No More Learning

"The meadows breathing amber light,
The darkness toppling from the height,
The feathery train of granite Night?

"Shall he, grown gray among his peers,
Through the thick curtain of his tears
Catch glimpses of his earlier years,

[Picture: Shall Man be Man? ]

"And hear the sounds he knew of yore,
Old shufflings on the sanded floor,
Old knuckles tapping at the door?

"Yet still before him as he flies
One pallid form shall ever rise,
And, bodying forth in glassy eyes

"The vision of a vanished good,
Low peering through the tangled wood,
Shall freeze the current of his blood. "

Still from each fact, with skill uncouth
And savage rapture, like a tooth
She wrenched some slow reluctant truth.

Till, like a silent water-mill,
When summer suns have dried the rill,
She reached a full stop, and was still.

Dead calm succeeded to the fuss,
As when the loaded omnibus
Has reached the railway terminus:

When, for the tumult of the street,
Is heard the engine's stifled beat,
The velvet tread of porters' feet.

With glance that ever sought the ground,
She moved her lips without a sound,
And every now and then she frowned.

He gazed upon the sleeping sea,
And joyed in its tranquillity,
And in that silence dead, but she

To muse a little space did seem,
Then, like the echo of a dream,
Harked back upon her threadbare theme.

Still an attentive ear he lent
But could not fathom what she meant:
She was not deep, nor eloquent.

He marked the ripple on the sand:
The even swaying of her hand
Was all that he could understand.

He saw in dreams a drawing-room,
Where thirteen wretches sat in gloom,
Waiting--he thought he knew for whom:

He saw them drooping here and there,
Each feebly huddled on a chair,
In attitudes of blank despair:

Oysters were not more mute than they,
For all their brains were pumped away,
And they had nothing more to say--

Save one, who groaned "Three hours are gone! "
Who shrieked "We'll wait no longer, John!
Tell them to set the dinner on! "

The vision passed: the ghosts were fled:
He saw once more that woman dread:
He heard once more the words she said.

He left her, and he turned aside:
He sat and watched the coming tide
Across the shores so newly dried.

[Picture: He sat and watched the coming tide]

He wondered at the waters clear,
The breeze that whispered in his ear,
The billows heaving far and near,

And why he had so long preferred
To hang upon her every word:
"In truth," he said, "it was absurd. "

[Picture: He sits]



The Third Voice


[Picture: Quick tears were raining down his face]

Not long this transport held its place:
Within a little moment's space
Quick tears were raining down his face

His heart stood still, aghast with fear;
A wordless voice, nor far nor near,
He seemed to hear and not to hear.

"Tears kindle not the doubtful spark.
If so, why not? Of this remark
The bearings are profoundly dark. "

"Her speech," he said, "hath caused this pain.
Easier I count it to explain
The jargon of the howling main,

"Or, stretched beside some babbling brook,
To con, with inexpressive look,
An unintelligible book. "

Low spake the voice within his head,
In words imagined more than said,
Soundless as ghost's intended tread:

"If thou art duller than before,
Why quittedst thou the voice of lore?
Why not endure, expecting more? "

"Rather than that," he groaned aghast,
"I'd writhe in depths of cavern vast,
Some loathly vampire's rich repast. "

[Picture: He groaned aghast]

"'Twere hard," it answered, "themes immense
To coop within the narrow fence
That rings _thy_ scant intelligence. "

"Not so," he urged, "nor once alone:
But there was something in her tone
That chilled me to the very bone.

"Her style was anything but clear,
And most unpleasantly severe;
Her epithets were very queer.

"And yet, so grand were her replies,
I could not choose but deem her wise;
I did not dare to criticise;

"Nor did I leave her, till she went
So deep in tangled argument
That all my powers of thought were spent. "

A little whisper inly slid,
"Yet truth is truth: you know you did. "
A little wink beneath the lid.

And, sickened with excess of dread,
Prone to the dust he bent his head,
And lay like one three-quarters dead

The whisper left him--like a breeze
Lost in the depths of leafy trees--
Left him by no means at his ease.

