No More Learning

The hurt of it reassured me,
And I did it again and again
Until they were bruised.
When I woke in the night
I laughed to find them aching,
For only living flesh can suffer.




Stravinsky's Three Pieces "Grotesques", for String Quartet



First Movement

Thin-voiced, nasal pipes
Drawing sound out and out
Until it is a screeching thread,
Sharp and cutting, sharp and cutting,
It hurts.
Whee-e-e!
Bump! Bump! Tong-ti-bump!
There are drums here,
Banging,
And wooden shoes beating the round, grey stones
Of the market-place.
Whee-e-e!
Sabots slapping the worn, old stones,
And a shaking and cracking of dancing bones;
Clumsy and hard they are,
And uneven,
Losing half a beat
Because the stones are slippery.
Bump-e-ty-tong! Whee-e-e! Tong!
The thin Spring leaves
Shake to the banging of shoes.
Shoes beat, slap,
Shuffle, rap,
And the nasal pipes squeal with their pigs' voices,
Little pigs' voices
Weaving among the dancers,
A fine white thread
Linking up the dancers.
Bang! Bump! Tong!
Petticoats,
Stockings,
Sabots,
Delirium flapping its thigh-bones;
Red, blue, yellow,
Drunkenness steaming in colours;
Red, yellow, blue,
Colours and flesh weaving together,
In and out, with the dance,
Coarse stuffs and hot flesh weaving together.
Pigs' cries white and tenuous,
White and painful,
White and--
Bump!
Tong!


Second Movement

Pale violin music whiffs across the moon,
A pale smoke of violin music blows over the moon,
Cherry petals fall and flutter,
And the white Pierrot,
Wreathed in the smoke of the violins,
Splashed with cherry petals falling, falling,
Claws a grave for himself in the fresh earth
With his finger-nails.


Third Movement

An organ growls in the heavy roof-groins of a church,
It wheezes and coughs.
The nave is blue with incense,
Writhing, twisting,
Snaking over the heads of the chanting priests.
'Requiem aeternam dona ei, Domine';
The priests whine their bastard Latin
And the censers swing and click.
The priests walk endlessly
Round and round,
Droning their Latin
Off the key.
The organ crashes out in a flaring chord,
And the priests hitch their chant up half a tone.
'Dies illa, dies irae,
Calamitatis et miseriae,
Dies magna et amara valde. '
A wind rattles the leaded windows.
The little pear-shaped candle flames leap and flutter,
'Dies illa, dies irae;'
The swaying smoke drifts over the altar,
'Calamitatis et miseriae;'
The shuffling priests sprinkle holy water,
'Dies magna et amara valde;'
And there is a stark stillness in the midst of them
Stretched upon a bier.
His ears are stone to the organ,
His eyes are flint to the candles,
His body is ice to the water.
Chant, priests,
Whine, shuffle, genuflect,
He will always be as rigid as he is now
Until he crumbles away in a dust heap.
'Lacrymosa dies illa,
Qua resurget ex favilla
Judicandus homo reus. '
Above the grey pillars the roof is in darkness.




Towns in Colour



I

Red Slippers

Red slippers in a shop-window, and outside in the street, flaws of grey,
windy sleet!


Behind the polished glass, the slippers hang in long threads of red,
festooning from the ceiling like stalactites of blood, flooding the eyes
of passers-by with dripping colour, jamming their crimson reflections
against the windows of cabs and tram-cars, screaming their claret and
salmon into the teeth of the sleet, plopping their little round maroon
lights upon the tops of umbrellas.

The row of white, sparkling shop fronts is gashed and bleeding, it
bleeds red slippers. They spout under the electric light, fluid and
fluctuating, a hot rain--and freeze again to red slippers, myriadly
multiplied in the mirror side of the window.


They balance upon arched insteps like springing bridges of crimson
lacquer; they swing up over curved heels like whirling tanagers sucked
in a wind-pocket; they flatten out, heelless, like July ponds, flared
and burnished by red rockets.

Snap, snap, they are cracker-sparks of scarlet in the white, monotonous
block of shops.

They plunge the clangour of billions of vermilion trumpets into the
crowd outside, and echo in faint rose over the pavement.


People hurry by, for these are only shoes, and in a window, farther
down, is a big lotus bud of cardboard whose petals open every few
minutes and reveal a wax doll, with staring bead eyes and flaxen hair,
lolling awkwardly in its flower chair.

One has often seen shoes, but whoever saw a cardboard lotus bud before?


The flaws of grey, windy sleet beat on the shop-window where there are
only red slippers.



