Perscribo Publishing

presents

The Torrent and the Night Before



By

Edwin Arlington Robinson





All content of this eBook has been transcribed and formatted to appear exactly as it does in the 1896 (H.O. Houghton and Company) edition of The Torrent and the Night Before by Edwin Arlington Robinson.

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This book is dedicated to any man, woman, or critic who will cut the edges of it.—I have done the top.

- Edwin Arlington Robinson.




CONTENTS


THE TORRENT

AARON STARK

THE DEAD VILLAGE

BALLADE OF A SHIP

DEAR FRIENDS

SONNET

HER EYES

SONNET

ZOLA

BALLADE

FOR SOME POEMS BY MATTHEW ARNOLD

GEORGE CRABBE

SONNET

THE ALTAR

THE HOUSE ON THE HILL

THE WILDERNESS

LUKE HAVERGAL

THE CHORUS OF OLD MEN IN "GEUS"

THE MIRACLE

HORACE TO LEUCONOE

THE BALLADE OF DEAD FRIENDS

VILLANELLE OF CHANGE

THOMAS HOOD

FOR A BOOK BY THOMAS HARDY

SUPREMACY

THREE QUATRAINS

FOR CALDERON

JOHN EVERELDOWN

THE WORLD

CREDO

THE CHILDREN OF THE NIGHT

THE CLERKS

A BALLADE BY THE FIRE

ON THE NIGHT OF A FRIEND'S WEDDING

VERLAINE

THE GARDEN

TWO SONNETS

WALT WHITMAN

KOSMOS

AN OLD STORY

A POEM FOR MAX NORDAU

BOSTON

THE NIGHT BEFORE




THE TORRENT

I FOUND a torrent falling in a glen

Where the suns light shone silvered and leaf-split;

The boom, the foam, and the mad flash of it

All made a magic symphony; but when

I thought upon the coming of hard men

To cut those patriarchal trees away,

and turn to gold the silver of that spray,

I shuddered.  But a gladness now and then

Did wake me to myself till I was glad

In earnest, and was welcoming the time

For screaming saws to sound above the chime

Of idle waters, and for me to know

The jealous visionings that I had had

Were steps to the great place where trees and torrents go.




AARON STARK

WITHAL a meagre man was Aaron Stark—

Cursed and unkempt, shrewd, shrivelled, and morose:

A miser was he, with a miser's nose,

And eyes like little dollars in the dark.

His thin, pinched mouth was nothing but a mark;

And when he spoke there came like sullen blows

Through scattered fangs a few snarled words and close,

As if a cur were chary of its bark.


Glad for the murmur of his hard renown,

Year after year he shambled through the town,—

A loveless exile moving with a staff;

And oftentimes there crept into his ears

A sound of alien pity, touched with tears,—

And then (and only then) did Aaron laugh.




THE DEAD VILLAGE

HERE there is death.  But even here, they say—

Here where the dull sun shines this afternoon

As desolate as ever the dead moon

Did glimmer on dead Sardis—men were gay;

And there were little children here to play,

With small soft hands that once did keep in tune

The strings that stretch from heaven, till too soon

The change came, and the music passed away.


Now there is nothing but the ghosts of things:

No life, no love, no children, and no men;

And over the forgotten place there clings

The strange and unrememberable light

That is in dreams.—The music failed, and then

God frowned, and shut the village from His sight.




BALLADE OF A SHIP

DOWN by the flash of the restless water

The dim White Ship like a white bird lay;

Laughing at life and the world they sought her,

And out she swung to the silvering bay.

Then off they flew on their roystering way,

And the keen moon fired the light foam flying

Up from the flood where the faint stars play,

And the bones of the brave in the wave are lying.


'T was a king's fair son with a king's fair daughter,

And full three hundred beside, they say,—

Revelling on for the lone, cold slaughter

So soon to seize them and hide them for aye;

But they danced and they drank and their souls grew gay,

Nor ever they knew of a ghoul's eye spying

Their splendor a flickering phantom to stray

Where the bones of the brave in the wave are lying.


Through the mist of a drunken dream they brought her

(This wild white bird) for the sea-fiend's prey:

The pitiless reef in his hard clutch caught her,

And hurled her down where the dead men asty.

A torturing silence of wan dismay—

Shrieks and curses of mad souls dying—

Then down they sank to slumber and sway

Where the bones of the brave in the wave are lying.


Prince, do you sleep to the sound alway

Of the mournful surge and the sea-birds' crying?—

Or does love still shudder and steel still slay,

Where the bones of the brave in the wave are lying?




DEAR FRIENDS

DEAR friends, reproach me not for what I do,

Nor counsel me, nor pity me; nor say

That I am wearing half my life away

For bubble-work that only fools pursue.

And if my bubbles be too small for you,

Blow bigger then your own:—the games we play

To fill the frittered minutes of a day,

Good glasses are to read the spirit through.


And whoso reads may get him some shrewd skill;

And some unprofitable scorn resign,

To praise the very thing that he deplores:—

So friends (dear friends), remember, if you will,

The shame I win for singing is all mine,

The gold I miss for dreaming is all yours.




SONNET

WHEN can all so excellently give

The measure of love's wisdom with a blow,—

Why can we not in turn receive it so,

And end this murmur for the life we live?

And when we do so frantically strive

To win strange faith, why do we shun to know

That in love's elemental over-glow

God's wholeness gleams with light superlative?


O, brother men, if you have eyes at all,

Look at a branch, a bird, a child, a rose—

Or anything God ever made that grows—

Nor let the smallest vision of it slip,

Till you can read, as on Belshazzar's wall,

The glory of eternal partnership!




HER EYES

UP from the street and the crowds that went,

Morning and midnight, to and fro,

Still was the room where his days he spent,

And the stars were bleak, and the nights were slow.


Year after year, with his dream shut fast,

He suffered and strove till his eyes were dim

For the love that his brushes had earned at last,—

And the whole world rang with the praise of him.


But he cloaked his triumph, and searched, instead,

Till his cheeks were sere and his hairs were gray,—

"There are women enough, God knows," he said. . . .

"There are stars enough—when the sun's away."


Then he went back to the same still room

That had held his dream in the long ago,

When he buried his days in a nameless tomb,

And the stars were bleak, and the nights were slow.


