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A Petition - Amy Lowell


I pray to be the tool which to your hand
Long use has shaped and moulded till it be
Apt for your need, and, unconsideringly,
You take it for its service. I demand
To be forgotten in the woven strand
Which grows the multi-coloured tapestry
Of your bright life, and through its tissues lie
A hidden, strong, sustaining, grey-toned band.
I wish to dwell around your daylight dreams,
The railing to the stairway of the clouds,
To guard your steps securely up, where streams
A faery moonshine washing pale the crowds
Of pointed stars. Remember not whereby
You mount, protected, to the far-flung sky.

Amy Lowell

A London Thoroughfare. 2 A.M. - Amy Lowell


They have watered the street,
It shines in the glare of lamps,
Cold, white lamps,
And lies
Like a slow-moving river,
Barred with silver and black.
Cabs go down it,
One,
And then another,
Between them I hear the shuffling of feet.
Tramps doze on the window-ledges,
Night-walkers pass along the sidewalks.
The city is squalid and sinister,
With the silver-barred street in the midst,
Slow-moving,
A river leading nowhere.

Opposite my window,
The moon cuts,
Clear and round,
Through the plum-coloured night.
She cannot light the city:
It is too bright.
It has white lamps,
And glitters coldly.

I stand in the window and watch the
moon.
She is thin and lustreless,
But I love her.
I know the moon,
And this is an alien city.

Amy Lowell

A Little Song - Amy Lowell


When you, my Dear, are away, away,
How wearily goes the creeping day.
A year drags after morning, and night
Starts another year of candle light.
O Pausing Sun and Lingering Moon!
Grant me, I beg of you, this boon.

Whirl round the earth as never sun
Has his diurnal journey run.
And, Moon, slip past the ladders of air
In a single flash, while your streaming hair
Catches the stars and pulls them down
To shine on some slumbering Chinese town.
O Kindly Sun! Understanding Moon!
Bring evening to crowd the footsteps of noon.

But when that long awaited day
Hangs ripe in the heavens, your voyaging stay.
Be morning, O Sun! with the lark in song,
Be afternoon for ages long.
And, Moon, let you and your lesser lights
Watch over a century of nights.

Amy Lowell

A Lady - Amy Lowell


You are beautiful and faded
Like an old opera tune
Played upon a harpsichord;
Or like the sun-flooded silks
Of an eighteenth-century boudoir.
In your eyes
Smoulder the fallen roses of out-lived minutes,
And the perfume of your soul
Is vague and suffusing,
With the pungence of sealed spice-jars.
Your half-tones delight me,
And I grow mad with gazing
At your blent colours.

My vigour is a new-minted penny,
Which I cast at your feet.
Gather it up from the dust,
That its sparkle may amuse you.

Amy Lowell

A Japanese Wood-Carving - Amy Lowell


High up above the open, welcoming door
It hangs, a piece of wood with colours dim.
Once, long ago, it was a waving tree
And knew the sun and shadow through the leaves
Of forest trees, in a thick eastern wood.
The winter snows had bent its branches down,
The spring had swelled its buds with coming flowers,
Summer had run like fire through its veins,
While autumn pelted it with chestnut burrs,
And strewed the leafy ground with acorn cups.
Dark midnight storms had roared and crashed among
Its branches, breaking here and there a limb;
But every now and then broad sunlit days
Lovingly lingered, caught among the leaves.
Yes, it had known all this, and yet to us
It does not speak of mossy forest ways,
Of whispering pine trees or the shimmering birch;
But of quick winds, and the salt, stinging sea!
An artist once, with patient, careful knife,
Had fashioned it like to the untamed sea.
Here waves uprear themselves, their tops blown back
By the gay, sunny wind, which whips the blue
And breaks it into gleams and sparks of light.
Among the flashing waves are two white birds
Which swoop, and soar, and scream for very joy
At the wild sport. Now diving quickly in,
Questing some glistening fish. Now flying up,
Their dripping feathers shining in the sun,
While the wet drops like little glints of light,
Fall pattering backward to the parent sea.
Gliding along the green and foam-flecked hollows,
Or skimming some white crest about to break,
The spirits of the sky deigning to stoop
And play with ocean in a summer mood.
Hanging above the high, wide open door,
It brings to us in quiet, firelit room,
The freedom of the earth's vast solitudes,
Where heaping, sunny waves tumble and roll,
And seabirds scream in wanton happiness.

Amy Lowell

A Gift - Amy Lowell

Biography
See! I give myself to you, Beloved!
My words are little jars
For you to take and put upon a shelf.
Their shapes are quaint and beautiful,
And they have many pleasant colours and lustres
To recommend them.
Also the scent from them fills the room
With sweetness of flowers and crushed grasses.

When I shall have given you the last one,
You will have the whole of me,
But I shall be dead.

Amy Lowell

A Fixed Idea - Amy Lowell

Biography
What torture lurks within a single thought
When grown too constant, and however kind,
However welcome still, the weary mind
Aches with its presence. Dull remembrance taught
Remembers on unceasingly; unsought
The old delight is with us but to find
That all recurring joy is pain refined,
Become a habit, and we struggle, caught.
You lie upon my heart as on a nest,
Folded in peace, for you can never know
How crushed I am with having you at rest
Heavy upon my life. I love you so
You bind my freedom from its rightful quest.
In mercy lift your drooping wings and go.

Amy Lowell

A Fairy Tale - Amy Lowell

Biography
On winter nights beside the nursery fire
We read the fairy tale, while glowing coals
Builded its pictures. There before our eyes
We saw the vaulted hall of traceried stone
Uprear itself, the distant ceiling hung
With pendent stalactites like frozen vines;
And all along the walls at intervals,
Curled upwards into pillars, roses climbed,
And ramped and were confined, and clustered leaves
Divided where there peered a laughing face.
The foliage seemed to rustle in the wind,
A silent murmur, carved in still, gray stone.
High pointed windows pierced the southern wall
Whence proud escutcheons flung prismatic fires
To stain the tessellated marble floor
With pools of red, and quivering green, and blue;
And in the shade beyond the further door,
Its sober squares of black and white were hid
Beneath a restless, shuffling, wide-eyed mob
Of lackeys and retainers come to view
The Christening.
A sudden blare of trumpets, and the throng
About the entrance parted as the guests
Filed singly in with rare and precious gifts.
Our eager fancies noted all they brought,
The glorious, unattainable delights!
But always there was one unbidden guest
Who cursed the child and left it bitterness.


The fire falls asunder, all is changed,
I am no more a child, and what I see
Is not a fairy tale, but life, my life.
The gifts are there, the many pleasant things:
Health, wealth, long-settled friendships, with a name
Which honors all who bear it, and the power
Of making words obedient. This is much;
But overshadowing all is still the curse,
That never shall I be fulfilled by love!
Along the parching highroad of the world
No other soul shall bear mine company.
Always shall I be teased with semblances,
With cruel impostures, which I trust awhile
Then dash to pieces, as a careless boy
Flings a kaleidoscope, which shattering
Strews all the ground about with coloured sherds.
So I behold my visions on the ground
No longer radiant, an ignoble heap
Of broken, dusty glass. And so, unlit,
Even by hope or faith, my dragging steps
Force me forever through the passing days.

Amy Lowell

A Coloured Print by Shokei - Amy Lowell

Biography
It winds along the face of a cliff
This path which I long to explore,
And over it dashes a waterfall,
And the air is full of the roar
And the thunderous voice of waters which sweep
In a silver torrent over some steep.

It clears the path with a mighty bound
And tumbles below and away,
And the trees and the bushes which grow in the rocks
Are wet with its jewelled spray;
The air is misty and heavy with sound,
And small, wet wildflowers star the ground.

Oh! The dampness is very good to smell,
And the path is soft to tread,
And beyond the fall it winds up and on,
While little streamlets thread
Their own meandering way down the hill
Each singing its own little song, until

I forget that 't is only a pictured path,
And I hear the water and wind,
And look through the mist, and strain my eyes
To see what there is behind;
For it must lead to a happy land,
This little path by a waterfall spanned.

