No More Learning

With reverential feet I pass;
I hear a voice that cries, "Alas! alas!
Whatever hath been written shall remain,
Nor be erased nor written o'er again;
The unwritten only still belongs to thee:
Take heed, and ponder well what that shall be. "

As children frightened by a thundercloud
Are reassured if some one reads aloud
A tale of wonder, with enchantment fraught,
Or wild adventure, that diverts their thought,
Let me endeavor with a tale to chase
The gathering shadows of the time and place,
And banish what we all too deeply feel
Wholly to say, or wholly to conceal.

In mediaeval Rome, I know not where,
There stood an image with its arm in air,
And on its lifted finger, shining clear,
A golden ring with the device, "Strike here! "
Greatly the people wondered, though none guessed
The meaning that these words but half expressed,
Until a learned clerk, who at noonday
With downcast eyes was passing on his way,
Paused, and observed the spot, and marked it well,
Whereon the shadow of the finger fell;
And, coming back at midnight, delved, and found
A secret stairway leading under ground.
Down this he passed into a spacious hall,
Lit by a flaming jewel on the wall;
And opposite in threatening attitude
With bow and shaft a brazen statue stood.
Upon its forehead, like a coronet,
Were these mysterious words of menace set:
"That which I am, I am; my fatal aim
None can escape, not even yon luminous flame! "

Midway the hall was a fair table placed,
With cloth of gold, and golden cups enchased
With rubies, and the plates and knives were gold,
And gold the bread and viands manifold.
Around it, silent, motionless, and sad,
Were seated gallant knights in armor clad,
And ladies beautiful with plume and zone,
But they were stone, their hearts within were stone;
And the vast hall was filled in every part
With silent crowds, stony in face and heart.

Long at the scene, bewildered and amazed
The trembling clerk in speechless wonder gazed;
Then from the table, by his greed made bold,
He seized a goblet and a knife of gold,
And suddenly from their seats the guests upsprang,
The vaulted ceiling with loud clamors rang,
The archer sped his arrow, at their call,
Shattering the lambent jewel on the wall,
And all was dark around and overhead;--
Stark on the door the luckless clerk lay dead!

The writer of this legend then records
Its ghostly application in these words:
The image is the Adversary old,
Whose beckoning finger points to realms of gold;
Our lusts and passions are the downward stair
That leads the soul from a diviner air;
The archer, Death; the flaming jewel, Life;
Terrestrial goods, the goblet and the knife;
The knights and ladies, all whose flesh and bone
By avarice have been hardened into stone;
The clerk, the scholar whom the love of pelf
Tempts from his books and from his nobler self.

The scholar and the world! The endless strife,
The discord in the harmonies of life!
The love of learning, the sequestered nooks,
And all the sweet serenity of books;
The market-place, the eager love of gain,
Whose aim is vanity, and whose end is pain!

But why, you ask me, should this tale be told
To men grown old, or who are growing old?
It is too late! Ah, nothing is too late
Till the tired heart shall cease to palpitate.
Cato learned Greek at eighty; Sophocles
Wrote his grand Oedipus, and Simonides
Bore off the prize of verse from his compeers,
When each had numbered more than fourscore years,
And Theophrastus, at fourscore and ten,
Had but begun his Characters of Men.
Chaucer, at Woodstock with the nightingales,
At sixty wrote the Canterbury Tales;
Goethe at Weimar, toiling to the last,
Completed Faust when eighty years were past.
These are indeed exceptions; but they show
How far the gulf-stream of our youth may flow
Into the arctic regions of our lives.
Where little else than life itself survives.

As the barometer foretells the storm
While still the skies are clear, the weather warm,
So something in us, as old age draws near,
Betrays the pressure of the atmosphere.
The nimble mercury, ere we are aware,
Descends the elastic ladder of the air;
The telltale blood in artery and vein
Sinks from its higher levels in the brain;
Whatever poet, orator, or sage
May say of it, old age is still old age.
It is the waning, not the crescent moon;
The dusk of evening, not the blaze of noon:
It is not strength, but weakness; not desire,
But its surcease; not the fierce heat of fire,
The burning and consuming element,
But that of ashes and of embers spent,
In which some living sparks we still discern,
Enough to warm, but not enough to burn.

What then? Shall we sit idly down and say
The night hath come; it is no longer day?
The night hath not yet come; we are not quite
Cut off from labor by the failing light;
Something remains for us to do or dare;
Even the oldest tree some fruit may bear;
Not Oedipus Coloneus, or Greek Ode,
Or tales of pilgrims that one morning rode
Out of the gateway of the Tabard inn,
But other something, would we but begin;
For age is opportunity no less
Than youth itself, though in another dress,
And as the evening twilight fades away
The sky is filled with stars, invisible by day.



A BOOK OF SONNETS

THREE FRIENDS OF MINE

I

When I remember them, those friends of mine,
Who are no longer here, the noble three,
Who half my life were more than friends to me,
And whose discourse was like a generous wine,
I most of all remember the divine
Something, that shone in them, and made us see
The archetypal man, and what might be
The amplitude of Nature's first design.
In vain I stretch my hands to clasp their hands;
I cannot find them. Nothing now is left
But a majestic memory. They meanwhile
Wander together in Elysian lands,
Perchance remembering me, who am bereft
Of their dear presence, and, remembering, smile.


II

In Attica thy birthplace should have been,
Or the Ionian Isles, or where the seas
Encircle in their arms the Cyclades,
So wholly Greek wast thou in thy serene
And childlike joy of life, O Philhellene!
Around thee would have swarmed the Attic bees;
Homer had been thy friend, or Socrates,
And Plato welcomed thee to his demesne.
For thee old legends breathed historic breath;
Thou sawest Poseidon in the purple sea,
And in the sunset Jason's fleece of gold!
O, what hadst thou to do with cruel Death,
Who wast so full of life, or Death with thee,
That thou shouldst die before thou hadst grown old!


III

I stand again on the familiar shore,
And hear the waves of the distracted sea
Piteously calling and lamenting thee,
And waiting restless at thy cottage door.
The rocks, the sea-weed on the ocean floor,
The willows in the meadow, and the free
Wild winds of the Atlantic welcome me;
Then why shouldst thou be dead, and come no more?
Ah, why shouldst thou be dead, when common men
Are busy with their trivial affairs,
Having and holding? Why, when thou hadst read
Nature's mysterious manuscript, and then
Wast ready to reveal the truth it bears,
Why art thou silent! Why shouldst thou be dead?


IV

River, that stealest with such silent pace
Around the City of the Dead, where lies
A friend who bore thy name, and whom these eyes
Shall see no more in his accustomed place,
Linger and fold him in thy soft embrace
And say good night, for now the western skies
Are red with sunset, and gray mists arise
Like damps that gather on a dead man's face.
Good night! good night! as we so oft have said
Beneath this roof at midnight in the days
That are no more, and shall no more return.
Thou hast but taken thy lamp and gone to bed;
I stay a little longer, as one stays
To cover up the embers that still burn.


V

The doors are all wide open; at the gate
The blossomed lilacs counterfeit a blaze,
And seem to warm the air; a dreamy haze
Hangs o'er the Brighton meadows like a fate,
And on their margin, with sea-tides elate,
The flooded Charles, as in the happier days,
Writes the last letter of his name, and stays
His restless steps, as if compelled to wait.
I also wait; but they will come no more,
Those friends of mine, whose presence satisfied
The thirst and hunger of my heart. Ah me!
They have forgotten the pathway to my door!
Something is gone from nature since they died,
And summer is not summer, nor can be.



