles long ago
Heard it on the A gaean, and it brought
Into his mind the turbid ebb and flow
Of human misery; we
Find also in the sound a thought,
Hearing it by this distant northern sea.

The Sea of Faith
Was once, too, at the full, and round earth's shore
Lay like the folds of a bright girdle furled.
But now I only hear
Its melancholy, long, withdrawing roar,
Retreating, to the breath
Of the night-wind, down the vast edges drear
And naked shingles of the world.

Ah, love, let us be true
To one another! for the world, which seems
To lie before us like a land of dreams,
So various, so beautiful, so new,
Hath really neither joy, nor love, nor light,
Nor certitude, nor peace, nor help for pain;
And we are here as on a darkling plain
Swept with confused alarms of struggle and flight,
Where ignorant armies clash by night.

Birches

When I see birches bend to left and right
Across the lines of straighter darker trees,
I like to think some boy's been swinging them.
But swinging doesn't bend them down to stay.
Ice-storms do that. Often you must have seen them
Loaded with ice a sunny winter morning
After a rain. They click upon themselves
As the breeze rises, and turn many-coloured
As the stir cracks and crazes their enamel.
Soon the sun's warmth makes them shed crystal shells
Shattering and avalanching on the snow-crust
Such heaps of broken glass to sweep away
You'd think the inner dome of heaven had fallen.
They are dragged to the withered bracken by the load,
And they seem not to break; though once they are bowed
So low for long, they never right themselves:
You may see their trunks arching in the woods
Years afterwards, trailing their leaves on the ground,
Like girls on hands and knees that throw their hair
Before them over their heads to dry in the sun.

But I was going to say when Truth broke in
With all her matter-of-fact about the ice-storm,
I should prefer to have some boy bend them
As he went out and in to fetch the cows--
Some boy too far from town to learn baseball,
Whose only play was what he found himself,
Summer or winter, and could play alone.
One by one he subdued his father's trees
By riding them down over and over again
Until he took the stiffness out of them,
And not one but hung limp, not one was left
For him to conquer. He learned all there was
To learn about not launching out too soon
And so not carrying the tree away
Clear to the ground. He always kept his poise
To the top branches, climbing carefully
With the same pains you use to fill a cup
Up to the brim, and even above the brim.
Then he flung outward, feet first, with a swish,
Kicking his way down through the air to the ground.

So was I once myself a swinger of birches.
And so I dream of going back to be.
It's when I'm weary of considerations,
And life is too much like a pathless wood
Where your face burns and tickles with the cobwebs
Broken across it, and one eye is weeping
From a twig's having lashed across it open.
I'd like to get away from earth awhile
And then come back to it and begin over.
May no fate wilfully misunderstand me
And half grant what I wish and snatch me away
Not to return. Earth's the right place for love:
I don't know where it's likely to go better.
I'd like to go by climbing a birch tree
And climb black branches up a snow-white trunk
Toward heaven, till the tree could bear no more,
But dipped its top and set me down again.
That would be good both going and coming back.
One could do worse than be a swinger of birches.

You can hear Frost reading this poem here (corrected that link - he reads several poems there including Birches.)

Photo: Frost's farm in Derry, NH

THE BATTLE OF SALAMIS  (from "The Persians")

The night was passing, and the Grecian host


By no means sought to issue forth unseen.


But when indeed the day with her white steeds


Held all the earth, resplendent to behold,


First from the Greeks the loud-resounding din


Of song triumphant came; and shrill at once


Echo responded from the island rock.


Then upon all barbarians terror fell,


Thus disappointed; for not as for flight


The Hellenes sang the holy pæan then,


But setting forth to battle valiantly.


The bugle with its note inflamed them all;


And straightway with the dip of plashing oars


They smote the deep sea water at command,


And quickly all were plainly to be seen.


Their right wing first in orderly array


Led on, and second all the armament


Followed them forth; and meanwhile there was heard


A mighty shout: "Come, O ye sons of Greeks,


Make free your country, make your children free,


Your wives, and fanes of your ancestral gods,


And your sires' tombs! For all we now contend!"


And from our side the rush of Persian speech


Replied. No longer might the crisis wait.


At once ship smote on ship with brazen beak;


A vessel of the Greeks began the attack,


Crushing the stem of a Phoenician ship.


Each on a different vessel turned its prow.


At first the current of the Persian host


Withstood; but when within the strait the throng


Of ships was gathered, and they could not aid


Each other, but by their own brazen bows


Were struck, they shattered all our naval host.


The Grecian vessels not unskillfully


Were smiting round about; the hulls of ships


Were overset; the sea was hid from sight,


Covered with wreckage and the death of men;


The reefs and headlands were with corpses filled,


And in disordered flight each ship was rowed,


As many as were of the Persian host.


But they, like tunnies or some shoal of fish,


With broken oars and fragments of the wrecks


Struck us and clove us; and at once a cry


Of lamentation filled the briny sea,


Till the black darkness' eye did rescue us.


The number of our griefs, not though ten days


I talked together, could I fully tell;


But this know well, that never in one day


Perished so great a multitude of men.

(This English translation by William Cranston Lawton of 'The Battle of Salamis' is reprinted from Greek Poets in English Verse. Ed. William Hyde Appleton. Cambridge: The Riverside Press, 1893.)