Once more he weltered in despair,
With hands, through denser-matted hair,
More tightly clenched than then they were.

When, bathed in Dawn of living red,
Majestic frowned the mountain head,
"Tell me my fault," was all he said.

When, at high Noon, the blazing sky
Scorched in his head each haggard eye,
Then keenest rose his weary cry.

And when at Eve the unpitying sun
Smiled grimly on the solemn fun,
"Alack," he sighed, "what _have_ I done? "

[Picture: Tortured, unaided, and alone]

But saddest, darkest was the sight,
When the cold grasp of leaden Night
Dashed him to earth, and held him tight.

Tortured, unaided, and alone,
Thunders were silence to his groan,
Bagpipes sweet music to its tone:

"What? Ever thus, in dismal round,
Shall Pain and Mystery profound
Pursue me like a sleepless hound,

"With crimson-dashed and eager jaws,
Me, still in ignorance of the cause,
Unknowing what I broke of laws? "

The whisper to his ear did seem
Like echoed flow of silent stream,
Or shadow of forgotten dream,

The whisper trembling in the wind:
"Her fate with thine was intertwined,"
So spake it in his inner mind:

[Picture: a scared dullard, gibbering low]

"Each orbed on each a baleful star:
Each proved the other's blight and bar:
Each unto each were best, most far:

"Yea, each to each was worse than foe:
Thou, a scared dullard, gibbering low,
AND SHE, AN AVALANCHE OF WOE! "




TEMA CON VARIAZIONI


[Why is it that Poetry has never yet been subjected to that process of
Dilution which has proved so advantageous to her sister-art Music? The
Diluter gives us first a few notes of some well-known Air, then a dozen
bars of his own, then a few more notes of the Air, and so on alternately:
thus saving the listener, if not from all risk of recognising the melody
at all, at least from the too-exciting transports which it might produce
in a more concentrated form. The process is termed "setting" by
Composers, and any one, that has ever experienced the emotion of being
unexpectedly set down in a heap of mortar, will recognise the
truthfulness of this happy phrase.

For truly, just as the genuine Epicure lingers lovingly over a morsel of
supreme Venison--whose every fibre seems to murmur "Excelsior! "--yet
swallows, ere returning to the toothsome dainty, great mouthfuls of
oatmeal-porridge and winkles: and just as the perfect Connoisseur in
Claret permits himself but one delicate sip, and then tosses off a pint
or more of boarding-school beer: so also--

I NEVER loved a dear Gazelle--
_Nor anything that cost me much_:
_High prices profit those who sell_,
_But why should I be fond of such_?

To glad me with his soft black eye
_My son comes trotting home from school_;
_He's had a fight but can't tell why_--
_He always was a little fool_!

But, when he came to know me well,
_He kicked me out_, _her testy Sire_:
_And when I stained my hair_, _that Belle_
_Might note the change_, _and thus admire_

And love me, it was sure to dye
_A muddy green or staring blue_:
_Whilst one might trace_, _with half an eye_,
_The still triumphant carrot through_.




A GAME OF FIVES


[Picture: Five little girls]

FIVE little girls, of Five, Four, Three, Two, One:
Rolling on the hearthrug, full of tricks and fun.

Five rosy girls, in years from Ten to Six:
Sitting down to lessons--no more time for tricks.

Five growing girls, from Fifteen to Eleven:
Music, Drawing, Languages, and food enough for seven!

[Picture: Now tell me which you mean]

Five winsome girls, from Twenty to Sixteen:
Each young man that calls, I say "Now tell me which you _mean_! "

Five dashing girls, the youngest Twenty-one:
But, if nobody proposes, what is there to be done?

Five showy girls--but Thirty is an age
When girls may be _engaging_, but they somehow don't _engage_.

Five dressy girls, of Thirty-one or more:
So gracious to the shy young men they snubbed so much before!