Amy Lowell

Moving silence - Nyein Way


Backward forward downward
Space Double space
Shaking trubling
Silenced motion in the echo of legged wheels

Nyein Way

My Way - Nyein Way


Dreams with no home, no roots leading towards world peace
collaboration with layers of intellectual freedom
no war, only combination of diversified unity of peaceful art-making
humanity-focused roads to selfless plan
body machine for developing artistic consciousness
call for ways of making art on every day basis
tomorrow is always with wisdom and loving kindness
quantum mechanics of emerging humanities
identity/identities of combining diversities
world peace

Nyein Way

New balance for success - Nyein Way


timing and hard work
money recognition
self-confidence towards flourishment
living with uncertainty
put trust in your successful life style
visionary certainty

Nyein Way

New Beginning But Old Deletion - Nyein Way


Dead leaves afraid of touching new things
Noby knows but butteries know
Flat pretentious siplomats of the the in paper fire glued with powered
dirts
Innovative fakes out of social diets on the table of tommorrow
Are you one of them?
Song of butterflies into the cave of deconstruction

Nyein Way

New life - Nyein Way


just turn the conceptual firm to some degrees(we are cultivating our dreams, aren't we?)
a light's shadow reflecting the light
lighter, lighter and lighter into the world of peace
on the coin of destiny
heads are still heads
and
tails are still tails
never say good bye when you
are building your new life

Nyein Way

NEW NEW YEAR 2009 - Nyein Way

Biography
vision 1) risk control
2) body control
3) mind control
4) adventure control
5) control without control
6) newness out of new beginning

Lucky and prosperous new year! !

Nyein Way

Biography of Nyein Way (19.1.1962 / Yangon)

A poet, multi-disciplinary artist, post-conceptual writer/a text-based artist and educator
Date of Birth: January 19,1962
Real Name: U Maung Maung Thein
Pen Name: Nyein Way/ျ င ိ ဏ ္ း ေ ၀ (it is not spelt like ျ င ိ မ ္ း ေ ၀ ;) (There can have another poet with the name Nyein Wai or nyein way: be careful! ! ! ! ! !
Education: B.A.(English) , Post-graduate Diploma in English Language Teaching, Cambridge Certicate in ELT(CEELT Level 2)
Publications:
(1) An anthology of poems within 20 years named'Words and Tree' in 2005
(2) An educational book'Classroomology' in 1999
(3) Video art: Isolated Sports in 2005 shown in poetry workshop and poetry reading programme in 2005 in Yangon
(4) A Poetics Book 'Conceptual Poetics and A Contemporary poet'
in August,2009.
(5) YouTube - IG2BA (Unilateral Culture Exchange) - DAN KWONG & NYEIN WAY

2 min 13 sec - 24 Apr 2009
Dance excerpt from 'IT'S GREAT 2B AMERICAN', performed Nov. '08, LA Theater Center. Text by Burmese poet Nyein Way. Camera - Mark...
www.youtube.com/watch? v=TC-4nv0xwBA - Related videos
(6) GA GA NA NA-a post-conceptual and text-based artwork
is published in october,2010.

About my poems: All my poems are about the bridges alternative realities are wired.When the basic humanities are fragmented in any situations, realities are multifaceted beings and poetry is made through life as bridges for peace, humanity and intellectual growth
I never write poems under the category 'Politics'.
Inspirations: Gertrude Stein, Beckett, John Cage, Jackson Mac Low, Zukofsky, Alan Gingberg, Frank O'hara, Charles Bernstein, Kenneth Goldsmith, ancient asian poets and poetics, Zen Buddists'practice and conceptualization process, any cartoons and animated characters and children literature and everyday life of ordinary people


helped British poet Ruth Padel to make meeting with Myanmar poets and translated some of her favourite poems from different countries when she visted Myanmar in 2002
gave poetry workshops both inside and outside the country(Myanmar) -American Centre, Alliance Francaise, art centers, international schools and Gitemeit music centre participated in the Mekong project artists-in-residency programme in Phenom Penh, Cambodia in Nov,2004, together with artists from Mekong region
made collaborative performances with artists from USA, Thailand, Cambodia, Laos, China, Vietnam, Finland, Hongkong
made NIGHT, MOON, DANCE performance with international artists based on his Trilogy poem'night, moon dance'
a contributor of an article about Myanmar theatre for the Encyclopedia of Asian Theatre published by Greenwood Publishing House, NYC which have got the best reference book award by the American Library Association in 2008.
One of his poems was published in the 'THE' literary magazine, Santa Fe, New Mexico, the United Stated of America in July,2008.Make poetry reading events in Santa Fe, New Mexico, USA and Malibu, Los Angeles, California, USA in June,2008.
One of his poems he wrote during his one-month long stay in 18th street arts center, Santamonica, Los Angeles, California was used in multi-media artist Dan Kwong's Performance 'It's great 2B an American' in June,2008 at highway performance center at 18th street arts center.
Read poetry with performance, collaborating with dancers, singers and musicians from New York, Beijing, Thailand and Germany in the multimedia performance sponsored by Asian Cultural Council at Gitameit Music center, Yangon in December,2008.Made poetry reading with performance at International Performance Festival'BEYOND PRESSURE'together with international artists from Canada, Malaysia, Korea and Vietnam and read a paper on 'Artists Communities in Myanmar' in December,2008.
He read poetry at the most famous theatre troupe in Myanmar'Shwe Man Chan Tha theatre troupe at Independence Day Festival in the football field of Hlaing Township, Yangon, collaborating with the performance 'Philosophy Tree' by New York-based Thai Dancer'Khun Pichet, artist Myat Kyawt and Shwe Man Chan Tha Chantha on January 3,2009.
One of his poem'Light's Shadow' is placed in the new music programme by artistic director and composer William Jason Raynovich with Featuring Composers: Boustead, Carter, Oehlers, Raynovich, Sierra, Pulizer Prize winner of music Steven Stucky, Villa-Lobos on Sunday, May 17th,7: 00pm
at Ukrainian Institute of Modern Art
2320 W. Chicago Avenue, Chicago, USA.where his Clarinet Sonata will receive its Chicago premiere.
Having read the poem 'Clay Revolution' together with musians; Kit Young (USA) , Dephanie(Germany) and performance artists; Myat Kyawt & Daw Htay Htay at 'Tribute to singer Htoo Ein Thin'at Gitameit music center, Yangon Myanmar on August 14,2009.Read the poem'Next Window To Puppet City' at NEXT WINDOW art exbition held at Lawkanat Art Gallery, Yangon on August 28,2009.
Read POetry with performance'VICTORY' on September 25,2009 at 'Natural &environmental art exibition' at Lokanat art gallery, Yangon, Myanmar.
Make a performance piece'Back To Dream' at New Zero Art Space, Yangon on Oct 28,2009.
Make poetry reading and improvising poetry as a narrator in multi-disciplinary performance of the story 'FOUR PUPPETS' at 'Master Class in Asian Puppetry', collaborating with puppeteers, musicians, directors from USA, Thailand, Myanmar and Germany at Empty Space Chiangmai(ESC) in Chiangmai, Thailand, Bangkok Culture and Art Centre in Bangkok on Jan 15, Jan 16 and Jan 20,2010.
Make performance art'CIRCUITS' with collage poetry and improvosational text by Nyein Way, Matin Heidegger(being and time) , Craige Dworking(Strand) and Caroline Bergvall, on February 7,2010 at Lokanat Gallery, Yangon.
Show text-based artwork 'MAHAJANAKA-CIRCUIT PAGE TWO' and read the translation poem of Arthur Sze's Before Completion(1989) jsjustaposed with Artist Chan Aye's Art work Untitled Light boxes at 'Crossing Borders' Myanmar Contemporary art movement at lokanat gallery, Yangon from Aug 30 to September 3,2010.

Christmas Cards of Robert Frost - Article

Biography
"I can't help wishing I could send you one,
In wishing you herewith a Merry Christmas."

So ends the first of Robert Frost's Christmas "cards," chapbooks printed annually by Spiral Press from 1929 to 1962. Each year, Frost would select a poem, often writing an original piece for the occasion, and send it to his friends and loved ones—and his publisher's friends and loved ones. Now collectors' items, these annual cards started out simply as a way for Frost to honor the winter season with a poem.

As reported in the New York Times, Joseph Blumenthal, who headed Spiral Press from 1926 to 1971, had been working on a separate edition of Frost's poetry in 1929 when, without the poet's knowledge, he printed 250 copies—for his wife and a small group of colleagues—of a letterpress chapbook of Frost's early poem "Christmas Trees." When the poet saw the publication, his first response was to contact Blumenthal, requesting a few copies to send out to his own family members: "my sympathies have been enlisted on the side of small presses and hand setting. My heart will be with you in your work." The annual tradition was born.

All told, Blumenthal printed only 275 copies of the first greeting, though the last in the series—"The Prophets Really Prophesy as Mystics, the Commentators Merely by Statistics"—came out in an edition of 16,555 copies. Most years, the cards were limited to a small, intimate number.