The Vanity of his Passion

O you, who hear in scattered verse the sound
Of all those sighs with which my heart I fed,
When I, by youthful error was misled,
Unlike my present self in passion drowned;
Who hears the woes, the pleadings that abound
Throughout my song, by hopes and vain griefs bred;
If ever true love its influence over you shed,
Oh ! let your pity be with pardon crowned.
But now full well I see how to the crowd
For a long time I proved a public jest:
Even by myself my folly is confessed:
And of my vanity, what's left is shame,
Repentance, and a knowledge deep impressed,
That worldly pleasure is a passing dream.

Sonnet written by Francesco Petrarca for Laura, of course. Who else? This devout Renaissance poet drew inspiration from Dante, but maybe never escaped his shadow.

Said he, in his Letter to Posterity (everybody should write a ltter to posterity):

"In my youth I was blessed with an agile, active body, though not particularly strong; and while I cannot boast of being very handsome, I was good-looking enough in my younger days. I had a clear complexion, between light and dark, lively eyes, and for many years sharp vision, which, however, unexpectedly deserted me when I passed my sixtieth birthday, and forced me, reluctantly, to resort to the use of glasses. Although I had always been perfectly healthy, old age assailed me with its usual array of discomforts."

War (1870)

When a child,
certain skies sharpened my vision:
all their characters were reflected in my face.
The Phenomena were roused -
At present,
the eternal inflection of moments
and the infinity of mathematics
drives me through this world where I meet with every civil honor,
respected by strange children and prodigious affections -
I dream of a War of right and of might,
of unlooked-for logic.
It is as simple
as a musical phrase.

(from Illuminations. Sadly, one must be careful about posting poetry in translation - publishers own the copyrights, so you just have to buy the books. Two Rimbaud websites, here and here.)

'Terence, this is stupid stuff.
You eat your victuals fast enogh;
There can't be much amiss, 'tis clear,
To see the rate you drink your beer.
But oh, good Lord, the verse you make,
It gives a chap the belly-ache.
The cow, the old cow, she is dead;
It sleeps well, the horned head;
We, poor lads, 'tis our turn now
To hear such tunes as killed the cow.
Pretty friendship 'tis to rhyme
Your friends to death before their time
Moping melancholy mad:
Come, pipe a tune to dance to, lad.'

   Why, if ’tis dancing you would be,
There’s brisker pipes than poetry.
Say, for what were hop-yards meant,
Or why was Burton built on Trent?
Oh many a peer of England brews
Livelier liquor than the Muse,
And malt does more than Milton can
To justify God’s ways to man.
Ale, man, ale’s the stuff to drink
For fellows whom it hurts to think.

from Verse LXll, A Shropshire Lad, by A.E. Housman. Read entire

The Emperor of Ice Cream

Blow, blow, thou winter wind (from Act ll, Scene 7 of As You Like it, 1600)

Blow, blow, thou winter wind.
Thou art not so unkind
As man’s ingratitude;
Thy tooth is not so keen,
Because thou art not seen,
Although thy breath be rude.
Heigh-ho! sing, heigh-ho! unto the green holly:
Most friendship is feigning, most loving mere folly:
Then, heigh-ho, the holly!
This life is most jolly.
Freeze, freeze, thou bitter sky,
That dost not bite so nigh
As benefits forgot:
Though thou the waters warp,
Thy sting is not so sharp
As friend remember’d not.
Heigh-ho! sing, &c.

The Star-Splitter

You know Orion always comes up sideways.
Throwing a leg up over our fence of mountains,
And rising on his hands, he looks in on me
Busy outdoors by lantern-light with something
I should have done by daylight, and indeed,
After the ground is frozen, I should have done
Before it froze, and a gust flings a handful
Of waste leaves at my smoky lantern chimney
To make fun of my way of doing things,
Or else fun of Orion's having caught me.
Has a man, I should like to ask, no rights
These forces are obliged to pay respect to?"
So Brad McLaughlin mingled reckless talk
Of heavenly stars with hugger-mugger farming,
Till having failed at hugger-mugger farming,
He burned his house down for the fire insurance
And spent the proceeds on a telescope
To satisfy a life-long curiosity
About our place among the infinities.

"What do you want with one of those blame things?"
I asked him well beforehand. "Don't you get one!"
"Don't call it blamed; there isn't anything
More blameless in the sense of being less
A weapon in our human fight," he said.
"I'll have one if I sell my farm to buy it."
There where he moved the rocks to plow the ground
And plowed between the rocks he couldn't move,
Few farms changed hands; so rather than spend years
Trying to sell his farm and then not selling,
He burned his house down for the fire insurance
And bought the telescope with what it came to.
He had been heard to say by several:
"The best thing that we're put here for's to see;
The strongest thing that's given us to see with's
A telescope. Someone in every town
Seems to me owes it to the town to keep one.
In Littleton it may as well be me."
After such loose talk it was no surprise
When he did what he did and burned his house down.
Mean laughter went about the town that day
To let him know we weren't the least imposed on,
And he could wait--we'd see to him to-morrow.
But the first thing next morning we reflected
If one by one we counted people out
For the least sin, it wouldn't take us long
To get so we had no one left to live with.
For to be social is to be forgiving.
Our thief, the one who does our stealing from us,
We don't cut off from coming to church suppers,
But what we miss we go to him and ask for.
He promptly gives it back, that is if still
Uneaten, unworn out, or undisposed of.
It wouldn't do to be too hard on Brad
About his telescope. Beyond the age
Of being given one's gift for Christmas,
He had to take the best way he knew how
To find himself in one. Well, all we said was
He took a strange thing to be roguish over.
Some sympathy was wasted on the house,
A good old-timer dating back along;
But a house isn't sentient; the house
Didn't feel anything. And if it did,
Why not regard it as a sacrifice,
And an old-fashioned sacrifice by fire,
Instead of a new-fashioned one at auction?