And a passionate humor seized him there—

Seized him and held him until there grew

Like life on his canvas,—glowing and fair,

A perilous face—and an angel's, too.


Angel and maiden, and all in one,

All but the eyes.—They were there, but yet

They seemed somehow like a soul half done.—

What was the matter?—Did God forget? . . .


But he wrought them at last with a skill so sure

That her eyes were the eyes of a deathless woman,—

With a gleam of heaven to make them pure,

And a glimmer of hell to make them human.


God never forgets.—And he worships her

There in that same still room of his,

For his wife, and his constant arbiter

Of the world that was and the world that is.


And he wonders yet what her love could be

To punish him after that strife so grim;—

But the longer he lives with her eyes to see,

The plainer it all comes back to him.




SONNET

THE master and the slave go hand in hand,

Though touch be lost.  The poet is a slave,

And there be kings do sorrowfully crave

The joyance that a scullion may command.

But, ah, the sonnet-slave must understand

The mission of his bondage, or the grave

May clasp his bones, or ever he shall save

The perfect word that is the poets wand!


The sonnet is a crown, whereof the rhymes

Are for Thoughts purest gold the jewel-stones;

But shapes and echoes that are never done

Will haunt the workshop, as regret sometimes

Will bring with human yearning to sad thrones

The crash of battles that are never won.




ZOLA

BECAUSE he puts the compromising chart

Of hell before your eyes, you are afraid;

Because he counts the price that you have paid

For innocence, and counts it from the start,

You loathe him.  But he sees the human heart

Of God meanwhile, and in His hand was weighed

Your squeamish and emasculate crusade

Against the grim dominion of his art.


Never until we conquer the uncouth

Connivings of our shamed indifference

(We call it Christian faith) are we to scan

The racked and shrieking hideousness of Truth

To find, in hate's polluted self-defence

Throbbing, the pulse, the divine heart of man.




BALLADE

IN dreams I crossed a barren land,

A land of ruin, far away;

Around me hung on every hand

A deathful stillness of decay;

And silent, as in bleak dismay

That song should thus forsaken be,

On that forgotten ground there lay

The broken flutes of Arcady.


The forest that was all so grand

When pipes and tabors had their sway

Stood leafless now, a ghostly band

Of skeletons in cold array.

A lonely surge of ancient spray

Told of an unforgetful sea,

But iron blows had hushed for aye

The broken flutes of Arcady.


No more by summer breezes fanned,

The place was desolate and gray;

But still my dream was to command

New life into that shrunken clay.

I tried it.—Yes, you scan to-day,

With uncommiserating glee,

The songs of one who strove to play

The broken flutes of Arcady.


ENVOY

So, Rock, I join the common fray,

To fight where Mammon may decree;

And leave, to crumble as they may,

The broken flutes of Arcady.




FOR SOME POEMS BY MATTHEW ARNOLD

SWEEPING the chords of Hellas with firm hand

He wakes lost echoes from song's classic shore,

And brings their crystal cadence back once more

To touch the clouds and sorrows of a land

Where God's truth, cramped and fettered with a band

Of iron creeds, he cheers with golden lore

Of heroes and the men that long before

Wrought the romance of ages yet unscanned.


Still does a cry through sad Valhalla go

For Balder, pierced with Lok's unhappy spray—

For Balder, all but spared by Frea's charms;

And still does art's imperial vista show,

On the hushed sands of Oxus, far away,

Young Sohrab dying in his father's arms.




GEORGE CRABBE

GIVE him the darkest inch your shelf allows,

Hide him in lonely garrets, if you will,—

But his hard, human pulse is throbbing still

With the sure strength that fearless truth endows:—

In spite of all fine science disavows,

Of his plain excellence and stubborn skill

There yet remains what fashion cannot kill,

Though years have thinned the laurel from his brows.


Whether or not we read him, we can feel

From time to time the vigor of his name

Against us like a finger for the shame

And emptiness of what our souls reveal

In books that are as altars where we kneel

To consecrate the flicker, not the flame.




SONNET

OH, for a poet—for a beacon bright

To rift this changeless glimmer of dead gray:

To spirit back the Muses, long astray,

And flush Parnassus with a newer light:

To put these little sonnet-men to flight

Who fashion, in a shrewd mechanic way,

Songs without souls that flicker for a day

To vanish in irrevocable night.


What does it mean, this barren age of ours?

Here are the men, the women, and the flowers,—

The seasons, and the sunset, as before.

What does it mean?—Shall not one bard arise

To wrench one banner from the western skies,

And mark it with his name for evermore?




THE ALTAR

ALONE remote, nor witting where I went,

I found an altar builded in a dream—

A fiery place, whereof there was a gleam

So swift, so searching, and so eloquent

Of upward promise, that loves murmur, blent

With sorrows warning, gave but a supreme

Unending impulse to that human stream

Whose flood was all for the flames fury bent.


Alas! I said,—the world is in the wrong.—

But the same quenchless fever of unrest

That thrilled the foremost of that martyred throng

Thrilled me, and I awoke . . . and was the same

Bewildered insect plunging for the flame

That burns, and must burn somehow for the best.




THE HOUSE ON THE HILL

THEY are all gone away,

The House is shut and still,

There is nothing more to say.


Through broken walls and gray

The winds blow bleak and shrill;

They are all gone away.


Nor is there one to-day

To speak them good or ill:

There is nothing more to say.


Why is it then we stray

Around that sunken sill?

They are all gone away,


And our poor fancy-play

For them is wasted skill:

There is nothing more to say.


There is ruin and decay

In the House on the Hill:

They are all gone away,

There is nothing more to say.





THE WILDERNESS

COME away! come away!—theres a frost along the marshes,

And a frozen wind that skims the shoal where it shakes the dead black water;

Theres a moan across the lowland and a wailing through the woodland

Of a dirge that sings to send us back to the arms of those that love us.

There is nothing left but ashes now where the crimson chills of autumn

Put off the summers languor with a touch that made us glad

For the glory that is gone from us, with a flight we cannot follow,

To the slopes of other valleys and the sounds of other shores.


Come away! come away!—you can hear them calling, calling,

Calling us to come to them, and roam no more.

