No More Learning

She treated it in jest,
And saw his face cloud over with sharp pain.
Then suddenly she felt as though a strain
Were put upon her, collared like a slave,
Leashed in the meshes of this thing he gave.

She seized the flimsy rings with both her hands
To snap it, but they held with odd persistence.
Her eyes were blinded by two wind-blown strands
Of hair which had been loosened. Her resistance
Melted within her, from remotest distance,
Misty, unreal, his face grew warm and near,
And giving way she knew him very dear.

For long he held her, and they both gazed down
At the wide city, and its blue, bridged river.
From wooing he jested with her, snipped the blown
Strands of her hair, and tied them with a sliver
Cut from his own head. But she gave a shiver
When, opening the locket, they were placed
Under the glass, commingled and enlaced.

"When will you have it so with us? " He sighed.
She shook her head. He pressed her further. "No,
No, Heinrich, Theodore loves me," and she tried
To free herself and rise. He held her so,
Clipped by his arms, she could not move nor go.
"But you love me," he whispered, with his face
Burning against her through her kerchief's lace.

Frau Altgelt knew she toyed with fire, knew
That what her husband lit this other man
Fanned to hot flame. She told herself that few
Women were so discreet as she, who ran
No danger since she knew what things to ban.
She opened her house door at five o'clock,
A short half-hour before her husband's knock.


Part Third

The 'Residenz-Theater' sparked and hummed
With lights and people. Gebnitz was to sing,
That rare soprano. All the fiddles strummed
With tuning up; the wood-winds made a ring
Of reedy bubbling noises, and the sting
Of sharp, red brass pierced every ear-drum; patting
From muffled tympani made a dark slatting

Across the silver shimmering of flutes;
A bassoon grunted, and an oboe wailed;
The 'celli pizzicato-ed like great lutes,
And mutterings of double basses trailed
Away to silence, while loud harp-strings hailed
Their thin, bright colours down in such a scatter
They lost themselves amid the general clatter.

Frau Altgelt in the gallery, alone,
Felt lifted up into another world.
Before her eyes a thousand candles shone
In the great chandeliers. A maze of curled
And powdered periwigs past her eyes swirled.
She smelt the smoke of candles guttering,
And caught the glint of jewelled fans fluttering

All round her in the boxes. Red and gold,
The house, like rubies set in filigree,
Filliped the candlelight about, and bold
Young sparks with eye-glasses, unblushingly
Ogled fair beauties in the balcony.
An officer went by, his steel spurs jangling.
Behind Charlotta an old man was wrangling

About a play-bill he had bought and lost.
Three drunken soldiers had to be ejected.
Frau Altgelt's eyes stared at the vacant post
Of Concert-Meister, she at once detected
The stir which brought him. But she felt neglected
When with no glance about him or her way,
He lifted up his violin to play.

The curtain went up? Perhaps. If so,
Charlotta never saw it go.
The famous Fraeulein Gebnitz' singing
Only came to her like the ringing
Of bells at a festa
Which swing in the air
And nobody realizes they are there.
They jingle and jangle,
And clang, and bang,
And never a soul could tell whether they rang,
For the plopping of guns and rockets
And the chinking of silver to spend, in one's pockets,
And the shuffling and clapping of feet,
And the loud flapping
Of flags, with the drums,
As the military comes.
It's a famous tune to walk to,
And I wonder where they're off to.
Step-step-stepping to the beating of the drums.
But the rhythm changes as though a mist
Were curling and twisting
Over the landscape.
For a moment a rhythmless, tuneless fog
Encompasses her. Then her senses jog
To the breath of a stately minuet.
Herr Altgelt's violin is set
In tune to the slow, sweeping bows, and retreats and advances,
To curtsies brushing the waxen floor as the Court dances.
Long and peaceful like warm Summer nights
When stars shine in the quiet river. And against the lights
Blundering insects knock,
And the 'Rathaus' clock
Booms twice, through the shrill sounds
Of flutes and horns in the lamplit grounds.
Pressed against him in the mazy wavering
Of a country dance, with her short breath quavering
She leans upon the beating, throbbing
Music. Laughing, sobbing,
Feet gliding after sliding feet;
His--hers--
The ballroom blurs--
She feels the air
Lifting her hair,
And the lapping of water on the stone stair.
He is there! He is there!
Twang harps, and squeal, you thin violins,
That the dancers may dance, and never discover
The old stone stair leading down to the river
With the chestnut-tree branches hanging over
Her and her lover.
Theodore, still her lover!