Due to the poem's title, "Christmas Trees" could be mistaken for a simple poem, marked by clichéd holiday sentiment, but the poem begins: "The city had withdrawn into itself / And left at last the country to the country." This couplet, a remarkable and often recited bit of verse, resists the standard notions of holiday cheer. Here, the city condenses, drawing back like an old miser from (or into?) the celebration, paired with the country's satisfaction. There is a charged landscape, a precise meter, and a rigor to the rest of the work that does not limit the piece to a "holiday greeting."

In this way, "Christmas Trees" establishes Frost's series as both a charming holiday tradition and, with the help of Blumenthal, a collection of well-crafted works of art. That becomes more obvious when looking at the full collection, which features other classic poems by Frost, including "Birches," "A Boy's Will," and "The Wood-Pile" (pictured below).

Robert Frost's role in the popular American psyche might lead one to expect to find his name in any proper Christmas anthology. At the same time, his often-anthologized "Stopping by Woods on a Snowy Evening" is not necessarily "cheery":

And miles to go before I sleep,
And miles to go before I sleep.

The final couplet is more haunting than typical seasonal verse. Perhaps that's what makes these cards so interesting. They are at once playful, serious, and printed in a limited letterpress edition that cuts past much of the gloss of Christmas.

In a way, they enact Frost's dictum, that "One who concerns himself with [the sound of sense] more than the subject is an artist."

A Christmas Carol - George Wither


So now is come our joyful feast,
Let every man be jolly;
Each room with ivy leaves is dressed,
And every post with holly.
Though some churls at our mirth repine,
Round your foreheads garlands twine,
Drown sorrow in a cup of wine,
And let us all be merry.

Now all our neighbors' chimnies smoke,
And Christmas blocks are burning;
Their ovens they with baked meats choke,
And all their spits are turning.
Without the door let sorrow lie,
And if for cold it hap to die,
We'll bury it in a Christmas pie,
And evermore be merry.

Now every lad is wondrous trim,
And no man minds his labor;
Our lasses have provided them
A bagpipe and a tabor.
Young men and maids, and girls and boys,
Give life to one another's joys;
And you anon shall by their noise
Perceive that they are merry.

Rank misers now do sparing shun,
Their hall of music soundeth;
And dogs thence with whole shoulders run,
So all things aboundeth.
The country-folk themselves advance,
For crowdy-mutton's come out of France;
And Jack shall pipe and Jill shall dance,
And all the town be merry.

Ned Swatch hath fetched his bands from pawn,
And all his best apparel;
Brisk Nell hath bought a ruff of lawn
With droppings of the barrel.
And those that hardly all the year
Had bread to eat or rags to wear,
Will have both clothes and dainty fare,
And all the day be merry.

Now poor men to the justices
With capons make their errands;
And if they hap to fail of these,
They plague them with their warrants.
But now they feed them with good cheer,
And what they want they take in beer,
For Christmas comes but once a year,
And then they shall be merry.

Good farmers in the country nurse
The poor, that else were undone;
Some landlords spend their money worse,
On lust and pride at London.
There the roisters they do play,
Drab and dice their land away,
Which may be ours another day;
And therefore let's be merry.

The client now his suit forbears,
The prisoner's heart is eased;
The debtor drinks away his cares,
And for the time is pleased.
Though others' purses be more fat,
Why should we pine or grieve at that;
Hang sorrow, care will kill a cat,
And therefore let's be merry.

Hark how the wags abroad do call
Each other forth to rambling;
Anon you'll see them in the hall,
For nuts and apples scrambling;
Hark how the roofs with laughters sound,
Anon they'll think the house goes round;
For they the cellar's depths have found,
And there they will be merry.

The wenches with their wassail-bowls
About the streets are singing;
The boys are come to catch the owls,
The wild mare in is bringing.
Our kitchen boy hath broke his box,
And to the dealing of the ox
Our honest neighbors come by flocks,
And here they will be merry.

Now kings and queens poor sheep-cotes have,
And mate with everybody;
The honest now may play the knave,
And wise men play at noddy.
Some youths will now a mumming go,
Some others play at rowland-hoe,
And twenty other gameboys moe;
Because they will be merry.

Then wherefore in these merry days
Should we, I pray, be duller?
No, let us sing some roundelays
To make our mirth the fuller.
And whilst we thus inspired sing,
Let all the streets with echoes ring;
Woods, and hills, and everything
Bear witness we are merry.

George Wither

Biography of George Wither 1588 - 1667 England


English poet and satirist, son of George Wither, of Hampshire, was born at Bentworth, near Alton, on the 11th of June 1588.
He was sent to Magdalen College, Oxford, at the age of fifteen, and remained at the university for two years. His neighbours appear to have had no great opinion of him, for they advised his father to put him to “some mechanic trade.” He was, however, sent to one of the Inns of Chancery, eventually obtaining an introduction at court.
He wrote an elegy (1612) on the death of Prince Henry, and a volume of gratulatory poems (1613) on the marriage of the princess Elizabeth, but his uncompromising character soon prepared trouble for him.
In 1611 he published Abuses Stript and Whipt, twenty satires of general application directed against Revenge, Ambition, Lust and other abstractions. The volume included a poem called “The Scourge,” in which the lord chancellor was attacked, and a series of epigrams. No copy of this edition is known, and it was perhaps suppressed, but in 1613 five editions appeared, and the author was lodged in the Marshalsea prison. The influence of the Princess Elizabeth, supported by a loyal “Satyre” to the king, in which he hints that an enemy at court had fitted personal meanings to his general invective, secured his release at the end of a few months. He had figured as one of the interlocutors, “ Roget,” in his friend William Browne’s Shepherd’s Pipe, with which were bound up eclogucs by other poets, among them one by Wither, and during his imprisonment he wrote what may be regarded as a continuation of Browne’s work, The Shepherd’s Hunting (printed I615), eclogues in which the two poets appear as “Willie “ and “Roget “ (in later editions “Philarete “). The fourth of these eclogues contains a famous passage in praise of poetry.
After his release he was admitted (1615) to Lincoln’s Inn, and in the same year he printed privately Fidelia, a love elegy, of which there is a unique copy in the Bodlleian. Other editions of this book, which contained the lyric “Shall I, wasting in despair,” appeared in 1617 and 1619. I
n 1621 he returned to the satiric vein with Wither’s Motto: Nec habeo, nec careo, nec curo. Over 30,000 copies of this poem were sold, according to his own account, within a few months. Like his earlier invective, it was said to be libellous, and Wither was again imprisoned, but shortly afterwards released without formal trial on the plea that the book had been. duly licensed.
In 1622 appeared his Faire- Virtue, The Mistresse of Phil’ Arete, a long panegyric of a mistress, partly real, partly allegorical, written chiefly in the seven-syllabled verse of which he was a master.

Wither began as a moderate in politics and religion, but from this time his Puritan leanings became more and more pronounced, and his later work consists of religious poetry, and of controversial and political tracts. His Hymnes and Songs of the Church (1622—1623) were issued under a patent of King James I. ordaining that they should be bound up with every copy of the authorized metrical psalms offered for sale (see HYMNS).
This patent was opposed, as inconsistent with their privilege to print the “singing-psalms,” by the Stationers’ Company, to Wither’s great mortification and loss, and a second similar patent was finally disallowed by the House of Lords.
Wither was in London during the plague of 1625, and in 1628 published Britain’s Remembrancer, a voluminous poem on the subject, interspersed with denunciations of the wickedness of the times, and prophecies of the disasters about to fall upon England. He also incidentally avenged Ben Jonson’s satire on him as the “ Chronomastix” of Time Vindicated, by a reference to Ben’s “drunken ‘conclave.” This book he was obliged to print with his own hand in consequence of his quarrel with the Stationers’ Company.
In 1635 he was employed by Henry Taunton, a London publisher, to write English verses illustrative of the allegorical plates of Crispin van Passe, originally designed for Gabriel Rollenhagen’s Nucleus emblematum selectissimorum (1610—1613). The book was published as a Collection of Embletnes, Ancient and Moderne, of which the only perfect copy known is in the British Museum.
The best of Wither’s religious poetry is contained in Heleluiah: or Britain’s Second Remembrancer, which was printed in Holland in 1641. Many of the poems rise to a high point of excellence.
Wither wrote, generally, in a pure nervous English idiom, and preferred the reputation of” rusticity “(an epithet applied to him even. by Baxter) to the tricks and artifices of poetical style which were then in favour. It may be partly on that account that he was better appreciated by posterity than by his contemporaries.
Wither had served as captain of horse in 1639 in the expedition of Charles I. against the Scottish Covenanters, and his religious rather than his political convictions must be accepted as the explanation of the fact that, three years after the Scottish expedition, at the outbreak of the Great Rebellion, he is found definitely siding with the parliament. He sold his estate to raise a troop of horse, and was placed by a parliamentary committee in command of Farnham Castle. After a few days’ occupation he left the place undefended, and marched to London.
His own house near Farnham was plundered, and he himself was captured by a troop of Royalist horse, owing his life to the intervention. of Sir John Denham on the ground that so long as Wither lived he himself could not be accounted the worst poet in England.
After this episode he was promoted to the rank of major. He was present at the siege of Gloucester (1643) and at Naseby (1645). He had been deprived in 1643 of his nominal command, and of his commission as justice of the peace, in consequence of an attack upon Sir Richard Onslow, who was, he maintained, responsible for the Farnham disaster.
In the same year parliament made him a grant of £2000 for the loss of his property, but he apparently never received the full amount, and complained from time to time of his embarrassments and of the slight rewards he received for his services.
An order was made to settle a yearly income of £150 on Wither, chargeable on Sir John Denham’s sequestrated estate, but there is no evidence that he ever received it. A small place given him by the Protector was forfeited “by declaring unto him (Cromwell) those truths which he was not willing to hear of.” At the Restoration he was arrested, and remained in prison for three years. He died in London on the 2nd of May 1667.