Out of a house and so out of a farm
At one stroke (of a match), Brad had to turn
To earn a living on the Concord railroad,
As under-ticket-agent at a station
Where his job, when he wasn't selling tickets,
Was setting out up track and down, not plants
As on a farm, but planets, evening stars
That varied in their hue from red to green.

He got a good glass for six hundred dollars.
His new job gave him leisure for star-gazing.
Often he bid me come and have a look
Up the brass barrel, velvet black inside,
At a star quaking in the other end.
I recollect a night of broken clouds
And underfoot snow melted down to ice,
And melting further in the wind to mud.
Bradford and I had out the telescope.
We spread our two legs as it spread its three,
Pointed our thoughts the way we pointed it,
And standing at our leisure till the day broke,
Said some of the best things we ever said.
That telescope was christened the Star-splitter,
Because it didn't do a thing but split
A star in two or three the way you split
A globule of quicksilver in your hand
With one stroke of your finger in the middle.
It's a star-splitter if there ever was one
And ought to do some good if splitting stars
'Sa thing to be compared with splitting wood.

We've looked and looked, but after all where are we?
Do we know any better where we are,
And how it stands between the night to-night
And a man with a smoky lantern chimney?
How different from the way it ever stood?

h/t, Vanderleun - Richard Burton reads Gerard Manley Hopkins' poem 'The Leaden Echo & The Golden Echo'.

258

There’s a certain Slant of light,
Winter Afternoons —
That oppresses, like the Heft
Of Cathedral Tunes —

Heavenly Hurt, it gives us —
We can find no scar,
But internal difference,
Where the Meanings, are —

None may teach it — Any —
’Tis the Seal Despair —
An imperial affliction
Sent us of the Air —

When it comes, the Landscape listens —
Shadows — hold their breath —
When it goes, ’tis like the Distance
On the look of Death —

Aftermath

When the summer fields are mown, 
When the birds are fledged and flown, 
And the dry leaves strew the path; 
With the falling of the snow, 
With the cawing of the crow, 
Once again the fields we mow 
And gather in the aftermath. 

Not the sweet, new grass with flowers 
Is this harvesting of ours; 
Not the upland clover bloom; 
But the rowen mixed with weeds, 
Tangled tufts from marsh and meads, 
Where the poppy drops its seeds 
In the silence and the gloom.

Design

I found a dimpled spider, fat and white,
On a white heal-all, holding up a moth
Like a white piece of rigid satin cloth -
Assorted characters of death and blight
Mixed ready to begin the morning right,
Like the ingredients of a witches' broth -
A snow-drop spider, a flower like a froth,
And dead wings carried like a paper kite.

What had that flower to do with being white,
The wayside blue and innocent heal-all?
What brought the kindred spider to that height,
Then steered the white moth thither in the night?
What but design of darkness to appall? -
If design govern in a thing so small.

I usually let poems stand on their own, but I cannot resist commenting that this little poem is itself design personified, as complex and intricate as a watch or a cobweb. I think he spent a lot of time working this poem. BTW, as the poem discusses, Heal-All, or Self-Heal (Prunella) is blue (as in photo).

Sweeney Among The Nightingales

Apeneck Sweeney spreads his knees
Letting his arms hang down to laugh,
The zebra stripes along his jaw
Swelling to maculate giraffe.

The Female of the Species

When the Himalayan peasant meets the
he-bear in his pride,
He shouts to scare the monster,
who will often turn aside.
But the she-bear thus accosted rends
the peasant tooth and nail.
For the female of the species is more
deadly than the male.

When Nag the basking cobra hears the
careless foot of man,
He will sometimes wriggle sideways and
avoid it if he can.
But his mate makes no such motion where
she camps beside the trail.
For the female of the species is more
deadly than the male.

When the early Jesuit fathers preached
to Hurons and Choctaws,
They prayed to be delivered from the
vengeance of the squaws.
'Twas the women, not the warriors,
turned those stark enthusiasts pale.
For the female of the species is more
deadly than the male.

Man's timid heart is bursting with the
things he must not say,
For the Woman that God gave him
isn't his to give away;
But when hunter meets with husbands,
each confirms the other's tale -
The female of the species is more
deadly than the male.

Man, a bear in most relations -
worm and savage otherwise, -
Man propounds negotiations,
Man accepts the compromise.
Very rarely will he squarely push the logic of a fact
To its ultimate conclusion in unmitigated act.

Fear, or foolishness, impels him,
ere he lay the wicked low,
To concede some form of trial even
to his fiercest foe.
Mirth obscene diverts his anger -
Doubt and Pity oft perplex
Him in dealing with an issue -
to the scandal of The Sex!

But the Woman that God gave him,
every fibre of her frame
Proves her launched for one sole issue,
armed and engined for the same,
And to serve that single issue,
lest the generations fail,
The female of the species must be
deadlier than the male.

The yellow fog that rubs its back upon the window-panes,

The yellow smoke that rubs its muzzle on the window-panes,

Licked its tongue into the corners of the evening,

Lingered upon the pools that stand in drains,

Let fall upon its back the soot that falls from chimneys,

Slipped by the terrace, made a sudden leap,

And seeing that it was a soft October night,

Curled once about the house, and fell asleep.