Over there beyond the ridges and the land that lies between us,

Theres an old song calling us to come!


Come away! come away!—for the scenes we leave behind us

Are barren for the lights of home and a flame thats young forever;

And the lonely trees around us creak the warning of the night-wind,

That love and all the dreams of love are away beyond the mountains.

The songs that call for us to-night, they have called for men before us,—

And the winds that blow the message, they have blown ten thousand years;

But this will end our wander-time, for we know the joy that waits us

In the strangeness of home-coming, and a womans waiting eyes.


Come away! come away!—there is nothing now to cheer us—

Nothing now to comfort us, but loves road home:

Over there beyond the darkness theres a window gleams to greet us,

And a warm hearth waits for us within.


Come away! come away!—or the roving-fiend will hold us,

And make us all to dwell with him to the end of human faring:

There are no men yet may leave him when his hands are clutched upon them,

There are none will own his enmity, there are none will call him brother.—

So well be up and on the way, and the less we boast the better

For the freedom that God gave us and the dread we do not know:—

The frost that skips the willow-leaf will again be back to blight it,

And the doom we cannot fly from is the doom we do not see.


Come away! come away! there are dead men all around us—

Frozen men that mock us with a wild, hard laugh

That shrieks and sinks and whimpers in the shrill November rushes,

And the long fall wind on the lake.




LUKE HAVERGAL

GO to the western gate, Luke Havergal,—

There where the vines cling crimson on the wall,—

And in the twilight wait for what will come.

The wind will moan, the leaves will whisper some—

Whisper of her, and strike you as they fall;

But go, and if you listen she will call,—

Go to the western gate, Luke Havergal,—

Luke Havergal.


No, there is not a dawn in eastern skies

To rift the fiery night thats in your eyes;

But there, where western glooms are gathering,

The dark will end the dark, if anything:—

God slays Himself with every leaf that flies,

And hell is more than half of paradise.—

No, there is not a dawn in eastern skies,

In eastern skies.


Out of a grave I come to tell you this,—

Out of a grave I come to quench the kiss

That flames upon your forehead with a glow

That blinds you to the way that you must go.

Yes, there is yet one way to where she is—

Bitter, but one that faith may never miss.—

Out of a grave I come to tell you this,

To tell you this.


There is the western gate, Luke Havergal,

There are the crimson leaves upon the wall.

Go,—for the winds are tearing them away,—

Nor think to riddle the dead words they say,

Nor any more to feel them as they fall;

But go! and if you trust her she will call.—

There is the western gate, Luke Havergal—

Luke Havergal.




THE CHORUS OF OLD MEN IN "GEUS"

YE gods that have a home beyond the world,

Ye that have eyes for all mans agony,

Ye that have seen this woe that we have seen,—

Look with a just regard,

And with an even grace,

Here on the shattered corpse of a shattered king,

Here on a suffering world where men grow old

And wander like sad shadows till, at last,

Out of the flare of life,

Out of the whirl of years,

Into the mist they go,

Into the mist of death.


O shades of you that loved him long before

The cruel threads of that black sail were spun,

May loyal arms and ancient welcomings

Receive him once again

Who now no longer moves

Here in this flickering dance of changing days

Where a battle is lost and won for a withered wreath,

And the black master Death is over all,

To chill with his approach,

To level with his touch,

The reigning strength of youth,

The fluttered heart of age.


Woe for the fateful day when Delphis word was lost—

Woe for the loveless prince of thras line!

Woe for a fathers tears and the curse of a kings release—

Woe for the wings of pride and the shafts of doom!—

And thou, the saddest wind

That ever blew from Crete,

Sing the fell tidings back to that thrice unhappy ship!—

Sing to the western flame,

Sing to the dying foam.

A dirge for the sundered years and a dirge for the years to be!


Better his end had been as the end of a cloudless day,

Bright, by the word of Zeus, with a golden star,

Wrought of a golden fame, and flung to the central sky,

To gleam on a stormless tomb for evermore:—

Whether or not there fell

To the touch of an alien hand

The sheen of his purple robe and the shine of his diadem,

Better his end had been

To die as an old man dies,—

But the fates are ever the fates, and a crown is ever a crown.




THE MIRACLE

"DEAR brother, dearest friend, when I am dead,

And you shall see no more this face of mine,

Let nothing but red roses be the sign

Of the white life I lost for him," she said;

"No, do not curse him,—pity him instead;

Forgive him!—forgive me! . . . God's anodyne

For human hate is pity; and the wine

That makes men wise, forgiveness.  I have read

Love's message in love's murder, and I die."

And so they laid her just where she would lie,—

Under red roses.  Red they bloomed and fell;

But when flushed autumn and the snows went by,

And spring came,—lo, from every bud's green shell

Burst a white blossom.—Can love reason why?




HORACE TO LEUCONOE

I PRAY you not, Leuconoe, to pore

With unpermitted eyes on what may be

Appointed by the gods for you and me,

Nor on Chaldean figures any more.

T were infinitely better to implore

The present only:—whether Jove decree

More winters yet to come, or whether he

Make even this, whose hard, wave-eaten shore

Shatters the Tuscan seas to-day, the last—

Be wise withal, and rack your wine, nor fill

Your bosom with large hopes; for while I sing,

The envious close of time is narrowing:—

So seize the day,—or ever it be past—

And let the morrow come for what it will.




THE BALLADE OF DEAD FRIENDS

AS we the withered ferns

By the roadway lying,

Time, the jester, spurns

All our prayers and prying,—

All our tears and sighing,

Sorrow, change, and woe,—

All our where-and-whying

For friends that come and go.


Life awakes and burns,

Age and death defying,

Till at last it learns

All but Love is dying;—

Love's the trade we're plying,

God has willed it so;

Shrouds are what we're buying

For friends that come and go.


Man forever yearns

For the thing that's flying:

Everywhere he turns,

Men to dust are drying,—

Dust that wanders, eying

(With eyes that hardly glow)

New faces, dimly spying

For friends that come and go.


ENVOY

And thus we all are nighing

The truth we fear to know:

Death will end our crying

For friends that come and go.




VILLANELLE OF CHANGE

SINCE Persia fell at Marathon,

The yellow years have gathered fast:

Long centuries have come and gone.