* * * *

Five _passe_ girls--Their age? Well, never mind!
We jog along together, like the rest of human kind:
But the quondam "careless bachelor" begins to think he knows
The answer to that ancient problem "how the money goes"!




POETA FIT, NON NASCITUR


[Picture: Child on old man's knee]

"How shall I be a poet?
How shall I write in rhyme?
You told me once 'the very wish
Partook of the sublime. '
Then tell me how! Don't put me off
With your 'another time'! "

The old man smiled to see him,
To hear his sudden sally;
He liked the lad to speak his mind
Enthusiastically;
And thought "There's no hum-drum in him,
Nor any shilly-shally. "

"And would you be a poet
Before you've been to school?
Ah, well! I hardly thought you
So absolute a fool.
First learn to be spasmodic--
A very simple rule.

"For first you write a sentence,
And then you chop it small;
Then mix the bits, and sort them out
Just as they chance to fall:
The order of the phrases makes
No difference at all.

"Then, if you'd be impressive,
Remember what I say,
That abstract qualities begin
With capitals alway:
The True, the Good, the Beautiful--
Those are the things that pay!

"Next, when you are describing
A shape, or sound, or tint;
Don't state the matter plainly,
But put it in a hint;
And learn to look at all things
With a sort of mental squint. "

"For instance, if I wished, Sir,
Of mutton-pies to tell,
Should I say 'dreams of fleecy flocks
Pent in a wheaten cell'? "
"Why, yes," the old man said: "that phrase
Would answer very well.

"Then fourthly, there are epithets
That suit with any word--
As well as Harvey's Reading Sauce
With fish, or flesh, or bird--
Of these, 'wild,' 'lonely,' 'weary,' 'strange,'
Are much to be preferred. "

"And will it do, O will it do
To take them in a lump--
As 'the wild man went his weary way
To a strange and lonely pump'? "
"Nay, nay! You must not hastily
To such conclusions jump.

[Picture: The wild man went his weary way]

"Such epithets, like pepper,
Give zest to what you write;
And, if you strew them sparely,
They whet the appetite:
But if you lay them on too thick,
You spoil the matter quite!

"Last, as to the arrangement:
Your reader, you should show him,
Must take what information he
Can get, and look for no im-
mature disclosure of the drift
And purpose of your poem.

"Therefore, to test his patience--
How much he can endure--
Mention no places, names, or dates,
And evermore be sure
Throughout the poem to be found
Consistently obscure.

"First fix upon the limit
To which it shall extend:
Then fill it up with 'Padding'
(Beg some of any friend):
Your great SENSATION-STANZA
You place towards the end. "

"And what is a Sensation,
Grandfather, tell me, pray?
I think I never heard the word
So used before to-day:
Be kind enough to mention one
'_Exempli gratia_. '"

And the old man, looking sadly
Across the garden-lawn,
Where here and there a dew-drop
Yet glittered in the dawn,
Said "Go to the Adelphi,
And see the 'Colleen Bawn. '

"The word is due to Boucicault--
The theory is his,
Where Life becomes a Spasm,
And History a Whiz:
If that is not Sensation,
I don't know what it is.

"Now try your hand, ere Fancy
Have lost its present glow--"
"And then," his grandson added,
"We'll publish it, you know:
Green cloth--gold-lettered at the back--
In duodecimo! "

Then proudly smiled that old man
To see the eager lad
Rush madly for his pen and ink
And for his blotting-pad--
But, when he thought of _publishing_,
His face grew stern and sad.

[Picture: His face grew stern and sad]




SIZE AND TEARS


[Picture: When on the sandy shore I sit]

WHEN on the sandy shore I sit,
Beside the salt sea-wave,
And fall into a weeping fit
Because I dare not shave--
A little whisper at my ear
Enquires the reason of my fear.