 

And indeed there will be time

For the yellow smoke that slides along the street,

Rubbing its back upon the window-panes;

There will be time, there will be time

To prepare a face to meet the faces that you meet;

There will be time to murder and create,

And time for all the works and days of hands

That lift and drop a question on your plate;

Time for you and time for me,

And time yet for a hundred indecisions,

And for a hundred visions and revisions,

Before the taking of a toast and tea.

Toast and tea, we used to figger, was the final Communion - Brit-style.

When I was in high school, we all memorized Prufrock. Not because we had to, but because we liked to. As I always say, I define poetry as any writing which contains an inevitability of versification, with some coherence of imagery. Poetry is song-writing. I wish we had recordings of Kipling singing his poems. It would be a hoot, I am sure.

(We memorized things competitively when I was in high school. Shakespeare sonnets and soliloquies, lists of Chem equations and math theorems, Civil War dates and other historical dates. From all that I use 1569 today as one of my main ID codes (Shakespeare's birth year). Sophocles. Ozymandius. Kipling. Le Bateau Ivre. Paradise Lost. We had an official annual school tournament to see who could memorize the most lines of the opening of the Iliad, and another with the opening lines of Canterbury Tales in the original good Old English. Many folks would do 100-200 lines without faltering. The kids taking Latin, of course, had their famous and traditional speed declension contests. I even remember memorizing Babi Yar in Russian for kicks - and I spoke no Russian. It just sounded cool, imitating Yevtushenko's voice. Our hockey team specialized in the Iliad contest - somebody on the team always won. Our hockey coach also taught Ancient Greek. It was a point of honor for the team. A good high school, good fun. I hope high school kids still do amusing things like this. God knows what kids learn in college.) 

From an excellent piece on Eliot at Commentary, T.S. Eliot and the Demise of the Literary Culture:

Understatedly spectacular is the way Eliot�s career strikes one today, at time when, it is fair to say, poetry, even to bookish people, is of negligible interest and literary criticism chiefly a means to pursue academic tenure. Literary culture itself, if the sad truth be known, seems to be slowly but decisively shutting down.

The fame Eliot achieved in his lifetime is unfathomable for a poet, or indeed any American or English writer, in our day. In 1956, Eliot lectured on �The Function of Criticism� in a gymnasium at the University of Minnesota to a crowd estimated at 15,000 people.

Read the whole thing. Eliot was a bank teller, of course - and a rock star. Still is a rock star, in my book. His stuff sticks like Velcro. Christ was his rock.

I Sing the Body Electric

An Old Man's Winter Night

All out of doors looked darkly in at him
Through the thin frost, almost in separate stars,
That gathers on the pane in empty rooms.
What kept his eyes from giving back the gaze
Was the lamp tilted near them in his hand.
What kept him from remembering what it was
That brought him to that creaking room was age.
He stood with barrels round him -- at a loss.
And having scared the cellar under him
In clomping there, he scared it once again
In clomping off; -- and scared the outer night,
Which has its sounds, familiar, like the roar
Of trees and crack of branches, common things,
But nothing so like beating on a box.
A light he was to no one but himself
Where now he sat, concerned with he knew what,
A quiet light, and then not even that.
He consigned to the moon, such as she was,
So late-arising, to the broken moon
As better than the sun in any case
For such a charge, his snow upon the roof,
His icicles along the wall to keep;
And slept. The log that shifted with a jolt
Once in the stove, disturbed him and he shifted,
And eased his heavy breathing, but still slept.
One aged man -- one man -- can't keep a house,
A farm, a countryside, or if he can,
It's thus he does it of a winter night.

Overture to a Dance of Locomotives

Children Selecting Books in a Library

With beasts and gods, above, the wall is bright.
The child's head, bent to the book-colored shelves,
Is slow and sidelong and food-gathering,
Moving in blind grace ... yet from the mural, Care
The grey-eyed one, fishing the morning mist,
Seizes the baby hero by the hair
And whispers, in the tongue of gods and children,
Words of a doom as ecumenical as dawn
But blanched like dawn, with dew.
The children's cries
Are to men the cries of crickets, dense with warmth
-- But dip a finger into Fafnir, taste it,
And all their words are plain as chance and pain.
Their tales are full of sorcerers and ogres
Because their lives are: the capricious infinite
That, like parents, no one has yet escaped
Except by luck or magic; and since strength
And wit are useless, be kind or stupid, wait
Some power's gratitude, the tide of things.
Read meanwhile ... hunt among the shelves, as dogs do, grasses,
And find one cure for Everychild's diseases
Beginning: Once upon a time there was
A wolf that fed, a mouse that warned, a bear that rode
A boy. Us men, alas! wolves, mice, bears bore.
And yet wolves, mice, bears, children, gods and men
In slow perambulation up and down the shelves
Of the universe are seeking ... who knows except themselves?
What some escape to, some escape: if we find Swann's
Way better than our own, and trudge on at the back
Of the north wind to -- to -- somewhere east
Of the sun, west of the moon, it is because we live
By trading another's sorrow for our own; another's
Impossibilities, still unbelieved in, for our own ...
"I am myself still?" For a little while, forget:
The world's selves cure that short disease, myself,
And we see bending to us, dewy-eyed, the great
CHANGE, dear to all things not to themselves endeared.