CHAUCER

An old man in a lodge within a park;
The chamber walls depicted all around
With portraitures of huntsman, hawk, and hound.
And the hurt deer. He listeneth to the lark,
Whose song comes with the sunshine through the dark
Of painted glass in leaden lattice bound;
He listeneth and he laugheth at the sound,
Then writeth in a book like any clerk.
He is the poet of the dawn, who wrote
The Canterbury Tales, and his old age
Made beautiful with song; and as I read
I hear the crowing cock, I hear the note
Of lark and linnet, and from every page
Rise odors of ploughed field or flowery mead.



SHAKESPEARE

A vision as of crowded city streets,
With human life in endless overflow;
Thunder of thoroughfares; trumpets that blow
To battle; clamor, in obscure retreats,
Of sailors landed from their anchored fleets;
Tolling of bells in turrets, and below
Voices of children, and bright flowers that throw
O'er garden-walls their intermingled sweets!
This vision comes to me when I unfold
The volume of the Poet paramount,
Whom all the Muses loved, not one alone;--
Into his hands they put the lyre of gold,
And, crowned with sacred laurel at their fount,
Placed him as Musagetes on their throne.



MILTON

I pace the sounding sea-beach and behold
How the voluminous billows roll and run,
Upheaving and subsiding, while the sun
Shines through their sheeted emerald far unrolled,
And the ninth wave, slow gathering fold by fold
All its loose-flowing garments into one,
Plunges upon the shore, and floods the dun
Pale reach of sands, and changes them to gold.
So in majestic cadence rise and fall
The mighty undulations of thy song,
O sightless bard, England's Maeonides!
And ever and anon, high over all
Uplifted, a ninth wave superb and strong,
Floods all the soul with its melodious seas.



KEATS

The young Endymion sleeps Endymion's sleep;
The shepherd-boy whose tale was left half told!
The solemn grove uplifts its shield of gold
To the red rising moon, and loud and deep
The nightingale is singing from the steep;
It is midsummer, but the air is cold;
Can it be death? Alas, beside the fold
A shepherd's pipe lies shattered near his sheep.
Lo! in the moonlight gleams a marble white,
On which I read: "Here lieth one whose name
Was writ in water. " And was this the meed
Of his sweet singing? Rather let me write:
"The smoking flax before it burst to flame
Was quenched by death, and broken the bruised reed. "



THE GALAXY

Torrent of light and river of the air,
Along whose bed the glimmering stars are seen
Like gold and silver sands in some ravine
Where mountain streams have left their channels bare!
The Spaniard sees in thee the pathway, where
His patron saint descended in the sheen
Of his celestial armor, on serene
And quiet nights, when all the heavens were fair.
Not this I see, nor yet the ancient fable
Of Phaeton's wild course, that scorched the skies
Where'er the hoofs of his hot coursers trod;
But the white drift of worlds o'er chasms of sable,
The star-dust that is whirled aloft and flies
From the invisible chariot-wheels of God.



THE SOUND OF THE SEA

The sea awoke at midnight from its sleep,
And round the pebbly beaches far and wide
I heard the first wave of the rising tide
Rush onward with uninterrupted sweep;
A voice out of the silence of the deep,
A sound mysteriously multiplied
As of a cataract from the mountain's side,
Or roar of winds upon a wooded steep.
So comes to us at times, from the unknown
And inaccessible solitudes of being,
The rushing of the sea-tides of the soul;
And inspirations, that we deem our own,
Are some divine foreshadowing and foreseeing
Of things beyond our reason or control.



A SUMMER DAY BY THE SEA

The sun is set; and in his latest beams
Yon little cloud of ashen gray and gold,
Slowly upon the amber air unrolled,
The falling mantle of the Prophet seems.
From the dim headlands many a lighthouse gleams,
The street-lamps of the ocean; and behold,
O'erhead the banners of the night unfold;
The day hath passed into the land of dreams.
O summer day beside the joyous sea!
O summer day so wonderful and white,
So full of gladness and so full of pain!
Forever and forever shalt thou be
To some the gravestone of a dead delight,
To some the landmark of a new domain.



THE TIDES

I saw the long line of the vacant shore,
The sea-weed and the shells upon the sand,
And the brown rocks left bare on every hand,
As if the ebbing tide would flow no more.
Then heard I, more distinctly than before,
The ocean breathe and its great breast expand,
And hurrying came on the defenceless land
The insurgent waters with tumultuous roar.
All thought and feeling and desire, I said,
Love, laughter, and the exultant joy of song
Have ebbed from me forever! Suddenly o'er me
They swept again from their deep ocean bed,
And in a tumult of delight, and strong
As youth, and beautiful as youth, upbore me.



A SHADOW

I said unto myself, if I were dead,
What would befall these children? What would be
Their fate, who now are looking up to me
For help and furtherance? Their lives, I said,
Would be a volume wherein I have read
But the first chapters, and no longer see
To read the rest of their dear history,
So full of beauty and so full of dread.
Be comforted; the world is very old,
And generations pass, as they have passed,
A troop of shadows moving with the sun;
Thousands of times has the old tale been told;
The world belongs to those who come the last,
They will find hope and strength as we have done.



A NAMELESS GRAVE

"A soldier of the Union mustered out,"
Is the inscription on an unknown grave
At Newport News, beside the salt-sea wave,
Nameless and dateless; sentinel or scout
Shot down in skirmish, or disastrous rout
Of battle, when the loud artillery drave
Its iron wedges through the ranks of brave
And doomed battalions, storming the redoubt.
Thou unknown hero sleeping by the sea
In thy forgotten grave! with secret shame
I feel my pulses beat, my forehead burn,
When I remember thou hast given for me
All that thou hadst, thy life, thy very name,
And I can give thee nothing in return.



SLEEP

Lull me to sleep, ye winds, whose fitful sound
Seems from some faint Aeolian harp-string caught;
Seal up the hundred wakeful eyes of thought
As Hermes with his lyre in sleep profound
The hundred wakeful eyes of Argus bound;
For I am weary, and am overwrought
With too much toil, with too much care distraught,
And with the iron crown of anguish crowned.
Lay thy soft hand upon my brow and cheek,
O peaceful Sleep! until from pain released
I breathe again uninterrupted breath!
Ah, with what subtile meaning did the Greek
Call thee the lesser mystery at the feast
Whereof the greater mystery is death!



THE OLD BRIDGE AT FLORENCE

Taddeo Gaddi built me. I am old,
Five centuries old. I plant my foot of stone
Upon the Arno, as St. Michael's own
Was planted on the dragon. Fold by fold
Beneath me as it struggles. I behold
Its glistening scales. Twice hath it overthrown
My kindred and companions. Me alone
It moveth not, but is by me controlled,
I can remember when the Medici
Were driven from Florence; longer still ago
The final wars of Ghibelline and Guelf.
Florence adorns me with her jewelry;
And when I think that Michael Angelo
Hath leaned on me, I glory in myself.



IL PONTE VECCHIO DI FIRENZE

Gaddi mi fece; il Ponte Vecchio sono;
Cinquecent' anni gia sull' Arno pianto
Il piede, come il suo Michele Santo
Pianto sul draco. Mentre ch' io ragiono
Lo vedo torcere con flebil suono
Le rilucenti scaglie. Ha questi affranto
Due volte i miei maggior. Me solo intanto
Neppure muove, ed io non l' abbandono.
Io mi rammento quando fur cacciati
I Medici; pur quando Ghibellino
E Guelfo fecer pace mi rammento.
Fiorenza i suoi giojelli m' ha prestati;
E quando penso ch' Agnolo il divino
Su me posava, insuperbir mi sento.



NATURE

As a fond mother, when the day is o'er,
Leads by the hand her little child to bed,
Half willing, half reluctant to be led,
And leave his broken playthings on the floor,
Still gazing at them through the open door,
Nor wholly reassured and comforted
By promises of others in their stead,
Which, though more splendid, may not please him more;
So Nature deals with us, and takes away
Our playthings one by one, and by the hand
Leads us to rest so gently, that we go
Scarce knowing if we wish to go or stay,
Being too full of sleep to understand
How far the unknown transcends the what we know.



