No More Learning

Look 'round thee now on Samarcand! --
Is not she queen of Earth? her pride
Above all cities? in her hand
Their destinies? in all beside
Of glory which the world hath known
Stands she not nobly and alone?
Falling--her veriest stepping-stone
Shall form the pedestal of a throne--
And who her sovereign? Timour--he
Whom the astonished people saw
Striding o'er empires haughtily
A diadem'd outlaw--

O! human love! thou spirit given,
On Earth, of all we hope in Heaven!
Which fall'st into the soul like rain
Upon the Siroc wither'd plain,
And failing in thy power to bless
But leav'st the heart a wilderness!
Idea! which bindest life around
With music of so strange a sound
And beauty of so wild a birth--
Farewell! for I have won the Earth!

When Hope, the eagle that tower'd, could see
No cliff beyond him in the sky,
His pinions were bent droopingly--
And homeward turn'd his soften'd eye.
'Twas sunset: when the sun will part
There comes a sullenness of heart
To him who still would look upon
The glory of the summer sun.
That soul will hate the ev'ning mist,
So often lovely, and will list
To the sound of the coming darkness (known
To those whose spirits hearken) as one
Who, in a dream of night, _would_ fly
But _cannot_ from a danger nigh.

What tho' the moon--the white moon
Shed all the splendour of her noon,
Her smile is chilly--and her beam,
In that time of dreariness, will seem
(So like you gather in your breath)
A portrait taken after death.
And boyhood is a summer sun
Whose waning is the dreariest one--
For all we live to know is known,
And all we seek to keep hath flown--
Let life, then, as the day-flower, fall
With the noon-day beauty--which is all.

I reach'd my home--my home no more--
For all had flown who made it so--
I pass'd from out its mossy door,
And, tho' my tread was soft and low,
A voice came from the threshold stone
Of one whom I had earlier known--
O! I defy thee, Hell, to show
On beds of fire that burn below,
A humbler heart--a deeper wo--

Father, I firmly do believe--
I _know_--for Death, who comes for me
From regions of the blest afar,
Where there is nothing to deceive,
Hath left his iron gate ajar,
And rays of truth you cannot see
Are flashing thro' Eternity--
I do believe that Eblis hath
A snare in ev'ry human path--
Else how, when in the holy grove
I wandered of the idol, Love,
Who daily scents his snowy wings
With incense of burnt offerings
From the most unpolluted things,
Whose pleasant bowers are yet so riven
Above with trelliced rays from Heaven
No mote may shun--no tiniest fly
The light'ning of his eagle eye--
How was it that Ambition crept,
Unseen, amid the revels there,
Till growing bold, he laughed and leapt
In the tangles of Love's very hair?

1829.




TO HELEN

HELEN, thy beauty is to me
Like those Nicean barks of yore,
That gently, o'er a perfumed sea,
The weary way-worn wanderer bore
To his own native shore.

On desperate seas long wont to roam,
Thy hyacinth hair, thy classic face,
Thy Naiad airs have brought me home
To the glory that was Greece,
And the grandeur that was Rome.

Lo! in yon brilliant window-niche
How statue-like I me thee stand,
The agate lamp within thy hand!
Ah, Psyche, from the regions which
Are Holy-land!

1831.




THE VALLEY OF UNREST

_Once_ it smiled a silent dell
Where the people did not dwell;
They had gone unto the wars,
Trusting to the mild-eyed stars,
Nightly, from their azure towers,
To keep watch above the flowers,
In the midst of which all day
The red sun-light lazily lay.
_Now_ each visiter shall confess
The sad valley's restlessness.
Nothing there is motionless--
Nothing save the airs that brood
Over the magic solitude.
Ah, by no wind are stirred those trees
That palpitate like the chill seas
Around the misty Hebrides!
Ah, by no wind those clouds are driven
That rustle through the unquiet Heaven
Uneasily, from morn till even,
Over the violets there that lie
In myriad types of the human eye--
Over the lilies there that wave
And weep above a nameless grave!
They wave:--from out their fragrant tops
Eternal dews come down in drops.
They weep:--from off their delicate stems
Perennial tears descend in gems.

