Prometheus, Or, The Poet's Forethought. (Birds Of Passage. Flight The First)

Of Prometheus, how undaunted
On Olympus' shining bastions
His audacious foot he planted,
Myths are told and songs are chanted,
Full of promptings and suggestions.


Beautiful is the tradition
Of that flight through heavenly portals,
The old classic superstition
Of the theft and the transmission
Of the fire of the Immortals!


First the deed of noble daring,
Born of heavenward aspiration,
Then the fire with mortals sharing,
Then the vulture,--the despairing
Cry of pain on crags Caucasian.


All is but a symbol painted
Of the Poet, Prophet, Seer;
Only those are crowned and sainted
Who with grief have been acquainted,
Making nations nobler, freer.


In their feverish exultations,
In their triumph and their yearning,
In their passionate pulsations,
In their words among the nations,
The Promethean fire is burning.


Shall it, then, be unavailing,
All this toil for human culture?
Through the cloud-rack, dark and trailing,
Must they see above them sailing
O'er life's barren crags the vulture?


Such a fate as this was Dante's,
By defeat and exile maddened;
Thus were Milton and Cervantes,
Nature's priests and Corybantes,
By affliction touched and saddened.


But the glories so transcendent
That around their memories cluster,
And, on all their steps attendant,
Make their darkened lives resplendent
With such gleams of inward lustre!


All the melodies mysterious,
Through the dreary darkness chanted;
Thoughts in attitudes imperious,
Voices soft, and deep, and serious,



Words that whispered, songs that haunted!


All the soul in rapt suspension,
All the quivering, palpitating
Chords of life in utmost tension,
With the fervor of invention,
With the rapture of creating!


Ah, Prometheus! heaven-scaling!
In such hours of exultation
Even the faintest heart, unquailing,
Might behold the vulture sailing
Round the cloudy crags Caucasian!


Though to all there is not given
Strength for such sublime endeavor,
Thus to scale the walls of heaven,
And to leaven with fiery leaven
All the hearts of men forever;


Yet all bards, whose hearts unblighted
Honor and believe the presage,
Hold aloft their torches lighted,
Gleaming through the realms benighted,
As they onward bear the message!

Picture-Writing


In those days said Hiawatha,
"Lo! how all things fade and perish!
From the memory of the old men
Pass away the great traditions,
The achievements of the warriors,
The adventures of the hunters,
All the wisdom of the Medas,
All the craft of the Wabenos,
All the marvellous dreams and visions
Of the Jossakeeds, the Prophets!


"Great men die and are forgotten,
Wise men speak; their words of wisdom
Perish in the ears that hear them,
Do not reach the generations
That, as yet unborn, are waiting
In the great, mysterious darkness
Of the speechless days that shall be!

"On the grave-posts of our fathers
Are no signs, no figures painted;
Who are in those graves we know not,
Only know they are our fathers.
Of what kith they are and kindred,
From what old, ancestral Totem,
Be it Eagle, Bear, or Beaver,
They descended, this we know not,
Only know they are our fathers.

"Face to face we speak together,
But we cannot speak when absent,
Cannot send our voices from us
To the friends that dwell afar off;
Cannot send a secret message,
But the bearer learns our secret,
May pervert it, may betray it,
May reveal it unto others."
Thus said Hiawatha, walking
In the solitary forest,
Pondering, musing in the forest,
On the welfare of his people.

From his pouch he took his colors,
Took his paints of different colors,
On the smooth bark of a birch-tree
Painted many shapes and figures,
Wonderful and mystic figures,
And each figure had a meaning,
Each some word or thought suggested.

Gitche Manito the Mighty,
He, the Master of Life, was painted
As an egg, with points projecting
To the four winds of the heavens.
Everywhere is the Great Spirit,
Was the meaning of this symbol.

Gitche Manito the Mighty,


He the dreadful Spirit of Evil,
As a serpent was depicted,
As Kenabeek, the great serpent.
Very crafty, very cunning,
Is the creeping Spirit of Evil,
Was the meaning of this symbol.