And yet (they say) the place will don

A phantom fury of the past,

Since Persia fell at Marathon;


And as of old, when Helicon

Trembled and swayed with rapture vast

(Long centuries have come and gone),


This ancient plain, when night comes on,

Shakes to a ghostly battle-blast,

Since Persia fell at Marathon.—


But into soundless Acheron

The glory of Greek shame was cast:

Long centuries have come and gone,


The suns of Hellas have all shone,

The first has fallen to the last:—

Since Persia fell at Marathon,

Long centuries have come and gone.




THOMAS HOOD

THE man who cloaked his bitterness within

This winding-sheet of puns and pleasantries,

God never gave to look with common eyes

Upon a world of anguish and of sin:—

His brother was the branded man of Lynn;

And there are woven with his jollities

The nameless and eternal tragedies

That render hope and hopelessness akin.


We laugh, and crown him; but anon we feel

A still chord sorrow-swept,—a weird unrest;

And thin dim shadows home to midnight steal,

As if the very ghost of mirth were dead—

As if the joys of time to dream had fled,

Or sailed away with Ines to the West.




FOR A BOOK BY THOMAS HARDY

WITH searching feet, through dark circuitous ways,

I plunged and stumbled; round me, far and near,

Quaint hordes of eyeless phantoms did appear,

Twisting and turning in a bootless chase,—

When, like an exile given by God's grace

To feel once more a human atmosphere,

I caught the world's first murmur, large and clear,

Flung from a singing river's endless race.


Then, through a magic twilight from below,

I heard its grand sad song as in a dream:

Life's wild infinity of mirth and woe

It sang me; and, with many a changing gleam,

Across the music of its onward flow

I saw the cottage lights of Wessex beam.




SUPREMACY

THERE is a drear and lonely tract of hell

From all the common gloom removed afar:

A flat, sad land it is, where shadows are,

Whose lorn estate my verse may never tell.

I walked among them and I knew them well:

Men I had slandered on life's little star

For churls and sluggards; and I knew the scar

Upon their brows of woe ineffable.


But as I went majestic on my way,

Into the dark they vanished, one by one,

Till, with a shaft of God's eternal day,

The dream of all my glory was undone,—

And, with a fool's importunate dismay,

I heard the dead men singing in the sun.




THREE QUATRAINS

I

As long as Fame's imperious music rings

Will poets mock it with crowned words august;

And haggard men will clamber to be kings

As long as Glory weighs itself in dust.


II

Drink to the splendor of the unfulfilled,

Nor shudder for the revels that are done:

The wines that flushed Lucullus are all spilled,

The strings that Nero fingered are all gone.


III

We cannot crown ourselves with everything,

Nor can we coax the Fates for us to quarrel:

No matter what we are, or what we sing,

Time finds a withered leaf in every laurel.




FOR CALDERON

AND now, my brother, it is time

For me to tell the truth to you:

To tell the story of a crime

As black as Mona's eyes were blue.—

Yes, here to-night, before I die,

I'll speak the words that burn in me;

And you may send them, bye-and-bye,

To Calderon across the sea.


Now get some paper and a pen,

And sit right here, beside my bed.

Write every word I say, and then—

And then . . . well, what then?—I'll be dead!

. . . But here I am alive enough,

And I remember all I've done . . .

God knows what I was thinking of!—

But send it home—to Calderon.


And you, Francisco, brother, say,—

What is there for a man like me?—

I tell you God sounds far away—

As far—almost as far—as she!

I killed her! . . . Yes, I poisoned her—

So slowly that she never knew . . .

Francisco,—I'm a murderer.—

Now tell me what there is to do!


To die—of course; but after that,

I wonder if I live again!

And if I live again, for what?—

To suffer? . . . Bah!—there is no pain

But one; and that I know so well

That I can shame the devil's eyes! . . .

For twenty years I've heard in hell

What Mona sings in Paradise!


Strange, that a little Northern girl

Should love my brother Calderon,

And wet my brain so in a whirl

That I was mad until she was gone! . . .

I wonder if all men be such

As I?—I wonder what love is!—

I never loved her very much

Until I saw that she was his;—


And then I knew that I was lost:

And then—I knew that I was mad.—

I reasoned what it all would cost,

But that was nothing.—I was glad

To feel myself so foul a thing!—

And I was glad for Calderon. . . .

My God! if he could hear her sing

Just once, as I do!—There! she's done. . . .


No, it was only something wrong

A minute—something in my head.—

God, No!—she'll never stop that song

As long as I'm alive or dead!

As long as I am here or there,

She'll sing to me, a murderer!—

Well, I suppose the gods are fair. . . .

I killed her . . . yes, I poisoned her!


But you, Francisco,—you are young;—

So take my hand and hear me, now:—

There are no lies upon your tongue,

There is no guilt upon your brow.—

But there is blood upon your name?—

And blood, you say, will rust the steel

That strikes for honor or for shame? . . .

Francisco, it is fear you feel!—


And such a miserable fear

That you, my boy, will call it pride;—

But you will grope from year to year

Until at last the clouds divide,

And all at once you meet the truth,

And curse yourself, with helpless rage,

For something you have lost with youth

And found again, too late, with age.


The truth, my brother, is just this:—

You title here is nothing more

Or less than what your courage is:

The man must put himself before

The name, and once the master stay

Forever—or forever fall.—

Good-Bye!—Remember what I say . . .

Good-Bye!—Good-Bye! . . . And that was all.


The lips were still: the man was dead.—

Francisco, with a weird surprise,

Stood like a stranger by the bed,

And there were no tears in his eyes.

But in his heart there was a grief

Too strong for human tears to free,—

And in his hand a written leaf

For Calderon across the sea.




JOHN EVERELDOWN

WHERE are you going to-night, to-night,—

Where are you going, John Evereldown?

There's never the sign of a star in sight,

Nor a lamp that's nearer than Tilbury Town.

Why do you stare as a dead man might?

Where are you pointing away from the light?

And where are you going to-night, to-night,—

Where are you going, John Evereldown?


Right through the forest, where none can see,

There's where I'm going, to Tilbury Town.

The men are asleep,—or awake, may be,—

But the women are calling John Evereldown.