II

Thompson's Lunch Room--Grand Central Station

Study in Whites


Wax-white--
Floor, ceiling, walls.
Ivory shadows
Over the pavement
Polished to cream surfaces
By constant sweeping.
The big room is coloured like the petals
Of a great magnolia,
And has a patina
Of flower bloom
Which makes it shine dimly
Under the electric lamps.
Chairs are ranged in rows
Like sepia seeds
Waiting fulfilment.
The chalk-white spot of a cook's cap
Moves unglossily against the vaguely bright wall--
Dull chalk-white striking the retina like a blow
Through the wavering uncertainty of steam.
Vitreous-white of glasses with green reflections,
Ice-green carboys, shifting--greener, bluer--with the jar of moving water.
Jagged green-white bowls of pressed glass
Rearing snow-peaks of chipped sugar
Above the lighthouse-shaped castors
Of grey pepper and grey-white salt.
Grey-white placards: "Oyster Stew, Cornbeef Hash, Frankfurters":
Marble slabs veined with words in meandering lines.
Dropping on the white counter like horn notes
Through a web of violins,
The flat yellow lights of oranges,
The cube-red splashes of apples,
In high plated 'epergnes'.
The electric clock jerks every half-minute:
"Coming! --Past! "
"Three beef-steaks and a chicken-pie,"
Bawled through a slide while the clock jerks heavily.
A man carries a china mug of coffee to a distant chair.
Two rice puddings and a salmon salad
Are pushed over the counter;
The unfulfilled chairs open to receive them.
A spoon falls upon the floor with the impact of metal striking stone,
And the sound throws across the room
Sharp, invisible zigzags
Of silver.



III

An Opera House


Within the gold square of the proscenium arch,
A curtain of orange velvet hangs in stiff folds,
Its tassels jarring slightly when someone crosses the stage behind.
Gold carving edges the balconies,
Rims the boxes,
Runs up and down fluted pillars.
Little knife-stabs of gold
Shine out whenever a box door is opened.
Gold clusters
Flash in soft explosions
On the blue darkness,
Suck back to a point,
And disappear.
Hoops of gold
Circle necks, wrists, fingers,
Pierce ears,
Poise on heads
And fly up above them in coloured sparkles.
Gold!
Gold!
The opera house is a treasure-box of gold.
Gold in a broad smear across the orchestra pit:
Gold of horns, trumpets, tubas;
Gold--spun-gold, twittering-gold, snapping-gold
Of harps.
The conductor raises his baton,
The brass blares out
Crass, crude,
Parvenu, fat, powerful,
Golden.
Rich as the fat, clapping hands in the boxes.
Cymbals, gigantic, coin-shaped,
Crash.
The orange curtain parts
And the prima-donna steps forward.
One note,
A drop: transparent, iridescent,
A gold bubble,
It floats. . . floats. . .
And bursts against the lips of a bank president
In the grand tier.



IV

Afternoon Rain in State Street


Cross-hatchings of rain against grey walls,
Slant lines of black rain
In front of the up and down, wet stone sides of buildings.
Below,
Greasy, shiny, black, horizontal,
The street.
And over it, umbrellas,
Black polished dots
Struck to white
An instant,
Stream in two flat lines
Slipping past each other with the smoothness of oil.
Like a four-sided wedge
The Custom House Tower
Pokes at the low, flat sky,
Pushing it farther and farther up,
Lifting it away from the house-tops,
Lifting it in one piece as though it were a sheet of tin,
With the lever of its apex.
The cross-hatchings of rain cut the Tower obliquely,
Scratching lines of black wire across it,
Mutilating its perpendicular grey surface
With the sharp precision of tools.
The city is rigid with straight lines and angles,
A chequered table of blacks and greys.
Oblong blocks of flatness
Crawl by with low-geared engines,
And pass to short upright squares
Shrinking with distance.
A steamer in the basin blows its whistle,
And the sound shoots across the rain hatchings,
A narrow, level bar of steel.
Hard cubes of lemon
Superimpose themselves upon the fronts of buildings
As the windows light up.
But the lemon cubes are edged with angles
Upon which they cannot impinge.
Up, straight, down, straight--square.
Crumpled grey-white papers
Blow along the side-walks,
Contorted, horrible,
Without curves.
A horse steps in a puddle,
And white, glaring water spurts up
In stiff, outflaring lines,
Like the rattling stems of reeds.
The city is heraldic with angles,
A sombre escutcheon of argent and sable
And countercoloured bends of rain
Hung over a four-square civilization.
When a street lamp comes out,
I gaze at it for fully thirty seconds
To rest my brain with the suffusing, round brilliance of its globe.