1831.




ISRAFEL*

IN Heaven a spirit doth dwell
"Whose heart-strings are a lute;"
None sing so wildly well
As the angel Israfel,
And the giddy stars (so legends tell)
Ceasing their hymns, attend the spell
Of his voice, all mute.

Tottering above
In her highest noon
The enamoured moon
Blushes with love,
While, to listen, the red levin
(With the rapid Pleiads, even,
Which were seven,)
Pauses in Heaven

And they say (the starry choir
And all the listening things)
That Israfeli's fire
Is owing to that lyre
By which he sits and sings--
The trembling living wire
Of those unusual strings.

* And the angel Israfel, whose heart-strings are a lut, and
who has the sweetest voice of all God's creatures. --KORAN.

But the skies that angel trod,
Where deep thoughts are a duty--
Where Love's a grown up God--
Where the Houri glances are
Imbued with all the beauty
Which we worship in a star.

Therefore, thou art not wrong,
Israfeli, who despisest
An unimpassion'd song:
To thee the laurels belong
Best bard, because the wisest!
Merrily live, and long!

The extacies above
With thy burning measures suit--
Thy grief, thy joy, thy hate, thy love,
With the fervor of thy lute--
Well may the stars be mute!

Yes, Heaven is thine; but this
Is a world of sweets and sours;
Our flowers are merely--flowers,
And the shadow of thy perfect bliss
Is the sunshine of ours.

If I could dwell
Where Israfel
Hath dwelt, and he where I,
He might not sing so wildly well
A mortal melody,
While a bolder note than this might swell
From my lyre within the sky.

1836.




TO ----

1

The bowers whereat, in dreams, I see
The wantonest singing birds
Are lips--and all thy melody
Of lip-begotten words--

2

Thine eyes, in Heaven of heart enshrin'd
Then desolately fall,
O! God! on my funereal mind
Like starlight on a pall--

3

Thy heart--_thy_ heart! --I wake and sigh,
And sleep to dream till day
Of truth that gold can never buy--
Of the trifles that it may.

1829.




TO ----

I HEED not that my earthly lot

Hath-little of Earth in it--

That years of love have been forgot

In the hatred of a minute:--

I mourn not that the desolate

Are happier, sweet, than I,

But that you sorrow for my fate

Who am a passer-by.

1829.




TO THE RIVER----

FAIR river! in thy bright, clear flow
Of crystal, wandering water,
Thou art an emblem of the glow
Of beauty--the unhidden heart--
The playful maziness of art
In old Alberto's daughter;

But when within thy wave she looks--
Which glistens then, and trembles--
Why, then, the prettiest of brooks
Her worshipper resembles;
For in my heart, as in thy stream,
Her image deeply lies--
His heart which trembles at the beam
Of her soul-searching eyes.

1829.




SONG

I SAW thee on thy bridal day--
When a burning blush came o'er thee,
Though happiness around thee lay,
The world all love before thee:

And in thine eye a kindling light
(Whatever it might be)
Was all on Earth my aching sight
Of Loveliness could see.

That blush, perhaps, was maiden shame--
As such it well may pass--
Though its glow hath raised a fiercer flame
In the breast of him, alas!

Who saw thee on that bridal day,
When that deep blush _would_ come o'er thee,
Though happiness around thee lay,
The world all love before thee.

1827.




SPIRITS OF THE DEAD

1

Thy soul shall find itself alone
'Mid dark thoughts of the grey tomb-stone--
Not one, of all the crowd, to pry
Into thine hour of secrecy:

2

Be silent in that solitude
Which is not loneliness--for then
The spirits of the dead who stood
In life before thee are again
In death around thee--and their will
Shall then overshadow thee: be still.