The evening passed like this, in a half faint,
Delirium with waking intervals
Which were the entr'acts. Under the restraint
Of a large company, the constant calls
For oranges or syrops from the stalls
Outside, the talk, the passing to and fro,
Lotta sat ill at ease, incognito.

She heard the Gebnitz praised, the tenor lauded,
The music vaunted as most excellent.
The scenery and the costumes were applauded,
The latter it was whispered had been sent
From Italy. The Herr Direktor spent
A fortune on them, so the gossips said.
Charlotta felt a lightness in her head.

When the next act began, her eyes were swimming,
Her prodded ears were aching and confused.
The first notes from the orchestra sent skimming
Her outward consciousness. Her brain was fused
Into the music, Theodore's music! Used
To hear him play, she caught his single tone.
For all she noticed they two were alone.


Part Fourth

Frau Altgelt waited in the chilly street,
Hustled by lackeys who ran up and down
Shouting their coachmen's names; forced to retreat
A pace or two by lurching chairmen; thrown
Rudely aside by linkboys; boldly shown
The ogling rapture in two bleary eyes
Thrust close to hers in most unpleasant wise.

Escaping these, she hit a liveried arm,
Was sworn at by this glittering gentleman
And ordered off. However, no great harm
Came to her. But she looked a trifle wan
When Theodore, her belated guardian,
Emerged. She snuggled up against him, trembling,
Half out of fear, half out of the assembling

Of all the thoughts and needs his playing had given.
Had she enjoyed herself, he wished to know.
"Oh! Theodore, can't you feel that it was Heaven! "
"Heaven! My Lottachen, and was it so?
Gebnitz was in good voice, but all the flow
Of her last aria was spoiled by Klops,
A wretched flutist, she was mad as hops. "

He was so simple, so matter-of-fact,
Charlotta Altgelt knew not what to say
To bring him to her dream. His lack of tact
Kept him explaining all the homeward way
How this thing had gone well, that badly. "Stay,
Theodore! " she cried at last. "You know to me
Nothing was real, it was an ecstasy. "

And he was heartily glad she had enjoyed
Herself so much, and said so. "But it's good
To be got home again. " He was employed
In looking at his violin, the wood
Was old, and evening air did it no good.
But when he drew up to the table for tea
Something about his wife's vivacity

Struck him as hectic, worried him in short.
He talked of this and that but watched her close.
Tea over, he endeavoured to extort
The cause of her excitement. She arose
And stood beside him, trying to compose
Herself, all whipt to quivering, curdled life,
And he, poor fool, misunderstood his wife.

Suddenly, broken through her anxious grasp,
Her music-kindled love crashed on him there.
Amazed, he felt her fling against him, clasp
Her arms about him, weighing down his chair,
Sobbing out all her hours of despair.
"Theodore, a woman needs to hear things proved.
Unless you tell me, I feel I'm not loved. "

Theodore went under in this tearing wave,
He yielded to it, and its headlong flow
Filled him with all the energy she gave.
He was a youth again, and this bright glow,
This living, vivid joy he had to show
Her what she was to him. Laughing and crying,
She asked assurances there's no denying.

