Maggie's Farm

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There are hermit souls that live withdrawn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.

Shakespeare probably wrote this sonnet in his late 30s, making it, I suppose, a creation of sentimental imagination. It seems to be addressed to a younger man. Here are some thoughts, etc about Sonnet 73. Interesting to me that John Berryman believed it to be the best poem written in English, despite its flaws.

That time of year thou may'st in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruin'd choirs, where late the sweet birds sang.
In me thou see'st the twilight of such day,
As after sunset fadeth in the west,
Which by-and-by black night doth take away,
Death's second self, that seals up all in rest.
In me thou see'st the glowing of such fire
That on the ashes of his youth doth lie,
As the death-bed whereon it must expire
Consum'd with that which it was nourish'd by.
  This thou perceivest, which makes thy love more strong,
  To love that well which thou must leave ere long.

Brave words: 

Invictus

Out of the night that covers me,
Black as the Pit from pole to pole,
I thank whatever gods may be
For my unconquerable soul.

In the fell clutch of circumstance
I have not winced nor cried aloud.
Under the bludgeonings of chance
My head is bloody, but unbowed.

Beyond this place of wrath and tears
Looms but the Horror of the shade,
And yet the menace of the years
Finds, and shall find, me unafraid.

It matters not how strait the gate,
How charged with punishments the scroll.
I am the master of my fate:
I am the captain of my soul. 

Afternoon on a Hill 

The Foggy, Foggy Dew (by Anon)

When I was a bachelor I lived all alone
And I worked at the weaver's trade,
And the only, only thing that I ever did wrong
Was to woo a fair young maid.

I wooed her in the wintertime
And in the summer too,
And the only thing that I ever did wrong
Was to keep her from the foggy foggy dew.

One night she came to my bedside
When I was fast asleep,
She flung her arms around my neck
And she began to weep.

She wept, she cried, she damn near died,
She said "What can I do?"
So I rolled her into bed and covered up her head
Just to keep her from the foggy foggy dew.

O I am a bachelor, I live with my son
And we work at the weaver's trade,
And every single time that I look into his eyes
He reminds me of that fair young maid.

He reminds me of the wintertime
And of the summer too,
And of the many, many times I held her in my arms
To keep her from the foggy foggy dew.

Gypsies in the Wood

My mother said that I never should
Play with the gypsies in the wood,
The wood was dark; the grass was green;
In came Sally with a tambourine.

I went to the sea - no ship to get across;
I paid ten shillings for a blind white horse;
I up on his back and he off like a crack,
Sally, tell my Mother I shall never come back.

It's meadow mowing season in New England. Haying season too.

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 labour knows.
My long scythe whispered and left the hay to make.

N.V.N.

There is a sacred, secret line in loving
which attraction and even passion cannot cross, —
even if lips draw near in awful silence
and love tears at the heart.

Friendship is weak and useless here,
and years of happiness, exalted and full of fire,
because the soul is free and does not know
the slow luxuries of sensual life.

Those who try to come near it are insane
and those who reach it are shaken by grief.
So now you know exactly why
my heart beats no faster under your hand.

Daffodils

I wander'd lonely as a cloud
That floats on high o'er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.
Continuous as the stars that shine
And twinkle on the Milky Way,
They stretch'd in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.
The waves beside them danced; but they
Out-did the sparkling waves in glee:

A poet could not but be gay,
In such a jocund company:
I gazed -- and gazed -- but little thought
What wealth the show to me had brought:

For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasure fills,
And dances with the daffodils.

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 fill a house, 
A farm, a countryside, or if he can, 
It's thus he does it of a winter night.

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...

My Garden (1866)

 If I could put my woods in song,
And tell what’s there enjoyed,
All men would to my gardens throng,
And leave the cities void.

In my plot no tulips blow,
Snow-loving pines and oaks instead,
And rank the savage maples grow
From spring’s faint flush to autumn red.

My garden is a forest-ledge,
Which older forests bound;
The banks slope down to the blue lake-edge,
Then plunge in depths profound.

Here once the Deluge ploughed,
Laid the terraces, one by one;
Ebbing later whence it flowed,
They bleach and dry in the sun.