Christmas Trees - Robert Frost


A Christmas Circular Letter


The city had withdrawn into itself
And left at last the country to the country;
When between whirls of snow not come to lie
And whirls of foliage not yet laid, there drove
A stranger to our yard, who looked the city,
Yet did in country fashion in that there
He sat and waited till he drew us out
A-buttoning coats to ask him who he was.
He proved to be the city come again
To look for something it had left behind
And could not do without and keep its Christmas.
He asked if I would sell my Christmas trees;
My woods—the young fir balsams like a place
Where houses all are churches and have spires.
I hadn't thought of them as Christmas Trees.
I doubt if I was tempted for a moment
To sell them off their feet to go in cars
And leave the slope behind the house all bare,
Where the sun shines now no warmer than the moon.
I'd hate to have them know it if I was.
Yet more I'd hate to hold my trees except
As others hold theirs or refuse for them,
Beyond the time of profitable growth,
The trial by market everything must come to.
I dallied so much with the thought of selling.
Then whether from mistaken courtesy
And fear of seeming short of speech, or whether
From hope of hearing good of what was mine,
I said, "There aren't enough to be worth while."

"I could soon tell how many they would cut,
You let me look them over."

"You could look.
But don't expect I'm going to let you have them."
Pasture they spring in, some in clumps too close
That lop each other of boughs, but not a few
Quite solitary and having equal boughs
All round and round. The latter he nodded "Yes" to,
Or paused to say beneath some lovelier one,
With a buyer's moderation, "That would do."
I thought so too, but wasn't there to say so.
We climbed the pasture on the south, crossed over,
And came down on the north.

He said, "A thousand."

"A thousand Christmas trees!—at what apiece?"

He felt some need of softening that to me:
"A thousand trees would come to thirty dollars."

Then I was certain I had never meant
To let him have them. Never show surprise!
But thirty dollars seemed so small beside
The extent of pasture I should strip, three cents
(For that was all they figured out apiece),
Three cents so small beside the dollar friends
I should be writing to within the hour
Would pay in cities for good trees like those,
Regular vestry-trees whole Sunday Schools
Could hang enough on to pick off enough.
A thousand Christmas trees I didn't know I had!
Worth three cents more to give away than sell,
As may be shown by a simple calculation.
Too bad I couldn't lay one in a letter.
I can't help wishing I could send you one,
In wishing you herewith a Merry Christmas.

Robert Frost

Christina Rossetti "In an Artist's Studio" - Poem, animation

Heres a virtual movie of the great Christina Rossetti reading her exquisite poem"in an artists studio" Written in 1856 and published for the first time posthumously in 1896.



In her poem, "In an Artist's studio," Christina Rossetti responds to the tendency of Victorian poets to objectify women in their experiment with aestheticism. Her poem recalls Robert Browning's "Andrea del Sarto" in which a male artist pretends to possess his estranged wife by having her pose as his model. This poem also recalls Pygmalian of Ovid's Metamorphoses, a misogynist sculptor who chisels the perfect female and becomes so enamored with his own creation that he asks the gods to bring her to life. Like the artist of Rossetti's poem, Pygmalian essentially falls in love with himself and his own projections and ideas about women. In Rossetti's poem, the artist conceives of his female subject as a passive, emotionless object which he can mold to fit his own fantasies and projections. The description of the female subject is consistent with the stereotypical Victorian view of female patience, passivity and selflessness. The image of the artist "feeding" upon his subject's face refers to the male desire to possess women as wholly aesthetic objects.

Christina Georgina Rossetti (5 December 1830 29 December 1894) was an English poet who wrote a variety of romantic, devotional, and children's poems. She is best known for her long poem Goblin Market, her love poem "Remember", and for the words of what became the popular Christmas carol "In the Bleak Midwinter".

Rossetti was born in London and educated at home by her mother. Her siblings were the artist and poet Dante Gabriel Rossetti, William Michael Rossetti, and Maria Francesca Rossetti. Their father, Gabriele Rossetti, was an Italian poet and a political asylum seeker from Naples; their mother, Frances Polidori, was the sister of Lord Byron's friend and physician, John William Polidori, author of The Vampyre.

Kind Regards

Jim Clark
All rights are reserved on this video recording copyright Jim Clark 2010


Poem

One face looks out from all his canvases,
One selfsame figure sits or walks or leans:
We found her hidden just behind those screens,
That mirror gave back all her loveliness.
A queen in opal or in ruby dress,
A nameless girl in freshest summer-greens,
A saint, an angel — every canvas means
The same one meaning, neither more or less.
He feeds upon her face by day and night,
And she with true kind eyes looks back on him,
Fair as the moon and joyful as the light:
Not wan with waiting, not with sorrow dim;
Not as she is, but was when hope shone bright;
Not as she is, but as she fills his dream.

Christina Rossetti

Christina Rossetti "The Bourne" - Poem, animation

Heres a virtual movie of the great Christina Rossetti reading her exquisite little poem "The Bourne" which was first published in her 1826 collection of poems "Goblin Market and Other Poems".



Christina Georgina Rossetti (5 December 1830 29 December 1894) was an English poet who wrote a variety of romantic, devotional, and children's poems. She is best known for her long poem Goblin Market, her love poem "Remember", and for the words of what became the popular Christmas carol "In the Bleak Midwinter".

Rossetti was born in London and educated at home by her mother. Her siblings were the artist and poet Dante Gabriel Rossetti, William Michael Rossetti, and Maria Francesca Rossetti. Their father, Gabriele Rossetti, was an Italian poet and a political asylum seeker from Naples; their mother, Frances Polidori, was the sister of Lord Byron's friend and physician, John William Polidori, author of The Vampyre.

Goblin Market (composed in April 1859 and published in 1862) is a poem by Christina Rossetti. In a letter to her publisher, Rossetti claimed that the poem, which features remarkably sexual imagery, was not meant for children. However, in public Rossetti often stated that the poem was intended for children, and went on to write many children's poems. When the poem appeared in her first volume of poetry, Goblin Market and Other Poems, it was illustrated by her brother, the Pre-Raphaelite artist Dante Gabriel Rossetti.

Kind Regards

Jim Clark
All rights are reserved on this video recording copyright Jim Clark 2010

Poem

THE BOURNE.
Underneath the growing grass,
Underneath the living flowers,
Deeper than the sound of showers:
There we shall not count the hours
By the shadows as they pass.

Youth and health will be but vain,
Beauty reckoned of no worth:
There a very little girth
Can hold round what once the earth
Seemed too narrow to contain.