V

An Aquarium


Streaks of green and yellow iridescence,
Silver shiftings,
Rings veering out of rings,
Silver--gold--
Grey-green opaqueness sliding down,
With sharp white bubbles
Shooting and dancing,
Flinging quickly outward.
Nosing the bubbles,
Swallowing them,
Fish.
Blue shadows against silver-saffron water,
The light rippling over them
In steel-bright tremors.
Outspread translucent fins
Flute, fold, and relapse;
The threaded light prints through them on the pebbles
In scarcely tarnished twinklings.
Curving of spotted spines,
Slow up-shifts,
Lazy convolutions:
Then a sudden swift straightening
And darting below:
Oblique grey shadows
Athwart a pale casement.
Roped and curled,
Green man-eating eels
Slumber in undulate rhythms,
With crests laid horizontal on their backs.
Barred fish,
Striped fish,
Uneven disks of fish,
Slip, slide, whirl, turn,
And never touch.
Metallic blue fish,
With fins wide and yellow and swaying
Like Oriental fans,
Hold the sun in their bellies
And glow with light:
Blue brilliance cut by black bars.
An oblong pane of straw-coloured shimmer,
Across it, in a tangent,
A smear of rose, black, silver.
Short twists and upstartings,
Rose-black, in a setting of bubbles:
Sunshine playing between red and black flowers
On a blue and gold lawn.
Shadows and polished surfaces,
Facets of mauve and purple,
A constant modulation of values.
Shaft-shaped,
With green bead eyes;
Thick-nosed,
Heliotrope-coloured;
Swift spots of chrysolite and coral;
In the midst of green, pearl, amethyst irradiations.

Outside,
A willow-tree flickers
With little white jerks,
And long blue waves
Rise steadily beyond the outer islands.


SWORD BLADES AND POPPY SEED


_"Face invisible! je t'ai gravée en médailles
D'argent doux comme l'aube pâle,
D'or ardent comme le soleil,
D'airain sombre comme la nuit;
Il y en a de tout métal,
Qui tintent clair comme la joie,
Qui sonnent lourd comme la gloire,
Comme l'amour, comme la mort;
Et j'ai fait les plus belles de belle argile
Sèche et fragile.

"Une à une, vous les comptiez en souriant,
Et vous disiez: Il est habile;
Et vous passiez en souriant.

"Aucun de vous n'a donc vu
Que mes mains tremblaient de tendresse,
Que tout le grand songe terrestre
Vivait en moi pour vivre en eux
Que je gravais aux métaux pieux,
Mes Dieux. "_

Henri de Régnier, "Les Médailles d'Argile".





Preface



No one expects a man to make a chair without first learning how, but
there is a popular impression that the poet is born, not made, and that
his verses burst from his overflowing heart of themselves. As a matter
of fact, the poet must learn his trade in the same manner, and with the
same painstaking care, as the cabinet-maker. His heart may overflow with
high thoughts and sparkling fancies, but if he cannot convey them to his
reader by means of the written word he has no claim to be considered a
poet. A workman may be pardoned, therefore, for spending a few moments
to explain and describe the technique of his trade. A work of beauty
which cannot stand an intimate examination is a poor and jerry-built
thing.

In the first place, I wish to state my firm belief that poetry should
not try to teach, that it should exist simply because it is a created
beauty, even if sometimes the beauty of a gothic grotesque. We do not
ask the trees to teach us moral lessons, and only the Salvation Army
feels it necessary to pin texts upon them. We know that these texts are
ridiculous, but many of us do not yet see that to write an obvious moral
all over a work of art, picture, statue, or poem, is not only
ridiculous, but timid and vulgar. We distrust a beauty we only half
understand, and rush in with our impertinent suggestions. How far we
are from "admitting the Universe"! The Universe, which flings down its
continents and seas, and leaves them without comment. Art is as much a
function of the Universe as an Equinoctial gale, or the Law of
Gravitation; and we insist upon considering it merely a little
scroll-work, of no great importance unless it be studded with nails
from which pretty and uplifting sentiments may be hung!

For the purely technical side I must state my immense debt to the
French, and perhaps above all to the, so-called, Parnassian School,
although some of the writers who have influenced me most do not belong
to it. High-minded and untiring workmen, they have spared no pains to
produce a poetry finer than that of any other country in our time.
Poetry so full of beauty and feeling, that the study of it is at once an
inspiration and a despair to the artist. The Anglo-Saxon of our day has
a tendency to think that a fine idea excuses slovenly workmanship. These
clear-eyed Frenchmen are a reproof to our self-satisfied laziness.
Before the works of Parnassians like Leconte de Lisle, and José-Maria de
Heredia, or those of Henri de Régnier, Albert Samain, Francis Jammes,
Remy de Gourmont, and Paul Fort, of the more modern school, we stand
rebuked. Indeed--"They order this matter better in France. "

It is because in France, to-day, poetry is so living and vigorous a
thing, that so many metrical experiments come from there. Only a
vigorous tree has the vitality to put forth new branches. The poet with
originality and power is always seeking to give his readers the same
poignant feeling which he has himself. To do this he must constantly
find new and striking images, delightful and unexpected forms. Take the
word "daybreak", for instance. What a remarkable picture it must once
have conjured up! The great, round sun, like the yolk of some mighty
egg, BREAKING through cracked and splintered clouds. But we have said
"daybreak" so often that we do not see the picture any more, it has
become only another word for dawn. The poet must be constantly seeking
new pictures to make his readers feel the vitality of his thought.