3

For the night--tho' clear--shall frown--
And the stars shall look not down,
From their high thrones in the Heaven,
With light like Hope to mortals given--
But their red orbs, without beam,
To thy weariness shall seem
As a burning and a fever
Which would cling to thee for ever:

4

Now are thoughts thou shalt not banish--
Now are visions ne'er to vanish--
From thy spirit shall they pass
No more--like dew-drop from the grass:

5

The breeze--the breath of God--is still--
And the mist upon the hill
Shadowy--shadowy--yet unbroken,
Is a symbol and a token--
How it hangs upon the trees,
A mystery of mysteries! --

1827.




A DREAM

In visions of the dark night
I have dreamed of joy departed--
But a waking dreams of life and light
Hath left me broken-hearted.

Ah! what is not a dream by day
To him whose eyes are cast
On things around him with a ray
Turned back upon the past?

That holy dream--that holy dream,
While all the world were chiding,
Hath cheered me as a lovely beam
A lonely spirit guiding.

What though that light, thro' storm and night,
So trembled from afar-
What could there be more purely bright
In Truths day-star?

1827.




ROMANCE

ROMANCE, who loves to nod and sing,
With drowsy head and folded wing,
Among the green leaves as they shake
Far down within some shadowy lake,
To me a painted paroquet
Hath been--a most familiar bird--
Taught me my alphabet to say--
To lisp my very earliest word
While in the wild wood I did lie,
A child--with a most knowing eye.

Of late, eternal Condor years
So shake the very Heaven on high
With tumult as they thunder by,
I have no time for idle cares
Through gazing on the unquiet sky.
And when an hour with calmer wings
Its down upon thy spirit flings--
That little time with lyre and rhyme
To while away--forbidden things!
My heart would feel to be a crime
Unless it trembled with the strings.

1829.




FAIRY-LAND

DIM vales--and shadowy floods--
And cloudy-looking woods,
Whose forms we can't discover
For the tears that drip all over
Huge moons there wax and wane--
Again--again--again--
Every moment of the night--
Forever changing places--
And they put out the star-light
With the breath from their pale faces.
About twelve by the moon-dial
One, more filmy than the rest
(A kind which, upon trial,
They have found to be the best)
Comes down--still down--and down
With its centre on the crown
Of a mountain's eminence,
While its wide circumference
In easy drapery falls
Over hamlets, over halls,
Wherever they may be--
O'er the strange woods--o'er the sea--
Over spirits on the wing--
Over every drowsy thing--
And buries them up quite
In a labyrinth of light--
And then, how deep! --O, deep!
Is the passion of their sleep.
In the morning they arise,
And their moony covering
Is soaring in the skies,
With the tempests as they toss,
Like--almost any thing--
Or a yellow Albatross.
They use that moon no more
For the same end as before--
Videlicet a tent--
Which I think extravagant:
Its atomies, however,
Into a shower dissever,
Of which those butterflies,
Of Earth, who seek the skies,
And so come down again
(Never-contented things! )
Have brought a specimen
Upon their quivering wings.

1831.




THE LAKE ---- TO----

IN spring of youth it was my lot
To haunt of the wide earth a spot
The which I could not love the less--
So lovely was the loneliness
Of a wild lake, with black rock bound,
And the tall pines that tower'd around.

But when the Night had thrown her pall
Upon that spot, as upon all,
And the mystic wind went by
Murmuring in melody--
Then--ah then I would awake
To the terror of the lone lake.

Yet that terror was not fright,
But a tremulous delight--
A feeling not the jewelled mine
Could teach or bribe me to define--
Nor Love--although the Love were thine.

Death was in that poisonous wave,
And in its gulf a fitting grave
For him who thence could solace bring
To his lone imagining--
Whose solitary soul could make
An Eden of that dim lake.

1827.




EVENING STAR

'TWAS noontide of summer,
And midtime of night,
And stars, in their orbits,
Shone pale, through the light
Of the brighter, cold moon.
'Mid planets her slaves,
Herself in the Heavens,
Her beam on the waves.