Christina Rossetti

"Hurt no living thing" by Christina Rossetti - Poem, animation

Heres a virtual movie of a recitation of a poem written by the great Christina Rossetti (1830 - 1894) "Hurt no living thing" this short sweet profound little poem comes from her childrens collection Goblin Market and Other Poems,which appeared in 1862, when she was aged 31. As the poem is read by a male reader I have employed the visual services of William Michael Rossetti (25 September 1829 5 February 1919) the English writer and criticBorn in London, he was a son of immigrant Italian scholar Gabriele Rossetti, and the brother of Maria Francesca Rossetti, Dante Gabriel Rossetti and Christina Georgina Rossetti. He was one of the seven founder members of the Pre-Raphaelite Brotherhood in 1848, and became the movement's unofficial organizer and bibliographer. He edited the Brotherhood's literary magazine The Germ which published four issues in 1850 and wrote the poetry reviews for it.. Rossetti edited the first British edition of the poetry of Walt Whitman, which was published in 1868; however, this edition was bowdlerized (Censored)

Christina Georgina Rossetti (5 December 1830 29 December 1894) was a British poet, who wrote a variety of romantic, devotional, and children's poems. She is best known for her long poem Goblin Market, her love poem "Remember", and for the words of what became the popular Christmas carol "In the Bleak Midwinter".

Christina Georgina Rossetti, one of the most important women poets writing in nineteenth-century England, was born in London December 5, 1830, to Gabriele and Frances (Polidori) Rossetti. Although her fundamentally religious temperament was closer to her mother's, this youngest member of a remarkable family of poets, artists, and critics inherited many of her artistic tendencies from her father.

Judging from somewhat idealized sketches made by her brother Dante, Christina as a teenager seems to have been quite attractive if not beautiful. In 1848 she became engaged to James Collinson, one of the minor Pre-Raphaelite brethren, but the engagement ended after he reverted to Roman Catholicism.

When Professor Rossetti's failing health and eyesight forced him into retirement in 1853, Christina and her mother attempted to support the family by starting a day school, but had to give it up after a year or so. Thereafter she led a very retiring life, interrupted by a recurring illness which was sometimes diagnosed as angina and sometimes tuberculosis. From the early '60s on she was in love with Charles Cayley, but according to her brother William, refused to marry him because "she enquired into his creed and found he was not a Christian." Milk-and-water Anglicanism was not to her taste. Lona Mosk Packer argues that her poems conceal a love for the painter William Bell Scott, but there is no other evidence for this theory, and the most respected scholar of the Pre-Raphaelite movement disputes the dates on which Packer thinks some of the more revealing poems were written.



All three Rossetti women, at first devout members of the evangelical branch of the Church of England, were drawn toward the Tractarians in the 1840s. They nevertheless retained their evangelical seriousness: Maria eventually became an Anglican nun, and Christina's religious scruples remind one of Dorothea Brooke in George Eliot's Middlemarch : as Eliot's heroine looked forward to giving up riding because she enjoyed it so much, so Christina gave up chess because she found she enjoyed winning; pasted paper strips over the antireligious parts of Swinburne's Atalanta in Calydon (which allowed her to enjoy the poem very much); objected to nudity in painting, especially if the artist was a woman; and refused even to go see Wagner's Parsifal, because it celebrated a pagan mythology.

After rejecting Cayley in 1866, according one biographer, Christina (like many Victorian spinsters) lived vicariously in the lives of other people. Although pretty much a stay-at-home, her circle included her brothers' friends, like Whistler, Swinburne, F.M. Brown, and Charles Dodgson (Lewis Carroll). She continued to write and in the 1870s to work for the Society for Promoting Christian Knowledge. She was troubled physically by neuralgia and emotionally by Dante's breakdown in 1872. The last 12 years of her life, after his death in 1882, were quiet ones. She died of cancer December 29, 1894.

Kind Regards

Jim Clark
All rights reserved on this video recording copyright Jim Clark 2009


Poem

Hurt no living thing;
Ladybird, nor butterfly,
Nor moth with dusty wing,
Nor cricket chirping cheerily,
Nor grasshopper so light of leap,
Nor dancing gnat, nor beetle fat,
Nor harmless worms that creep.

Christina Rossetti

An Echo by Christina Rossetti - Video

A recital of "An Echo", a poem by Christina Georgina Rossetti, 1830 - 1894. Christina Rossetti is one of the most important Victorian women poets, part of the Pre-Raphaelite movement founded by her brother, Dante Gabriel Rossetti. Like him she showed promise as a poet while still very young. She was educated at home and encouraged to write by her family; her teenage poems were printed by her grandfather on his own press. Christina Rossetti is famous for "Goblin Market," and other works.



Come to me in the silence of the night;
Come in the speaking silence of a dream;
Come with soft rounded cheeks and eyes as bright
As sunlight on a stream;
Come back in tears,
O memory, hope, love of finished years.

Oh dream how sweet, too sweet, too bitter sweet,
Whose wakening should have been in Paradise,
Where souls brimfull of love abide and meet;
Where thirsting longing eyes
Watch the slow door
That opening, letting in, lets out no more.

Yet come to me in dreams, that I may live
My very life again though cold in death:
Come back to me in dreams, that I may give
Pulse for pulse, breath for breath:
Speak low, lean low,
As long ago, my love, how long ago!

Christina Rossetti

Christina Rossetti -Goblin Market - Video

Goblin Market by Christina Rossetti
read by David Shaw Parker produced by Robert Nichol Audioproductions London
Goblin Market (composed in April 1859 and published in 1862) is a poem by Christina Rossetti. Throughout her lifetime, Rossetti claimed that the poem, which features remarkably sexual imagery, was a children's poem. When the poem appeared in her first volume of poetry, Goblin Market and Other Poems, it was illustrated by her brother, the Pre-Raphaelite artist Dante Gabriel Rossetti



Goblin Market is about two close sisters, Laura and Lizzie, as well as the goblin men to whom the title refers, and another girl named Jeanie.
Although the sisters seem to be quite young, they live by themselves in a house, and are accustomed to draw water every evening from a stream. As the poem begins, twilight is falling, and as usual the sisters hear the calls from the Goblin merchants, who sell fruits in fantastic abundance, variety and savor. On this evening, Laura lingers at the stream after her sister has left for home. Wanting fruit but having no money, the impulsive Laura offers a lock of her hair and "a tear more rare than pearl."

Christina Rossetti -"Uphill" Poem animation

Jim Clark
All rights are reserved on this video recording copyright Jim Clark 2010

Heres a virtual movie of the great Christina Rossetti by far my favourite female poet reading one of my favourite poems of hers "Uphill" The poem is sort of childlike in its innocence a conversation between the states of life and death.After all none of us know know what to expect after we are dead for sure and we will all be like small children at the moment life leaves our body.The wonderfully imaginative and thoughtfull elequent Christina Rossetti utilises the magic of poetry to take us through this most final of imagined journeys,and one thing is for certain we can be very sure that at "Deaths Inn! there are beds for all who come.



Christina Georgina Rossetti (5 December 1830 29 December 1894) was an English poet who wrote a variety of romantic, devotional, and children's poems. She is best known for her long poem Goblin Market, her love poem "Remember", and for the words of what became the popular Christmas carol "In the Bleak Midwinter".

Rossetti was born in London and educated at home by her mother. Her siblings were the artist and poet Dante Gabriel Rossetti, William Michael Rossetti, and Maria Francesca Rossetti. Their father, Gabriele Rossetti, was an Italian poet and a political asylum seeker from Naples; their mother, Frances Polidori, was the sister of Lord Byron's friend and physician, John William Polidori, author of The Vampyre.

Christina Rossetti - Requiem - when i'm dead my dearest - Video

SONG: " The Fairy Queen by Loreena McKennitt "
Form:
It's a form of hymn metre, with alternating longer and shorter lines.

Analysis:
Rossetti gives her loved one permission to remember or forget her once she's dead, and acknowledges that she will no longer be aware of what transpires in the world once she is buried. She goes on to indicate that she believes in some sort of immortality of the soul with the phrase "And dreaming through the twilight/that doth not rise nor set", but it appears she does not hold out hopes of heaven or belief in hell, and is uncertain what sort of consciousness her own soul will have - maybe it will remember her loved one, maybe not. To me, this is the reading of the poem on its face, which I find fascinating because Rossetti has a reputation as a devout Anglican, who refused to see one of Wagner's operas because it was based in paganism and gave up chess because winning gave her too much pleasure.



A Few Words:
Christina Georgina Rossetti, one of the most important women poets writing in nineteenth-century England, was born in London December 5, 1830. Christina was educated at home by her mother, Frances Polidori, a former governess, an Anglican of devout evangelical bent. Rossetti's first verses were written in 1842 and printed in the private press of her grandfather.
By the 1880s, recurrent bouts of Graves' disease, a thyroid disorder, had made Rossetti an invalid, and ended her attempts to work as a governess. Rossetti's illness restricted her social life, but she continued to write sonnets and ballads. Rossetti's brother William Michael edited her complete works in 1904. He once said that "Christina's habits of composing were eminently of the spontaneous kind.