Jarrell, a poet of lost innocence, also wrote one of the wittiest books in modern times, Pictures from an Institution: A Comedy

h/t to Neoneo for today's astonishing verse -

Mr. Flood's Party

Old Eben Flood, climbing alone one night
Over the hill between the town below
And the forsaken upland hermitage
That held as much as he should ever know
On earth again of home, paused warily.
The road was his with not a native near;
And Eben, having leisure, said aloud,
For no man else in Tilbury Town to hear:

"Well, Mr. Flood, we have the harvest moon
Again, and we may not have many more;
The bird is on the wing, the poet says,
And you and I have said it here before.
Drink to the bird." He raised up to the light
The jug that he had gone so far to fill,
And answered huskily: "Well, Mr. Flood,
Since you propose it, I believe I will."

Alone, as if enduring to the end
A valiant armor of scarred hopes outworn,
He stood there in the middle of the road
Like Roland's ghost winding a silent horn.
Below him, in the town among the trees,
Where friends of other days had honored him,
A phantom salutation of the dead
Rang thinly till old Eben's eyes were dim.

Then, as a mother lays her sleeping child
Down tenderly, fearing it may awake,
He set the jug down slowly at his feet
With trembling care, knowing that most things break;
And only when assured that on firm earth
It stood, as the uncertain lives of men
Assuredly did not, he paced away,
And with his hand extended paused again:

"Well, Mr. Flood, we have not met like this
In a long time; and many a change has come
To both of us, I fear, since last it was
We had a drop together. Welcome home!"
Convivially returning with himself,
Again he raised the jug up to the light;
And with an acquiescent quaver said:
"Well, Mr. Flood, if you insist, I might.

"Only a very little, Mr. Flood--
For auld lang syne. No more, sir; that will do."
So, for the time, apparently it did,
And Eben evidently thought so too;
For soon amid the silver loneliness
Of night he lifted up his voice and sang,
Secure, with only two moons listening,
Until the whole harmonious landscape rang--

"For auld lang syne." The weary throat gave out,
The last word wavered; and the song being done,
He raised again the jug regretfully
And shook his head, and was again alone.
There was not much that was ahead of him,
And there was nothing in the town below--
Where strangers would have shut the many doors
That many friends had opened long ago.

God's Grandeur (1877)

The world is charged with the grandeur of God.
It will flame out, like shining from shook foil;
It gathers to a greatness, like the ooze of oil
Crushed. Why do men then now not reck his rod?
Generations have trod, have trod, have trod;
And all is seared with trade; bleared, smeared with toil;
And wears man�s smudge and shares man�s smell: the soil
Is bare now, nor can foot feel, being shod.

And for all this, nature is never spent;
There lives the dearest freshness deep down things;
And though the last lights off the black West went
Oh, morning, at the brown brink eastward, springs�
Because the Holy Ghost over the bent
World broods with warm breast and with ah! bright wings.

The Betrothed, by Kipling

"You must choose between me and your cigar."
       -- Breach of Promise Case, Circa 1885

Open the old cigar-box, get me a Cuba stout,
For things are running crossways, and Maggie and I are out.

We quarrelled about Havanas -- we fought o'er a good cheroot,
And I knew she is exacting, and she says I am a brute.

Open the old cigar-box -- let me consider a space;
In the soft blue veil of the vapour musing on Maggie's face.

Maggie is pretty to look at -- Maggie's a loving lass,
But the prettiest cheeks must wrinkle, the truest of loves must pass.

There's peace in a Larranaga, there's calm in a Henry Clay;
But the best cigar in an hour is finished and thrown away --

Thrown away for another as perfect and ripe and brown --
But I could not throw away Maggie for fear o' the talk o' the town!

Maggie, my wife at fifty -- grey and dour and old --
With never another Maggie to purchase for love or gold!

And the light of Days that have Been the dark of the Days that Are,
And Love's torch stinking and stale, like the butt of a dead cigar --

The butt of a dead cigar you are bound to keep in your pocket --
With never a new one to light tho' it's charred and black to the socket!

Open the old cigar-box -- let me consider a while.
Here is a mild Manila -- there is a wifely smile.

Which is the better portion -- bondage bought with a ring,
Or a harem of dusky beauties, fifty tied in a string?

Counsellors cunning and silent -- comforters true and tried,
And never a one of the fifty to sneer at a rival bride?

Thought in the early morning, solace in time of woes,
Peace in the hush of the twilight, balm ere my eyelids close,

This will the fifty give me, asking nought in return,
With only a Suttee's passion -- to do their duty and burn.

This will the fifty give me. When they are spent and dead,
Five times other fifties shall be my servants instead.

The furrows of far-off Java, the isles of the Spanish Main,
When they hear my harem is empty will send me my brides again.

I will take no heed to their raiment, nor food for their mouths withal,
So long as the gulls are nesting, so long as the showers fall.

I will scent 'em with best vanilla, with tea will I temper their hides,
And the Moor and the Mormon shall envy who read of the tale of my brides.

For Maggie has written a letter to give me my choice between
The wee little whimpering Love and the great god Nick o' Teen.

And I have been servant of Love for barely a twelvemonth clear,
But I have been Priest of Cabanas a matter of seven year;

And the gloom of my bachelor days is flecked with the cheery light
Of stums that I burned to Friendship and Pleasure and Work and Fight.

And I turn my eyes to the future that Maggie and I must prove,
But the only light on the marshes is the Will-o'-the-Wisp of Love.

Will it see me safe through my journey or leave me bogged in the mire?
Since a puff of tobacco can cloud it, shall I follow the fitful fire?

Open the old cigar-box -- let me consider anew --
Old friends, and who is Maggie that I should abandon you?

A million surplus Maggies are willing to bear the yoke;
And a woman is only a woman, but a good Cigar is a Smoke.