Many of the poems in this volume are written in what the French call
"Vers Libre", a nomenclature more suited to French use and to French
versification than to ours. I prefer to call them poems in "unrhymed
cadence", for that conveys their exact meaning to an English ear. They
are built upon "organic rhythm", or the rhythm of the speaking voice
with its necessity for breathing, rather than upon a strict metrical
system. They differ from ordinary prose rhythms by being more curved,
and containing more stress. The stress, and exceedingly marked curve, of
any regular metre is easily perceived. These poems, built upon cadence,
are more subtle, but the laws they follow are not less fixed. Merely
chopping prose lines into lengths does not produce cadence, it is
constructed upon mathematical and absolute laws of balance and time. In
the preface to his "Poems", Henley speaks of "those unrhyming rhythms in
which I had tried to quintessentialize, as (I believe) one scarce can do
in rhyme. " The desire to "quintessentialize", to head-up an emotion
until it burns white-hot, seems to be an integral part of the modern
temper, and certainly "unrhymed cadence" is unique in its power of
expressing this.

Three of these poems are written in a form which, so far as I know, has
never before been attempted in English. M. Paul Fort is its inventor,
and the results it has yielded to him are most beautiful and
satisfactory. Perhaps it is more suited to the French language than to
English. But I found it the only medium in which these particular poems
could be written. It is a fluid and changing form, now prose, now
verse, and permitting a great variety of treatment.

But the reader will see that I have not entirely abandoned the more
classic English metres. I cannot see why, because certain manners suit
certain emotions and subjects, it should be considered imperative for an
author to employ no others. Schools are for those who can confine
themselves within them. Perhaps it is a weakness in me that I cannot.

In conclusion, I would say that these remarks are in answer to many
questions asked me by people who have happened to read some of these
poems in periodicals. They are not for the purpose of forestalling
criticism, nor of courting it; and they deal, as I said in the
beginning, solely with the question of technique. For the more
important part of the book, the poems must speak for themselves.

Amy Lowell.
May 19, 1914.





Contents



Sword Blades and Poppy Seed


Sword Blades

The Captured Goddess
The Precinct. Rochester
The Cyclists
Sunshine through a Cobwebbed Window
A London Thoroughfare. 2 A. M.
Astigmatism
The Coal Picker
Storm-Racked
Convalescence
Patience
Apology
A Petition
A Blockhead
Stupidity
Irony
Happiness
The Last Quarter of the Moon
A Tale of Starvation
The Foreigner
Absence
A Gift
The Bungler
Fool's Money Bags
Miscast I
Miscast II
Anticipation
Vintage
The Tree of Scarlet Berries
Obligation
The Taxi
The Giver of Stars
The Temple
Epitaph of a Young Poet Who Died Before Having Achieved Success
In Answer to a Request


Poppy Seed

The Great Adventure of Max Breuck
Sancta Maria, Succurre Miseris
After Hearing a Waltz by Bartok
Clear, with Light, Variable Winds
The Basket
In a Castle
The Book of Hours of Sister Clotilde
The Exeter Road
The Shadow
The Forsaken
Late September
The Pike
The Blue Scarf
White and Green
Aubade
Music
A Lady
In a Garden
A Tulip Garden





Sword Blades And Poppy Seed


A drifting, April, twilight sky,
A wind which blew the puddles dry,
And slapped the river into waves
That ran and hid among the staves
Of an old wharf. A watery light
Touched bleak the granite bridge, and white
Without the slightest tinge of gold,
The city shivered in the cold.
All day my thoughts had lain as dead,
Unborn and bursting in my head.
From time to time I wrote a word
Which lines and circles overscored.
My table seemed a graveyard, full
Of coffins waiting burial.
I seized these vile abortions, tore
Them into jagged bits, and swore
To be the dupe of hope no more.
Into the evening straight I went,
Starved of a day's accomplishment.
Unnoticing, I wandered where
The city gave a space for air,
And on the bridge's parapet
I leant, while pallidly there set
A dim, discouraged, worn-out sun.
Behind me, where the tramways run,
Blossomed bright lights, I turned to leave,
When someone plucked me by the sleeve.
"Your pardon, Sir, but I should be
Most grateful could you lend to me
A carfare, I have lost my purse. "
The voice was clear, concise, and terse.
I turned and met the quiet gaze
Of strange eyes flashing through the haze.