I answer "If that ruffian Jones
Should recognise me here,
He'd bellow out my name in tones
Offensive to the ear:
He chaffs me so on being stout
(A thing that always puts me out). "

Ah me! I see him on the cliff!
Farewell, farewell to hope,
If he should look this way, and if
He's got his telescope!
To whatsoever place I flee,
My odious rival follows me!

For every night, and everywhere,
I meet him out at dinner;
And when I've found some charming fair,
And vowed to die or win her,
The wretch (he's thin and I am stout)
Is sure to come and cut me out!

[Picture: He's thin and I am stout]

The girls (just like them! ) all agree
To praise J. Jones, Esquire:
I ask them what on earth they see
About him to admire?
They cry "He is so sleek and slim,
It's quite a treat to look at him! "

They vanish in tobacco smoke,
Those visionary maids--
I feel a sharp and sudden poke
Between the shoulder-blades--
"Why, Brown, my boy! Your growing stout! "
(I told you he would find me out! )

"My growth is not _your_ business, Sir! "
"No more it is, my boy!
But if it's _yours_, as I infer,
Why, Brown, I give you joy!
A man, whose business prospers so,
Is just the sort of man to know!

"It's hardly safe, though, talking here--
I'd best get out of reach:
For such a weight as yours, I fear,
Must shortly sink the beach! "--
Insult me thus because I'm stout!
I vow I'll go and call him out!

[Picture: For such a weight as yours . . . ]




ATALANTA IN CAMDEN-TOWN


Ay, 'twas here, on this spot,
In that summer of yore,
Atalanta did not
Vote my presence a bore,
Nor reply to my tenderest talk "She had
heard all that nonsense before. "

She'd the brooch I had bought
And the necklace and sash on,
And her heart, as I thought,
Was alive to my passion;
And she'd done up her hair in the style that
the Empress had brought into fashion.

I had been to the play
With my pearl of a Peri--
But, for all I could say,
She declared she was weary,
That "the place was so crowded and hot, and
she couldn't abide that Dundreary. "

[Picture: On this spot . . . ]

Then I thought "Lucky boy!
'Tis for _you_ that she whimpers! "
And I noted with joy
Those sensational simpers:
And I said "This is scrumptious! "--a
phrase I had learned from the Devonshire shrimpers.

And I vowed "'Twill be said
I'm a fortunate fellow,
When the breakfast is spread,
When the topers are mellow,
When the foam of the bride-cake is white,
and the fierce orange-blossoms are yellow! "

O that languishing yawn!
O those eloquent eyes!
I was drunk with the dawn
Of a splendid surmise--
I was stung by a look, I was slain by a tear,
by a tempest of sighs.

Then I whispered "I see
The sweet secret thou keepest.
And the yearning for _ME_
That thou wistfully weepest!
And the question is 'License or Banns? ',
though undoubtedly Banns are the cheapest. "

"Be my Hero," said I,
"And let _me_ be Leander! "
But I lost her reply--
Something ending with "gander"--
For the omnibus rattled so loud that no
mortal could quite understand her.




THE LANG COORTIN'


The ladye she stood at her lattice high,
Wi' her doggie at her feet;
Thorough the lattice she can spy
The passers in the street,

"There's one that standeth at the door,
And tirleth at the pin:
Now speak and say, my popinjay,
If I sall let him in. "

Then up and spake the popinjay
That flew abune her head:
"Gae let him in that tirls the pin:
He cometh thee to wed. "

O when he cam' the parlour in,
A woeful man was he!
"And dinna ye ken your lover agen,
Sae well that loveth thee? "

[Picture: The popinjay]

"And how wad I ken ye loved me, Sir,
That have been sae lang away?
And how wad I ken ye loved me, Sir?
Ye never telled me sae. "

Said--"Ladye dear," and the salt, salt tear
Cam' rinnin' doon his cheek,
"I have sent the tokens of my love
This many and many a week.