Christina Rossetti - "Song" Poem Animation Video

Heres a virtual movie of the great Christina Rossetti 1830 - 1894 by far my favourite female poet reading her lovely sad poem "Song" which to my ears is as the title suggests should realy be sung or chanted rather than just given the rather dry and lifeless recitation performed here by Peggy Ashcroft.I do think however that this reading probably sounds rather like Christina may have sounded when the photograph I have used in this virtual movie was taken towards the end of her very creative life and works well to give an impression of how Christina may have looked and sounded had she been filmed at this stage of her life.





Jim Clark
All rights are reserved on this video recording copyright Jim Clark 2008

Christina Rossetti - Remember - Video


Remember
by Christina Rossetti
read by Eleanor Bron


When I Am Dead, My Dearest - by Christina Rossetti - Video

Directed by Julian West
Performed by Brigitte Bordeau


Sonnets are full of love, and this my tome - Christina Rossetti



Sonnets are full of love, and this my tome
Has many sonnets: so here now shall be
One sonnet more, a love sonnet, from me
To her whose heart is my heart’s quiet home,
To my first Love, my Mother, on whose knee
I learnt love-lore that is not troublesome;
Whose service is my special dignity,
And she my loadstar while I go and come
And so because you love me, and because
I love you, Mother, I have woven a wreath
Of rhymes wherewith to crown your honored name:
In you not fourscore years can dim the flame
Of love, whose blessed glow transcends the laws
Of time and change and mortal life and death.

Christina Rossetti

Who Has Seen the Wind? - Christina Rossetti



Who has seen the wind?
Neither I nor you.
But when the leaves hang trembling,
The wind is passing through.
Who has seen the wind?
Neither you nor I.
But when the trees bow down their heads,
The wind is passing by.

Christina Rossetti

Up-Hill - Christina Rossetti



Does the road wind up-hill all the way?
Yes, to the very end.
Will the day's journey take the whole long day?
From morn to night, my friend.

But is there for the night a resting-place?
A roof for when the slow dark hours begin.
May not the darkness hide it from my face?
You cannot miss that inn.

Shall I meet other wayfarers at night?
Those who have gone before.
Then must I knock, or call when just in sight?
They will not keep you standing at that door.

Shall I find comfort, travel-sore and weak?
Of labour you shall find the sum.
Will there be beds for me and all who seek?
Yea, beds for all who come.

Christina Rossetti

To My Mother - Christina Rossetti



To-day's your natal day;
Sweet flowers I bring:
Mother, accept, I pray
My offering.

And may you happy live,
And long us bless;
Receiving as you give
Great happiness.

Christina Rossetti

The Thread of Life - Christina Rossetti



1

The irresponsive silence of the land,
The irresponsive sounding of the sea,
Speak both one message of one sense to me: —
Aloof, aloof, we stand aloof, so stand
Thou too aloof bound with the flawless band
Of inner solitude; we bind not thee;
But who from thy self—chain shall set thee free?
What heart shall touch thy heart? what hand thy hand?—
And I am sometimes proud and sometimes meek,
And sometimes I remember days of old
When fellowship seemed not so far to seek
And all the world and I seemed much less cold,
And at the rainbow's foot lay surely gold,
And hope felt strong and life itself not weak.

2

Thus am I mine own prison. Everything
Around me free and sunny and at ease:
Or if in shadow, in a shade of trees
Which the sun kisses, where the gay birds sing
And where all winds make various murmuring;
Where bees are found, with honey for the bees;
Where sounds are music, and where silences
Are music of an unlike fashioning.
Then gaze I at the merrymaking crew,
And smile a moment and a moment sigh
Thinking: Why can I not rejoice with you ?
But soon I put the foolish fancy by:
I am not what I have nor what I do;
But what I was I am, I am even I.

3

Therefore myself is that one only thing
I hold to use or waste, to keep or give;
My sole possession every day I live,
And still mine own despite Time's winnowing.
Ever mine own, while moons and seasons bring
From crudeness ripeness mellow and sanative;
Ever mine own, till Death shall ply his sieve;
And still mine own, when saints break grave and sing.
And this myself as king unto my King
I give, to Him Who gave Himself for me;
Who gives Himself to me, and bids me sing
A sweet new song of His redeemed set free;
He bids me sing: O death, where is thy sting?
And sing: O grave, where is thy victory?

Christina Rossetti

Remember - Christina Rossetti



Remember me when I am gone away,
Gone far away into the silent land;
When you can no more hold me by the hand,
Nor I half turn to go yet turning stay.
Remember me when no more day by day
You tell me of our future that you planned:
Only remember me; you understand
It will be late to counsel then or pray.
Yet if you should forget me for a while
And afterwards remember, do not grieve:
For if the darkness and corruption leave
A vestige of the thoughts that once I had,
Better by far you should forget and smile
Than that you should remember and be sad.

Christina Rossetti

Monna Innominata 'I wish I could remember' - Christina Rossetti



I wish I could remember that first day,
First hour, first moment of your meeting me,
If bright or dim the season, it might be
Summer or Winter for aught I can say;
So unrecorded did it slip away,
So blind was I to see and to foresee,
So dull to mark the budding of my tree
That would not blossom for many a May.
If only I could recollect it, such
A day of days! I let it come and go
As traceless as a thaw of bygone snow;
It seemed to mean so little, meant so much;
If only now I could recall that touch,
First touch of hand in hand—Did one but know!

Christina Rossetti

Monna Innominata 'I loved you first' - Christina Rossetti



I loved you first: but afterwards your love,
Outsoaring mine, sang such a loftier song
As drowned the friendly cooings of my dove.
Which owes the other most? My love was long,
And yours one moment seemed to wax more strong;
I loved and guessed at you, you contrued me
And loved me for what might or might not be—
Nay, weights and measures do us both a wrong.
For verily love knows not 'mine' or 'thine';
With separate 'I' and 'thou' free love has done,
For one is both and both are one in love:
Rich love knows nought of 'thine that is not mine';
Both have the strength and both the length thereof,
Both of us, of the love which makes us one.

Christina Rossetti

Monna Innominata 'I dream of you, to wake' - Christina Rossetti



I dream of you, to wake: would that I might
Dream of you and not wake but slumber on;
Nor find with dreams the dear companion gone,
As, Summer ended, Summer birds take flight.
In happy dreams I hold you full in night.
I blush again who waking look so wan;
Brighter than sunniest day that ever shone,
In happy dreams your smile makes day of night.
Thus only in a dream we are at one,
Thus only in a dream we give and take
The faith that maketh rich who take or give;
If thus to sleep is sweeter than to wake,
To die were surely sweeter than to live,
Though there be nothing new beneath the sun.

Christina Rossetti

Holy Innocents - Christina Rossetti



Sleep, little Baby, sleep;
The holy Angels love thee,
And guard thy bed, and keep
A blessed watch above thee.
No spirit can come near
Nor evil beast to harm thee:
Sleep, Sweet, devoid of fear
Where nothing need alarm thee.

The Love which doth not sleep,
The eternal Arms surround thee:
The Shepherd of the sheep
In perfect love hath found thee.
Sleep through the holy night,
Christ-kept from snare and sorrow,
Until thou wake to light
And love and warmth to-morrow.

Christina Rossetti

Goblin Market - Christina Rossetti



Morning and evening
Maids heard the goblins cry:
"Come buy our orchard fruits,
Come buy, come buy:
Apples and quinces,
Lemons and oranges,
Plump unpecked cherries,
Melons and raspberries,
Bloom-down-cheeked peaches,
Swart-headed mulberries,
Wild free-born cranberries,
Crab-apples, dewberries,
Pine-apples, blackberries,

Apricots, strawberries;—
All ripe together
In summer weather,—
Morns that pass by,
Fair eves that fly;
Come buy, come buy;
Our grapes fresh from the vine,
Pomegranates full and fine,
Dates and sharp bullaces,
Rare pears and greengages,
Damsons and bilberries,
Taste them and try:
Currants and gooseberries,
Bright-fire-like barberries,
Figs to fill your mouth,
Citrons from the South,
Sweet to tongue and sound to eye,
Come buy, come buy."