Over and over again her questions, till
He quite convinced her, every now and then
She kissed him, shivering as though doubting still.
But later when they were composed and when
She dared relax her probings, "Lottachen,"
He asked, "how is it your love has withstood
My inadvertence? I was made of wood. "

She told him, and no doubt she meant it truly,
That he was sun, and grass, and wind, and sky
To her. And even if conscience were unruly
She salved it by neat sophistries, but why
Suppose her insincere, it was no lie
She said, for Heinrich was as much forgot
As though he'd never been within earshot.

But Theodore's hands in straying and caressing
Fumbled against the locket where it lay
Upon her neck. "What is this thing I'm pressing? "
He asked. "Let's bring it to the light of day. "
He lifted up the locket. "It should stay
Outside, my Dear. Your mother has good taste.
To keep it hidden surely is a waste. "

Pity again Charlotta, straight aroused
Out of her happiness. The locket brought
A chilly jet of truth upon her, soused
Under its icy spurting she was caught,
And choked, and frozen. Suddenly she sought
The clasp, but with such art was this contrived
Her fumbling fingers never once arrived

Upon it. Feeling, twisting, round and round,
She pulled the chain quite through the locket's ring
And still it held. Her neck, encompassed, bound,
Chafed at the sliding meshes. Such a thing
To hurl her out of joy! A gilded string
Binding her folly to her, and those curls
Which lay entwined beneath the clustered pearls!

Again she tried to break the cord. It stood.
"Unclasp it, Theodore," she begged. But he
Refused, and being in a happy mood,
Twitted her with her inefficiency,
Then looking at her very seriously:
"I think, Charlotta, it is well to have
Always about one what a mother gave.

As she has taken the great pains to send
This jewel to you from Dresden, it will be
Ingratitude if you do not intend
To carry it about you constantly.
With her fine taste you cannot disagree,
The locket is most beautifully designed. "
He opened it and there the curls were, twined.

Charlotta's heart dropped beats like knitting-stitches.
She burned a moment, flaming; then she froze.
Her face was jerked by little, nervous twitches,
She heard her husband asking: "What are those? "
Put out her hand quickly to interpose,
But stopped, the gesture half-complete, astounded
At the calm way the question was propounded.

"A pretty fancy, Dear, I do declare.
Indeed I will not let you put it off.
A lovely thought: yours and your mother's hair! "
Charlotta hid a gasp under a cough.
"Never with my connivance shall you doff
This charming gift. " He kissed her on the cheek,
And Lotta suffered him, quite crushed and meek.

When later in their room she lay awake,
Watching the moonlight slip along the floor,
She felt the chain and wept for Theodore's sake.
She had loved Heinrich also, and the core
Of truth, unlovely, startled her. Wherefore
She vowed from now to break this double life
And see herself only as Theodore's wife.


Part Fifth

It was no easy matter to convince
Heinrich that it was finished. Hard to say
That though they could not meet (he saw her wince)
She still must keep the locket to allay
Suspicion in her husband. She would pay
Him from her savings bit by bit--the oath
He swore at that was startling to them both.

Her resolution taken, Frau Altgelt
Adhered to it, and suffered no regret.
She found her husband all that she had felt
His music to contain. Her days were set
In his as though she were an amulet
Cased in bright gold. She joyed in her confining;
Her eyes put out her looking-glass with shining.

Charlotta was so gay that old, dull tasks
Were furbished up to seem like rituals.
She baked and brewed as one who only asks
The right to serve. Her daily manuals
Of prayer were duties, and her festivals
When Theodore praised some dish, or frankly said
She had a knack in making up a bed.

So Autumn went, and all the mountains round
The city glittered white with fallen snow,
For it was Winter. Over the hard ground
Herr Altgelt's footsteps came, each one a blow.
On the swept flags behind the currant row
Charlotta stood to greet him. But his lip
Only flicked hers. His Concert-Meistership

Was first again. This evening he had got
Important news. The opera ordered from
Young Mozart was arrived. That old despot,
The Bishop of Salzburg, had let him come
Himself to lead it, and the parts, still hot
From copying, had been tried over. Never
Had any music started such a fever.