IN THE CHURCHYARD AT TARRYTOWN

Here lies the gentle humorist, who died
In the bright Indian Summer of his fame!
A simple stone, with but a date and name,
Marks his secluded resting-place beside
The river that he loved and glorified.
Here in the autumn of his days he came,
But the dry leaves of life were all aflame
With tints that brightened and were multiplied.
How sweet a life was his; how sweet a death!
Living, to wing with mirth the weary hours,
Or with romantic tales the heart to cheer;
Dying, to leave a memory like the breath
Of summers full of sunshine and of showers,
A grief and gladness in the atmosphere.



ELIOT'S OAK

Thou ancient oak! whose myriad leaves are loud
With sounds of unintelligible speech,
Sounds as of surges on a shingly beach,
Or multitudinous murmurs of a crowd;
With some mysterious gift of tongues endowed,
Thou speakest a different dialect to each;
To me a language that no man can teach,
Of a lost race, long vanished like a cloud.
For underneath thy shade, in days remote,
Seated like Abraham at eventide
Beneath the oaks of Mamre, the unknown
Apostle of the Indians, Eliot, wrote
His Bible in a language that hath died
And is forgotten, save by thee alone.



THE DESCENT OF THE MUSES

Nine sisters, beautiful in form and face,
Came from their convent on the shining heights
Of Pierus, the mountain of delights,
To dwell among the people at its base.
Then seemed the world to change. All time and space,
Splendor of cloudless days and starry nights,
And men and manners, and all sounds and sights,
Had a new meaning, a diviner grace.
Proud were these sisters, but were not too proud
To teach in schools of little country towns
Science and song, and all the arts that please;
So that while housewives span, and farmers ploughed,
Their comely daughters, clad in homespun gowns,
Learned the sweet songs of the Pierides.



VENICE

White swan of cities, slumbering in thy nest
So wonderfully built among the reeds
Of the lagoon, that fences thee and feeds,
As sayeth thy old historian and thy guest!
White water-lily, cradled and caressed
By ocean streams, and from the silt and weeds
Lifting thy golden filaments and seeds,
Thy sun-illumined spires, thy crown and crest!
White phantom city, whose untrodden streets
Are rivers, and whose pavements are the shifting
Shadows of palaces and strips of sky;
I wait to see thee vanish like the fleets
Seen in mirage, or towers of cloud uplifting
In air their unsubstantial masonry.



THE POETS

O ye dead Poets, who are living still
Immortal in your verse, though life be fled,
And ye, O living Poets, who are dead
Though ye are living, if neglect can kill,
Tell me if in the darkest hours of ill,
With drops of anguish falling fast and red
From the sharp crown of thorns upon your head,
Ye were not glad your errand to fulfil?
Yes; for the gift and ministry of Song
Have something in them so divinely sweet,
It can assuage the bitterness of wrong;
Not in the clamor of the crowded street,
Not in the shouts and plaudits of the throng,
But in ourselves, are triumph and defeat.



PARKER CLEAVELAND

WRITTEN ON REVISITING BRUNSWICK IN THE SUMMER OF 1875

Among the many lives that I have known,
None I remember more serene and sweet,
More rounded in itself and more complete,
Than his, who lies beneath this funeral stone.
These pines, that murmur in low monotone,
These walks frequented by scholastic feet,
Were all his world; but in this calm retreat
For him the Teacher's chair became a throne.
With fond affection memory loves to dwell
On the old days, when his example made
A pastime of the toil of tongue and pen;
And now, amid the groves he loved so well
That naught could lure him from their grateful shade,
He sleeps, but wakes elsewhere, for God hath said, Amen!



THE HARVEST MOON

It is the Harvest Moon! On gilded vanes
And roofs of villages, on woodland crests
And their aerial neighborhoods of nests
Deserted, on the curtained window-panes
Of rooms where children sleep, on country lanes
And harvest-fields, its mystic splendor rests!
Gone are the birds that were our summer guests,
With the last sheaves return the laboring wains!
All things are symbols: the external shows
Of Nature have their image in the mind,
As flowers and fruits and falling of the leaves;
The song-birds leave us at the summer's close,
Only the empty nests are left behind,
And pipings of the quail among the sheaves.



TO THE RIVER RHONE

Thou Royal River, born of sun and shower
In chambers purple with the Alpine glow,
Wrapped in the spotless ermine of the snow
And rocked by tempests! --at the appointed hour
Forth, like a steel-clad horseman from a tower,
With clang and clink of harness dost thou go
To meet thy vassal torrents, that below
Rush to receive thee and obey thy power.
And now thou movest in triumphal march,
A king among the rivers! On thy way
A hundred towns await and welcome thee;
Bridges uplift for thee the stately arch,
Vineyards encircle thee with garlands gay,
And fleets attend thy progress to the sea!



THE THREE SILENCES OF MOLINOS

TO JOHN GREENLEAF WHITTIER

Three Silences there are: the first of speech,
The second of desire, the third of thought;
This is the lore a Spanish monk, distraught
With dreams and visions, was the first to teach.
These Silences, commingling each with each,
Made up the perfect Silence, that he sought
And prayed for, and wherein at times he caught
Mysterious sounds from realms beyond our reach.
O thou, whose daily life anticipates
The life to come, and in whose thought and word
The spiritual world preponderates.
Hermit of Amesbury! thou too hast heard
Voices and melodies from beyond the gates,
And speakest only when thy soul is stirred!



THE TWO RIVERS

I

Slowly the hour-hand of the clock moves round;
So slowly that no human eye hath power
To see it move! Slowly in shine or shower
The painted ship above it, homeward bound,
Sails, but seems motionless, as if aground;
Yet both arrive at last; and in his tower
The slumberous watchman wakes and strikes the hour,
A mellow, measured, melancholy sound.
Midnight! the outpost of advancing day!
The frontier town and citadel of night!
The watershed of Time, from which the streams
Of Yesterday and To-morrow take their way,
One to the land of promise and of light,
One to the land of darkness and of dreams!

II

O River of Yesterday, with current swift
Through chasms descending, and soon lost to sight,
I do not care to follow in their flight
The faded leaves, that on thy bosom drift!
O River of To-morrow, I uplift
Mine eyes, and thee I follow, as the night
Wanes into morning, and the dawning light
Broadens, and all the shadows fade and shift!
I follow, follow, where thy waters run
Through unfrequented, unfamiliar fields,
Fragrant with flowers and musical with song;
Still follow, follow; sure to meet the sun,
And confident, that what the future yields
Will be the right, unless myself be wrong.

III

Yet not in vain, O River of Yesterday,
Through chasms of darkness to the deep descending,
I heard thee sobbing in the rain, and blending
Thy voice with other voices far away.
I called to thee, and yet thou wouldst not stay,
But turbulent, and with thyself contending,
And torrent-like thy force on pebbles spending,
Thou wouldst not listen to a poet's lay.
Thoughts, like a loud and sudden rush of wings,
Regrets and recollections of things past,
With hints and prophecies of things to be,
And inspirations, which, could they be things,
And stay with us, and we could hold them fast,
Were our good angels,--these I owe to thee.

IV

And thou, O River of To-morrow, flowing
Between thy narrow adamantine walls,
But beautiful, and white with waterfalls,
And wreaths of mist, like hands the pathway showing;
I hear the trumpets of the morning blowing,
I hear thy mighty voice, that calls and calls,
And see, as Ossian saw in Morven's halls,
Mysterious phantoms, coming, beckoning, going!
It is the mystery of the unknown
That fascinates us; we are children still,
Wayward and wistful; with one hand we cling
To the familiar things we call our own,
And with the other, resolute of will,
Grope in the dark for what the day will bring.