Ever and ever they call for me,

And while they call can a man be free?—

So right through the forest, where none can see,

There's where I'm going, to Tilbury Town.


But why are you going so late, so late,—

Why are you going, John Evereldown?

Though the road be smooth and the path be straight,

There are two long leagues to Tilbury Town.

Come in by the fire, old man, and wait!

Why do you chatter out there by the gate?

And why are you going so late, so late,—

Why are you going, John Evereldown?


I follow the women wherever they call,—

That's why I'm going to Tilbury Town.

God knows if I pray to be done with it all,

But God is no friend to John Evereldown.—

So the clouds may come and the rain may fall,

The shadows may creep and the dead men crawl,—

But I follow the women wherever they call,

And that's why I'm going to Tilbury Town.




THE WORLD

SOME are the brothers of all humankind,

And own them, whatsoever their estate;

And some, for sorrow and self-scorn, are blind

With enmity for mans unguarded fate.


For some there is a music all day long

Like flutes in paradise, they are so glad;

And there is hells eternal under-song

Of curses and the cries of men gone mad.


Some say the Scheme with love stands luminous,

Some say t were better back to chaos hurled;

And so t is what we are that makes for us

The measure and the meaning of the world.




CREDO

I CANNOT find my way: there is no star

In all the shrouded heavens anywhere;

And there is not a whisper in the air

Of any living voice but one so far

That I can hear it only as a bar

Of lost, imperial music, played when fair

And angel fingers wove, and unaware,

Dead leaves to garlands where no roses are.


No, there is not a glimmer, nor a call,

For one that welcomes, welcomes when he fears,

The black and awful chaos of the night;

For through it all,—above, beyond it all,—

I know the far-sent message of the years,

I feel the coming glory of the Light!





THE CHILDREN OF THE NIGHT

FOR those that never know the light,

The darkness is a sullen thing;

And they, the Children of the Night,

Seem lost in Fortune's winnowing.


But some are strong and some are weak,—

And there's the story.  House and home

Are shut from countless hearts that seek

World-refuge that will never come.


And if there be no other life,

And if there be no other chance

To weigh their sorrow and their strife

Than in the scales of circumstance—


'T were better, ere the sun go down

Upon the first day we embark,

In life's embittered sea to drown

Than sail forever in the dark.


But if there be a soul on earth

So blinded with its own misuse

Of man's revealed, incessant worth,

Or worn with anguish that it views


No light but for a mortal eye—

No rest but of a mortal sleep—

No God but in a prophet's lie—

No faith for "honest doubt" to keep—


If there be nothing, good or bad,

But chaos for a soul to trust,—

God counts it for a soul gone mad,

And if God be God, He is just.


And if God be God, He is Love;—

And though the Dawn be still so dim,

It shows us we have played enough

With creeds that make a fiend of Him.


There is one creed, and only one,

That glorifies God's excellence;—

So cherish, that His will be done,

The common creed of common sense.


It is the crimson, not the gray,

That charms the twilight of all time;

It is the promise of the day

That makes the starry sky sublime;


It is the faith within the fear

That holds us to the life we curse;—

So let us in ourselves revere

The Self which is the Universe!


Let us, the Children of the Night,

Put off the cloak that hides the scar!—

Let us be Children of the Light,

And tell the ages what we are!




THE CLERKS

I DID not think that I should find them there

When I came back again; but there they stood,

As in the days they dreamed of when young blood

Was in their cheeks and women called them fair.

Be sure, they met me with an ancient air,—

And yes, there was a shop-worn brotherhood

About them; but the men were just as good,

And just as human as they ever were.


And you that ache so much to be sublime,

And you that feed yourselves with your descent,

What comes of all your visions and your fears?—

Poets and kings are but the clerks of Time,

Tiering the same dull webs of discontent,

Clipping the same sad alnage of the years.




A BALLADE BY THE FIRE

SLOWLY I smoke and hug my knee,

The while a witless masquerade

Of things that only children see

Floats in a mist of light and shade:

They pass, a flimsy cavalcade,

And with a weak, remindful glow,

The falling embers break and fade,

As one by one the phantoms go.


Then, with a melancholy glee

To think where once my fancy strayed,

I muse on what the years may be

Whose coming tales are all unsaid,

Till tongs and shovel, snugly laid

Within their shadowed niches, grow

By grim degrees to pick and spade,

As one by one the phantoms go.


But then, what though the mystic Three

Around me ply their merry trade?—

And Charon soon may carry me

Across the gloomy Stygian glade?—

Be up, my soul! nor be afraid

Of what some unborn year may show;—

But mind your human debts are paid,

As one by one the phantoms go.

Life is the game that must be played:

This truth at least, good friend, we know.—

So live and laugh, nor be dismayed

As one by one the phantoms go.




ON THE NIGHT OF
A FRIEND'S WEDDING

IF ever I am old, and all alone,

I shall have killed one grief, at any rate;

For then, thank God, I shall not have to wait

Much longer for the sheaves that I have sown.

The devil only knows what I have done,

But here I am, and here are six or eight

Good friends, who most ingenuously prate

About my songs to such and such a one.


But everything is all askew to-night,—

As if the time were come, or almost come,

For their untenanted mirage of me

To lose itself and crumble out of sight,—

Like a tall ship that floats above the foam

A little while, and then breaks utterly.




VERLAINE

WHY do you dig like long-clawed scavengers

To touch the covered corpse of him that fled

The uplands for the fens, and rioted

Like a sick satyr with dooms worshippers?—

Come!—let the grass grow there; and leave his verse

To tell the story of the life he led.

Let the man go: let the dead flesh be dead,

And let the worms be its biographers.


Song sloughs away the sin to find redress

In arts complete remembrance: nothing clings

For long but laurel to the stricken brow

That felt the Muses finger; nothing less

Than hells fulfilment of the end of things

Can blot the star that shines on Paris now.




THE GARDEN

THERE is a fenceless garden overgrown

With buds and blossoms and all sorts of leaves;

And once, among the roses and the sheaves,

The Gardener and I were there alone.

He led me to the plot where I had thrown

The fennel of my days on wasted ground,

And in that riot of sad weeds I found

The fruitage of a life that was my own.


My life! . . . Ah, yes, there was my life, indeed!