The orchestra had cheered till they were hoarse,
The singers clapped and clapped. The town was made,
With such a great attraction through the course
Of Carnival time. In what utter shade
All other cities would be left! The trade
In music would all drift here naturally.
In his excitement he forgot his tea.

Lotta was forced to take his cup and put
It in his hand. But still he rattled on,
Sipping at intervals. The new catgut
Strings he was using gave out such a tone
The "Maestro" had remarked it, and had gone
Out of his way to praise him. Lotta smiled,
He was as happy as a little child.

From that day on, Herr Altgelt, more and more,
Absorbed himself in work. Lotta at first
Was patient and well-wishing. But it wore
Upon her when two weeks had brought no burst
Of loving from him. Then she feared the worst;
That his short interest in her was a light
Flared up an instant only in the night.

'Idomeneo' was the opera's name,
A name that poor Charlotta learnt to hate.
Herr Altgelt worked so hard he seldom came
Home for his tea, and it was very late,
Past midnight sometimes, when he knocked. His state
Was like a flabby orange whose crushed skin
Is thin with pulling, and all dented in.

He practised every morning and her heart
Followed his bow. But often she would sit,
While he was playing, quite withdrawn apart,
Absently fingering and touching it,
The locket, which now seemed to her a bit
Of some gone youth. His music drew her tears,
And through the notes he played, her dreading ears

Heard Heinrich's voice, saying he had not changed;
Beer merchants had no ecstasies to take
Their minds off love. So far her thoughts had ranged
Away from her stern vow, she chanced to take
Her way, one morning, quite by a mistake,
Along the street where Heinrich had his shop.
What harm to pass it since she should not stop!

It matters nothing how one day she met
Him on a bridge, and blushed, and hurried by.
Nor how the following week he stood to let
Her pass, the pavement narrowing suddenly.
How once he took her basket, and once he
Pulled back a rearing horse who might have struck
Her with his hoofs. It seemed the oddest luck

How many times their business took them each
Right to the other. Then at last he spoke,
But she would only nod, he got no speech
From her. Next time he treated it in joke,
And that so lightly that her vow she broke
And answered. So they drifted into seeing
Each other as before. There was no fleeing.

Christmas was over and the Carnival
Was very near, and tripping from each tongue
Was talk of the new opera. Each book-stall
Flaunted it out in bills, what airs were sung,
What singers hired. Pictures of the young
"Maestro" were for sale. The town was mad.
Only Charlotta felt depressed and sad.

Each day now brought a struggle 'twixt her will
And Heinrich's. 'Twixt her love for Theodore
And him. Sometimes she wished to kill
Herself to solve her problem. For a score
Of reasons Heinrich tempted her. He bore
Her moods with patience, and so surely urged
Himself upon her, she was slowly merged

Into his way of thinking, and to fly
With him seemed easy. But next morning would
The Stradivarius undo her mood.
Then she would realize that she must cleave
Always to Theodore. And she would try
To convince Heinrich she should never leave,
And afterwards she would go home and grieve.

All thought in Munich centered on the part
Of January when there would be given
'Idomeneo' by Wolfgang Mozart.
The twenty-ninth was fixed. And all seats, even
Those almost at the ceiling, which were driven
Behind the highest gallery, were sold.
The inches of the theatre went for gold.

Herr Altgelt was a shadow worn so thin
With work, he hardly printed black behind
The candle. He and his old violin
Made up one person. He was not unkind,
But dazed outside his playing, and the rind,
The pine and maple of his fiddle, guarded
A part of him which he had quite discarded.

It woke in the silence of frost-bright nights,
In little lights,
Like will-o'-the-wisps flickering, fluttering,
Here--there--
Spurting, sputtering,
Fading and lighting,
Together, asunder--
Till Lotta sat up in bed with wonder,
And the faint grey patch of the window shone
Upon her sitting there, alone.
For Theodore slept.