Life and Death he drew as circles,
Life was white, but Death was darkened;
Sun and moon and stars he painted,
Man and beast, and fish and reptile,
Forests, mountains, lakes, and rivers.

For the earth he drew a straight line,
For the sky a bow above it;
White the space between for daytime,
Filled with little stars for night-time;
On the left a point for sunrise,
On the right a point for sunset,
On the top a point for noontide,
And for rain and cloudy weather
Waving lines descending from it.

Footprints pointing towards a wigwam
Were a sign of invitation,
Were a sign of guests assembling;
Bloody hands with palms uplifted
Were a symbol of destruction,
Were a hostile sign and symbol.


All these things did Hiawatha
Show unto his wondering people,
And interpreted their meaning,
And he said: "Behold, your grave-posts
Have no mark, no sign, nor symbol,
Go and paint them all with figures;
Each one with its household symbol,
With its own ancestral Totem;
So that those who follow after
May distinguish them and know them."

And they painted on the grave-posts
On the graves yet unforgotten,
Each his own ancestral Totem,
Each the symbol of his household;
Figures of the Bear and Reindeer,
Of the Turtle, Crane, and Beaver,
Each inverted as a token
That the owner was departed,
That the chief who bore the symbol
Lay beneath in dust and ashes.

And the Jossakeeds, the Prophets,
The Wabenos, the Magicians,
And the Medicine-men, the Medas,
Painted upon bark and deer-skin
Figures for the songs they chanted,


For each song a separate symbol,
Figures mystical and awful,
Figures strange and brightly colored;
And each figure had its meaning,
Each some magic song suggested.


The Great Spirit, the Creator,
Flashing light through all the heaven;
The Great Serpent, the Kenabeek,
With his bloody crest erected,
Creeping, looking into heaven;
In the sky the sun, that listens,
And the moon eclipsed and dying;
Owl and eagle, crane and hen-hawk,
And the cormorant, bird of magic;
Headless men, that walk the heavens,
Bodies lying pierced with arrows,
Bloody hands of death uplifted,
Flags on graves, and great war-captains
Grasping both the earth and heaven!

Such as these the shapes they painted
On the birch-bark and the deer-skin;
Songs of war and songs of hunting,
Songs of medicine and of magic,
All were written in these figures,
For each figure had its meaning,
Each its separate song recorded.

Nor forgotten was the Love-Song,
The most subtle of all medicines,
The most potent spell of magic,
Dangerous more than war or hunting!
Thus the Love-Song was recorded,
Symbol and interpretation.

First a human figure standing,
Painted in the brightest scarlet;
`T Is the lover, the musician,
And the meaning is, "My painting
Makes me powerful over others."

Then the figure seated, singing,
Playing on a drum of magic,
And the interpretation, "Listen!
`T Is my voice you hear, my singing!"

Then the same red figure seated
In the shelter of a wigwam,
And the meaning of the symbol,
"I will come and sit beside you
In the mystery of my passion!"

Then two figures, man and woman,
Standing hand in hand together
With their hands so clasped together
That they seemed in one united,
And the words thus represented
Are, "I see your heart within you,


And your cheeks are red with blushes!"

Next the maiden on an island,
In the centre of an Island;
And the song this shape suggested
Was, "Though you were at a distance,
Were upon some far-off island,
Such the spell I cast upon you,
Such the magic power of passion,
I could straightway draw you to me!"

Then the figure of the maiden
Sleeping, and the lover near her,
Whispering to her in her slumbers,
Saying, "Though you were far from me
In the land of Sleep and Silence,
Still the voice of love would reach you!"

And the last of all the figures
Was a heart within a circle,
Drawn within a magic circle;
And the image had this meaning:
"Naked lies your heart before me,
To your naked heart I whisper!"

Thus it was that Hiawatha,
In his wisdom, taught the people
All the mysteries of painting,
All the art of Picture-Writing,
On the smooth bark of the birch-tree,
On the white skin of the reindeer,
On the grave-posts of the village.