Light me another Cuba -- I hold to my first-sworn vows.
If Maggie will have no rival, I'll have no Maggie for Spouse!

Transit

A woman I have never seen before
Steps from the darkness of her town-house door
Just at that crux of time when she is made
So beautiful that she or time must fade.

What use to claim that as she tugs her gloves
A phantom heraldry of all the loves
Blares from the lintel? That the staggered sun
Forgets, in his confusion, how to run?

Still, nothing changes as her perfect feet
Click down the walk that issues in the street,
Leaving the stations of her body there
Like whips that map the countries of the air.

A buddy had an Aussie field biologist friend who used to like to get drunk and recite this potty-mouth ditty around the campfire to much merriment: The Bastard from the Bush.

It's a new one to me, but probably all Aussies know it by heart.

We have written about Bryant here before," romantic poet, journalist, and long-time editor of the New York Evening Post." He was a prominent abolitionist, and a long-time resident of the Great Barrington area of the Berkshires. This is doubtless a Berkshire summer poem/

Summer Wind

It is a sultry day; the sun has drank

The dew that lay upon the morning grass,

There is no rustling in the lofty elm

That canopies my dwelling, and its shade

Scarce cools me. All is silent, save the faint

And interrupted murmur of the bee,

Settling on the sick flowers, and then again

Instantly on the wing. The plants around

Feel the too potent fervors; the tall maize

Rolls up its long green leaves; the clover droops

Its tender foliage, and declines its blooms.

But far in the fierce sunshine tower the hills,

With all their growth of woods, silent and stern,

As if the scortching heat and dazzling light

Were but an element they loved. Bright clouds,

Motionless pillars of the brazen heaven;--

Their bases on the mountains--their white tops

Shining in the far ether--fire the air

With a reflected radiance, and make turn

The gazer's eye away. For me, I lie

Languidly in the shade, where the thick turf,

Yet virgin from the kisses of the sun,

Retains some freshness, and I woo the wind

That still delays its coming. Why so slow,

Gentle and voluble spirit of the air?

Oh, come and breathe upon the fainting earth

Coolness and life. Is it that in his caves

He hears me? See, on yonder woody ridge,

The pine is bending his proud top, and now,

Among the nearer groves, chesnut and oak

Are tossing their green boughs about. He comes!

Lo, where the grassy meadow runs in wives!

The deep distressful silence of the scene

Breaks up with mingling of unnumbered sounds

And universal motion. He is come,

Shaking a shower of blossoms from the shrubs,

And bearing on the fragrance; and he brings

Music of birds, and rustling of young boughs,

And soun of swaying branches, and the voice

Of distant waterfalls. All the green herbs

Are stirring in his breath; a thousand flowers,

By the road-side and the borders of the brook,

Nod gaily to each other; glossy leaves

Are twinkling in the sun, as if the dew

Were on them yet, and silver waters break

Into small waves and sparkle as he comes.

The Screw-Guns

(A Screw-Gun was a small mountain ("mounting") cannon. Like many of Kipling's poems, this has been put to music, with wonderful success. Sadly, I cannot find a Youtube or midi-file of the tune, but I can hum it for you.) 

Smokin' my pipe on the mountings, sniffin' the mornin' cool,
I walks in my old brown gaiters along o' my old brown mule,
With seventy gunners be'ind me, an' never a beggar forgets
It's only the pick of the Army
that handles the dear little pets -

Refrain:

For you all love the screw-guns - the screw-guns they all love you!
So when we call round with a few guns,
o' course you will know what to do
Jest send in your Chief an' surrender -
it's worse if you fights or you runs:
You can go where you please, you can skid up the trees,
but you don't get away from the guns!

They sends us along where the roads are, but mostly we goes where they ain't:
We'd climb up the side of a sign-board an' trust to the stick o' the paint:
We've chivied the Naga an' Looshai, we've give the Afreedeeman fits,
For we fancies ourselves at two thousand,
we guns that are built in two bits -
For you all love the screw-guns . . .

If a man doesn't work, why, we drills 'im an' teaches 'im 'ow to behave;
If a beggar can't march, why, we kills 'im an' rattles 'im into 'is grave.
You've got to stand up to our business an' spring without snatchin' or fuss.
D'you say that you sweat with the field-guns?
By God, you must lather with us -
For you all love the screw-guns . . .

The eagles is screamin' around us, the river's a-moanin' below,
We're clear o' the pine an' the oak-scrub,
we're out on the rocks an' the snow,
An' the wind is as thin as a whip-lash what carries away to the plains
The rattle an' stamp o' the lead-mules -
the jinglety-jink o' the chains -
For you all love the screw-guns . . .

To be read aloud - even if alone. Coleridge, 1798. Coleridge was a sort-of Transcendentalist.

PART ONE

IT IS an ancient Mariner,
And he stoppeth one of three.
'By thy long grey beard and glittering eye,
Now wherefore stopp'st thou me?

The Bridegroom's doors are opened wide,
And I am next of kin;
The guests are met, the feast is set:
May'st hear the merry din.'

He holds him with his skinny hand,
'There was a ship,' quoth he.
'Hold off! unhand me, grey-beard loon!'
Eftsoons his hand dropt he.

He holds him with his glittering eye--
The Wedding-Guest stood still,
And listens like a three years' child:
The Mariner hath his will.

The Wedding-Guest sat on a stone:
He cannot choose but hear;
And thus spake on that ancient man,
The bright-eyed Mariner.

Two in the Campagna

I wonder how you feel to-day
As I have felt since, hand in hand,
We sat down on the grass, to stray
In spirit better through the land,
This morn of Rome and May?