The twenty-eighth was last rehearsal day,
'Twas called for noon, so early morning meant
Herr Altgelt's only time in which to play
His part alone. Drawn like a monk who's spent
Himself in prayer and fasting, Theodore went
Into the kitchen, with a weary word
Of cheer to Lotta, careless if she heard.

Lotta heard more than his spoken word.
She heard the vibrating of strings and wood.
She was washing the dishes, her hands all suds,
When the sound began,
Long as the span
Of a white road snaking about a hill.
The orchards are filled
With cherry blossoms at butterfly poise.
Hawthorn buds are cracking,
And in the distance a shepherd is clacking
His shears, snip-snipping the wool from his sheep.
The notes are asleep,
Lying adrift on the air
In level lines
Like sunlight hanging in pines and pines,
Strung and threaded,
All imbedded
In the blue-green of the hazy pines.
Lines--long, straight lines!
And stems,
Long, straight stems
Pushing up
To the cup of blue, blue sky.
Stems growing misty
With the many of them,
Red-green mist
Of the trees,
And these
Wood-flavoured notes.
The back is maple and the belly is pine.
The rich notes twine
As though weaving in and out of leaves,
Broad leaves
Flapping slowly like elephants' ears,
Waving and falling.
Another sound peers
Through little pine fingers,
And lingers, peeping.
Ping! Ping! pizzicato, something is cheeping.
There is a twittering up in the branches,
A chirp and a lilt,
And crimson atilt on a swaying twig.
Wings! Wings!
And a little ruffled-out throat which sings.
The forest bends, tumultuous
With song.
The woodpecker knocks,
And the song-sparrow trills,
Every fir, and cedar, and yew
Has a nest or a bird,
It is quite absurd
To hear them cutting across each other:
Peewits, and thrushes, and larks, all at once,
And a loud cuckoo is trying to smother
A wood-pigeon perched on a birch,
"Roo--coo--oo--oo--"
"Cuckoo! Cuckoo! That's one for you! "
A blackbird whistles, how sharp, how shrill!
And the great trees toss
And leaves blow down,
You can almost hear them splash on the ground.
The whistle again:
It is double and loud!
The leaves are splashing,
And water is dashing
Over those creepers, for they are shrouds;
And men are running up them to furl the sails,
For there is a capful of wind to-day,
And we are already well under way.
The deck is aslant in the bubbling breeze.
"Theodore, please.
Oh, Dear, how you tease! "
And the boatswain's whistle sounds again,
And the men pull on the sheets:
"My name is Hanging Johnny,
Away-i-oh;
They call me Hanging Johnny,
So hang, boys, hang. "
The trees of the forest are masts, tall masts;
They are swinging over
Her and her lover.
Almost swooning
Under the ballooning canvas,
She lies
Looking up in his eyes
As he bends farther over.
Theodore, still her lover!

The suds were dried upon Charlotta's hands,
She leant against the table for support,
Wholly forgotten. Theodore's eyes were brands
Burning upon his music. He stopped short.
Charlotta almost heard the sound of bands
Snapping. She put one hand up to her heart,
Her fingers touched the locket with a start.

Herr Altgelt put his violin away
Listlessly. "Lotta, I must have some rest.
The strain will be a hideous one to-day.
Don't speak to me at all. It will be best
If I am quiet till I go. " And lest
She disobey, he left her. On the stairs
She heard his mounting steps. What use were prayers!

He could not hear, he was not there, for she
Was married to a mummy, a machine.
Her hand closed on the locket bitterly.
Before her, on a chair, lay the shagreen
Case of his violin. She saw the clean
Sun flash the open clasp. The locket's edge
Cut at her fingers like a pushing wedge.

A heavy cart went by, a distant bell
Chimed ten, the fire flickered in the grate.
She was alone. Her throat began to swell
With sobs. What kept her here, why should she wait?
The violin she had begun to hate
Lay in its case before her. Here she flung
The cover open. With the fiddle swung

Over her head, the hanging clock's loud ticking
Caught on her ear. 'Twas slow, and as she paused
The little door in it came open, flicking
A wooden cuckoo out: "Cuckoo! " It caused
The forest dream to come again. "Cuckoo! "
Smashed on the grate, the violin broke in two.