Ovid In Exile, At Tomis, In Bessarabia, Near The Mouths Of The Danube

(Tristia, Book III. Elegy X.)

Should any one there in Rome remember Ovid the exile,
And, without me, my name still in the city survive;


Tell him that under stars which never set in the ocean
I am existing still, here in a barbarous land.


Fierce Sarmatians encompass me round, and the Bessi and Getae;
Names how unworthy to be sung by a genius like mine!


Yet when the air is warm, intervening Ister defends us:
He, as he flows, repels inroads of war with his waves.


But when the dismal winter reveals its hideous aspect,
When all the earth becomes white with a marble-like frost;


And when Boreas is loosed, and the snow hurled under Arcturus,
Then these nations, in sooth, shudder and shiver with cold.


Deep lies the snow, and neither the sun nor the rain can dissolve
it;
Boreas hardens it still, makes it forever remain.


Hence, ere the first ha-s melted away, another succeeds it,
And two years it is wont, in many places, to lie.


And so great is the power of the Northwind awakened, it levels
Lofty towers with the ground, roofs uplifted bears off.


Wrapped in skins, and with trousers sewed, they contend with the
weather,
And their faces alone of the whole body are seen.


Often their tresses, when shaken, with pendent icicles tinkle,
And their whitened beards shine with the gathering frost.


Wines consolidate stand, preserving the form of the vessels;
No more draughts of wine,--pieces presented they drink.


Why should I tell you how all the rivers are frozen and solid,
And from out of the lake frangible water is dug?


Ister,--no narrower stream than the river that bears the
papyrus,--
Which through its many mouths mingles its waves with the deep;


Ister, with hardening winds, congeals its cerulean waters,
Under a roof of ice, winding its way to the sea.


There where ships have sailed, men go on foot; and the billows,
Solid made by the frost, hoof-beats of horses indent.



Over unwonted bridges, with water gliding beneath them,
The Sarmatian steers drag their barbarian carts.


Scarcely shall I be believed; yet when naught is gained by a
falsehood,
Absolute credence then should to a witness be given.


I have beheld the vast Black Sea of ice all compacted,
And a slippery crust pressing its motionless tides.


'Tis not enough to have seen, I have trodden this indurate
ocean;
Dry shod passed my foot over its uppermost wave.


If thou hadst had of old such a sea as this is, Leander!
Then thy death had not been charged as a crime to the Strait.


Nor can the curved dolphins uplift themselves from the water;
All their struggles to rise merciless winter prevents;


And though Boreas sound with roar of wings in commotion,
In the blockaded gulf never a wave will there be;


And the ships will stand hemmed in by the frost, as in marble,
Nor will the oar have power through the stiff waters to cleave.


Fast-bound in the ice have I seen the fishes adhering,
Yet notwithstanding this some of them still were alive.


Hence, if the savage strength of omnipotent Boreas freezes
Whether the salt-sea wave, whether the refluent stream,-


Straightway,--the Ister made level by arid blasts of the North-wind,--
Comes the barbaric foe borne on his swift-footed steed;


Foe, that powerful made by his steed and his far-flying arrows,
All the neighboring land void of inhabitants makes.


Some take flight, and none being left to defend their possessions,
Unprotected, their goods pillage and plunder become;


Cattle and creaking carts, the little wealth of the country,
And what riches beside indigent peasants possess.


Some as captives are driven along, their hands bound behind them,
Looking backward in vain toward their Lares and lands.


Others, transfixed with barbed arrows, in agony perish,
For the swift arrow-heads all have in poison been dipped.


What they cannot carry or lead away they demolish,



And the hostile flames burn up the innocent cots.

Even when there is peace, the fear of war is impending;
None, with the ploughshare pressed, furrows the soil any more.


Either this region sees, or fears a foe that it sees not,
And the sluggish land slumbers in utter neglect.