BOSTON

St. Bototlph's Town! Hither across the plains
And fens of Lincolnshire, in garb austere,
There came a Saxon monk, and founded here
A Priory, pillaged by marauding Danes,
So that thereof no vestige now remains;
Only a name, that, spoken loud and clear,
And echoed in another hemisphere,
Survives the sculptured walls and painted panes.
St. Botolph's Town! Far over leagues of land
And leagues of sea looks forth its noble tower,
And far around the chiming bells are heard;
So may that sacred name forever stand
A landmark, and a symbol of the power,
That lies concentred in a single word.



ST. JOHN'S, CAMBRIDGE

I stand beneath the tree, whose branches shade
Thy western window, Chapel of St. John!
And hear its leaves repeat their benison
On him, whose hand if thy stones memorial laid;
Then I remember one of whom was said
In the world's darkest hour, "Behold thy son! "
And see him living still, and wandering on
And waiting for the advent long delayed.
Not only tongues of the apostles teach
Lessons of love and light, but these expanding
And sheltering boughs with all their leaves implore,
And say in language clear as human speech,
"The peace of God, that passeth understanding,
Be and abide with you forevermore! "



MOODS

Oh that a Song would sing itself to me
Out of the heart of Nature, or the heart
Of man, the child of Nature, not of Art,
Fresh as the morning, salt as the salt sea,
With just enough of bitterness to be
A medicine to this sluggish mood, and start
The life-blood in my veins, and so impart
Healing and help in this dull lethargy!
Alas! not always doth the breath of song
Breathe on us. It is like the wind that bloweth
At its own will, not ours, nor tarries long;
We hear the sound thereof, but no man knoweth
From whence it comes, so sudden and swift and strong,
Nor whither in its wayward course it goeth.



WOODSTOCK PARK

Here in a little rustic hermitage
Alfred the Saxon King, Alfred the Great,
Postponed the cares of king-craft to translate
The Consolations of the Roman sage.
Here Geoffrey Chaucer in his ripe old age
Wrote the unrivalled Tales, which soon or late
The venturous hand that strives to imitate
Vanquished must fall on the unfinished page.
Two kings were they, who ruled by right divine,
And both supreme; one in the realm of Truth,
One in the realm of Fiction and of Song.
What prince hereditary of their line,
Uprising in the strength and flush of youth,
Their glory shall inherit and prolong?



THE FOUR PRINCESSES AT WILNA

A PHOTOGRAPH

Sweet faces, that from pictured casements lean
As from a castle window, looking down
On some gay pageant passing through a town,
Yourselves the fairest figures in the scene;
With what a gentle grace, with what serene
Unconsciousness ye wear the triple crown
Of youth and beauty and the fair renown
Of a great name, that ne'er hath tarnished been!
From your soft eyes, so innocent and sweet,
Four spirits, sweet and innocent as they,
Gaze on the world below, the sky above;
Hark! there is some one singing in the street;
"Faith, Hope, and Love! these three," he seems to say;
"These three; and greatest of the three is Love. "



HOLIDAYS

The holiest of all holidays are those
Kept by ourselves in silence and apart;
The secret anniversaries of the heart,
When the full river of feeling overflows;--
The happy days unclouded to their close;
The sudden joys that out of darkness start
As flames from ashes; swift desires that dart
Like swallows singing down each wind that blows!
White as the gleam of a receding sail,
White as a cloud that floats and fades in air,
White as the whitest lily on a stream,
These tender memories are;--a Fairy Tale
Of some enchanted land we know not where,
But lovely as a landscape in a dream.



WAPENTAKE

TO ALFRED TENNYSON

Poet! I come to touch thy lance with mine;
Not as a knight, who on the listed field
Of tourney touched his adversary's shield
In token of defiance, but in sign
Of homage to the mastery, which is thine,
In English song; nor will I keep concealed,
And voiceless as a rivulet frost-congealed,
My admiration for thy verse divine.
Not of the howling dervishes of song,
Who craze the brain with their delirious dance,
Art thou, O sweet historian of the heart!
Therefore to thee the laurel-leaves belong,
To thee our love and our allegiance,
For thy allegiance to the poet's art.



THE BROKEN OAR
Once upon Iceland's solitary strand
A poet wandered with his book and pen,
Seeking some final word, some sweet Amen,
Wherewith to close the volume in his hand.
The billows rolled and plunged upon the sand,
The circling sea-gulls swept beyond his ken,
And from the parting cloud-rack now and then
Flashed the red sunset over sea and land.
Then by the billows at his feet was tossed
A broken oar; and carved thereon he read,
"Oft was I weary, when I toiled at thee";
And like a man, who findeth what was lost,
He wrote the words, then lifted up his head,
And flung his useless pen into the sea.



THE CROSS OF SNOW

In the long, sleepless watches of the night,
A gentle face--the face of one long dead--
Looks at me from the wall, where round its head
The night-lamp casts a halo of pale light.
Here in this room she died; and soul more white
Never through martyrdom of fire was led
To its repose; nor can in books be read
The legend of a life more benedight.
There is a mountain in the distant West
That, sun-defying, in its deep ravines
Displays a cross of snow upon its side.
Such is the cross I wear upon my breast
These eighteen years, through all the changing scenes
And seasons, changeless since the day she died.


**************

BIRDS OF PASSAGE

FLIGHT THE FOURTH

CHARLES SUMNER

Garlands upon his grave,
And flowers upon his hearse,
And to the tender heart and brave
The tribute of this verse.

His was the troubled life,
The conflict and the pain,
The grief, the bitterness of strife,
The honor without stain.

Like Winkelried, he took
Into his manly breast
The sheaf of hostile spears, and broke
A path for the oppressed.

Then from the fatal field
Upon a nation's heart
Borne like a warrior on his shield! --
So should the brave depart.

Death takes us by surprise,
And stays our hurrying feet;
The great design unfinished lies,
Our lives are incomplete.

But in the dark unknown
Perfect their circles seem,
Even as a bridge's arch of stone
Is rounded in the stream.

Alike are life and death,
When life in death survives,
And the uninterrupted breath
Inspires a thousand lives.
Were a star quenched on high,
For ages would its light,
Still travelling downward from the sky,
Shine on our mortal sight.

So when a great man dies,
For years beyond our ken,
The light he leaves behind him lies
Upon the paths of men.



TRAVELS BY THE FIRESIDE

The ceaseless rain is falling fast,
And yonder gilded vane,
Immovable for three days past,
Points to the misty main,

It drives me in upon myself
And to the fireside gleams,
To pleasant books that crowd my shelf,
And still more pleasant dreams,

I read whatever bards have sung
Of lands beyond the sea,
And the bright days when I was young
Come thronging back to me.

In fancy I can hear again
The Alpine torrent's roar,
The mule-bells on the hills of Spain,
The sea at Elsinore.

I see the convent's gleaming wall
Rise from its groves of pine,
And towers of old cathedrals tall,
And castles by the Rhine.

I journey on by park and spire,
Beneath centennial trees,
Through fields with poppies all on fire,
And gleams of distant seas.

I fear no more the dust and heat,
No more I feel fatigue,
While journeying with another's feet
O'er many a lengthening league.

Let others traverse sea and land,
And toil through various climes,
I turn the world round with my hand
Reading these poets' rhymes.

From them I learn whatever lies
Beneath each changing zone,
And see, when looking with their eyes,
Better than with mine own.



CADENABBIA

LAKE OF COMO

No sound of wheels or hoof-beat breaks
The silence of the summer day,
As by the loveliest of all lakes
I while the idle hours away.

I pace the leafy colonnade
Where level branches of the plane
Above me weave a roof of shade
Impervious to the sun and rain.