The man was old and slightly bent,
Under his cloak some instrument
Disarranged its stately line,
He rested on his cane a fine
And nervous hand, an almandine
Smouldered with dull-red flames, sanguine
It burned in twisted gold, upon
His finger. Like some Spanish don,
Conferring favours even when
Asking an alms, he bowed again
And waited. But my pockets proved
Empty, in vain I poked and shoved,
No hidden penny lurking there
Greeted my search. "Sir, I declare
I have no money, pray forgive,
But let me take you where you live. "
And so we plodded through the mire
Where street lamps cast a wavering fire.
I took no note of where we went,
His talk became the element
Wherein my being swam, content.
It flashed like rapiers in the night
Lit by uncertain candle-light,
When on some moon-forsaken sward
A quarrel dies upon a sword.
It hacked and carved like a cutlass blade,
And the noise in the air the broad words made
Was the cry of the wind at a window-pane
On an Autumn night of sobbing rain.
Then it would run like a steady stream
Under pinnacled bridges where minarets gleam,
Or lap the air like the lapping tide
Where a marble staircase lifts its wide
Green-spotted steps to a garden gate,
And a waning moon is sinking straight
Down to a black and ominous sea,
While a nightingale sings in a lemon tree.

I walked as though some opiate
Had stung and dulled my brain, a state
Acute and slumbrous. It grew late.
We stopped, a house stood silent, dark.
The old man scratched a match, the spark
Lit up the keyhole of a door,
We entered straight upon a floor
White with finest powdered sand
Carefully sifted, one might stand
Muddy and dripping, and yet no trace
Would stain the boards of this kitchen-place.
From the chimney, red eyes sparked the gloom,
And a cricket's chirp filled all the room.
My host threw pine-cones on the fire
And crimson and scarlet glowed the pyre
Wrapped in the golden flame's desire.
The chamber opened like an eye,
As a half-melted cloud in a Summer sky
The soul of the house stood guessed, and shy
It peered at the stranger warily.
A little shop with its various ware
Spread on shelves with nicest care.
Pitchers, and jars, and jugs, and pots,
Pipkins, and mugs, and many lots
Of lacquered canisters, black and gold,
Like those in which Chinese tea is sold.
Chests, and puncheons, kegs, and flasks,
Goblets, chalices, firkins, and casks.
In a corner three ancient amphorae leaned
Against the wall, like ships careened.
There was dusky blue of Wedgewood ware,
The carved, white figures fluttering there
Like leaves adrift upon the air.
Classic in touch, but emasculate,
The Greek soul grown effeminate.
The factory of Sevres had lent
Elegant boxes with ornament
Culled from gardens where fountains splashed
And golden carp in the shadows flashed,
Nuzzling for crumbs under lily-pads,
Which ladies threw as the last of fads.
Eggshell trays where gay beaux knelt,
Hand on heart, and daintily spelt
Their love in flowers, brittle and bright,
Artificial and fragile, which told aright
The vows of an eighteenth-century knight.
The cruder tones of old Dutch jugs
Glared from one shelf, where Toby mugs
Endlessly drank the foaming ale,
Its froth grown dusty, awaiting sale.
The glancing light of the burning wood
Played over a group of jars which stood
On a distant shelf, it seemed the sky
Had lent the half-tones of his blazonry
To paint these porcelains with unknown hues
Of reds dyed purple and greens turned blues,
Of lustres with so evanescent a sheen
Their colours are felt, but never seen.
Strange winged dragons writhe about
These vases, poisoned venoms spout,
Impregnate with old Chinese charms;
Sealed urns containing mortal harms,
They fill the mind with thoughts impure,
Pestilent drippings from the ure
Of vicious thinkings. "Ah, I see,"
Said I, "you deal in pottery. "
The old man turned and looked at me.
Shook his head gently. "No," said he.