No sweet grape lies hidden here in the shade of its vine-leaves,
No fermenting must fills and o'erflows the deep vats.

Apples the region denies; nor would Acontius have found here
Aught upon which to write words for his mistress to read.

Naked and barren plains without leaves or trees we behold here,--
Places, alas! unto which no happy man would repair.

Since then this mighty orb lies open so wide upon all sides,
Has this region been found only my prison to be?

(Tristia, Book III. Elegy XII.)

Now the zephyrs diminish the cold, and the year being ended,
Winter Maeotian seems longer than ever before;

And the Ram that bore unsafely the burden of Helle,
Now makes the hours of the day equal with those of the night.


Now the boys and the laughing girls the violet gather,
Which the fields bring forth, nobody sowing the seed.

Now the meadows are blooming with flowers of various colors,
And with untaught throats carol the garrulous birds.

Now the swallow, to shun the crime of her merciless mother,
Under the rafters builds cradles and dear little homes;

And the blade that lay hid, covered up in the furrows of Ceres,
Now from the tepid ground raises its delicate head.

Where there is ever a vine, the bud shoots forth from the tendrils,
But from the Getic shore distant afar is the vine!

Where there is ever a tree, on the tree the branches are swelling,
But from the Getic land distant afar is the tree!

Now it is holiday there in Rome, and to games in due order
Give place the windy wars of the vociferous bar.

Now they are riding the horses; with light arms now they are playing,
Now with the ball, and now round rolls the swift-flying hoop:


Now, when the young athlete with flowing oil is anointed,
He in the Virgin's Fount bathes, over-wearied, his limbs.


Thrives the stage; and applause, with voices at variance, thunders,
And the Theatres three for the three Forums resound.


Four times happy is he, and times without number is happy,
Who the city of Rome, uninterdicted, enjoys.


But all I see is the snow in the vernal sunshine dissolving,
And the waters no more delved from the indurate lake.


Nor is the sea now frozen, nor as before o'er the Ister
Comes the Sarmatian boor driving his stridulous cart.


Hitherward, nevertheless, some keels already are steering,
And on this Pontic shore alien vessels will be.


Eagerly shall I run to the sailor, and, having saluted,
Who he may be, I shall ask; wherefore and whence he hath come.


Strange indeed will it be, if he come not from regions adjacent,
And incautious unless ploughing the neighboring sea.


Rarely a mariner over the deep from Italy passes,
Rarely he comes to these shores, wholly of harbors devoid.


Whether he knoweth Greek, or whether in Latin he speaketh,
Surely on this account he the more welcome will be.


Also perchance from the mouth of the Strait and the waters Propontic,
Unto the steady South-wind, some one is spreading his sails.


Whosoever he is, the news he can faithfully tell me,
Which may become a part and an approach to the truth.


He, I pray, may he able to tell me the triumphs of Caesar,
Which he has heard of, and vows paid to the Latian Jove;


And that thy sorrowful head, Germania, thou, the rebellious,
Under the feet, at last, of the Great Captain hast laid.


Whoso shall tell me these things, that not to have seen will afflict me,
Forthwith unto my house welcomed as guest shall he be.


Woe is me! Is the house of Ovid in Scythian lands now?
And doth punishment now give me its place for a home?


Grant, ye gods, that Caesar make this not my house and my homestead,
But decree it to be only the inn of my pain.

Paul Revere's Ride (The Landlord's Tale)

Listen, my children, and you shall hear
Of the midnight ride of Paul Revere,
On the eighteenth of April, in 'Seventy-five;
Hardly a man is now alive
Who remembers that famous day and year.


He said to his friend, "If the British march
By land or sea from the town to-night,
Hang a lantern aloft in the belfry arch
Of the North Church tower as a signal light, --
One, if by land, and two, if by sea;
And I on the opposite shore will be,
Ready to ride and spread the alarm
Through every Middlesex village and farm,
For the country folk to be up and to arm."