"Cuckoo! Cuckoo! " the clock kept striking on;
But no one listened. Frau Altgelt had gone.




The Cross-Roads



A bullet through his heart at dawn. On the table a letter signed with a
woman's name. A wind that goes howling round the house, and weeping as
in shame. Cold November dawn peeping through the windows, cold dawn
creeping over the floor, creeping up his cold legs, creeping over his
cold body, creeping across his cold face. A glaze of thin yellow
sunlight on the staring eyes. Wind howling through bent branches. A
wind which never dies down. Howling, wailing. The gazing eyes glitter
in the sunlight. The lids are frozen open and the eyes glitter.


The thudding of a pick on hard earth. A spade grinding and crunching.
Overhead, branches writhing, winding, interlacing, unwinding,
scattering; tortured twinings, tossings, creakings. Wind flinging
branches apart, drawing them together, whispering and whining among
them. A waning, lopsided moon cutting through black clouds. A stream
of pebbles and earth and the empty spade gleams clear in the moonlight,
then is rammed again into the black earth. Tramping of feet. Men and
horses. Squeaking of wheels.

"Whoa! Ready, Jim? "

"All ready. "

Something falls, settles, is still. Suicides have no coffin.

"Give us the stake, Jim. Now. "

Pound! Pound!

"He'll never walk. Nailed to the ground. "

An ash stick pierces his heart, if it buds the roots will hold him. He
is a part of the earth now, clay to clay. Overhead the branches sway,
and writhe, and twist in the wind. He'll never walk with a bullet in
his heart, and an ash stick nailing him to the cold, black ground.


Six months he lay still. Six months. And the water welled up in his
body, and soft blue spots chequered it. He lay still, for the ash stick
held him in place. Six months! Then her face came out of a mist of
green. Pink and white and frail like Dresden china, lilies-of-the-valley
at her breast, puce-coloured silk sheening about her. Under the young
green leaves, the horse at a foot-pace, the high yellow wheels of the
chaise scarcely turning, her face, rippling like grain a-blowing, under
her puce-coloured bonnet; and burning beside her, flaming within his
correct blue coat and brass buttons, is someone. What has dimmed the
sun? The horse steps on a rolling stone; a wind in the branches makes a
moan. The little leaves tremble and shake, turn and quake, over and
over, tearing their stems. There is a shower of young leaves, and a
sudden-sprung gale wails in the trees.

The yellow-wheeled chaise is rocking--rocking, and all the branches
are knocking--knocking. The sun in the sky is a flat, red plate, the
branches creak and grate. She screams and cowers, for the green foliage
is a lowering wave surging to smother her. But she sees nothing. The
stake holds firm. The body writhes, the body squirms. The blue spots
widen, the flesh tears, but the stake wears well in the deep, black
ground. It holds the body in the still, black ground.


Two years! The body has been in the ground two years. It is worn away;
it is clay to clay. Where the heart moulders, a greenish dust, the
stake is thrust. Late August it is, and night; a night flauntingly
jewelled with stars, a night of shooting stars and loud insect noises.
Down the road to Tilbury, silence--and the slow flapping of large
leaves. Down the road to Sutton, silence--and the darkness of
heavy-foliaged trees. Down the road to Wayfleet, silence--and the
whirring scrape of insects in the branches. Down the road to
Edgarstown, silence--and stars like stepping-stones in a pathway
overhead. It is very quiet at the cross-roads, and the sign-board
points the way down the four roads, endlessly points the way where
nobody wishes to go.