I gazed awhile
On her cold smile;
Too cold-too cold for me--
There passed, as a shroud,
A fleecy cloud,
And I turned away to thee,

Proud Evening Star,
In thy glory afar
And dearer thy beam shall be;
For joy to my heart
Is the proud part
Thou bearest in Heaven at night. ,
And more I admire
Thy distant fire,
Than that colder, lowly light.

1827.




"THE HAPPIEST DAY. "

I

THE happiest day-the happiest hour
My seared and blighted heart hath known,
The highest hope of pride and power,
I feel hath flown.

Of power! said I? Yes! such I ween
But they have vanished long, alas!
The visions of my youth have been
But let them pass.

III

And pride, what have I now with thee?
Another brow may ev'n inherit
The venom thou hast poured on me
Be still my spirit!

IV

The happiest day-the happiest hour
Mine eyes shall see-have ever seen
The brightest glance of pride and power
I feet have been:

V

But were that hope of pride and power
Now offered with the pain
Ev'n _then I _felt-that brightest hour
I would not live again:

VI

For on its wing was dark alloy
And as it fluttered-fell
An essence-powerful to destroy
A soul that knew it well.

1827.




IMITATION

A dark unfathom'd tide
Of interminable pride--
A mystery, and a dream,
Should my early life seem;
I say that dream was fraught
With a wild, and waking thought
Of beings that have been,
Which my spirit hath not seen,
Had I let them pass me by,
With a dreaming eye!
Let none of earth inherit
That vision on my spirit;
Those thoughts I would control
As a spell upon his soul:
For that bright hope at last
And that light time have past,
And my worldly rest hath gone
With a sigh as it pass'd on
I care not tho' it perish
With a thought I then did cherish.
1827.






HYMN TO ARISTOGEITON AND HARMODIUS

Translation from the Greek

I

WREATHED in myrtle, my sword I'll conceal
Like those champions devoted and brave,
When they plunged in the tyrant their steel,
And to Athens deliverance gave.

II

Beloved heroes! your deathless souls roam
In the joy breathing isles of the blest;
Where the mighty of old have their home
Where Achilles and Diomed rest

III

In fresh myrtle my blade I'll entwine,
Like Harmodius, the gallant and good,
When he made at the tutelar shrine
A libation of Tyranny's blood.

IV

Ye deliverers of Athens from shame!
Ye avengers of Liberty's wrongs!
Endless ages shall cherish your fame,
Embalmed in their echoing songs!

1827.




DREAMS

Oh! that my young life were a lasting dream!
My spirit not awak'ning, till the beam
Of an Eternity should bring the morrow:
Yes! tho' that long dream were of hopeless sorrow,
'Twere better than the dull reality
Of waking life to him whose heart shall be,
And hath been ever, on the chilly earth,
A chaos of deep passion from his birth!

But should it be--that dream eternally
Continuing--as dreams have been to me
In my young boyhood--should it thus be given,
'Twere folly still to hope for higher Heaven!
For I have revell'd, when the sun was bright
In the summer sky; in dreamy fields of light,
And left unheedingly my very heart
In climes of mine imagining--apart
From mine own home, with beings that have been
Of mine own thought--what more could I have seen?

'Twas once & _only_ once & the wild hour
From my rememberance shall not pass--some power
Or spell had bound me--'twas the chilly wind
Came o'er me in the night & left behind
Its image on my spirit, or the moon
Shone on my slumbers in her lofty noon
Too coldly--or the stars--howe'er it was
That dream was as that night wind--let it pass.

I have been happy--tho' but in a dream
I have been happy--& I love the theme--
Dreams! in their vivid colouring of life--
As in that fleeting, shadowy, misty strife
Of semblance with reality which brings
To the delirious eye more lovely things
Of Paradise & Love--& all our own!
Than young Hope in his sunniest hour hath known.