At times a sudden rush of air
Flutters the lazy leaves o'erhead,
And gleams of sunshine toss and flare
Like torches down the path I tread.

By Somariva's garden gate
I make the marble stairs my seat,
And hear the water, as I wait,
Lapping the steps beneath my feet.

The undulation sinks and swells
Along the stony parapets,
And far away the floating bells
Tinkle upon the fisher's nets.

Silent and slow, by tower and town
The freighted barges come and go,
Their pendent shadows gliding down
By town and tower submerged below.

The hills sweep upward from the shore,
With villas scattered one by one
Upon their wooded spurs, and lower
Bellaggio blazing in the sun.

And dimly seen, a tangled mass
Of walls and woods, of light and shade,
Stands beckoning up the Stelvio Pass
Varenna with its white cascade.

I ask myself, Is this a dream?
Will it all vanish into air?
Is there a land of such supreme
And perfect beauty anywhere?

Sweet vision! Do not fade away;
Linger until my heart shall take
Into itself the summer day,
And all the beauty of the lake.

Linger until upon my brain
Is stamped an image of the scene,
Then fade into the air again,
And be as if thou hadst not been.



MONTE CASSINO

TERRA DI LAVORO

Beautiful valley! through whose verdant meads
Unheard the Garigliano glides along;--
The Liris, nurse of rushes and of reeds,
The river taciturn of classic song.

The Land of Labor and the Land of Rest,
Where mediaeval towns are white on all
The hillsides, and where every mountain's crest
Is an Etrurian or a Roman wall.

There is Alagna, where Pope Boniface
Was dragged with contumely from his throne;
Sciarra Colonna, was that day's disgrace
The Pontiff's only, or in part thine own?

There is Ceprano, where a renegade
Was each Apulian, as great Dante saith,
When Manfred by his men-at-arms betrayed
Spurred on to Benevento and to death.

There is Aquinum, the old Volscian town,
Where Juvenal was born, whose lurid light
Still hovers o'er his birthplace like the crown
Of splendor seen o'er cities in the night.

Doubled the splendor is, that in its streets
The Angelic Doctor as a school-boy played,
And dreamed perhaps the dreams, that he repeats
In ponderous folios for scholastics made.

And there, uplifted, like a passing cloud
That pauses on a mountain summit high,
Monte Cassino's convent rears its proud
And venerable walls against the sky.

Well I remember how on foot I climbed
The stony pathway leading to its gate;
Above, the convent bells for vespers chimed,
Below, the darkening town grew desolate.

Well I remember the low arch and dark,
The court-yard with its well, the terrace wide,
From which, far down, the valley like a park
Veiled in the evening mists, was dim descried.

The day was dying, and with feeble hands
Caressed the mountain-tops; the vales between
Darkened; the river in the meadowlands
Sheathed itself as a sword, and was not seen.

The silence of the place was like a sleep,
So full of rest it seemed; each passing tread
Was a reverberation from the deep
Recesses of the ages that are dead.

For, more than thirteen centuries ago,
Benedict fleeing from the gates of Rome,
A youth disgusted with its vice and woe,
Sought in these mountain solitudes a home.

He founded here his Convent and his Rule
Of prayer and work, and counted work as prayer;
The pen became a clarion, and his school
Flamed like a beacon in the midnight air.

What though Boccaccio, in his reckless way,
Mocking the lazy brotherhood, deplores
The illuminated manuscripts, that lay
Torn and neglected on the dusty floors?

Boccaccio was a novelist, a child
Of fancy and of fiction at the best!
This the urbane librarian said, and smiled
Incredulous, as at some idle jest.

Upon such themes as these, with one young friar
I sat conversing late into the night,
Till in its cavernous chimney the woodfire
Had burnt its heart out like an anchorite.

And then translated, in my convent cell,
Myself yet not myself, in dreams I lay,
And, as a monk who hears the matin bell,
Started from sleep; already it was day.

From the high window I beheld the scene
On which Saint Benedict so oft had gazed,--
The mountains and the valley in the sheen
Of the bright sun,--and stood as one amazed.

Gray mists were rolling, rising, vanishing;
The woodlands glistened with their jewelled crowns;
Far off the mellow bells began to ring
For matins in the half-awakened towns.

The conflict of the Present and the Past,
The ideal and the actual in our life,
As on a field of battle held me fast,
Where this world and the next world were at strife.

For, as the valley from its sleep awoke,
I saw the iron horses of the steam
Toss to the morning air their plumes of smoke,
And woke, as one awaketh from a dream.



AMALFI

Sweet the memory is to me
Of a land beyond the sea,
Where the waves and mountains meet,
Where, amid her mulberry-trees
Sits Amalfi in the heat,
Bathing ever her white feet
In the tideless summer seas.

In the middle of the town,
From its fountains in the hills,
Tumbling through the narrow gorge,
The Canneto rushes down,
Turns the great wheels of the mills,
Lifts the hammers of the forge.

'T is a stairway, not a street,
That ascends the deep ravine,
Where the torrent leaps between
Rocky walls that almost meet.
Toiling up from stair to stair
Peasant girls their burdens bear;
Sunburnt daughters of the soil,
Stately figures tall and straight,
What inexorable fate
Dooms them to this life of toil?

Lord of vineyards and of lands,
Far above the convent stands.
On its terraced walk aloof
Leans a monk with folded hands,
Placid, satisfied, serene,
Looking down upon the scene
Over wall and red-tiled roof;
Wondering unto what good end
All this toil and traffic tend,
And why all men cannot be
Free from care and free from pain,
And the sordid love of gain,
And as indolent as he.

Where are now the freighted barks
From the marts of east and west?
Where the knights in iron sarks
Journeying to the Holy Land,
Glove of steel upon the hand,
Cross of crimson on the breast?
Where the pomp of camp and court?
Where the pilgrims with their prayers?
Where the merchants with their wares,
And their gallant brigantines
Sailing safely into port
Chased by corsair Algerines?

Vanished like a fleet of cloud,
Like a passing trumpet-blast,
Are those splendors of the past,
And the commerce and the crowd!
Fathoms deep beneath the seas
Lie the ancient wharves and quays,
Swallowed by the engulfing waves;
Silent streets and vacant halls,
Ruined roofs and towers and walls;
Hidden from all mortal eyes
Deep the sunken city lies:
Even cities have their graves!

This is an enchanted land!
Round the headlands far away
Sweeps the blue Salernian bay
With its sickle of white sand:
Further still and furthermost
On the dim discovered coast
Paestum with its ruins lies,
And its roses all in bloom
Seem to tinge the fatal skies
Of that lonely land of doom.

On his terrace, high in air,
Nothing doth the good monk care
For such worldly themes as these,
From the garden just below
Little puffs of perfume blow,
And a sound is in his ears
Of the murmur of the bees
In the shining chestnut-trees;
Nothing else he heeds or hears.
All the landscape seems to swoon
In the happy afternoon;
Slowly o'er his senses creep
The encroaching waves of sleep,
And he sinks as sank the town,
Unresisting, fathoms down,
Into caverns cool and deep!

Walled about with drifts of snow,
Hearing the fierce north-wind blow,
Seeing all the landscape white,
And the river cased in ice,
Comes this memory of delight,
Comes this vision unto me
Of a long-lost Paradise
In the land beyond the sea.



THE SERMON OF ST. FRANCIS

Up soared the lark into the air,
A shaft of song, a winged prayer,
As if a soul, released from pain,
Were flying back to heaven again.

St. Francis heard; it was to him
An emblem of the Seraphim;
The upward motion of the fire,
The light, the heat, the heart's desire.

Around Assisi's convent gate
The birds, God's poor who cannot wait,
From moor and mere and darksome wood
Came flocking for their dole of food.

"O brother birds," St. Francis said,
"Ye come to me and ask for bread,
But not with bread alone to-day
Shall ye be fed and sent away.