The sowers made haste to depart,
The wind and the birds which sowed it;
Not for fame, nor by rules of art,
Planted these and tempests flowed it.

Waters that wash my garden-side
Play not in Nature’s lawful web,
They heed not moon or solar tide, —
Five years elapse from flood to ebb.

Hither hasted, in old time, Jove,
And every god, — none did refuse;
And be sure at last came Love,
And after Love, the Muse.

Keen ears can catch a syllable,
As if one spake to another
In the hemlocks tall, untamable,
And what the whispering grasses smother.

Æolian harps in the pine
Ring with the song of the Fates;
Infant Bacchus in the vine, —
Far distant yet his chorus waits.

Canst thou copy in verse one chime
Of the wood-bell’s peal and cry?
Write in a book the morning’s prime,
Or match with words that tender sky?

Wonderful verse of the gods,
Of one import, of varied tone;
They chant the bliss of their abodes
To man imprisoned in his own.

Ever the words of the gods resound,
But the porches of man’s ear
Seldom in this low life’s round
Are unsealed that he may hear.

Wandering voices in the air,
And murmurs in the wold,
Speak what I cannot declare,
Yet cannot all withhold.

When the shadow fell on the lake,
The whirlwind in ripples wrote
Air-bells of fortune that shine and break,
And omens above thought.

But the meanings cleave to the lake,
Cannot be carried in book or urn;
Go thy ways now, come later back,
On waves and hedges still they burn

These the fates of men forecast,
Of better men than live to-day;
If who can read them comes at last,
He will spell in the sculpture, “Stay.”

Besides opera tix, the other Christmas present I received (besides stinky cheeses) was an island-hopping rugged hiking trip in the Outer Hebrides. Well, Mrs. BD likes remote rugged places as readers know - as long as there are cozy B&Bs at night.

I checked the weather for our trip: 40s (F) at night, high 50s (F) daytime. Some precipitation 21 out of 30 days/month in summer (more in winter).  North Atlantic weather. I've done a few ship crossings in the north Atlantic and know what it's like: cool mist and drizzle, no need for sunscreen.

Gwynnie lent me his waterproof Olympus.

My Mom and Dad were partial to trips to northern climes. Dad wrote the poem below to document the habit (with a photo of the poet at the farm). 

 Reposted from 2009. 2009 ?!?  Sheesh. This site is getting long in the tooth.

Photo:  If you have areas you want mowed instead of just hayed once a year, the trick is to get the kids on the mini-John Deere. They love it. It's easy to teach them how to jump off if the thing starts to tip over on a steep, angled, rocky New England hill - just tip it over when they are on it, and they will figger it out. Child abuse, no doubt. This birch hill looks good as a distant vista from ye olde farmhouse kitchen window when the top of the hill is mowed occasionally. We prefer to keep most of the fields only mowed once-yearly in late August or September for the wildlife and wildflowers, because I know in my heart that God loves meadows - but not lawns.

Yes, that is in the Berkshires and yes, we have big tractors too. Ford and Farmall. I'd never take that old dainty-front-footed Farmall on a steep, angled Yankee pasture hill, tho. The old Ford has a nice, comfortable wide stance.

 I think it was in Pogo where somebody said "What is so rare as a steak in June?"

Two verses from Part 1 of James Russell Lowell's (1819-1891) religious epic The Vision of Sir Launfal:

Earth gets its price for what Earth gives us;
The beggar is taxed for a corner to die in,
The priest hath his fee who comes and shrives us,
We bargain for the graves we lie in;
At the Devil's booth are all things sold
Each ounce of dross costs its ounce of gold;
For a cap and bells our lives we pay,
Bubbles we earn with a whole soul's tasking:
'T is heaven alone that is given away,
'T is only God may be had for the asking;
There is no price set on the lavish summer,
And June may be had by the poorest comer.