Then he said, "Good night!" and with muffled oar
Silently rowed to the Charlestown shore,
Just as the moon rose over the bay,
Where swinging wide at her moorings lay
The somerset, British man-of-war;
A phantom ship, with each mast and spar
Across the moon like a prison bar,
And a huge black hulk, that was magnified
By its own reflection in the tide.


Meanwhile, his friend, through alley and street,
Wanders and watches with eager ears,
Till in the silence around him he hears
The muster of men at the barrack door,
The sound of arms, and the tramp of feet,
And the measured tread of the grenadiers,
Marching down to their boats on the shore.


Then he climbed the tower of the Old North Church
By the wooden stairs, with stealthy tread,
To the belfry-chamber overhead,
And startled the pigeons from their perch
On the sombre rafters, that round him made
Masses and moving shapes of shade, --
By the trembling ladder, steep and tall,
To the highest window in the wall,
Where he paused to listen and look down
A moment on the roofs of the town,
And the moonlight flowing over all.


Beneath, in the churchyard, lay the dead,
In their night-encampment on the hill,
Wrapped in silence so deep and still
That he could hear, like a sentinel's tread,
The watchful night-wind, as it went
Creeping along from tent to tent,



And seeming to whisper, "All is well!"
A moment only he feels the spell
Of the place and the hour, and the secret dread
Of the lonely belfry and the dead;
For suddenly all his thoughts are bent
On a shadowy something far away,
Where the river widens to meet the bay, --
A line of black that bends and floats
On the rising tide, like a bridge of boats.


Meanwhile, impatient to mount and ride,
Booted and spurred, with a heavy stride,
On the opposite shore walked Paul Revere.
Now he patted his horse's side,
Now gazed at the landscape far and near,
Then, impetuous, stamped the earth,
And turned and tightened his saddle-girth;
But mostly he watched with eager search
The belfry-tower of the Old North Church,
As it rose above the graves on the hill,
Lonely and spectral and sombre and still.
And lo! As he looks, on the belfry's height
A glimmer, and then a gleam of light!
He springs to the saddle, the bridle he turns,
But lingers and gazes, till full on his sight
A second lamp in the belfry burns!


A hurry of hoofs in a village street,
A shape in the moonlight, a bulk in the dark,
And beneath, from the pebbles, in passing, a spark
Struck out by a steed flying fearless and fleet:
That was all! And yet, through the gloom and the light,
The fate of a nation was riding that night;
And the spark struck out by that steed, in his flight,
Kindled the land into flame with its heat.


He has left the village and mounted the steep,
And beneath him, tranquil and broad and deep,
Is the Mystic, meeting the ocean tides;
And under the alders, that skirt its edge,
Now soft on the sand, now loud on the ledge,
Is heard the tramp of his steed as he rides.


It was twelve by the village clock
When he crossed the bridge into Medford town.
He heard the crowing of the cock,
And the barking of the farmer's dog,
And felt the damp of the river fog,
That rises after the sun goes down.


It was one by the village clock
When he galloped into Lexington.



He saw the gilded weathercock
Swim in the moonlight as he passed,
And the meeting-house windows, blank and bare,
Gaze at him with a spectral glare,
As if they already stood aghast
At the bloody work they would look upon.


It was two by the village clock
When he came to the bridge in Concord town.
He heard the bleating of the flock,
And the twitter of birds among the trees,
And felt the breath of the morning breeze
Blowing over the meadows brown.
And one was safe and asleep in his bed
Who at the bridge would be first to fall,
Who that day would be lying dead,
Pierced by a British musket-ball.


You know the rest. In the books you have read,
How the British Regulars fired and fled, --
How the farmers gave them ball for ball,
From behind each fence and farm-yard wall,
Chasing the redcoats down the lane,
Then crossing the fields to emerge again
Under the trees at the turn of the road,
And only pausing to fire and load.