And there were all the lives of humankind;

And they were like a book that I could read,

Whose every leaf, miraculously signed,

Outrolled itself from Thoughts eternal seed.

Love-rooted in Gods garden of the mind.




TWO SONNETS

I

Just as I wonder at the twofold screen

Of twisted innocence that you would plait

For eyes that uncourageously await

The coming of a kingdom that has been,

So do I wonder what Gods love can mean

To you that all so strangely estimate

The purpose and the consequent estate

Of one short shuddering step to the Unseen.


No, I have not your backward faith to shrink

Lone-faring from the doorway of Gods home

To find Him in the names of buried men;

Nor your ingenious recreance to think

We cherish, in the life that is to come,

The scattered features of dead friends again.


II

NEVER until our souls are strong enough

To plunge into the crater of the Scheme—

Triumphant in the flash there to redeem

Loves handsel and forevermore to slough,

Like cerements at a played-out masque, the rough

And reptile skins of us whereon we set

The stigma of scared years—are we to get

Where atoms and the ages are one stuff.


Nor ever shall we know the cursed waste

Of life in the beneficence divine

Of starlight and of sunlight and soul-shine

That we have squandered in sins frail distress,

Till we have drunk, and trembled at the taste,

The mead of Thoughts prophetic endlessness.




WALT WHITMAN

THE master-songs are ended, and the man

That sang them is a name.  And so is God

A name; and so is love, and life, and death,

And everything.—But we, who are too blind

To read what we have written, or what faith

Has written for us, do not understand:

We only blink, and wonder.


Last night it was the song that was the man,

But now it is the man that is the song.

We do not hear him very much to-day;—

His piercing and eternal cadence rings

Too pure for us—too powerfully pure,

Too lovingly triumphant, and too large;

But there are some that hear him, and they know

That he shall sing to-morrow for all men,

And that all time shall listen.


The master-songs are ended?—Rather say

No songs are ended that are ever sung,

And that no names are dead names.  When we write

Men's letters on proud marble or on sand,

We write them there forever.




KOSMOS

AH, shuddering men that falter and shrink so

To look on death,—what were the days we live,

Where life is half a struggle to forgive,

But for the love that finds us when we go?

Is God a jester?—Does he laugh and throw

Poor branded wretches here to sweat and strive

For some vague end that never shall arrive?—

And is He not yet weary of the show?


Think of it, all ye millions that have planned,

And only planned, the largess of hard youth!

Think of it, all ye builders on the sand,

Whose works are down!—Is love so small, forsooth?

Be brave!—To-morrow you will understand

The doubt, the pain, the triumph, and the Truth!




AN OLD STORY

STRANGE that I did not know him then.

That friend of mine!—

I did not even show him then

One friendly sign;


But cursed him for the ways he had

To make me see

My envy of the praise he had

For praising me.


I would have rid the earth of him

Once, in my pride! . . .

I never knew the worth of him

Until he died.




A POEM FOR MAX NORDAU

DUN shades quiver down the lone long fallow,

And the scared night shudders at the brown owl's cry;

The bleak reeds rattle as the winds whirl by,

And frayed leaves flutter through the clumped shrubs callow.


Chill dew clinging on the low cold mallow

Make a steel-keen shimmer where the spend stems lie;

Dun shades quiver down the lone long fallow,

And the scared night shudders at the brown owl's cry.


Pale stars peering through the clouds' curled shallow

Make a think still flicker in a foul round sky;

Black damp shadows through the hushed air fly;

The lewd gloom wakens a to a moon-sad sallow,

Dun shades quiver down the lone long fallow.




BOSTON

MY northern pines are good enough for me,

But there's a town my memory uprears—

A town that always like a friend appears,

And always in the sunrise by the sea.

And over it, somehow, there seems to be

A downward flash of something new and fierce

That ever strives to clear, but never clears

The dimness of a charmed antiquity.


I know my Boston is a counterfeit,—

A frameless imitation, all bereft

Of living nearness, noise, and common speech;

But I am glad for every glimpse of it,—

And there it is—plain as a name that's left

In letters by warm hands I cannot reach.




All grace that a God can give.—The fashion

THE NIGHT BEFORE

"As if God made him and then wondered why."


LOOK you, Domine; look you, and listen!

Look in my face, first; search every line there;

Mark every feature,—chin, lip, and forehead.

Look in my eyes, and tell me the lesson

You read there;—measure my nose, and tell me

Where I am wanting!  A man's nose, Domine,

Is often the cast of his inward spirit;—

So mark mine well . . . But why do you smile so?—

Pity, or what?—Is it written all over,

This face of mine, with a brute's confession?—

Nothing but sin there? nothing but hell-scars?—

Or is it because there is something better—

A glimmer of good, maybe—or a shadow

Of something that's followed me down from childhood—

Followed me all these years and kept me,

Spite of my slips and sins and follies,—

Spite of my last red sin, my murder,—

Just out of hell?—Yes?—something of that kind?

And you smile for that? . . . You're a good man, Domine!—

The one good man in the world who knows me—

My one good friend in a world that mocks me,

Here in this hard stone cage . . . But I leave it

To-morrow . . . To-morrow!—My God! am I crying?—

Are these things tears?—Tears!—What! am I frightened?—

I who swore I should go to the scaffold

With big strong steps, and . . . No more,—I thank you,

But no. . . . I am all right now! . . . No!—listen!

I am here to be hanged; to be hanged to-morrow—

At six o'clock, when the sun is rising.—

And why am I here?—Not a soul can tell you

But this poor shivering thing before you—

This fluttering wreck of the man God made him,

For God knows what wild reason.—Hear me,

And learn from my lips the truth of my story.—

There's nothing strange in what I shall tell you—

Nothing mysterious, nothing unearthly,—

But damnably human,—and you shall hear it.

Not one of those little black lawyers were told it;

The judge, with his big bald head, never knew it;

And the jury (God rest their poor souls!) never dreamed it,—

Once there were three in the world who could tell it,—

Now there are two.  There'll be two to-morrow:—

You, my friend, and . . . But there's the story.


When I was a boy the world was heaven.