{From an earlier MS. Than in the book--ED. }




"IN YOUTH I HAVE KNOWN ONE"

_How often we forget all time, when lone
Admiring Nature's universal throne;
Her woods--her wilds--her mountains-the intense
Reply of Hers to Our intelligence! _

I

IN youth I have known one with whom the Earth
In secret communing held-as he with it,
In daylight, and in beauty, from his birth:
Whose fervid, flickering torch of life was lit
From the sun and stars, whence he had drawn forth
A passionate light such for his spirit was fit
And yet that spirit knew-not in the hour
Of its own fervor-what had o'er it power.

II

Perhaps it may be that my mind is wrought
To a fever* by the moonbeam that hangs o'er,
But I will half believe that wild light fraught
With more of sovereignty than ancient lore
Hath ever told-or is it of a thought
The unembodied essence, and no more
That with a quickening spell doth o'er us pass
As dew of the night-time, o'er the summer grass?

III

Doth o'er us pass, when, as th' expanding eye
To the loved object-so the tear to the lid
Will start, which lately slept in apathy?
And yet it need not be--(that object) hid
From us in life-but common-which doth lie
Each hour before us--but then only bid
With a strange sound, as of a harp-string broken
T' awake us--'Tis a symbol and a token

IV

Of what in other worlds shall be--and given
In beauty by our God, to those alone
Who otherwise would fall from life and Heaven
Drawn by their heart's passion, and that tone,
That high tone of the spirit which hath striven
Though not with Faith-with godliness--whose throne
With desperate energy 't hath beaten down;
Wearing its own deep feeling as a crown.

* Query "fervor"? --ED.



A PAEAN.

I.

How shall the burial rite be read?
The solemn song be sung?
The requiem for the loveliest dead,
That ever died so young?

II.

Her friends are gazing on her,
And on her gaudy bier,
And weep! --oh! to dishonor
Dead beauty with a tear!

III.

They loved her for her wealth--
And they hated her for her pride--
But she grew in feeble health,
And they _love_ her--that she died.

IV.

They tell me (while they speak
Of her "costly broider'd pall")
That my voice is growing weak--
That I should not sing at all--

V.

Or that my tone should be
Tun'd to such solemn song
So mournfully--so mournfully,
That the dead may feel no wrong.

VI.

But she is gone above,
With young Hope at her side,
And I am drunk with love
Of the dead, who is my bride. --

VII.

Of the dead--dead who lies
All perfum'd there,
With the death upon her eyes,
And the life upon her hair.

VIII.

Thus on the coffin loud and long
I strike--the murmur sent
Through the grey chambers to my song,
Shall be the accompaniment.

IX.

Thou died'st in thy life's June--
But thou did'st not die too fair:
Thou did'st not die too soon,
Nor with too calm an air.

X.

From more than fiends on earth,
Thy life and love are riven,
To join the untainted mirth
Of more than thrones in heaven--

XII.

Therefore, to thee this night
I will no requiem raise,
But waft thee on thy flight,
With a Paean of old days.



NOTES

30. On the "Poems written in Youth" little comment is needed. This
section includes the pieces printed for first volume of 1827 (which was
subsequently suppressed), such poems from the first and second published
volumes of 1829 and 1831 as have not already been given in their revised
versions, and a few others collected from various sources. "Al Aaraaf"
first appeared, with the sonnet "To Silence" prefixed to it, in 1829,
and is, substantially, as originally issued. In the edition for
1831, however, this poem, its author's longest, was introduced by the
following twenty-nine lines, which have been omitted in--all subsequent
collections:

AL AARAAF

Mysterious star!
Thou wert my dream
All a long summer night--
Be now my theme!
By this clear stream,
Of thee will I write;
Meantime from afar
Bathe me in light I

Thy world has not the dross of ours,
Yet all the beauty-all the flowers
That list our love or deck our bowers
In dreamy gardens, where do lie
Dreamy maidens all the day;
While the silver winds of Circassy
On violet couches faint away.
Little--oh "little dwells in thee"
Like unto what on earth we see:
Beauty's eye is here the bluest
In the falsest and untruest--On the sweetest
air doth float
The most sad and solemn note--

If with thee be broken hearts,
Joy so peacefully departs,
That its echo still doth dwell,
Like the murmur in the shell.
Thou! thy truest type of grief
Is the gently falling leaf!
Thy framing is so holy
Sorrow is not melancholy.