So through the night rode Paul Revere;
And so through the night went his cry of alarm
To every Middlesex village and farm, --
A cry of defiance and not of fear,
A voice in the darkness, a knock at the door,
And a word that shall echo forevermore!
For borne on the night-wind of the Past,
Through all our history, to the last,
In the hour of darkness and peril and need,
The people will waken and listen to hear
The hurrying hoof-beats of that steed
And the midnight message of Paul Revere.

Oliver Basselin. (Birds Of Passage. Flight The First)

In the Valley of the Vire
Still is seen an ancient mill,
With its gables quaint and queer,
And beneath the window-sill,
On the stone,
These words alone:
'Oliver Basselin lived here.'


Far above it, on the steep,
Ruined stands the old Chateau;
Nothing but the donjon-keep
Left for shelter or for show.
Its vacant eyes
Stare at the skies,
Stare at the valley green and deep.


Once a convent, old and brown,
Looked, but ah! it looks no more,
From the neighboring hillside down
On the rushing and the roar
Of the stream
Whose sunny gleam
Cheers the little Norman town.


In that darksome mill of stone,
To the water's dash and din,
Careless, humble, and unknown,
Sang the poet Basselin
Songs that fill
That ancient mill
With a splendor of its own.


Never feeling of unrest
Broke the pleasant dream he dreamed;
Only made to be his nest,
All the lovely valley seemed;
No desire
Of soaring higher
Stirred or fluttered in his breast.


True, his songs were not divine;
Were not songs of that high art,
Which, as winds do in the pine,
Find an answer in each heart;
But the mirth
Of this green earth
Laughed and revelled in his line.


From the alehouse and the inn,
Opening on the narrow street,
Came the loud, convivial din,
Singing and applause of feet,



The laughing lays
That in those days
Sang the poet Basselin.


In the castle, cased in steel,
Knights, who fought at Agincourt,
Watched and waited, spur on heel;
But the poet sang for sport
Songs that rang
Another clang,
Songs that lowlier hearts could feel.


In the convent, clad in gray,
Sat the monks in lonely cells,
Paced the cloisters, knelt to pray,
And the poet heard their bells;
But his rhymes
Found other chimes,
Nearer to the earth than they.


Gone are all the barons bold,
Gone are all the knights and squires,
Gone the abbot stern and cold,
And the brotherhood of friars;
Not a name
Remains to fame,
From those mouldering days of old!


But the poet's memory here
Of the landscape makes a part;
Like the river, swift and clear,
Flows his song through many a heart;
Haunting still
That ancient mill,
In the Valley of the Vire.

Old Age. (Sonnet IV.)

The course of my long life hath reached at last,
In fragile bark o'er a tempestuous sea,
The common harbor, where must rendered be
Account of all the actions of the past.
The impassioned phantasy, that, vague and vast,
Made art an idol and a king to me,
Was an illusion, and but vanity
Were the desires that lured me and harassed.
The dreams of love, that were so sweet of yore,
What are they now, when two deaths may be mine,--
One sure, and one forecasting its alarms?
Painting and sculpture satisfy no more
The soul now turning to the Love Divine,
That oped, to embrace us, on the cross its arms.

Nature


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

O Ship of State

Thou, too, sail on, O Ship of State!
Sail on, O Union, strong and great!
Humanity with all its fears,
With all the hopes of future years,
Is hanging breathless on thy fate!
We know what Master laid thy keel,
What Workmen wrought thy ribs of steel,
Who made each mast, and sail, and rope,
What anvils rang, what hammers beat,
In what a forge and what a heat
Were shaped the anchors of thy hope!
Fear not each sudden sound and shock,
'Tis of the wave and not the rock;
'Tis but the flapping of the sail,
And not a rent made by the gale!
In spite of rock and tempest's roar,
In spite of false lights on the shore,
Sail on, nor fear to breast the sea!
Our hearts, our hopes, are all with thee.
Our hearts, our hopes, our prayers, our tears,
Our faith triumphant o'er our fears,
Are all with thee, -are all with thee!