I never knew then that the men and the women

Who petted and called me a brave big fellow

Were ever less happy than I; but wisdom—

Which comes with the years, you know—soon showed me

The secret of all my glittering childhood—

The broken key to the fairies' castle

That held my life in the fresh, glad season

When I was the king of the earth.—Then slowly—

And yet so swiftly!—there came the knowledge

That the marvellous life I had lived was my life;

That the glorious world I had loved was my world;—

And that every man, and every woman,

And every child was a different being,

Wrought with a different heat, and fired

With passions born of a single spirit;—

That the pleasure I felt was not their pleasure,

Nor my sorrow—a kind of nameless pity

For something, I knew not what—their sorrow.

And thus was I taught my first hard lesson,—

The lesson we suffer the most in learning:

That a happy man is a man forgetful

Of all the torturing ills around him.


When or where I first met the woman

I cherished and made my wife, no matter.

Enough to say that I found her and kept her

Here in my heart with as pure a devotion

As ever Christ felt for his brothers.  Forgive me

For naming His name in your patient presence;

But I feel my words, and the truth I utter

Is God's own truth.  I loved that woman!—

Not for her face, but for something fairer—

Something diviner—I thought—than beauty:

I loved the spirit—the human something

That seemed to chime with my own condition,

And make soul-music when we were together;—

And we were never apart, from the moment

My eyes flashed into her eyes the message

That swept itself in a quivering answer

Back through my strange lost being.  My pulses

Leapt with an aching speed; and the measure

Of this great world grew small and smaller,

Till it seemed the sky and the land and the ocean

Closed at last in a mist all golden

Around us two.—And we stood for a season

Like gods outflung from chaos, dreaming

That we were the king and the queen of the fire

That reddened the clouds of love that held us

Blind to the new world soon to be ours—

Ours to seize and sway.  The passion

Of that great love was a nameless passion—

Bright as the blaze of the sun at noonday,

Wild as the flames of hell; but, mark you,

Never a whit less pure for its fervor.

The baseness in me (for I was human)

Burned like a worm, and perished; and nothing

Was left me then but a soul that mingled

Itself with hers, and swayed and shuddered

In fearful triumph.—When I consider

That helpless love and the cursed folly

That wrecked my life for the sake of a woman,

Who broke with a laugh the chains of her marriage

(Whatever the word may mean) I wonder

If all the woe was her sin, or whether

The chains themselves were enough to lead her

In love's despite to break them. . . . Sinners

And saints—I say—are rocked in the cradle,

But never are known till the will within them

Speaks in its own good time,—So I foster

Even to-night for the woman who wronged me

Nothing of hate, nor of love, but a feeling

Of still regret.—For the man . . . But hear me,

And judge for yourself:—


For a time the seasons

Changed and passed in a sweet succession

That seemed to me like an endless music:

Life was a rolling psalm, and the choirs

Of God were glad for our love.—I fancied

All this, and more than I dare to tell you

To-night,—yes, more than I dare to remember;—

And then . . . . well, the music stopped.  There are moments

In all men's lives when it stops, I fancy,—

Or seems to stop,—till it comes to cheer them

Again with a larger sound.  The curtain

Of life just then is lifted a little

To give to their sight new joys—new sorrows—

Or nothing at all, sometimes.—I was watching

The slow, sweet scenes of a golden picture,

Flushed and alive with a long delusion

That made the murmur of home, when I shuddered

And felt like a knife that awful silence

That comes when the music goes—forever.

The truth came over my life like a darkness

Over a forest where one man wanders,

Worse than alone.  For a time I staggered

And stumbled on with a weak persistence

After the phantom of hope that darted

And dodged like a frightened thing before me,

To quit me at last, and vanish.  Nothing

Was left me then but the curse of living

And bearing through all my days the fever

And thirst of a poisoned love.—Were I stronger,

Or weaker, perhaps my scorn had saved me,

Given me strength to crush my sorrow

With hate for her and the world that praised her—

To have left her, then and there,—to have conquered

That old false life with a new and a wiser,—

Such things are easy in words. . . . You listen,

And frown, I suppose, that I never mention

That beautiful word, forgive!—I forgave her

First of all; and I praised kind heaven

That I was a brave clean man to do it;

And then I tried to forget.—Forgiveness! . . .

What does it mean when the one forgiven

Shivers and weeps and clings and kisses

The credulous fool that holds her, and tells him

A thousand things of a good man's mercy,

And then slips off with a laugh and plunges

Back to the sin she has quit for a season

To tell him that hell and the world are better

For her than a prophet's heaven?—Believe me,

The love that dies ere its flames are wasted

In search of an alien soul is better,

Better by far than the lonely passion

That burns back into the heart that feeds it.

For I loved her still; and the more she mocked me,—

Fooled with her endless pleading promise

Of future faith, the more I believed her

The penitent thing she seemed; and the stronger

Her choking arms and her small hot kisses

Bound me and burned my brain to pity,

The more she grew to the heavenly creature

That brightened the life I had lost forever.

The truth was gone somehow for the moment;

The curtain fell for a time; and I fancied

We were again like gods together,

Loving again with the old glad rapture.—

But scenes like these, too often repeated,

Failed at last, and her guile was wasted,

I made an end of her shrewd caresses

And told her a few straight words.  She took them

Full at their worth—and the farce was over.


At first my dreams of the past upheld me,

But they were a short support: the present

Pushed them away, and I fell.  The mission

Of life (whatever it was) was blasted;

My game was lost.  And I met the winner

Of that foul deal as a sick slave gathers

His painful strength at the sight of his master;

And when he was past I cursed him, fearful

Of that strange chance which makes us mighty

Or mean, or both.—I cursed him and hated

The stones he pressed with his heel; I followed

His easy march with a backward envy,

And cursed myself for the beast within me.—

But pride is the master of love; and the vision

Of those old days grew faint and fainter:—

The counterfeit wife my mercy sheltered

Was nothing now but a woman;—a woman

Out of my way and out of my nature.—

My battle with blinded love was over,

My battle with aching pride beginning.—

If I was the loser at first, I wonder

If I am the winner now! . . . I doubt it.

My life is a losing game; and to-morrow . . . .

To-morrow! . . . Christ!—did I say to-morrow? . . .