"Ye shall be fed, ye happy birds,
With manna of celestial words;
Not mine, though mine they seem to be,
Not mine, though they be spoken through me.

"O, doubly are ye bound to praise
The great Creator in your lays;
He giveth you your plumes of down,
Your crimson hoods, your cloaks of brown.

"He giveth you your wings to fly
And breathe a purer air on high,
And careth for you everywhere,
Who for yourselves so little care! "

With flutter of swift wings and songs
Together rose the feathered throngs,
And singing scattered far apart;
Deep peace was in St. Francis' heart.

He knew not if the brotherhood
His homily had understood;
He only knew that to one ear
The meaning of his words was clear.



BELISARIUS

I am poor and old and blind;
The sun burns me, and the wind
Blows through the city gate
And covers me with dust
From the wheels of the august
Justinian the Great.

It was for him I chased
The Persians o'er wild and waste,
As General of the East;
Night after night I lay
In their camps of yesterday;
Their forage was my feast.

For him, with sails of red,
And torches at mast-head,
Piloting the great fleet,
I swept the Afric coasts
And scattered the Vandal hosts,
Like dust in a windy street.

For him I won again
The Ausonian realm and reign,
Rome and Parthenope;
And all the land was mine
From the summits of Apennine
To the shores of either sea.

For him, in my feeble age,
I dared the battle's rage,
To save Byzantium's state,
When the tents of Zabergan,
Like snow-drifts overran
The road to the Golden Gate.

And for this, for this, behold!
Infirm and blind and old,
With gray, uncovered head,
Beneath the very arch
Of my triumphal march,
I stand and beg my bread!

Methinks I still can hear,
Sounding distinct and near,
The Vandal monarch's cry,
As, captive and disgraced,
With majestic step he paced,--
"All, all is Vanity! "

Ah! vainest of all things
Is the gratitude of kings;
The plaudits of the crowd
Are but the clatter of feet
At midnight in the street,
Hollow and restless and loud.

But the bitterest disgrace
Is to see forever the face
Of the Monk of Ephesus!
The unconquerable will
This, too, can bear;--I still
Am Belisarius!



SONGO RIVER

Nowhere such a devious stream,
Save in fancy or in dream,
Winding slow through bush and brake
Links together lake and lake.

Walled with woods or sandy shelf,
Ever doubling on itself
Flows the stream, so still and slow
That it hardly seems to flow.

Never errant knight of old,
Lost in woodland or on wold,
Such a winding path pursued
Through the sylvan solitude.

Never school-boy in his quest
After hazel-nut or nest,
Through the forest in and out
Wandered loitering thus about.

In the mirror of its tide
Tangled thickets on each side
Hang inverted, and between
Floating cloud or sky serene.

Swift or swallow on the wing
Seems the only living thing,
Or the loon, that laughs and flies
Down to those reflected skies.

Silent stream! thy Indian name
Unfamiliar is to fame;
For thou hidest here alone,
Well content to be unknown.

But thy tranquil waters teach
Wisdom deep as human speech,
Moving without haste or noise
In unbroken equipoise.

Though thou turnest no busy mill,
And art ever calm and still,
Even thy silence seems to say
To the traveller on his way:--

"Traveller, hurrying from the heat
Of the city, stay thy feet!
Rest awhile, nor longer waste
Life with inconsiderate haste!

"Be not like a stream that brawls
Loud with shallow waterfalls,
But in quiet self-control
Link together soul and soul"


************

KERAMOS

Turn, turn, my wheel? Turn round and round
Without a pause, without a sound:
So spins the flying world away!
This clay, well mixed with marl and sand,
Follows the motion of my hand;
Far some must follow, and some command,
Though all are made of clay!

Thus sang the Potter at his task
Beneath the blossoming hawthorn-tree,
While o'er his features, like a mask,
The quilted sunshine and leaf-shade
Moved, as the boughs above him swayed,
And clothed him, till he seemed to be
A figure woven in tapestry,
So sumptuously was he arrayed
In that magnificent attire
Of sable tissue flaked with fire.
Like a magician he appeared,
A conjurer without book or beard;
And while he plied his magic art--
For it was magical to me--
I stood in silence and apart,
And wondered more and more to see
That shapeless, lifeless mass of clay
Rise up to meet the master's hand,
And now contract and now expand,
And even his slightest touch obey;
While ever in a thoughtful mood
He sang his ditty, and at times
Whistled a tune between the rhymes,
As a melodious interlude.

Turn, turn, my wheel! All things must change
To something new, to something strange;
Nothing that is can pause or stay;
The moon will wax, the moon will wane,
The mist and cloud will turn to rain,
The rain to mist and cloud again,
To-morrow be to-day.

Thus still the Potter sang, and still,
By some unconscious act of will,
The melody and even the words
Were intermingled with my thought
As bits of colored thread are caught
And woven into nests of birds.
And thus to regions far remote,
Beyond the ocean's vast expanse,
This wizard in the motley coat
Transported me on wings of song,
And by the northern shores of France
Bore me with restless speed along.
What land is this that seems to be
A mingling of the land and sea?
This land of sluices, dikes, and dunes?
This water-net, that tessellates
The landscape? this unending maze
Of gardens, through whose latticed gates
The imprisoned pinks and tulips gaze;
Where in long summer afternoons
The sunshine, softened by the haze,
Comes streaming down as through a screen;
Where over fields and pastures green
The painted ships float high in air,
And over all and everywhere
The sails of windmills sink and soar
Like wings of sea-gulls on the shore?

What land is this? Yon pretty town
Is Delft, with all its wares displayed;
The pride, the market-place, the crown
And centre of the Potter's trade.
See! every house and room is bright
With glimmers of reflected light
From plates that on the dresser shine;
Flagons to foam with Flemish beer,
Or sparkle with the Rhenish wine,
And pilgrim flasks with fleurs-de-lis,
And ships upon a rolling sea,
And tankards pewter topped, and queer
With comic mask and musketeer!
Each hospitable chimney smiles
A welcome from its painted tiles;
The parlor walls, the chamber floors,
The stairways and the corridors,
The borders of the garden walks,
Are beautiful with fadeless flowers,
That never droop in winds or showers,
And never wither on their stalks.

Turn, turn, my wheel! All life is brief;
What now is bud wilt soon be leaf,
What now is leaf will soon decay;
The wind blows east, the wind blows west;
The blue eyes in the robin's nest
Will soon have wings and beak and breast,
And flutter and fly away.

Now southward through the air I glide,
The song my only pursuivant,
And see across the landscape wide
The blue Charente, upon whose tide
The belfries and the spires of Saintes
Ripple and rock from side to side,
As, when an earthquake rends its walls,
A crumbling city reels and falls.

Who is it in the suburbs here,
This Potter, working with such cheer,
In this mean house, this mean attire,
His manly features bronzed with fire,
Whose figulines and rustic wares
Scarce find him bread from day to day?
This madman, as the people say,
Who breaks his tables and his chairs
To feed his furnace fires, nor cares
Who goes unfed if they are fed,
Nor who may live if they are dead?
This alchemist with hollow cheeks
And sunken, searching eyes, who seeks,
By mingled earths and ores combined
With potency of fire, to find
Some new enamel, hard and bright,
His dream, his passion, his delight?

O Palissy! within thy breast
Burned the hot fever of unrest;
Thine was the prophets vision, thine
The exultation, the divine
Insanity of noble minds,
That never falters nor abates,
But labors and endures and waits,
Till all that it foresees it finds,
Or what it cannot find creates!

Turn, turn, my wheel! This earthen jar
A touch can make, a touch can mar;
And shall it to the Potter say,
What makest thou. Thou hast no hand?
As men who think to understand
A world by their Creator planned,
Who wiser is than they.