A horse is galloping, galloping up from Sutton. Shaking the wide, still
leaves as he goes under them. Striking sparks with his iron shoes;
silencing the katydids. Dr. Morgan riding to a child-birth over Tilbury
way; riding to deliver a woman of her first-born son. One o'clock from
Wayfleet bell tower, what a shower of shooting stars! And a breeze all
of a sudden, jarring the big leaves and making them jerk up and down.
Dr. Morgan's hat is blown from his head, the horse swerves, and curves
away from the sign-post. An oath--spurs--a blurring of grey mist. A
quick left twist, and the gelding is snorting and racing down the
Tilbury road with the wind dropping away behind him.

The stake has wrenched, the stake has started, the body, flesh from
flesh, has parted. But the bones hold tight, socket and ball, and
clamping them down in the hard, black ground is the stake, wedged
through ribs and spine. The bones may twist, and heave, and twine, but
the stake holds them still in line. The breeze goes down, and the round
stars shine, for the stake holds the fleshless bones in line.


Twenty years now! Twenty long years! The body has powdered itself
away; it is clay to clay. It is brown earth mingled with brown earth.
Only flaky bones remain, lain together so long they fit, although not
one bone is knit to another. The stake is there too, rotted through,
but upright still, and still piercing down between ribs and spine in a
straight line.

Yellow stillness is on the cross-roads, yellow stillness is on the
trees. The leaves hang drooping, wan. The four roads point four yellow
ways, saffron and gamboge ribbons to the gaze. A little swirl of dust
blows up Tilbury road, the wind which fans it has not strength to do
more; it ceases, and the dust settles down. A little whirl of wind
comes up Tilbury road. It brings a sound of wheels and feet. The wind
reels a moment and faints to nothing under the sign-post. Wind again,
wheels and feet louder. Wind again--again--again. A drop of rain,
flat into the dust. Drop! --Drop! Thick heavy raindrops, and a
shrieking wind bending the great trees and wrenching off their leaves.

Under the black sky, bowed and dripping with rain, up Tilbury road,
comes the procession. A funeral procession, bound for the graveyard at
Wayfleet. Feet and wheels--feet and wheels. And among them one who
is carried.

The bones in the deep, still earth shiver and pull. There is a quiver
through the rotted stake. Then stake and bones fall together in a
little puffing of dust.

Like meshes of linked steel the rain shuts down behind the procession,
now well along the Wayfleet road.

He wavers like smoke in the buffeting wind. His fingers blow out like
smoke, his head ripples in the gale. Under the sign-post, in the
pouring rain, he stands, and watches another quavering figure drifting
down the Wayfleet road. Then swiftly he streams after it. It flickers
among the trees. He licks out and winds about them. Over, under,
blown, contorted. Spindrift after spindrift; smoke following smoke.
There is a wailing through the trees, a wailing of fear, and after it
laughter--laughter--laughter, skirling up to the black sky.
Lightning jags over the funeral procession. A heavy clap of thunder.
Then darkness and rain, and the sound of feet and wheels.





A Roxbury Garden



I

Hoops

Blue and pink sashes,
Criss-cross shoes,
Minna and Stella run out into the garden
To play at hoop.

Up and down the garden-paths they race,
In the yellow sunshine,
Each with a big round hoop
White as a stripped willow-wand.

Round and round turn the hoops,
Their diamond whiteness cleaving the yellow sunshine.
The gravel crunches and squeaks beneath them,
And a large pebble springs them into the air
To go whirling for a foot or two
Before they touch the earth again
In a series of little jumps.

Spring, Hoops!
Spit out a shower of blue and white brightness.
The little criss-cross shoes twinkle behind you,
The pink and blue sashes flutter like flags,
The hoop-sticks are ready to beat you.
Turn, turn, Hoops! In the yellow sunshine.
Turn your stripped willow whiteness
Along the smooth paths.

Stella sings:
"Round and round, rolls my hoop,
Scarcely touching the ground,
With a swoop,
And a bound,
Round and round.
With a bumpety, crunching, scattering sound,
Down the garden it flies;
In our eyes
The sun lies.
See it spin
Out and in;
Through the paths it goes whirling,
About the beds curling.