"O didna ye get the rings, Ladye,
The rings o' the gowd sae fine?
I wot that I have sent to thee
Four score, four score and nine. "

"They cam' to me," said that fair ladye.
"Wow, they were flimsie things! "
Said--"that chain o' gowd, my doggie to howd,
It is made o' thae self-same rings. "

"And didna ye get the locks, the locks,
The locks o' my ain black hair,
Whilk I sent by post, whilk I sent by box,
Whilk I sent by the carrier? "

"They cam' to me," said that fair ladye;
"And I prithee send nae mair! "
Said--"that cushion sae red, for my doggie's head,
It is stuffed wi' thae locks o' hair. "

"And didna ye get the letter, Ladye,
Tied wi' a silken string,
Whilk I sent to thee frae the far countrie,
A message of love to bring? "

"It cam' to me frae the far countrie
Wi' its silken string and a';
But it wasna prepaid," said that high-born maid,
"Sae I gar'd them tak' it awa'. "

"O ever alack that ye sent it back,
It was written sae clerkly and well!
Now the message it brought, and the boon that it sought,
I must even say it mysel'. "

Then up and spake the popinjay,
Sae wisely counselled he.
"Now say it in the proper way:
Gae doon upon thy knee! "

The lover he turned baith red and pale,
Went doon upon his knee:
"O Ladye, hear the waesome tale
That must be told to thee!

"For five lang years, and five lang years,
I coorted thee by looks;
By nods and winks, by smiles and tears,
As I had read in books.

"For ten lang years, O weary hours!
I coorted thee by signs;
By sending game, by sending flowers,
By sending Valentines.

"For five lang years, and five lang years,
I have dwelt in the far countrie,
Till that thy mind should be inclined
Mair tenderly to me.

"Now thirty years are gane and past,
I am come frae a foreign land:
I am come to tell thee my love at last--
O Ladye, gie me thy hand! "

The ladye she turned not pale nor red,
But she smiled a pitiful smile:
"Sic' a coortin' as yours, my man," she said
"Takes a lang and a weary while! "

[Picture: And out and laughed the popinjay]

And out and laughed the popinjay,
A laugh of bitter scorn:
"A coortin' done in sic' a way,
It ought not to be borne! "

Wi' that the doggie barked aloud,
And up and doon he ran,
And tugged and strained his chain o' gowd,
All for to bite the man.

"O hush thee, gentle popinjay!
O hush thee, doggie dear!
There is a word I fain wad say,
It needeth he should hear! "

Aye louder screamed that ladye fair
To drown her doggie's bark:
Ever the lover shouted mair
To make that ladye hark:

Shrill and more shrill the popinjay
Upraised his angry squall:
I trow the doggie's voice that day
Was louder than them all!

[Picture: O hush thee, gentle gentle popinjay! ]

The serving-men and serving-maids
Sat by the kitchen fire:
They heard sic' a din the parlour within
As made them much admire.

Out spake the boy in buttons
(I ween he wasna thin),
"Now wha will tae the parlour gae,
And stay this deadlie din? "

And they have taen a kerchief,
Casted their kevils in,
For wha will tae the parlour gae,
And stay that deadlie din.

When on that boy the kevil fell
To stay the fearsome noise,
"Gae in," they cried, "whate'er betide,
Thou prince of button-boys! "

Syne, he has taen a supple cane
To swinge that dog sae fat:
The doggie yowled, the doggie howled
The louder aye for that.

[Picture: The doggie ceased his noise]

Syne, he has taen a mutton-bane--
The doggie ceased his noise,
And followed doon the kitchen stair
That prince of button-boys!

Then sadly spake that ladye fair,
Wi' a frown upon her brow:
"O dearer to me is my sma' doggie
Than a dozen sic' as thou!

"Nae use, nae use for sighs and tears:
Nae use at all to fret:
Sin' ye've bided sae well for thirty years,
Ye may bide a wee langer yet! "

Sadly, sadly he crossed the floor
And tirled at the pin:
Sadly went he through the door
Where sadly he cam' in.

"O gin I had a popinjay
To fly abune my head,
To tell me what I ought to say,
I had by this been wed.