And what is so rare as a day in June?
Then, if ever, come perfect days;
Then Heaven tries the earth if it be in tune,
And over it softly her warm ear lays:
Whether we look, or whether we listen,
We hear life murmur, or see it glisten;
Every clod feels a stir of might,
An instinct within it that reaches and towers,
And, grasping blindly above it for light,
Climbs to a soul in grass and flowers;
The flush of life may well be seen
Thrilling back over hills and valleys;
The cowslip startles in meadows green,
The buttercup catches the sun in its chalice,
And there is never a leaf or a blade too mean
To be some happy creature's palace;
The little bird sits at his door in the sun,
Atilt like a blossom among the leaves,
And lets his illumined being o'errun
With the deluge of summer it receives;
His mate feels the eggs beneath her wings,
And the heart in her dumb breast flutters and sings;
He sings to the wide world, and she to her nest...

Casabianca

The boy stood on the burning deck,
Whence all but he had fled;
The flame that lit the battle’s wreck,
Shone round him o’er the dead.

Yet beautiful and bright he stood,
As born to rule the storm;
A creature of heroic blood,
A proud, though childlike form.

The flames rolled on – he would not go,
Without his father’s word;
That father, faint in death below,
His voice no longer heard.

He called aloud – ‘Say, father, say
If yet my task is done?’
He knew not that the chieftain lay
Unconscious of his son.

‘Speak, father!’ once again he cried,
‘If I may yet be gone!’
– And but the booming shots replied,
And fast the flames rolled on.

Upon his brow he felt their breath
And in his waving hair;
And look’d from that lone post of death,
In still yet brave despair.

And shouted but once more aloud,
‘My father! must I stay?’
While o’er him fast, through sail and shroud,
The wreathing fires made way.

They wrapped the ship in splendour wild,
They caught the flag on high,
And streamed above the gallant child,
Like banners in the sky.

There came a burst of thunder sound –
The boy – oh! where was he?
Ask of the winds that far around
With fragments strewed the sea!

With mast, and helm, and pennon fair,
That well had borne their part,
But the noblest thing which perished there,
Was that young faithful heart.

I am reposting this Empson poem because Michael Wood has a new book out about Empson's critical writing,  The Codebreaker - On the critical legacy of William Empson.

The Last Pain

This last pain for the damned the Fathers found:
"They knew the bliss with which they were not crowned."
Such, but on earth, let me foretell,
Is all, of heaven or of hell.

Man, as the prying housemaid of the soul,
May know her happiness by eye to hole;
He's safe; the key is lost; he knows
Door will not open, nor hole close.

"What is conceivable can happen too,"
Said Wittgenstein, who had not dreamt of you;
But wisely; if we worked it long
We should forget where it was wrong.

Those thorns are crowns which, woven into knots,
Crackle under and soon boil fool's pots;
And no man's watching, wise and long,
Would ever stare them into song.

Thorns burn to a consistent ash, like man;
A splendid cleanser for the frying-pan:
And those who leap from pan to fire
Should this brave opposite admire.

All those large dreams by which men long live well
Are magic-lanterned on the smoke of hell;
This then is real, I have implied,
A painted, small, transparent slide.

These the inventive can hand-paint at leisure,
Or most emporia would stock our measure;
And feasting in their dappled shade
We should forget how they were made.

Feign then what's by a decent tact believed,
And act that state is only so conceived,
And build an edifice of form
For house where phantoms may keep warm.

Imagine, then, by miracle, with me,
(Ambiguous gifts, as what gods give must be)
What could not possibly be there,
And learn a style from a despair.

Maggie's Farmers are fans of William Empson, more for his books than for his poetry. For many of us, his 7 Types of Ambiguity (written at age 22) opened a door to a new world. A commenter here claimed that his The Structure of Complex Words is the best book ever written. Better check it out.

Breathes There The Man... from The Lay Of The Last Minstrel

Breathes there the man, with soul so dead,
Who never to himself hath said,
'This is my own, my native land!'
Whose heart hath ne'er within him burned,
As home his footsteps he hath turned,
From wandering on a foreign strand!
If such there breathe, go, mark him well;
For him no Minstrel raptures swell;
High though his titles, proud his name,
Boundless his wealth as wish can claim;
Despite those titles, power, and pelf,
The wretch, concentred all in self,
Living, shall forfeit fair renown,
And, doubly dying, shall go down
To the vile dust, from whence he sprung,
Unwept, unhonoured, and unsung. 