Evening by evening
Among the brookside rushes,
Laura bowed her head to hear,
Lizzie veiled her blushes:
Crouching close together
In the cooling weather,
With clasping arms and cautioning lips,
With tingling cheeks and fingertips.
"Lie close," Laura said,
Pricking up her golden head:
"We must not look at goblin men,
We must not buy their fruits:
Who knows upon what soil they fed
Their hungry thirsty roots?"
"Come buy," call the goblins
Hobbling down the glen.
"Oh," cried Lizzie, "Laura, Laura,
You should not peep at goblin men."
Lizzie covered up her eyes
Covered close lest they should look;
Laura reared her glossy head,
And whispered like the restless brook:
"Look, Lizzie, look, Lizzie,
Down the glen tramp little men.
One hauls a basket,
One bears a plate,
One lugs a golden dish
Of many pounds weight.
How fair the vine must grow
Whose grapes are so luscious;
How warm the wind must blow
Thro' those fruit bushes."
"No," said Lizzie, "No, no, no;
Their offers should not charm us,
Their evil gifts would harm us."
She thrust a dimpled finger
In each ear, shut eyes and ran:
Curious Laura chose to linger
Wondering at each merchant man.
One had a cat's face,
One whisked a tail,
One tramped at a rat's pace,
One crawled like a snail,
One like a wombat prowled obtuse and furry,
One like a ratel tumbled hurry scurry.
She heard a voice like voice of doves
Cooing all together:
They sounded kind and full of loves
In the pleasant weather.

Laura stretched her gleaming neck
Like a rush-imbedded swan,
Like a lily from the beck,
Like a moonlit poplar branch,
Like a vessel at the launch
When its last restraint is gone.

Backwards up the mossy glen
Turned and trooped the goblin men,
With their shrill repeated cry,
"Come buy, come buy."
When they reached where Laura was
They stood stock still upon the moss,
Leering at each other,
Brother with queer brother;
Signalling each other,
Brother with sly brother.
One set his basket down,
One reared his plate;
One began to weave a crown
Of tendrils, leaves, and rough nuts brown
(Men sell not such in any town);
One heaved the golden weight
Of dish and fruit to offer her:
"Come buy, come buy," was still their cry.
Laura stared but did not stir,
Longed but had no money:
The whisk-tailed merchant bade her taste
In tones as smooth as honey,
The cat-faced purr'd,
The rat-paced spoke a word
Of welcome, and the snail-paced even was heard;
One parrot-voiced and jolly
Cried "Pretty Goblin" still for "Pretty Polly;"—
One whistled like a bird.

But sweet-tooth Laura spoke in haste:
"Good folk, I have no coin;
To take were to purloin:
I have no copper in my purse,
I have no silver either,
And all my gold is on the furze
That shakes in windy weather
Above the rusty heather."
"You have much gold upon your head,"
They answered all together:
"Buy from us with a golden curl."
She clipped a precious golden lock,
She dropped a tear more rare than pearl,
Then sucked their fruit globes fair or red:
Sweeter than honey from the rock,
Stronger than man-rejoicing wine,
Clearer than water flowed that juice;
She never tasted such before,
How should it cloy with length of use?
She sucked and sucked and sucked the more
Fruits which that unknown orchard bore,
She sucked until her lips were sore;
Then flung the emptied rinds away
But gathered up one kernel-stone,
And knew not was it night or day
As she turned home alone.

Lizzie met her at the gate
Full of wise upbraidings:
"Dear, you should not stay so late,
Twilight is not good for maidens;
Should not loiter in the glen
In the haunts of goblin men.
Do you not remember Jeanie,
How she met them in the moonlight,
Took their gifts both choice and many,
Ate their fruits and wore their flowers
Plucked from bowers
Where summer ripens at all hours?
But ever in the moonlight
She pined and pined away;
Sought them by night and day,
Found them no more but dwindled and grew grey;
Then fell with the first snow,
While to this day no grass will grow
Where she lies low:
I planted daisies there a year ago
That never blow.
You should not loiter so."
"Nay, hush," said Laura:
"Nay, hush, my sister:
I ate and ate my fill,
Yet my mouth waters still;
Tomorrow night I will
Buy more:" and kissed her:
"Have done with sorrow;
I'll bring you plums tomorrow
Fresh on their mother twigs,
Cherries worth getting;
You cannot think what figs
My teeth have met in,
What melons, icy-cold
Piled on a dish of gold
Too huge for me to hold,
What peaches with a velvet nap,
Pellucid grapes without one seed:
Odorous indeed must be the mead
Whereon they grow, and pure the wave they drink,
With lilies at the brink,
And sugar-sweet their sap."


Golden head by golden head,
Like two pigeons in one nest
Folded in each other's wings,
They lay down in their curtained bed:
Like two blossoms on one stem,
Like two flakes of new-fall'n snow,
Like two wands of ivory
Tipped with gold for awful kings.
Moon and stars gazed in at them,
Wind sang to them lullaby,
Lumbering owls forbore to fly,
Not a bat flapped to and fro
Round their rest:
Cheek to cheek and breast to breast
Locked together in one nest.

Early in the morning
When the first cock crowed his warning,
Neat like bees, as sweet and busy,
Laura rose with Lizzie:
Fetched in honey, milked the cows,
Aired and set to rights the house,
Kneaded cakes of whitest wheat,
Cakes for dainty mouths to eat,
Next churned butter, whipped up cream,
Fed their poultry, sat and sewed;
Talked as modest maidens should:
Lizzie with an open heart,
Laura in an absent dream,
One content, one sick in part;
One warbling for the mere bright day's delight,
One longing for the night.

At length slow evening came:
They went with pitchers to the reedy brook;
Lizzie most placid in her look,
Laura most like a leaping flame.
They drew the gurgling water from its deep;
Lizzie plucked purple and rich golden flags,
Then turning homeward said: "The sunset flushes
Those furthest loftiest crags;
Come, Laura, not another maiden lags,
No wilful squirrel wags,
The beasts and birds are fast asleep."
But Laura loitered still among the rushes
And said the bank was steep.

And said the hour was early still,
The dew not fall'n, the wind not chill:
Listening ever, but not catching
The customary cry,
"Come buy, come buy,"
With its iterated jingle
Of sugar-baited words:
Not for all her watching
Once discerning even one goblin
Racing, whisking, tumbling, hobbling;
Let alone the herds
That used to tramp along the glen,
In groups or single,
Of brisk fruit-merchant men.
Till Lizzie urged, "O Laura, come;
I hear the fruit-call, but I dare not look:
You should not loiter longer at this brook:
Come with me home.
The stars rise, the moon bends her arc,
Each glowworm winks her spark,
Let us get home before the night grows dark:
For clouds may gather even
Tho' this is summer weather,
Put out the lights and drench us thro';
Then if we lost our way what should we do?"

Laura turned cold as stone
To find her sister heard that cry alone,
That goblin cry,
"Come buy our fruits, come buy."
Must she then buy no more such dainty fruit?
Must she no more such succous pasture find,
Gone deaf and blind?
Her tree of life drooped from the root:
She said not one word in her heart's sore ache;
But peering thro' the dimness, naught discerning,
Trudged home, her pitcher dripping all the way;
So crept to bed, and lay
Silent till Lizzie slept;
Then sat up in a passionate yearning,
And gnashed her teeth for baulked desire, and wept
As if her heart would break.

Day after day, night after night,
Laura kept watch in vain,
In sullen silence of exceeding pain.
She never caught again the goblin cry:
"Come buy, come buy;"—
She never spied the goblin men
Hawking their fruits along the glen:
But when the noon waxed bright
Her hair grew thin and gray;
She dwindled, as the fair full moon doth turn
To swift decay and burn
Her fire away.

One day remembering her kernel-stone
She set it by a wall that faced the south;
Dewed it with tears, hoped for a root,
Watched for a waxing shoot,
But there came none;
It never saw the sun,
It never felt the trickling moisture run:
While with sunk eyes and faded mouth
She dreamed of melons, as a traveller sees
False waves in desert drouth
With shade of leaf-crowned trees,
And burns the thirstier in the sandful breeze.
She no more swept the house,
Tended the fowls or cows,
Fetched honey, kneaded cakes of wheat,
Brought water from the brook:
But sat down listless in the chimney-nook
And would not eat.

Tender Lizzie could not bear
To watch her sister's cankerous care
Yet not to share.
She night and morning
Caught the goblins' cry:
"Come buy our orchard fruits,
Come buy, come buy:"—
Beside the brook, along the glen,
She heard the tramp of goblin men,
The voice and stir
Poor Laura could not hear;
Longed to buy fruit to comfort her,
But feared to pay too dear.