"O gin I find anither ladye,"
He said wi' sighs and tears,
"I wot my coortin' sall not be
Anither thirty years

"For gin I find a ladye gay,
Exactly to my taste,
I'll pop the question, aye or nay,
In twenty years at maist. "

[Picture: Sadly went he through the door]




FOUR RIDDLES


[THESE consist of two Double Acrostics and two Charades.

No. I. was written at the request of some young friends, who had gone to
a ball at an Oxford Commemoration--and also as a specimen of what might be
done by making the Double Acrostic _a connected poem_ instead of what it
has hitherto been, a string of disjointed stanzas, on every conceivable
subject, and about as interesting to read straight through as a page of a
Cyclopaedia. The first two stanzas describe the two main words, and each
subsequent stanza one of the cross "lights. "

No. II. was written after seeing Miss Ellen Terry perform in the play of
"Hamlet. " In this case the first stanza describes the two main words.

No. III. was written after seeing Miss Marion Terry perform in Mr.
Gilbert's play of "Pygmalion and Galatea. " The three stanzas
respectively describe "My First," "My Second," and "My Whole. "]

I

THERE was an ancient City, stricken down
With a strange frenzy, and for many a day
They paced from morn to eve the crowded town,
And danced the night away.

I asked the cause: the aged man grew sad:
They pointed to a building gray and tall,
And hoarsely answered "Step inside, my lad,
And then you'll see it all. "

* * * * *

Yet what are all such gaieties to me
Whose thoughts are full of indices and surds?

_x_2 + 7_x_ + 53 = 11/3

But something whispered "It will soon be done:
Bands cannot always play, nor ladies smile:
Endure with patience the distasteful fun
For just a little while! "

A change came o'er my Vision--it was night:
We clove a pathway through a frantic throng:
The steeds, wild-plunging, filled us with affright:
The chariots whirled along.

Within a marble hall a river ran--
A living tide, half muslin and half cloth:
And here one mourned a broken wreath or fan,
Yet swallowed down her wrath;

And here one offered to a thirsty fair
(His words half-drowned amid those thunders tuneful)
Some frozen viand (there were many there),
A tooth-ache in each spoonful.

There comes a happy pause, for human strength
Will not endure to dance without cessation;
And every one must reach the point at length
Of absolute prostration.

At such a moment ladies learn to give,
To partners who would urge them over-much,
A flat and yet decided negative--
Photographers love such.
There comes a welcome summons--hope revives,
And fading eyes grow bright, and pulses quicken:
Incessant pop the corks, and busy knives
Dispense the tongue and chicken.

Flushed with new life, the crowd flows back again:
And all is tangled talk and mazy motion--
Much like a waving field of golden grain,
Or a tempestuous ocean.

And thus they give the time, that Nature meant
For peaceful sleep and meditative snores,
To ceaseless din and mindless merriment
And waste of shoes and floors.

And One (we name him not) that flies the flowers,
That dreads the dances, and that shuns the salads,
They doom to pass in solitude the hours,
Writing acrostic-ballads.

How late it grows! The hour is surely past
That should have warned us with its double knock?
The twilight wanes, and morning comes at last--
"Oh, Uncle, what's o'clock? "

The Uncle gravely nods, and wisely winks.
It _may_ mean much, but how is one to know?
He opens his mouth--yet out of it, methinks,
No words of wisdom flow.



II


EMPRESS of Art, for thee I twine
This wreath with all too slender skill.
Forgive my Muse each halting line,
And for the deed accept the will!

* * * * *

O day of tears! Whence comes this spectre grim,
Parting, like Death's cold river, souls that love?
Is not he bound to thee, as thou to him,
By vows, unwhispered here, yet heard above?

And still it lives, that keen and heavenward flame,
Lives in his eye, and trembles in his tone:
And these wild words of fury but proclaim
A heart that beats for thee, for thee alone!