Then from under his cloak he took the thing
Which I had wondered to see him bring
Guarded so carefully from sight.
As he laid it down it flashed in the light,
A Toledo blade, with basket hilt,
Damascened with arabesques of gilt,
Or rather gold, and tempered so
It could cut a floating thread at a blow.
The old man smiled, "It has no sheath,
'Twas a little careless to have it beneath
My cloak, for a jostle to my arm
Would have resulted in serious harm.
But it was so fine, I could not wait,
So I brought it with me despite its state. "
"An amateur of arms," I thought,
"Bringing home a prize which he has bought. "
"You care for this sort of thing, Dear Sir? "
"Not in the way which you infer.
I need them in business, that is all. "
And he pointed his finger at the wall.
Then I saw what I had not noticed before.
The walls were hung with at least five score
Of swords and daggers of every size
Which nations of militant men could devise.
Poisoned spears from tropic seas,
That natives, under banana trees,
Smear with the juice of some deadly snake.
Blood-dipped arrows, which savages make
And tip with feathers, orange and green,
A quivering death, in harlequin sheen.
High up, a fan of glancing steel
Was formed of claymores in a wheel.
Jewelled swords worn at kings' levees
Were suspended next midshipmen's dirks, and these
Elbowed stilettos come from Spain,
Chased with some splendid Hidalgo's name.
There were Samurai swords from old Japan,
And scimitars from Hindoostan,
While the blade of a Turkish yataghan
Made a waving streak of vitreous white
Upon the wall, in the firelight.
Foils with buttons broken or lost
Lay heaped on a chair, among them tossed
The boarding-pike of a privateer.
Against the chimney leaned a queer
Two-handed weapon, with edges dull
As though from hacking on a skull.
The rusted blood corroded it still.
My host took up a paper spill
From a heap which lay in an earthen bowl,
And lighted it at a burning coal.
At either end of the table, tall
Wax candles were placed, each in a small,
And slim, and burnished candlestick
Of pewter. The old man lit each wick,
And the room leapt more obviously
Upon my mind, and I could see
What the flickering fire had hid from me.
Above the chimney's yawning throat,
Shoulder high, like the dark wainscote,
Was a mantelshelf of polished oak
Blackened with the pungent smoke
Of firelit nights; a Cromwell clock
Of tarnished brass stood like a rock
In the midst of a heaving, turbulent sea
Of every sort of cutlery.
There lay knives sharpened to any use,
The keenest lancet, and the obtuse
And blunted pruning bill-hook; blades
Of razors, scalpels, shears; cascades
Of penknives, with handles of mother-of-pearl,
And scythes, and sickles, and scissors; a whirl
Of points and edges, and underneath
Shot the gleam of a saw with bristling teeth.
My head grew dizzy, I seemed to hear
A battle-cry from somewhere near,
The clash of arms, and the squeal of balls,
And the echoless thud when a dead man falls.
A smoky cloud had veiled the room,
Shot through with lurid glares; the gloom
Pounded with shouts and dying groans,
With the drip of blood on cold, hard stones.
Sabres and lances in streaks of light
Gleamed through the smoke, and at my right
A creese, like a licking serpent's tongue,
Glittered an instant, while it stung.
Streams, and points, and lines of fire!
The livid steel, which man's desire
Had forged and welded, burned white and cold.
Every blade which man could mould,
Which could cut, or slash, or cleave, or rip,
Or pierce, or thrust, or carve, or strip,
Or gash, or chop, or puncture, or tear,
Or slice, or hack, they all were there.
Nerveless and shaking, round and round,
I stared at the walls and at the ground,
Till the room spun like a whipping top,
And a stern voice in my ear said, "Stop!
I sell no tools for murderers here.
Of what are you thinking! Please clear
Your mind of such imaginings.
Sit down. I will tell you of these things. "