For me, I touched a thought, I know,
Has tantalized me many times,
(Like turns of thread the spiders throw
Mocking across our path) for rhymes
To catch at and let go.

Help me to hold it! First it left
The yellow fennel, run to seed
There, branching from the brickwork�s cleft,
Some old tomb�s ruin: yonder weed
Took up the floating weft,

Where one small orange cup amassed
Five beetles, -blind and green they grope
Among the honey meal: and last,
Everywhere on the grassy slope
O traced it. Hold it fast!

The champaign with its endless fleece
Of feathery grasses everywhere!
Silence and passion, joy and peace,
An everlasting wash of air-
Rome�s ghost since her decease.

Such life here, through such lengths of hours,
Such miracles performed in play,
Such primal naked forms of flowers,
Such letting nature have her way
While heaven looks from its towers!

How say you? Let us, O my dove,
Let us be unashamed of soul,
As earth lies bare to heaven above!
How is it under our control
To love or not to love?
I would that you were all to me,
You that are just so much, no more.
Nor yours nor mine, nor slave nor free!
Where does the fault lie? What the core
O� the wound, since wound must be?

I would I could adopt your will,
See with your eyes, and set my heart
Beating by yours, and drink my fill
At your soul�s springs, - your part my part
In life, for good and ill.

No. I yearn upward, touch you close,
Then stand away. I kiss your cheek,
Catch your soul�s warmth, - I pluck the rose
And love it more than tongue can speak-
Then the good minute goes.

Already how am I so far
Our of that minute? Must I go
Still like the thistle-ball, no bar,
Onward, whenever light winds blow,
Fixed by no friendly star?

Just when I seemed about to learn!
Where is the thread now? Off again!
The Old trick! Only I discern-
Infinite passion, and the pain
Of finite hearts that yearn.

Sonnet 18

Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm'd;
And every fair from fair sometime declines,
By chance or nature's changing course untrimm'd;
But thy eternal summer shall not fade
Nor lose possession of that fair thou owest;
Nor shall Death brag thou wander'st in his shade,
When in eternal lines to time thou growest:
So long as men can breathe or eyes can see,
So long lives this and this gives life to thee.

Photo is a beach we frequent on Wellfleet Harbor. At low tide, it's all oyster mudflats and the boats here lie on their sides in the mud. The tidal differences in Cape Cod Bay can be as much as 6-12', depending on the moon cycle and location. Where are all the people? Wellfleet beaches have lots of privacy, few people.

Photo is a Peregrine Falcon

Gone to the Unseen (trans. Jonathan Star)

At last you have departed and gone to the Unseen.
What marvelous route did you take from this world?

Beating your wings and feathers,
you broke free from this cage.
Rising up to the sky
you attained the world of the soul.
You were a prized falcon trapped by an Old Woman.
Then you heard the drummer's call
and flew beyond space and time.

As a lovesick nightingale, you flew among the owls.
Then came the scent of the rosegarden
and you flew off to meet the Rose.

The wine of this fleeting world
caused your head to ache.
Finally you joined the tavern of Eternity.
Like an arrow, you sped from the bow
and went straight for the bull's eye of bliss.

This phantom world gave you false signs
But you turned from the illusion
and journeyed to the land of truth.

You are now the Sun -
what need have you for a crown?
You have vanished from this world -
what need have you to tie your robe?

I've heard that you can barely see your soul.
But why look at all? -
yours is now the Soul of Souls!

O heart, what a wonderful bird you are.
Seeking divine heights,
Flapping your wings,
you smashed the pointed spears of your enemy.

The flowers flee from Autumn, but not you -
You are the fearless rose
that grows amidst the freezing wind.

Pouring down like the rain of heaven
you fell upon the rooftop of this world.
Then you ran in every direction
and escaped through the drain spout . . .

Now the words are over
and the pain they bring is gone.
Now you have gone to rest
in the arms of the Beloved.

A Sheaf Of Snakes Used Heretofore To Be My Seal, The Crest Of Our Poor Family

ADOPTED in God's family and so
Our old coat lost, unto new arms I go.
The Cross�my seal at baptism�spread below
Does, by that form, into an Anchor grow.
Crosses grow Anchors; bear, as thou shouldest do
Thy Cross, and that Cross grows an Anchor too.
But He that makes our Crosses Anchors thus,
Is Christ, who there is crucified for us.
Yet may I, with this, my first serpents hold;
God gives new blessings, and yet leaves the old.
The serpent may, as wise, my pattern be;
My poison, as he feeds on dust, that's me.
And, as he rounds the earth to murder sure,
My death he is, but on the Cross, my cure.
Crucify nature then, and then implore
All grace from Him, crucified there before;
Then all is Cross, and that Cross Anchor grown;
This seal's a catechism, not a seal alone.
Under that little seal great gifts I send,
Works, and prayers, pawns, and fruits of a friend.
And may that saint which rides in our great seal,
To you who bear his name, great bounties deal !

Recessional

God of our fathers, known of old--
   Lord of our far-flung battle line
Beneath whose awful hand we hold
   Dominion over palm and pine--
Lord God of Hosts, be with us yet,
Lest we forget - lest we forget!

The tumult and the shouting dies;
   The captains and the kings depart:
Still stands Thine ancient sacrifice,
   An humble and a contrite heart.
Lord God of Hosts, be with us yet,
Lest we forget - lest we forget!