Still guided by the dreamy song,
As in a trance I float along
Above the Pyrenean chain,
Above the fields and farms of Spain,
Above the bright Majorcan isle,
That lends its softened name to art,--
A spot, a dot upon the chart,
Whose little towns, red-roofed with tile,
Are ruby-lustred with the light
Of blazing furnaces by night,
And crowned by day with wreaths of smoke.
Then eastward, wafted in my flight
On my enchanter's magic cloak,
I sail across the Tyrrhene Sea
Into the land of Italy,
And o'er the windy Apennines,
Mantled and musical with pines.

The palaces, the princely halls,
The doors of houses and the walls
Of churches and of belfry towers,
Cloister and castle, street and mart,
Are garlanded and gay with flowers
That blossom in the fields of art.
Here Gubbio's workshops gleam and glow
With brilliant, iridescent dyes,
The dazzling whiteness of the snow,
The cobalt blue of summer skies;
And vase and scutcheon, cup and plate,
In perfect finish emulate
Faenza, Florence, Pesaro.

Forth from Urbino's gate there came
A youth with the angelic name
Of Raphael, in form and face
Himself angelic, and divine
In arts of color and design.
From him Francesco Xanto caught
Something of his transcendent grace,
And into fictile fabrics wrought
Suggestions of the master's thought.
Nor less Maestro Giorgio shines
With madre-perl and golden lines
Of arabesques, and interweaves
His birds and fruits and flowers and leaves
About some landscape, shaded brown,
With olive tints on rock and town.
Behold this cup within whose bowl,
Upon a ground of deepest blue
With yellow-lustred stars o'erlaid,
Colors of every tint and hue
Mingle in one harmonious whole!
With large blue eyes and steadfast gaze,
Her yellow hair in net and braid,
Necklace and ear-rings all ablaze
With golden lustre o'er the glaze,
A woman's portrait; on the scroll,
Cana, the Beautiful! A name
Forgotten save for such brief fame
As this memorial can bestow,--
A gift some lover long ago
Gave with his heart to this fair dame.

A nobler title to renown
Is thine, O pleasant Tuscan town,
Seated beside the Arno's stream;
For Lucca della Robbia there
Created forms so wondrous fair,
They made thy sovereignty supreme.
These choristers with lips of stone,
Whose music is not heard, but seen,
Still chant, as from their organ-screen,
Their Maker's praise; nor these alone,
But the more fragile forms of clay,
Hardly less beautiful than they,
These saints and angels that adorn
The walls of hospitals, and tell
The story of good deeds so well
That poverty seems less forlorn,
And life more like a holiday.

Here in this old neglected church,
That long eludes the traveller's search,
Lies the dead bishop on his tomb;
Earth upon earth he slumbering lies,
Life-like and death-like in the gloom;
Garlands of fruit and flowers in bloom
And foliage deck his resting place;
A shadow in the sightless eyes,
A pallor on the patient face,
Made perfect by the furnace heat;
All earthly passions and desires
Burnt out by purgatorial fires;
Seeming to say, "Our years are fleet,
And to the weary death is sweet. "

But the most wonderful of all
The ornaments on tomb or wall
That grace the fair Ausonian shores
Are those the faithful earth restores,
Near some Apulian town concealed,
In vineyard or in harvest field,--
Vases and urns and bas-reliefs,
Memorials of forgotten griefs,
Or records of heroic deeds
Of demigods and mighty chiefs:
Figures that almost move and speak,
And, buried amid mould and weeds,
Still in their attitudes attest
The presence of the graceful Greek,--
Achilles in his armor dressed,
Alcides with the Cretan bull,
And Aphrodite with her boy,
Or lovely Helena of Troy,
Still living and still beautiful.

Turn, turn, my wheel! 'T is nature's plan
The child should grow into the man,
The man grow wrinkled, old, and gray;
In youth the heart exults and sings,
The pulses leap, the feet have wings;
In age the cricket chirps, and brings
The harvest home of day.

And now the winds that southward blow,
And cool the hot Sicilian isle,
Bear me away. I see below
The long line of the Libyan Nile,
Flooding and feeding the parched land
With annual ebb and overflow,
A fallen palm whose branches lie
Beneath the Abyssinian sky,
Whose roots are in Egyptian sands,
On either bank huge water-wheels,
Belted with jars and dripping weeds,
Send forth their melancholy moans,
As if, in their gray mantles hid,
Dead anchorites of the Thebaid
Knelt on the shore and told their beads,
Beating their breasts with loud appeals
And penitential tears and groans.

This city, walled and thickly set
With glittering mosque and minaret,
Is Cairo, in whose gay bazaars
The dreaming traveller first inhales
The perfume of Arabian gales,
And sees the fabulous earthen jars,
Huge as were those wherein the maid
Morgiana found the Forty Thieves
Concealed in midnight ambuscade;
And seeing, more than half believes
The fascinating tales that run
Through all the Thousand Nights and One,
Told by the fair Scheherezade.

More strange and wonderful than these
Are the Egyptian deities,
Ammonn, and Emeth, and the grand
Osiris, holding in his hand
The lotus; Isis, crowned and veiled;
The sacred Ibis, and the Sphinx;
Bracelets with blue enamelled links;
The Scarabee in emerald mailed,
Or spreading wide his funeral wings;
Lamps that perchance their night-watch kept
O'er Cleopatra while she slept,--
All plundered from the tombs of kings.

Turn, turn, my wheel! The human race,
Of every tongue, of every place,
Caucasian, Coptic, or Malay,
All that inhabit this great earth,
Whatever be their rank or worth,
Are kindred and allied by birth,
And made of the same clay.

O'er desert sands, o'er gulf and bay,
O'er Ganges and o'er Himalay,
Bird-like I fly, and flying sing,
To flowery kingdoms of Cathay,
And bird-like poise on balanced wing
Above the town of King-te-tching,
A burning town, or seeming so,--
Three thousand furnaces that glow
Incessantly, and fill the air
With smoke uprising, gyre on gyre
And painted by the lurid glare,
Of jets and flashes of red fire.

As leaves that in the autumn fall,
Spotted and veined with various hues,
Are swept along the avenues,
And lie in heaps by hedge and wall,
So from this grove of chimneys whirled
To all the markets of the world,
These porcelain leaves are wafted on,--
Light yellow leaves with spots and stains
Of violet and of crimson dye,
Or tender azure of a sky
Just washed by gentle April rains,
And beautiful with celadon.

Nor less the coarser household wares,--
The willow pattern, that we knew
In childhood, with its bridge of blue
Leading to unknown thoroughfares;
The solitary man who stares
At the white river flowing through
Its arches, the fantastic trees
And wild perspective of the view;
And intermingled among these
The tiles that in our nurseries
Filled us with wonder and delight,
Or haunted us in dreams at night.

And yonder by Nankin, behold!
The Tower of Porcelain, strange and old,
Uplifting to the astonished skies
Its ninefold painted balconies,
With balustrades of twining leaves,
And roofs of tile, beneath whose eaves
Hang porcelain bells that all the time
Ring with a soft, melodious chime;
While the whole fabric is ablaze
With varied tints, all fused in one
Great mass of color, like a maze
Of flowers illumined by the sun.

Turn, turn, my wheel! What is begun
At daybreak must at dark be done,
To-morrow will be another day;
To-morrow the hot furnace flame
Will search the heart and try the frame,
And stamp with honor or with shame
These vessels made of clay.

Cradled and rocked in Eastern seas,
The islands of the Japanese
Beneath me lie; o'er lake and plain
The stork, the heron, and the crane
Through the clear realms of azure drift,
And on the hillside I can see
The villages of Imari,
Whose thronged and flaming workshops lift
Their twisted columns of smoke on high,
Cloud cloisters that in ruins lie,
With sunshine streaming through each rift,
And broken arches of blue sky.