Is your brandy good for death? . . . There;—listen:—


When love goes out, and a man is driven

To shun mankind for the scars that make him

A joke for all chattering tongues, he carries

A double burden.  The woes I suffered

After that hard betrayal made me

Pity, at first, all breathing creatures

On this bewildered earth.  I studied

Their faces and made for myself the story

Of all their scattered lives.  Like brothers

And sisters they seemed to me then; and I nourished

A stranger friendship wrought in my fancy

Between those people and me.—But somehow,

As time went on, there came queer glances

Out of their eyes; and the shame that stung me

Harassed my pride with a crazed impression

That every face in the surging city

Was turned to me; and I saw sly whispers,

Now and then, as I walked and wearied

My wasted life twice over in bearing

With all my sorrow the sorrows of others,—

Till I found myself their fool.  Then I trembled,—

A poor scared thing—and their prying faces

Told me the ghastly truth:—they were laughing

At me and my fate.  My God, I could feel it—

That laughter!—And then the children caught it;

And I, like a struck dog, crept and listened.

And then when I met the man who had weakened

A woman's love to his own desire,

It seemed to me that all hell were laughing

In fiendish concert!—I was their victim—

And his, and hate's.  And there was the struggle!—

As long as the earth we tread holds something

A tortured heart can love, the meaning

Of life is not wholly blurred; but after

The last loved thing in the world has left us,

We know the triumph of hate.  The glory

Of good goes out forever; the beacon

Of sin is the light that leads us downward—

Down to the fiery end.  The road runs

Right through hell; and the souls that follow

The cursed ways where its windings lead them

Suffer enough, I say, to merit

Of our belief is to lift all beings

Born for a life that knows no struggle

In sin's tight snares to eternal glory—

All apart from the branded millions

Who carry through life their faces graven

With sure brute scars that tell the story

Of their foul, fated passions.—Science

Has yet no salve to smooth or soften

The cradle-scars of a tyrant's visage;—

No drug to purge from the vital essence

Of souls the sleeping venom.  Virtue

May flower in hell, when its roots are twisted

And wound with the roots of vice; but the stronger

Never is known till there comes that battle

With sin to prove the victor.  Perilous

Things are these demons we call our passions—

Slaves are we of their roving fancies,

Fools of their devilish glee.—You think me,

I know, in this maundering way designing

To lighten the load of my guilt and cast it

Half on the shoulders of God . . . But hear me!—

I'm partly a man,—for all my weakness,—

If weakness it were to stand and murder

Before men's eyes the man who had murdered

Me, and driven my burning forehead

With horns for the world to laugh at . . . Trust me!—

And try to believe my words but a portion

Of what God's purpose made me!—The coward

Within me cries for this;—and I beg you

Now, as I come to the end, to remember

That women and men are on earth to travel

All on a different road.  Hereafter

The roads may meet . . . I trust in something—

I know not what. . . .


Well, this was the way of it:—

Stung with the shame and the secret fury

That comes to the man who has thrown his pittance

Of self at a traitor's feet, I wandered

Weeks and weeks in a baffled frenzy,

Till at last the devil spoke.  I heard him,

And laughed at the love that strove to touch me—

The dead, lost love;—and I gripped the demon

Close to my breast, and held him, praising

The fates and the furies that gave me the courage

To follow his wild command.—Forgetful

Of all to come when the work was over—

There came to me then no stony vision

Of these three hundred days—I cherished

An awful joy in my brain.  I pondered

And weighed the thing in my mind, and gloried

In life to think that I was to conquer

Death at his own dark door,—and chuckled

To think of it done so cleanly.—One evening

I knew that my time had come.  I shuddered

A little, but rather for doubt than terror,

And followed him,—led by the nameless devil

I worshipped and called my brother.—The city

Shone like a dream that night: the windows

Flashed with a piercing flame, and the pavements

Pulsed and swayed with a warmth—or something

That seemed so then to my feet—and thrilled me

With a quick, dizzy joy; and the women

And men, like marvellous things of magic,

Floated and laughed and sang by my shoulder,

Sent with a wizard motion.  Through it

And over and under it all there sounded

A murmur of life, like bees; and I listened

And laughed again to think of the flower

That grew, blood-red, for me! . . . This fellow

Was one of the popular sort who flourish

Unruffled where gods would fall.  For a conscience

He carried a snug deceit that made him

The man of the time and the place, whatever

The time or the place might be:—were he sounding,

With a genial craft that cloaked its purpose,

Nigh to itself, the depth of a woman

Fooled with his brainless art,—or sending

The midnight home with songs and bottles,—

The cad was there, and his ease forever

Shone with the smooth and slippery polish

That tells the snake.—That night he drifted

Into an up-town haunt and ordered—

Whatever it was—with a soft assurance

That made me mad as I stood behind him,

Gripping his death, and waited.—Coward,

I think, is the name the world has given

To men like me; but I'll swear I never

Thought of my own disgrace when I shot him . . .

Yes, in the back;—I know it.  I know it

Now, but what if I do? . . . As I watched him

Lying there dead in the scattered sawdust,

Wet with a day's blown froth, I noted

That things were still:—that the walnut tables,

Where men but a moment before were sitting,

Were gone;—that a screen of something around me

Shut them out of my sight.  But the gilded

Signs of a hundred beers and whiskeys

Flashed from the walls above, and the mirrors

And glasses behind the bar were lighted

In some strange way, and into my spirit

A thousand shafts of terrible fire

Burned like death, and I fell.—The story

Of what came then, you know.


But tell me,

What does the whole thing mean?—What are we,—

Slaves of an awful ignorance?—puppets

Pulled by a fiend?—or gods, without knowing it?

Do we shut from ourselves our own salvation,—

Or what do we do!—I tell you, Domine,

There are times in the lives of us poor devils

When heaven and hell get mixed:—though conscience

May come like a whisper of Christ to warn us

Away from our sins, it is lost or laughed at,—

And then we fall.  And for all who have fallen—

Even for him—I hold no malice,

Nor much compassion: a mightier mercy

Than mine must shrive him.—And I,—I am going

Into the light?—or into the darkness?

Why do I sit through these sickening hours,

And hope?—Good God! are they hours!—hours? . . .

Yes!—I am done with days.—And to-morrow—

We two may meet! . . . To-morrow! . . . To-morrow! . . .