Far-called, our navies melt away;
   On dune and headland sinks the fire:
Lo, all our pomp of yesterday
   Is one with Nineveh and Tyre!
Judge of the Nations, spare us yet,
Lest we forget - lest we forget!

If, drunk with sight of power, we loose
   Wild tongues that have not Thee in awe--
Such boasting as the Gentiles use
   Or lesser breeds without the law--
Lord God of Hosts, be with us yet,
Lest we forget - lest we forget!

For heathen heart that puts her trust
   In reeking tube and iron shard--
All valiant dust that builds on dust,
   And guarding, calls not Thee to guard--
For frantic boast and foolish word,
Thy mercy on Thy people, Lord!

Posted today because Driscoll recently linked Derbyshire's 2002 post on Kipling's poem which had been written for the 1897 Diamond Jubilee of Queen Victoria. Many do not know that Kipling later became a resident of Vermont for many years.

Dirge Without Music

I am not resigned to the shutting away of loving hearts in the hard ground.
So it is, and so it will be, for so it has been, time out of mind:
Into the darkness they go, the wise and the lovely. Crowned
With lilies and with laurel they go; but I am not resigned.

Lovers and thinkers, into the earth with you.
Be one with the dull, the indiscriminate dust.
A fragment of what you felt, of what you knew,
A formula, a phrase remains, --- but the best is lost.

The answers quick & keen, the honest look, the laughter, the love,
They are gone. They have gone to feed the roses. Elegant and curled
Is the blossom. Fragrant is the blossom. I know. But I do not approve.
More precious was the light in your eyes than all the roses in the world.

Down, down, down into the darkness of the grave
Gently they go, the beautiful, the tender, the kind;
Quietly they go, the intelligent, the witty, the brave.
I know. But I do not approve. And I am not resigned.

Thanks, reader, for highlighting this piece. You can read about Millay's colorful life at Wiki, where it says:

Her reputation was damaged by poetry she wrote in support of the Allied war effort during World War II. Merle Rubin noted: "She seems to have caught more flak from the literary critics for supporting democracy than Ezra Pound did for championing fascism." 

Some things never change.

Photo: Millay in 1914.

Mowing

There was never a sound beside the wood but one,
And that was my long scythe whispering to the ground.
What was it it whispered?  I knew not well myself;
Perhaps it was something about the heat of the sun,
Something, perhaps, about the lack of sound---
And that was why it whispered and did not speak.
It was no dream of the gift of idle hours,
Or easy gold at the hand of fay or elf:
Anything more than the truth would have seemed too weak
To the earnest love that laid the swale in rows,
Not without feeble-pointed spikes of flowers
(Pale orchises), and scared a bright green snake.
The fact is the sweetest dream that labor knows.
My long scythe whispered and left the hay to make.

Aubade

I work all day, and get half drunk at night.
Waking at four to soundless dark, I stare.
In time the curtain edges will grow light.
Till then I see what's really always there:
Unresting death, a whole day nearer now,
Making all thought impossible but how
And where and when I shall myself die.
Arid interrogation: yet the dread
Of dying, and being dead,
Flashes afresh to hold and horrify.

The mind blanks at the glare. Not in remorse
- The good not used, the love not given, time
Torn off unused - nor wretchedly because
An only life can take so long to climb
Clear of its wrong beginnings, and may never:
But at the total emptiness forever,
The sure extinction that we travel to
And shall be lost in always. Not to be here,
Not to be anywhere,
And soon; nothing more terrible, nothing more true.

This is a special way of being afraid
No trick dispels. Religion used to try,
That vast moth-eaten musical brocade
Created to pretend we never die,
And specious stuff that says no rational being
Can fear a thing it cannot feel, not seeing
that this is what we fear - no sight, no sound,
No touch or taste or smell, nothing to think with,
Nothing to love or link with,
The anaesthetic from which none come round.

And so it stays just on the edge of vision,
A small unfocused blur, a standing chill
That slows each impulse down to indecision
Most things may never happen: this one will,
And realisation of it rages out
In furnace fear when we are caught without
People or drink. Courage is no good:
It means not scaring others. Being brave
Lets no-one off the grave.
Death is no different whined at than withstood.

Slowly light strengthens, and the room takes shape.
It stands plain as a wardrobe, what we know,
Have always known, know that we can't escape
Yet can't accept. One side will have to go.
Meanwhile telephones crouch, getting ready to ring
In locked-up offices, and all the uncaring
Intricate rented world begins to rouse.
The sky is white as clay, with no sun.
Work has to be done.
Postmen like doctors go from house to house.

We were reminded of this Larkin poem by Dick Cavett's NYT blog post about his Yale reunion.

Root Cellar

Lepanto (1915)

     White founts falling in the Courts of the sun,
     And the Soldan of Byzantium is smiling as they run;
     There is laughter like the fountains in that face of all men feared,
     It stirs the forest darkness, the darkness of his beard;
     It curls the blood-red crescent, the crescent of his lips;
     For the inmost sea of all the earth is shaken with his ships.
     They have dared the white republics up the capes of Italy,
     They have dashed the Adriatic round the Lion of the Sea,
     And the Pope has cast his arms abroad for agony and loss,
     And called the kings of Christendom for swords about the Cross.
     The cold queen of England is looking in the glass;
     The shadow of the Valois is yawning at the Mass;
     From evening isles fantastical rings faint the Spanish gun,
     And the Lord upon the Golden Horn is laughing in the sun.

(Read the rest on continuation page below. Image of the second-most famous naval battle in history (1571), familiar to every schoolchild, is by an unknown artist.)