31. The earliest version of "Tamerlane" was included in the suppressed
volume of 1827, but differs very considerably from the poem as now
published. The present draft, besides innumerable verbal alterations and
improvements upon the original, is more carefully punctuated, and, the
lines being indented, presents a more pleasing appearance, to the eye at
least.

32. "To Helen" first appeared in the 1831 volume, as did also "The
Valley of Unrest" (as "The Valley Nis"), "Israfel," and one or two
others of the youthful pieces. The poem styled "Romance," constituted
the Preface of the 1829 volume, but with the addition of the following
lines:

Succeeding years, too wild for song,
Then rolled like tropic storms along,
Where, through the garish lights that fly
Dying along the troubled sky,
Lay bare, through vistas thunder-riven,
The blackness of the general Heaven,
That very blackness yet doth Ring
Light on the lightning's silver wing.

For being an idle boy lang syne;
Who read Anacreon and drank wine,
I early found Anacreon rhymes
Were almost passionate sometimes--
And by strange alchemy of brain
His pleasures always turned to pain--
His naivete to wild desire--
His wit to love-his wine to fire--
And so, being young and dipt in folly,
I fell in love with melancholy,

And used to throw my earthly rest
And quiet all away in jest--
I could not love except where Death
Was mingling his with Beauty's breath--
Or Hymen, Time, and Destiny,
Were stalking between her and me.

*****

But now my soul hath too much room--
Gone are the glory and the gloom--
The black hath mellow'd into gray,
And all the fires are fading away.

My draught of passion hath been deep--
I revell'd, and I now would sleep
And after drunkenness of soul
Succeeds the glories of the bowl
An idle longing night and day
To dream my very life away.

But dreams--of those who dream as I,
Aspiringly, are damned, and die:
Yet should I swear I mean alone,
By notes so very shrilly blown,
To break upon Time's monotone,
While yet my vapid joy and grief
Are tintless of the yellow leaf--
Why not an imp the graybeard hath,
Will shake his shadow in my path--
And e'en the graybeard will o'erlook
Connivingly my dreaming-book.




DOUBTFUL POEMS




ALONE

From childhood's hour I have not been
As others were--I have not seen
As others saw--I could not bring
My passions from a common spring--
From the same source I have not taken
My sorrow--I could not awaken
My heart to joy at the same tone--
And all I lov'd--_I_ lov'd alone--
_Then_--in my childhood--in the dawn
Of a most stormy life--was drawn
From ev'ry depth of good and ill
The mystery which binds me still--
From the torrent, or the fountain--
From the red cliff of the mountain--
From the sun that 'round me roll'd
In its autumn tint of gold--
From the lightning in the sky
As it pass'd me flying by--
From the thunder, and the storm--
And the cloud that took the form
(When the rest of Heaven was blue)
Of a demon in my view--


{This poem is no longer considered doubtful as it was in 1903. Liberty
has been taken to replace the book version with an earlier, perhaps more
original manuscript version--Ed}




TO ISADORE

I

BENEATH the vine-clad eaves,
Whose shadows fall before
Thy lowly cottage door
Under the lilac's tremulous leaves--
Within thy snowy claspeed hand
The purple flowers it bore. .
Last eve in dreams, I saw thee stand,
Like queenly nymphs from Fairy-land--
Enchantress of the flowery wand,
Most beauteous Isadore!