My Lost Youth

Often I think of the beautiful town
That is seated by the sea;
Often in thought go up and down
The pleasant streets of that dear old town,
And my youth comes back to me.
And a verse of a Lapland song
Is haunting my memory still:
"A boy's will is the wind's will,
And the thoughts of youth are long, long thoughts."


I can see the shadowy lines of its trees,
And catch, in sudden gleams,
The sheen of the far-surrounding seas,
And islands that were the Hesperides
Of all my boyish dreams.
And the burden of that old song,
It murmurs and whispers still:
"A boy's will is the wind's will,
And the thoughts of youth are long, long thoughts."


I remember the black wharves and the ships,
And the sea-tides tossing free;
And Spanish sailors with bearded lips,
And the beauty and mystery of the ships,
And the magic of the sea.
And the voice of that wayward song
Is singing and saying still:
"A boy's will is the wind's will,
And the thoughts of youth are long, long thoughts."


I remember the bulwarks by the shore,
And the fort upon the hill;
The sunrise gun, with its hollow roar,
The drum-beat repeated o'er and o'er,
And the bugle wild and shrill.
And the music of that old song
Throbs in my memory still:
"A boy's will is the wind's will,
And the thoughts of youth are long, long thoughts."


I remember the sea-fight far away,
How it thundered o'er the tide!
And the dead captains, as they lay
In their graves, o'erlooking the tranquil bay
Where they in battle died.
And the sound of that mournful song
Goes through me with a thrill:
"A boy's will is the wind's will,
And the thoughts of youth are long, long thoughts."


I can see the breezy dome of groves,
The shadows of Deering's Woods;



And the friendships old and the early loves
Come back with a Sabbath sound, as of doves
In quiet neighborhoods.
And the verse of that sweet old song,
It flutters and murmurs still:
"A boy's will is the wind's will,
And the thoughts of youth are long, long thoughts."


I remember the gleams and glooms that dart
Across the school-boy's brain;
The song and the silence in the heart,
That in part are prophecies, and in part
Are longings wild and vain.
And the voice of that fitful song
Sings on, and is never still:
"A boy's will is the wind's will,
And the thoughts of youth are long, long thoughts."


There are things of which I may not speak;
There are dreams that cannot die;
There are thoughts that make the strong heart weak,
And bring a pallor into the cheek,
And a mist before the eye.
And the words of that fatal song
Come over me like a chill:
"A boy's will is the wind's will,
And the thoughts of youth are long, long thoughts."


Strange to me now are the forms I meet
When I visit the dear old town;
But the native air is pure and sweet,
And the trees that o'ershadow each well-known street,
As they balance up and down,
Are singing the beautiful song,
Are sighing and whispering still:
"A boy's will is the wind's will,
And the thoughts of youth are long, long thoughts."


And Deering's Woods are fresh and fair,
And with joy that is almost pain
My heart goes back to wander there,
And among the dreams of the days that were,
I find my lost youth again.
And the strange and beautiful song,
The groves are repeating it still:
"A boy's will is the wind's will,
And the thoughts of youth are long, long thoughts."

Musings


I sat by my window one night,
And watched how the stars grew high;
And the earth and skies were a splendid sight
To a sober and musing eye.


From heaven the silver moon shone down
With gentle and mellow ray,
And beneath the crowded roofs of the town
In broad light and shadow lay.


A glory was on the silent sea,
And mainland and island too,
Till a haze came over the lowland lea,
And shrouded that beautiful blue.


Bright in the moon the autumn wood
Its crimson scarf unrolled,
And the trees like a splendid army stood
In a panoply of gold!


I saw them waving their banners high,
As their crests to the night wind bowed,
And a distant sound on the air went by,
Like the whispering of a crowd.


Then I watched from my window how fast
The lights all around me fled,
As the wearied man to his slumber passed
And the sick one to his bed.


All faded save one, that burned
With distant and steady light;
But that, too, went out -- and I turned
Where my own lamp within shone bright!


Thus, thought I, our joys must die,
Yes -- the brightest from earth we win:
Till each turns away, with a sign,
To the lamp that burns brightly within.