She thought of Jeanie in her grave,
Who should have been a bride;
But who for joys brides hope to have
Fell sick and died
In her gay prime,
In earliest Winter time,
With the first glazing rime,
With the first snow-fall of crisp Winter time.
Till Laura dwindling
Seemed knocking at Death's door:
Then Lizzie weighed no more
Better and worse;
But put a silver penny in her purse,
Kissed Laura, crossed the heath with clumps of furze
At twilight, halted by the brook:
And for the first time in her life
Began to listen and look.

Laughed every goblin
When they spied her peeping:
Came towards her hobbling,
Flying, running, leaping,
Puffing and blowing,
Chuckling, clapping, crowing,
Clucking and gobbling,
Mopping and mowing,
Full of airs and graces,
Pulling wry faces,
Demure grimaces,
Cat-like and rat-like,
Ratel and wombat-like,
Snail-paced in a hurry,
Parrot-voiced and whistler,
Helter skelter, hurry skurry,
Chattering like magpies,
Fluttering like pigeons,
Gliding like fishes,—
Hugged her and kissed her,
Squeezed and caressed her:
Stretched up their dishes,
Panniers, and plates:
"Look at our apples
Russet and dun,
Bob at our cherries
Bite at our peaches,
Citrons and dates,
Grapes for the asking,
Pears red with basking
Out in the sun,
Plums on their twigs;
Pluck them and suck them,
Pomegranates, figs."—

"Good folk," said Lizzie,
Mindful of Jeanie,
"Give me much and many:"—
Held out her apron,
Tossed them her penny.
"Nay, take a seat with us,
Honor and eat with us,"
They answered grinning;
"Our feast is but beginning.
Night yet is early,
Warm and dew-pearly,
Wakeful and starry:
Such fruits as these
No man can carry;
Half their bloom would fly,
Half their dew would dry,
Half their flavor would pass by.
Sit down and feast with us,
Be welcome guest with us,
Cheer you and rest with us."—
"Thank you," said Lizzie; "But one waits
At home alone for me:
So, without further parleying,
If you will not sell me any
Of your fruits tho' much and many,
Give me back my silver penny
I tossed you for a fee."—
They began to scratch their pates,
No longer wagging, purring,
But visibly demurring,
Grunting and snarling.
One called her proud,
Cross-grained, uncivil;
Their tones waxed loud,
Their looks were evil.
Lashing their tails
They trod and hustled her,
Elbowed and jostled her,
Clawed with their nails,
Barking, mewing, hissing, mocking,
Tore her gown and soiled her stocking,
Twitched her hair out by the roots,
Stamped upon her tender feet,
Held her hands and squeezed their fruits
Against her mouth to make her eat.
White and golden Lizzie stood,
Like a lily in a flood,
Like a rock of blue-veined stone
Lashed by tides obstreperously, --
Like a beacon left alone
In a hoary roaring sea,
Sending up a golden fire, --
Like a fruit-crowned orange-tree
White with blossoms honey-sweet
Sore beset by wasp and bee, --
Like a royal virgin town
Topped with gilded dome and spire
Close beleaguered by a fleet
Mad to tear her standard down.

One may lead a horse to water,
Twenty cannot make him drink.
Tho' the goblins cuffed and caught her,
Coaxed and fought her,
Bullied and besought her,
Scratched her, pinched her black as ink,
Kicked and knocked her,
Mauled and mocked her,
Lizzie uttered not a word;
Would not open lip from lip
Lest they should cram a mouthful in:
But laughed in heart to feel the drip
Of juice that syruped all her face,
And lodged in dimples of her chin,
And streaked her neck which quaked like curd.
At last the evil people,
Worn out by her resistance
Flung back her penny, kicked their fruit
Along whichever road they took,
Not leaving root or stone or shoot.
Some writhed into the ground,
Some dived into the brook
With ring and ripple,
Some scudded on the gale without a sound,
Some vanished in the distance.

In a smart, ache, tingle,
Lizzie went her way;
Knew not was it night or day;
Sprang up the bank, tore through the furze,
Threaded copse and dingle,
And heard her penny jingle
Bouncing in her purse,
Its bounce was music to her ear.
She ran and ran
As if she feared some goblin man
Dogged her with gibe or curse
Or something worse:
But not one goblin skurried after,
Nor was she pricked by fear;
The kind heart made her windy-paced
That urged her home quite out of breath with haste
And inward laughter.

She cried "Laura," up the garden,
"Did you miss me?
Come and kiss me.
Never mind my bruises,
Hug me, kiss me, suck my juices
Squeezed from goblin fruits for you,
Goblin pulp and goblin dew.
Eat me, drink me, love me;
Laura, make much of me:
For your sake I have braved the glen
And had to do with goblin merchant men."

Laura started from her chair,
Flung her arms up in the air,
Clutched her hair:
"Lizzie, Lizzie, have you tasted
For my sake the fruit forbidden?
Must your light like mine be hidden,
Your young life like mine be wasted,
Undone in mine undoing,
And ruined in my ruin,
Thirsty, cankered, goblin-ridden?"
She clung about her sister,
Kissed and kissed and kissed her:
Tears once again
Refreshed her shrunken eyes,
Dropping like rain
After long sultry drouth;
Shaking with aguish fear, and pain,
She kissed and kissed her with a hungry mouth.

Her lips began to scorch,
That juice was wormwood to her tongue,
She loathed the feast:
Writhing as one possessed she leaped and sung,
Rent all her robe, and wrung
Her hands in lamentable haste,
And beat her breast.
Her locks streamed like the torch
Borne by a racer at full speed,
Or like the mane of horses in their flight,
Or like an eagle when she stems the light
Straight toward the sun,
Or like a caged thing freed,
Or like a flying flag when armies run.

Swift fire spread thro' her veins, knocked at her heart,
Met the fire smouldering there
And overbore its lesser flame;
She gorged on bitterness without a name:
Ah! fool, to choose such part
Of soul-consuming care!
Sense failed in the mortal strife:
Like the watch-tower of a town
Which an earthquake shatters down,
Like a lightning-stricken mast,
Like a wind-uprooted tree
Spun about,
Like a foam-topped waterspout
Cast down headlong in the sea,
She fell at last;
Pleasure past and anguish past,
Is it death or is it life ?

Life out of death.
That night long Lizzie watched by her,
Counted her pulse's flagging stir,
Felt for her breath,
Held water to her lips, and cooled her face
With tears and fanning leaves:
But when the first birds chirped about their eaves,
And early reapers plodded to the place
Of golden sheaves,
And dew-wet grass
Bowed in the morning winds so brisk to pass,
And new buds with new day
Opened of cup-like lilies on the stream,
Laura awoke as from a dream,
Laughed in the innocent old way,
Hugged Lizzie but not twice or thrice;
Her gleaming locks showed not one thread of gray,
Her breath was sweet as May,
And light danced in her eyes.
Days, weeks, months, years
Afterwards, when both were wives
With children of their own;
Their mother-hearts beset with fears,
Their lives bound up in tender lives;
Laura would call the little ones
And tell them of her early prime,
Those pleasant days long gone
Of not-returning time:
Would talk about the haunted glen,
The wicked, quaint fruit-merchant men,
Their fruits like honey to the throat,
But poison in the blood;
(Men sell not such in any town:)
Would tell them how her sister stood
In deadly peril to do her good,
And win the fiery antidote:
Then joining hands to little hands
Would bid them cling together,
"For there is no friend like a sister,
In calm or stormy weather,
To cheer one on the tedious way,
To fetch one if one goes astray,
To lift one if one totters down,
To strengthen whilst one stands."

Christina Rossetti

An Apple Gathering - Christina Rossetti



I plucked pink blossoms from mine apple-tree
And wore them all that evening in my hair:
Then in due season when I went to see
I found no apples there.

With dangling basket all along the grass
As I had come I went the selfsame track:
My neighbours mocked me while they saw me pass
So empty-handed back.

Lilian and Lilias smiled in trudging by,
Their heaped-up basket teased me like a jeer;
Sweet-voiced they sang beneath the sunset sky,
Their mother's home was near.

Plump Gertrude passed me with her basket full,
A stronger hand than hers helped it along;
A voice talked with her through the shadows cool
More sweet to me than song.

Ah Willie, Willie, was my love less worth
Than apples with their green leaves piled above?
I counted rosiest apples on the earth
Of far less worth than love.

So once it was with me you stooped to talk
Laughing and listening in this very lane:
To think that by this way we used to walk
We shall not walk again!

I let me neighbours pass me, ones and twos
And groups; the latest said the night grew chill,
And hastened: but I loitered, while the dews
Fell fast I loitered still.

Christina Rossetti