But all is lost: that mighty mind o'erthrown,
Like sweet bells jangled, piteous sight to see!
"Doubt that the stars are fire," so runs his moan,
"Doubt Truth herself, but not my love for thee! "

A sadder vision yet: thine aged sire
Shaming his hoary locks with treacherous wile!
And dost thou now doubt Truth to be a liar?
And wilt thou die, that hast forgot to smile?

Nay, get thee hence! Leave all thy winsome ways
And the faint fragrance of thy scattered flowers:
In holy silence wait the appointed days,
And weep away the leaden-footed hours.



III.


THE air is bright with hues of light
And rich with laughter and with singing:
Young hearts beat high in ecstasy,
And banners wave, and bells are ringing:
But silence falls with fading day,
And there's an end to mirth and play.
Ah, well-a-day

Rest your old bones, ye wrinkled crones!
The kettle sings, the firelight dances.
Deep be it quaffed, the magic draught
That fills the soul with golden fancies!
For Youth and Pleasance will not stay,
And ye are withered, worn, and gray.
Ah, well-a-day!

O fair cold face! O form of grace,
For human passion madly yearning!
O weary air of dumb despair,
From marble won, to marble turning!
"Leave us not thus! " we fondly pray.
"We cannot let thee pass away! "
Ah, well-a-day!



IV.


MY First is singular at best:
More plural is my Second:
My Third is far the pluralest--
So plural-plural, I protest
It scarcely can be reckoned!

My First is followed by a bird:
My Second by believers
In magic art: my simple Third
Follows, too often, hopes absurd
And plausible deceivers.

My First to get at wisdom tries--
A failure melancholy!
My Second men revered as wise:
My Third from heights of wisdom flies
To depths of frantic folly.

My First is ageing day by day:
My Second's age is ended:
My Third enjoys an age, they say,
That never seems to fade away,
Through centuries extended.

My Whole? I need a poet's pen
To paint her myriad phases:
The monarch, and the slave, of men--
A mountain-summit, and a den
Of dark and deadly mazes--

A flashing light--a fleeting shade--
Beginning, end, and middle
Of all that human art hath made
Or wit devised! Go, seek _her_ aid,
If you would read my riddle!




FAME'S PENNY-TRUMPET


[Affectionately dedicated to all "original researchers" who pant for
"endowment. "]

BLOW, blow your trumpets till they crack,
Ye little men of little souls!
And bid them huddle at your back--
Gold-sucking leeches, shoals on shoals!

Fill all the air with hungry wails--
"Reward us, ere we think or write!
Without your Gold mere Knowledge fails
To sate the swinish appetite! "

And, where great Plato paced serene,
Or Newton paused with wistful eye,
Rush to the chace with hoofs unclean
And Babel-clamour of the sty

Be yours the pay: be theirs the praise:
We will not rob them of their due,
Nor vex the ghosts of other days
By naming them along with you.

They sought and found undying fame:
They toiled not for reward nor thanks:
Their cheeks are hot with honest shame
For you, the modern mountebanks!

Who preach of Justice--plead with tears
That Love and Mercy should abound--
While marking with complacent ears
The moaning of some tortured hound:

Who prate of Wisdom--nay, forbear,
Lest Wisdom turn on you in wrath,
Trampling, with heel that will not spare,
The vermin that beset her path!

Go, throng each other's drawing-rooms,
Ye idols of a petty clique:
Strut your brief hour in borrowed plumes,
And make your penny-trumpets squeak.

[Picture: Go, throng each other's drawing-rooms]

Deck your dull talk with pilfered shreds
Of learning from a nobler time,
And oil each other's little heads
With mutual Flattery's golden slime:

And when the topmost height ye gain,
And stand in Glory's ether clear,
And grasp the prize of all your pain--
So many hundred pounds a year--

Then let Fame's banner be unfurled!
Sing Paeans for a victory won!
Ye tapers, that would light the world,
And cast a shadow on the Sun--

Who still shall pour His rays sublime,
One crystal flood, from East to West,
When _ye_ have burned your little time
And feebly flickered into rest!




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