The Death of the Hired Man (1915)

You can hear Frost read the poem here. 

Mary sat musing on the lamp-flame at the table  
Waiting for Warren. When she heard his step,  
She ran on tip-toe down the darkened passage  
To meet him in the doorway with the news  
And put him on his guard. “Silas is back.”           
She pushed him outward with her through the door  
And shut it after her. “Be kind," she said.  
She took the market things from Warren’s arms  
And set them on the porch, then drew him down  
To sit beside her on the wooden steps.            

I hunted down a misquote ("Beware the wrath of patient men") that was quoted in a piece linked at American Digest, and learned that it was from a Dryden epic, possibly a satirical one,  Absalom and Achitophel.

John Dryden was the literary giant of his time. He influenced many, especially Pope, and knew Marvell and Milton. Never read any Dryden - just one of countless holes in my education.

The fragment goes like this: 

Oh that my Pow'r to Saving were confin’d:
Why am I forc’d, like Heav’n, against my mind,
To make Examples of another Kind?
Must I at length the Sword of Justice draw?
Oh curst Effects of necessary Law!
How ill my Fear they by my Mercy scan,
Beware the Fury of a Patient Man.

Lots of Dryden fragments and quotes here to get a sense of his clear, forceful style. He liked heroic couplets.

Thanks to Vanderleun. Somehow, I never knew this Tennyson poem. We all have regretful knowledge lacunae but we fight them daily. In sophomore (required) Public Speaking, part of that course was to memorize and recite a poem, an epic fragment (choice of Milton, Homer, Chaucer, Virgil, Hesiod, or Dante), or a Shakespeare soliloquy, each month. I have a few Shakespeare sonnets permanently in my hippocampus. Wish I had found this Tennyson then.  The Sparks Notes re Ulysses.

Ulysses

 It little profits that an idle king,
By this still hearth, among these barren crags,
Match’d with an aged wife, I mete and dole
Unequal laws unto a savage race,
That hoard, and sleep, and feed, and know not me.

I cannot rest from travel: I will drink
Life to the lees: All times I have enjoy’d
Greatly, have suffer’d greatly, both with those
That loved me, and alone, on shore, and when
Thro’ scudding drifts the rainy Hyades
Vext the dim sea: I am become a name;
For always roaming with a hungry heart
Much have I seen and known; cities of men
And manners, climates, councils, governments,
Myself not least, but honour’d of them all;
And drunk delight of battle with my peers,
Far on the ringing plains of windy Troy.
I am a part of all that I have met;
Yet all experience is an arch wherethro’
Gleams that untravell’d world whose margin fades
For ever and forever when I move.
How dull it is to pause, to make an end,
To rust unburnish’d, not to shine in use!
As tho’ to breathe were life! Life piled on life
Were all too little, and of one to me
Little remains: but every hour is saved
From that eternal silence, something more,
A bringer of new things; and vile it were
For some three suns to store and hoard myself,
And this gray spirit yearning in desire
To follow knowledge like a sinking star,
Beyond the utmost bound of human thought.

   This is my son, mine own Telemachus,
To whom I leave the sceptre and the isle,—
Well-loved of me, discerning to fulfil
This labour, by slow prudence to make mild
A rugged people, and thro’ soft degrees
Subdue them to the useful and the good.
Most blameless is he, centred in the sphere
Of common duties, decent not to fail
In offices of tenderness, and pay
Meet adoration to my household gods,
When I am gone. He works his work, I mine.

   There lies the port; the vessel puffs her sail:
There gloom the dark, broad seas. My mariners,
Souls that have toil’d, and wrought, and thought with me—
That ever with a frolic welcome took
The thunder and the sunshine, and opposed
Free hearts, free foreheads—you and I are old;
Old age hath yet his honour and his toil;
Death closes all: but something ere the end,
Some work of noble note, may yet be done,
Not unbecoming men that strove with Gods.
The lights begin to twinkle from the rocks:
The long day wanes: the slow moon climbs: the deep
Moans round with many voices. Come, my friends,
’Tis not too late to seek a newer world.
Push off, and sitting well in order smite
The sounding furrows; for my purpose holds
To sail beyond the sunset, and the baths
Of all the western stars, until I die.
It may be that the gulfs will wash us down:
It may be we shall touch the Happy Isles,
And see the great Achilles, whom we knew.
Tho’ much is taken, much abides; and tho’
We are not now that strength which in old days
Moved earth and heaven, that which we are, we are;
One equal temper of heroic hearts,
Made weak by time and fate, but strong in will
To strive, to seek, to find, and not to yield.