He pushed me into a great chair
Of russet leather, poked a flare
Of tumbling flame, with the old long sword,
Up the chimney; but said no word.
Slowly he walked to a distant shelf,
And brought back a crock of finest delf.
He rested a moment a blue-veined hand
Upon the cover, then cut a band
Of paper, pasted neatly round,
Opened and poured. A sliding sound
Came from beneath his old white hands,
And I saw a little heap of sands,
Black and smooth. What could they be:
"Pepper," I thought. He looked at me.
"What you see is poppy seed.
Lethean dreams for those in need. "
He took up the grains with a gentle hand
And sifted them slowly like hour-glass sand.
On his old white finger the almandine
Shot out its rays, incarnadine.
"Visions for those too tired to sleep.
These seeds cast a film over eyes which weep.
No single soul in the world could dwell,
Without these poppy-seeds I sell. "
For a moment he played with the shining stuff,
Passing it through his fingers. Enough
At last, he poured it back into
The china jar of Holland blue,
Which he carefully carried to its place.
Then, with a smile on his aged face,
He drew up a chair to the open space
'Twixt table and chimney. "Without preface,
Young man, I will say that what you see
Is not the puzzle you take it to be. "
"But surely, Sir, there is something strange
In a shop with goods at so wide a range
Each from the other, as swords and seeds.
Your neighbours must have greatly differing needs. "
"My neighbours," he said, and he stroked his chin,
"Live everywhere from here to Pekin.
But you are wrong, my sort of goods
Is but one thing in all its moods. "
He took a shagreen letter case
From his pocket, and with charming grace
Offered me a printed card.
I read the legend, "Ephraim Bard.
Dealer in Words. " And that was all.
I stared at the letters, whimsical
Indeed, or was it merely a jest.
He answered my unasked request:
"All books are either dreams or swords,
You can cut, or you can drug, with words.
My firm is a very ancient house,
The entries on my books would rouse
Your wonder, perhaps incredulity.
I inherited from an ancestry
Stretching remotely back and far,
This business, and my clients are
As were those of my grandfather's days,
Writers of books, and poems, and plays.
My swords are tempered for every speech,
For fencing wit, or to carve a breach
Through old abuses the world condones.
In another room are my grindstones and hones,
For whetting razors and putting a point
On daggers, sometimes I even anoint
The blades with a subtle poison, so
A twofold result may follow the blow.
These are purchased by men who feel
The need of stabbing society's heel,
Which egotism has brought them to think
Is set on their necks. I have foils to pink
An adversary to quaint reply,
And I have customers who buy
Scalpels with which to dissect the brains
And hearts of men. Ultramundanes
Even demand some finer kinds
To open their own souls and minds.
But the other half of my business deals
With visions and fancies. Under seals,
Sorted, and placed in vessels here,
I keep the seeds of an atmosphere.
Each jar contains a different kind
Of poppy seed. From farthest Ind
Come the purple flowers, opium filled,
From which the weirdest myths are distilled;
My orient porcelains contain them all.
Those Lowestoft pitchers against the wall
Hold a lighter kind of bright conceit;
And those old Saxe vases, out of the heat
On that lowest shelf beside the door,
Have a sort of Ideal, "couleur d'or".
Every castle of the air
Sleeps in the fine black grains, and there
Are seeds for every romance, or light
Whiff of a dream for a summer night.
I supply to every want and taste. "
'Twas slowly said, in no great haste
He seemed to push his wares, but I
Dumfounded listened. By and by
A log on the fire broke in two.
He looked up quickly, "Sir, and you? "
I groped for something I should say;
Amazement held me numb. "To-day
You sweated at a fruitless task. "
He spoke for me, "What do you ask?
How can I serve you? " "My kind host,
My penniless state was not a boast;
I have no money with me. " He smiled.
"Not for that money I beguiled
You here; you paid me in advance. "
Again I felt as though a trance
Had dimmed my faculties. Again
He spoke, and this time to explain.
"The money I demand is Life,
Your nervous force, your joy, your strife! "
What infamous proposal now
Was made me with so calm a brow?
Bursting through my lethargy,
Indignantly I hurled the cry:
"Is this a nightmare, or am I
Drunk with some infernal wine?
I am no Faust, and what is mine
Is what I call my soul! Old Man!
Devil or Ghost! Your hellish plan
Revolts me. Let me go. " "My child,"
And the old tones were very mild,
"I have no wish to barter souls;
My traffic does not ask such tolls.
I am no devil; is there one?
Surely the age of fear is gone.
We live within a daylight world
Lit by the sun, where winds unfurled
Sweep clouds to scatter pattering rain,
And then blow back the sun again.
I sell my fancies, or my swords,
To those who care far more for words,
Ideas, of which they are the sign,
Than any other life-design.
Who buy of me must simply pay
Their whole existence quite away:
Their strength, their manhood, and their prime,
Their hours from morning till the time
When evening comes on tiptoe feet,
And losing life, think it complete;
Must miss what other men count being,
To gain the gift of deeper seeing;
Must spurn all ease, all hindering love,
All which could hold or bind; must prove
The farthest boundaries of thought,
And shun no end which these have brought;
Then die in satisfaction, knowing
That what was sown was worth the sowing.
I claim for all the goods I sell
That they will serve their purpose well,
And though you perish, they will live.
Full measure for your pay I give.
To-day you worked, you thought, in vain.
What since has happened is the train
Your toiling brought. I spoke to you
For my share of the bargain, due. "
"My life! And is that all you crave
In pay? What even childhood gave!
I have been dedicate from youth.
Before my God I speak the truth! "
Fatigue, excitement of the past
Few hours broke me down at last.
All day I had forgot to eat,
My nerves betrayed me, lacking meat.
I bowed my head and felt the storm
Plough shattering through my prostrate form.
The tearless sobs tore at my heart.
My host withdrew himself apart;
Busied among his crockery,
He paid no farther heed to me.
Exhausted, spent, I huddled there,
Within the arms of the old carved chair.

A long half-hour dragged away,
And then I heard a kind voice say,
"The day will soon be dawning, when
You must begin to work again.
Here are the things which you require. "
By the fading light of the dying fire,
And by the guttering candle's flare,
I saw the old man standing there.
He handed me a packet, tied
With crimson tape, and sealed. "Inside
Are seeds of many differing flowers,
To occupy your utmost powers
Of storied vision, and these swords
Are the finest which my shop affords.
Go home and use them; do not spare
Yourself; let that be all your care.
Whatever you have means to buy
Be very sure I can supply. "
He slowly walked to the window, flung
It open, and in the grey air rung
The sound of distant matin bells.
I took my parcels. Then, as tells
An ancient mumbling monk his beads,
I tried to thank for his courteous deeds
My strange old friend. "Nay, do not talk,"
He urged me, "you have a long walk
Before you. Good-by and Good-day! "
And gently sped upon my way
I stumbled out in the morning hush,
As down the empty street a flush
Ran level from the rising sun.
Another day was just begun.