II

And when I bade the dream
Upon thy spirit flee,
Thy violet eyes to me
Upturned, did overflowing seem
With the deep, untold delight
Of Love's serenity;
Thy classic brow, like lilies white
And pale as the Imperial Night
Upon her throne, with stars bedight,
Enthralled my soul to thee!

III

Ah I ever I behold
Thy dreamy, passionate eyes,
Blue as the languid skies

Hung with the sunset's fringe of gold;
Now strangely clear thine image grows,
And olden memories
Are startled from their long repose
Like shadows on the silent snows
When suddenly the night-wind blows
Where quiet moonlight ties.

IV

Like music heard in dreams,
Like strains of harps unknown,
Of birds forever flown
Audible as the voice of streams
That murmur in some leafy dell,
I hear thy gentlest tone,
And Silence cometh with her spell
Like that which on my tongue doth dwell,
When tremulous in dreams I tell
My love to thee alone!

V

In every valley heard,
Floating from tree to tree,
Less beautiful to, me,
The music of the radiant bird,
Than artless accents such as thine
Whose echoes never flee!
Ah! how for thy sweet voice I pine:--
For uttered in thy tones benign
(Enchantress! ) this rude name of mine

Doth seem a melody!




THE VILLAGE STREET

IN these rapid, restless shadows,
Once I walked at eventide,
When a gentle, silent maiden,
Wal ked in beauty at my side
She alone there walked beside me
All in beauty, like a bride.

Pallidly the moon was shining
On the dewy meadows nigh;
On the silvery, silent rivers,
On the mountains far and high
On the ocean's star-lit waters,
Where the winds a-weary die.

Slowly, silently we wandered
From the open cottage door,
Underneath the elm's long branches
To the pavement bending o'er;
Underneath the mossy willow
And the dying sycamore.

With the myriad stars in beauty
All bedight, the heavens were seen,
Radiant hopes were bright around me,
Like the light of stars serene;
Like the mellow midnight splendor
Of the Night's irradiate queen.

Audibly the elm-leaves whispered
Peaceful, pleasant melodies,
Like the distant murmured music
Of unquiet, lovely seas:
While the winds were hushed in slumber
In the fragrant flowers and trees.

Wondrous and unwonted beauty
Still adorning all did seem,
While I told my love in fables
'Neath the willows by the stream;
Would the heart have kept unspoken
Love that was its rarest dream!

Instantly away we wandered
In the shadowy twilight tide,
She, the silent, scornful maiden,
Walking calmly at my side,
With a step serene and stately,
All in beauty, all in pride.

Vacantly I walked beside her.
On the earth mine eyes were cast;
Swift and keen there came unto me
Ritter memories of the past
On me, like the rain in Autumn
On the dead leaves, cold and fast.

Underneath the elms we parted,
By the lowly cottage door;
One brief word alone was uttered
Never on our lips before;
And away I walked forlornly,
Broken-hearted evermore.

Slowly, silently I loitered,
Homeward, in the night, alone;
Sudden anguish bound my spirit,
That my youth had never known;
Wild unrest, like that which cometh
When the Night's first dream hath flown.
Now, to me the elm-leaves whisper
Mad, discordant melodies,
And keen melodies like shadows
Haunt the moaning willow trees,
And the sycamores with laughter
Mock me in the nightly breeze.

Sad and pale the Autumn moonlight
Through the sighing foliage streams;
And each morning, midnight shadow,
Shadow of my sorrow seems;
Strive, 0 heart, forget thine idol!
And, 0 soul, forget thy dreams!




THE FOREST REVERIE

'Tis said that when
The hands of men
Tamed this primeval wood,
And hoary trees with groans of woe,
Like warriors by an unknown foe,
Were in their strength subdued,
The virgin Earth Gave instant birth
To springs that ne'er did flow
That in the sun Did rivulets run,
And all around rare flowers did blow
The wild rose pale Perfumed the gale
And the queenly lily adown the dale
(Whom the sun and the dew
And the winds did woo),
With the gourd and the grape luxuriant grew.