Mending Wall

 Something there is that doesn't love a wall,
That sends the frozen-ground-swell under it,
And spills the upper boulders in the sun;
And makes gaps even two can pass abreast.
The work of hunters is another thing:
I have come after them and made repair
Where they have left not one stone on a stone,
But they would have the rabbit out of hiding,
To please the yelping dogs. The gaps I mean,
No one has seen them made or heard them made,
But at spring mending-time we find them there.
I let my neighbour know beyond the hill;
And on a day we meet to walk the line
And set the wall between us once again.
We keep the wall between us as we go.
To each the boulders that have fallen to each.
And some are loaves and some so nearly balls
We have to use a spell to make them balance:
"Stay where you are until our backs are turned!"
We wear our fingers rough with handling them.
Oh, just another kind of out-door game,
One on a side. It comes to little more:
There where it is we do not need the wall:
He is all pine and I am apple orchard.
My apple trees will never get across
And eat the cones under his pines, I tell him.
He only says, "Good fences make good neighbours."

Spring is the mischief in me, and I wonder
If I could put a notion in his head:
"Why do they make good neighbours? Isn't it
Where there are cows? But here there are no cows.
Before I built a wall I'd ask to know
What I was walling in or walling out,
And to whom I was like to give offence.
Something there is that doesn't love a wall,
That wants it down." I could say "Elves" to him,
But it's not elves exactly, and I'd rather
He said it for himself. I see him there
Bringing a stone grasped firmly by the top
In each hand, like an old-stone savage armed.
He moves in darkness as it seems to me,
Not of woods only and the shade of trees.
He will not go behind his father's saying,
And he likes having thought of it so well
He says again, "Good fences make good neighbours."

Frost is mocking his wall-loving neighbor, but also admits that he mends wall too - together with his neighbor. A reflection on boundaries of all sorts. We happen to have a (stone) wall mending project at hand. New England dry stone walls have always been fragile things because glacial residue tends towards rounded shapes.

 Ross Coggins composed "The Development Set" in 1976. Nothing has changed.

Excuse me, friends, I must catch my jet
I’m off to join the Development Set;
My bags are packed, and I’ve had all my shots
I have traveller’s checks and pills for the trots!

The Development Set is bright and noble
Our thoughts are deep and our vision global;
Although we move with the better classes
Our thoughts are always with the masses.

In Sheraton Hotels in scattered nations
We damn multi-national corporations;
injustice seems easy to protest
In such seething hotbeds of social rest.

We discuss malnutrition over steaks
And plan hunger talks during coffee breaks.
Whether Asian floods or African drought,
We face each issue with open mouth.

We bring in consultants whose circumlocution
Raises difficulties for every solution —
Thus guaranteeing continued good eating
By showing the need for another meeting.

The language of the Development Set
Stretches the English alphabet;
We use swell words like “epigenetic”
“Micro”, “macro”, and “logarithmetic”

It pleasures us to be esoteric —
It’s so intellectually atmospheric!
And although establishments may be unmoved,
Our vocabularies are much improved.

When the talk gets deep and you’re feeling numb,
You can keep your shame to a minimum:
To show that you, too, are intelligent
Smugly ask, “Is it really development?”

Or say, “That’s fine in practice, but don’t you see:
It doesn’t work out in theory!”
A few may find this incomprehensible,
But most will admire you as deep and sensible.

Development set homes are extremely chic,
Full of carvings, curios, and draped with batik.
Eye-level photographs subtly assure
That your host is at home with the great and the poor.

Enough of these verses – on with the mission!
Our task is as broad as the human condition!
Just pray god the biblical promise is true:
The poor ye shall always have with you.