SWORD BLADES




The Captured Goddess



Over the housetops,
Above the rotating chimney-pots,
I have seen a shiver of amethyst,
And blue and cinnamon have flickered
A moment,
At the far end of a dusty street.

Through sheeted rain
Has come a lustre of crimson,
And I have watched moonbeams
Hushed by a film of palest green.

It was her wings,
Goddess!
Who stepped over the clouds,
And laid her rainbow feathers
Aslant on the currents of the air.

I followed her for long,
With gazing eyes and stumbling feet.
I cared not where she led me,
My eyes were full of colours:
Saffrons, rubies, the yellows of beryls,
And the indigo-blue of quartz;
Flights of rose, layers of chrysoprase,
Points of orange, spirals of vermilion,
The spotted gold of tiger-lily petals,
The loud pink of bursting hydrangeas.
I followed,
And watched for the flashing of her wings.

In the city I found her,
The narrow-streeted city.
In the market-place I came upon her,
Bound and trembling.
Her fluted wings were fastened to her sides with cords,
She was naked and cold,
For that day the wind blew
Without sunshine.

Men chaffered for her,
They bargained in silver and gold,
In copper, in wheat,
And called their bids across the market-place.

The Goddess wept.

Hiding my face I fled,
And the grey wind hissed behind me,
Along the narrow streets.




The Precinct. Rochester



The tall yellow hollyhocks stand,
Still and straight,
With their round blossoms spread open,
In the quiet sunshine.
And still is the old Roman wall,
Rough with jagged bits of flint,
And jutting stones,
Old and cragged,
Quite still in its antiquity.
The pear-trees press their branches against it,
And feeling it warm and kindly,
The little pears ripen to yellow and red.
They hang heavy, bursting with juice,
Against the wall.
So old, so still!

The sky is still.
The clouds make no sound
As they slide away
Beyond the Cathedral Tower,
To the river,
And the sea.
It is very quiet,
Very sunny.
The myrtle flowers stretch themselves in the sunshine,
But make no sound.
The roses push their little tendrils up,
And climb higher and higher.
In spots they have climbed over the wall.
But they are very still,
They do not seem to move.
And the old wall carries them
Without effort, and quietly
Ripens and shields the vines and blossoms.

A bird in a plane-tree
Sings a few notes,
Cadenced and perfect
They weave into the silence.
The Cathedral bell knocks,
One, two, three, and again,
And then again.
It is a quiet sound,
Calling to prayer,
Hardly scattering the stillness,
Only making it close in more densely.
The gardener picks ripe gooseberries
For the Dean's supper to-night.
It is very quiet,
Very regulated and mellow.
But the wall is old,
It has known many days.
It is a Roman wall,
Left-over and forgotten.

Beyond the Cathedral Close
Yelp and mutter the discontents of people not mellow,
Not well-regulated.
People who care more for bread than for beauty,
Who would break the tombs of saints,
And give the painted windows of churches
To their children for toys.
People who say:
"They are dead, we live!
The world is for the living. "

Fools! It is always the dead who breed.
Crush the ripe fruit, and cast it aside,
Yet its seeds shall fructify,
And trees rise where your huts were standing.
But the little people are ignorant,
They chaffer, and swarm.
They gnaw like rats,
And the foundations of the Cathedral are honeycombed.

The Dean is in the Chapter House;
He is reading the architect's bill
For the completed restoration of the Cathedral.
He will have ripe gooseberries for supper,
And then he will walk up and down the path
By the wall,
And admire the snapdragons and dahlias,
Thinking how quiet and peaceful
The garden is.
The old wall will watch him,
Very quietly and patiently it will watch.
For the wall is old,
It is a Roman wall.




The Cyclists



Spread on the roadway,
With open-blown jackets,
Like black, soaring pinions,
They swoop down the hillside,
The Cyclists.

Seeming dark-plumaged
Birds, after carrion,
Careening and circling,
Over the dying
Of England.

She lies with her bosom
Beneath them, no longer
The Dominant Mother,
The Virile--but rotting
Before time.

The smell of her, tainted,
Has bitten their nostrils.
Exultant they hover,
And shadow the sun with
Foreboding.




Sunshine through a Cobwebbed Window



What charm is yours, you faded old-world tapestries,
Of outworn, childish mysteries,
Vague pageants woven on a web of dream!
And we, pushing and fighting in the turbid stream
Of modern life, find solace in your tarnished broideries.

Old lichened halls, sun-shaded by huge cedar-trees,
The layered branches horizontal stretched, like Japanese
Dark-banded prints. Carven cathedrals, on a sky
Of faintest colour, where the gothic spires fly
And sway like masts, against a shifting breeze.

Worm-eaten pages, clasped in old brown vellum, shrunk
From over-handling, by some anxious monk.