So when in tears
The love of years
Is wasted like the snow,
And the fine fibrils of its life
By the rude wrong of instant strife
Are broken at a blow
Within the heart
Do springs upstart
Of which it doth now know,
And strange, sweet dreams,
Like silent streams
That from new fountains overflow,
With the earlier tide
Of rivers glide
Deep in the heart whose hope has died--
Quenching the fires its ashes hide,--
Its ashes, whence will spring and grow
Sweet flowers, ere long,
The rare and radiant flowers of song!



NOTES

Of the many verses from time to time ascribed to the pen of Edgar Poe,
and not included among his known writings, the lines entitled "Alone"
have the chief claim to our notice. _Fac-simile _copies of this piece
had been in possession of the present editor some time previous to its
publication in "Scribner's Magazine" for September, 1875; but as proofs
of the authorship claimed for it were not forthcoming, he refrained
from publishing it as requested. The desired proofs have not yet been
adduced, and there is, at present, nothing but internal evidence to
guide us. "Alone" is stated to have been written by Poe in the album of
a Baltimore lady (Mrs. Balderstone? ), on March 17th, 1829, and the
facsimile given in "Scribner's" is alleged to be of his handwriting. If
the caligraphy be Poe's, it is different in all essential respects from
all the many specimens known to us, and strongly resembles that of the
writer of the heading and dating of the manuscript, both of which the
contributor of the poem acknowledges to have been recently added. The
lines, however, if not by Poe, are the most successful imitation of his
early mannerisms yet made public, and, in the opinion of one well
qualified to speak, "are not unworthy on the whole of the parentage
claimed for them. "

While Edgar Poe was editor of the "Broadway Journal," some lines "To
Isadore" appeared therein, and, like several of his known pieces, bore
no signature. They were at once ascribed to Poe, and in order to satisfy
questioners, an editorial paragraph subsequently appeared saying
they were by "A. Ide, junior. " Two previous poems had appeared in the
"Broadway journal" over the signature of "A. M. Ide," and whoever wrote
them was also the author of the lines "To Isadore. " In order, doubtless,
to give a show of variety, Poe was then publishing some of his known
works in his journal over _noms de plume, _and as no other writings
whatever can be traced to any person bearing the name of "A. M. Ide," it
is not impossible that the poems now republished in this collection may
be by the author of "The Raven. " Having been published without his usual
elaborate revision, Poe may have wished to _hide _his hasty work
under an assumed name. The three pieces are included in the present
collection, so the reader can judge for himself what pretensions they
possess to be by the author of "The Raven. "





End of Project Gutenberg's The Works of Edgar Allan Poe, by Edgar Allan Poe

*** END OF THIS PROJECT GUTENBERG EBOOK THE WORKS OF EDGAR ALLAN POE ***

***** This file should be named 2151-8. txt or 2151-8. zip *****
This and all associated files of various formats will be found in:
http://www. gutenberg. org/2/1/5/2151/

Produced by David Widger

Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you! ) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg. org/license).


Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1. A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1. E. 8.

1. B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1. C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1. E below.

1. C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1. D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1. E. Unless you have removed all references to Project Gutenberg:

1. E. 1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www. gutenberg. org

1. E. 2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1. E. 1
through 1. E. 7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1. E. 8 or
1. E. 9.

1. E. 3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1. E. 1 through 1. E. 7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1. E. 4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1. E. 5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1. E. 1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1. E. 6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www. gutenberg. org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1. E. 1.

1. E. 7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1. E. 8 or 1. E. 9.

1. E. 8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation. "

- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1. F. 3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.

- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.

1. E. 9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.

1. F.

1. F. 1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1. F. 2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1. F. 3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1. F. 3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1. F. 4. Except for the limited right of replacement or refund set forth
in paragraph 1. F. 3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

1. F. 5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1. F. 6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section 2. Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www. pglaf. org.


Section 3. Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
http://pglaf. org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U. S. federal laws and your state's laws.