All the bright flowers that fill the land,
Ripple of waves on rock or sand,
The snow on Fusiyama's cone,
The midnight heaven so thickly sown
With constellations of bright stars,
The leaves that rustle, the reeds that make
A whisper by each stream and lake,
The saffron dawn, the sunset red,
Are painted on these lovely jars;
Again the skylark sings, again
The stork, the heron, and the crane
Float through the azure overhead,
The counterfeit and counterpart
Of Nature reproduced in Art.

Art is the child of Nature; yes,
Her darling child, in whom we trace
The features of the mother's face,
Her aspect and her attitude,
All her majestic loveliness
Chastened and softened and subdued
Into a more attractive grace,
And with a human sense imbued.
He is the greatest artist, then,
Whether of pencil or of pen,
Who follows Nature. Never man,
As artist or as artisan,
Pursuing his own fantasies,
Can touch the human heart, or please,
Or satisfy our nobler needs,
As he who sets his willing feet
In Nature's footprints, light and fleet,
And follows fearless where she leads.

Thus mused I on that morn in May,
Wrapped in my visions like the Seer,
Whose eyes behold not what is near,
But only what is far away,
When, suddenly sounding peal on peal,
The church-bell from the neighboring town
Proclaimed the welcome hour of noon.
The Potter heard, and stopped his wheel,
His apron on the grass threw down,
Whistled his quiet little tune,
Not overloud nor overlong,
And ended thus his simple song:

Stop, stop, my wheel! Too soon, too soon
The noon will be the afternoon,
Too soon to-day be yesterday;
Behind us in our path we cast
The broken potsherds of the past,
And all are ground to dust a last,
And trodden into clay!

*************


BIRDS OF PASSAGE

FLIGHT THE FIFTH

THE HERONS OF ELMWOOD

Warm and still is the summer night,
As here by the river's brink I wander;
White overhead are the stars, and white
The glimmering lamps on the hillside yonder.

Silent are all the sounds of day;
Nothing I hear but the chirp of crickets,
And the cry of the herons winging their way
O'er the poet's house in the Elmwood thickets.

Call to him, herons, as slowly you pass
To your roosts in the haunts of the exiled thrushes,
Sing him the song of the green morass;
And the tides that water the reeds and rushes.

Sing him the mystical Song of the Hern,
And the secret that baffles our utmost seeking;
For only a sound of lament we discern,
And cannot interpret the words you are speaking.

Sing of the air, and the wild delight
Of wings that uplift and winds that uphold you,
The joy of freedom, the rapture of flight
Through the drift of the floating mists that infold you.

Of the landscape lying so far below,
With its towns and rivers and desert places;
And the splendor of light above, and the glow
Of the limitless, blue, ethereal spaces.

Ask him if songs of the Troubadours,
Or of Minnesingers in old black-letter,
Sound in his ears more sweet than yours,
And if yours are not sweeter and wilder and better.

Sing to him, say to him, here at his gate,
Where the boughs of the stately elms are meeting,
Some one hath lingered to meditate,
And send him unseen this friendly greeting;

That many another hath done the same,
Though not by a sound was the silence broken;
The surest pledge of a deathless name
Is the silent homage of thoughts unspoken.



A DUTCH PICTURE

Simon Danz has come home again,
From cruising about with his buccaneers;
He has singed the beard of the King of Spain,
And carried away the Dean of Jaen
And sold him in Algiers.

In his house by the Maese, with its roof of tiles,
And weathercocks flying aloft in air,
There are silver tankards of antique styles,
Plunder of convent and castle, and piles
Of carpets rich and rare.

In his tulip-garden there by the town,
Overlooking the sluggish stream,
With his Moorish cap and dressing-gown,
The old sea-captain, hale and brown,
Walks in a waking dream.

A smile in his gray mustachio lurks
Whenever he thinks of the King of Spain,
And the listed tulips look like Turks,
And the silent gardener as he works
Is changed to the Dean of Jaen.

The windmills on the outermost
Verge of the landscape in the haze,
To him are towers on the Spanish coast,
With whiskered sentinels at their post,
Though this is the river Maese.

But when the winter rains begin,
He sits and smokes by the blazing brands,
And old seafaring men come in,
Goat-bearded, gray, and with double chin,
And rings upon their hands.

They sit there in the shadow and shine
Of the flickering fire of the winter night;
Figures in color and design
Like those by Rembrandt of the Rhine,
Half darkness and half light.

And they talk of ventures lost or won,
And their talk is ever and ever the same,
While they drink the red wine of Tarragon,
From the cellars of some Spanish Don,
Or convent set on flame.

Restless at times with heavy strides
He paces his parlor to and fro;
He is like a ship that at anchor rides,
And swings with the rising and falling tides,
And tugs at her anchor-tow.

Voices mysterious far and near,
Sound of the wind and sound of the sea,
Are calling and whispering in his ear,
"Simon Danz! Why stayest thou here?
Come forth and follow me! "

So he thinks he shall take to the sea again
For one more cruise with his buccaneers,
To singe the beard of the King of Spain,
And capture another Dean of Jaen
And sell him in Algiers.



CASTLES IN SPAIN

How much of my young heart, O Spain,
Went out to thee in days of yore!
What dreams romantic filled my brain,
And summoned back to life again
The Paladins of Charlemagne
The Cid Campeador!

And shapes more shadowy than these,
In the dim twilight half revealed;
Phoenician galleys on the seas,
The Roman camps like hives of bees,
The Goth uplifting from his knees
Pelayo on his shield.

It was these memories perchance,
From annals of remotest eld,
That lent the colors of romance
To every trivial circumstance,
And changed the form and countenance
Of all that I beheld.

Old towns, whose history lies hid
In monkish chronicle or rhyme,
Burgos, the birthplace of the Cid,
Zamora and Valladolid,
Toledo, built and walled amid
The wars of Wamba's time;

The long, straight line of the high-way,
The distant town that seems so near,
The peasants in the fields, that stay
Their toil to cross themselves and pray,
When from the belfry at midday
The Angelus they hear;

White crosses in the mountain pass,
Mules gay with tassels, the loud din
Of muleteers, the tethered ass
That crops the dusty wayside grass,
And cavaliers with spurs of brass
Alighting at the inn;

White hamlets hidden in fields of wheat,
White cities slumbering by the sea,
White sunshine flooding square and street,
Dark mountain-ranges, at whose feet
The river-beds are dry with heat,--
All was a dream to me.

Yet something sombre and severe
O'er the enchanted landscape reigned;
A terror in the atmosphere
As if King Philip listened near,
Or Torquemada, the austere,
His ghostly sway maintained.

The softer Andalusian skies
Dispelled the sadness and the gloom;
There Cadiz by the seaside lies,
And Seville's orange-orchards rise,
Making the land a paradise
Of beauty and of bloom.

There Cordova is hidden among
The palm, the olive, and the vine;
Gem of the South, by poets sung,
And in whose Mosque Ahmanzor hung
As lamps the bells that once had rung
At Compostella's shrine.

But over all the rest supreme,
The star of stars, the cynosure,
The artist's and the poet's theme,
The young man's vision, the old man's dream,--
Granada by its winding stream,
The city of the Moor!

And there the Alhambra still recalls
Aladdin's palace of delight;
Allah il Allah! through its halls
Whispers the fountain as it falls,
The Darro darts beneath its walls,
The hills with snow are white.

Ah yes, the hills are white with snow,
And cold with blasts that bite and freeze;
But in the happy vale below
The orange and pomegranate grow,
And wafts of air toss to and fro
The blossoming almond-trees.

The Vega cleft by the Xenil,
The fascination and allure
Of the sweet landscape chains the will;
The traveller lingers on the hill,
His parted lips are breathing still
The last sigh of the Moor.