Poems List

Retrospect

Retrospect
In your arms was still delight,
Quiet as a street at night;
And thoughts of you, I do remember,
Were green leaves in a darkened chamber,
Were dark clouds in a moonless sky.
Love, in you, went passing by,
Penetrative, remote, and rare,
Like a bird in the wide air,
And, as the bird, it left no trace
In the heaven of your face.
In your stupidity I found
The sweet hush after a sweet sound.
All about you was the light
That dims the greying end of night;
Desire was the unrisen sun,
Joy the day not yet begun,
With tree whispering to tree,
Without wind, quietly.
Wisdom slept within your hair,
And Long-Suffering was there,
And, in the flowing of your dress,
Undiscerning Tenderness.
And when you thought, it seemed to me,
Infinitely, and like a sea,
About the slight world you had known
Your vast unconsciousness was thrown. . . .
O haven without wave or tide!
Silence, in which all songs have died!
Holy book, where hearts are still!
And home at length under the hill!
O mother quiet, breasts of peace,
Where love itself would faint and cease!
O infinite deep I never knew,
I would come back, come back to you,
Find you, as a pool unstirred,
Kneel down by you, and never a word,
Lay my head, and nothing said,
In your hands, ungarlanded;
And a long watch you would keep;
And I should sleep, and I should sleep!
Mataiea, January
170

Pine-Trees And The Sky: Evening

Pine-Trees And The Sky: Evening
I'd watched the sorrow of the evening sky,
And smelt the sea, and earth, and the warm clover,
And heard the waves, and the seagull's mocking cry.
And in them all was only the old cry,
That song they always sing -- "The best is over!
You may remember now, and think, and sigh,
O silly lover!"
And I was tired and sick that all was over,
And because I,
For all my thinking, never could recover
One moment of the good hours that were over.
And I was sorry and sick, and wished to die.
Then from the sad west turning wearily,
I saw the pines against the white north sky,
Very beautiful, and still, and bending over
Their sharp black heads against a quiet sky.
And there was peace in them; and I
Was happy, and forgot to play the lover,
And laughed, and did no longer wish to die;
Being glad of you, O pine-trees and the sky!
155

One Before the Last, The

One Before the Last, The
I dreamt I was in love again
With the One Before the Last,
And smiled to greet the pleasant pain
Of that innocent young past.
But I jumped to feel how sharp had been
The pain when it did live,
How the faded dreams of Nineteen-ten
Were Hell in Nineteen-five.
The boy's woe was as keen and clear,
The boy's love just as true,
And the One Before the Last, my dear,
Hurt quite as much as you.
* * * * *
Sickly I pondered how the lover
Wrongs the unanswering tomb,
And sentimentalizes over
What earned a better doom.
Gently he tombs the poor dim last time,
Strews pinkish dust above,
And sighs, "The dear dead boyish pastime!
But THIS -- ah, God! -- is Love!"
-- Better oblivion hide dead true loves,
Better the night enfold,
Than men, to eke the praise of new loves,
Should lie about the old!
* * * * *
Oh! bitter thoughts I had in plenty.
But here's the worst of it --
I shall forget, in Nineteen-twenty,
YOU ever hurt abit!
198

Paralysis

Paralysis
For moveless limbs no pity I crave,
That never were swift! Still all I prize,
Laughter and thought and friends, I have;
No fool to heave luxurious sighs
For the woods and hills that I never knew.
The more excellent way's yet mine! And you
Flower-laden come to the clean white cell,
And we talk as ever -- am I not the same?
With our hearts we love, immutable,
You without pity, I without shame.
We talk as of old; as of old you go
Out under the sky, and laughing, I know,
Flit through the streets, your heart all me;
Till you gain the world beyond the town.
Then -- I fade from your heart, quietly;
And your fleet steps quicken. The strong down
Smiles you welcome there; the woods that love you
Close lovely and conquering arms above you.
O ever-moving, O lithe and free!
Fast in my linen prison I press
On impassable bars, or emptily
Laugh in my great loneliness.
And still in the white neat bed I strive
Most impotently against that gyve;
Being less now than a thought, even,
To you alone with your hills and heaven.
215

On The Death Of Smet-Smet, The Hippopotamus- Goddess

On The Death Of Smet-Smet, The Hippopotamus- Goddess
Song of a tribe of the ancient Egyptians
(The Priests within the Temple)
She was wrinkled and huge and hideous? She was our Mother.
She was lustful and lewd? -- but a God; we had none other.
In the day She was hidden and dumb, but at nightfall moaned in the shade;
We shuddered and gave Her Her will in the darkness; we were afraid.
(The People without)
She sent us pain,
And we bowed before Her;
She smiled again
And bade us adore Her.
She solaced our woe
And soothed our sighing;
And what shall we do
Now God is dying?
(The Priests within)
She was hungry and ate our children; -- how should we stay Her?
She took our young men and our maidens; -- ours to obey Her.
We were loathed and mocked and reviled of all nations; that was our pride.
She fed us, protected us, loved us, and killed us; now She has died.
(The People without)
She was so strong;
But death is stronger.
She ruled us long;
But Time is longer.
She solaced our woe
And soothed our sighing;
And what shall we do
Now God is dying?
183

Oh! Death Will Find Me, Long Before I Tire

Oh! Death Will Find Me, Long Before I Tire
Oh! Death will find me, long before I tire
Of watching you; and swing me suddenly
Into the shade and loneliness and mire
Of the last land! There, waiting patiently,
One day, I think, I'll feel a cool wind blowing,
See a slow light across the Stygian tide,
And hear the Dead about me stir, unknowing,
And tremble. And I shall know that you have died,
And watch you, a broad-browed and smiling dream,
Pass, light as ever, through the lightless host,
Quietly ponder, start, and sway, and gleam --
Most individual and bewildering ghost! --
And turn, and toss your brown delightful head
Amusedly, among the ancient Dead.
163

Night Journey, The

Night Journey, The
Hands and lit faces eddy to a line;
The dazed last minutes click; the clamour dies.
Beyond the great-swung arc o' the roof, divine,
Night, smoky-scarv'd, with thousand coloured eyes
Glares the imperious mystery of the way.
Thirsty for dark, you feel the long-limbed train
Throb, stretch, thrill motion, slide, pull out and sway,
Strain for the far, pause, draw to strength again. . . .
As a man, caught by some great hour, will rise,
Slow-limbed, to meet the light or find his love;
And, breathing long, with staring sightless eyes,
Hands out, head back, agape and silent, move
Sure as a flood, smooth as a vast wind blowing;
And, gathering power and purpose as he goes,
Unstumbling, unreluctant, strong, unknowing,
Borne by a will not his, that lifts, that grows,
Sweep out to darkness, triumphing in his goal,
Out of the fire, out of the little room. . . .
-- There is an end appointed, O my soul!
Crimson and green the signals burn; the gloom
Is hung with steam's far-blowing livid streamers.
Lost into God, as lights in light, we fly,
Grown one with will, end-drunken huddled dreamers.
The white lights roar. The sounds of the world die.
And lips and laughter are forgotten things.
Speed sharpens; grows. Into the night, and on,
The strength and splendour of our purpose swings.
The lamps fade; and the stars. We are alone.
166

Mummia

Mummia
As those of old drank mummia
To fire their limbs of lead,
Making dead kings from Africa
Stand pandar to their bed;
Drunk on the dead, and medicined
With spiced imperial dust,
In a short night they reeled to find
Ten centuries of lust.
So I, from paint, stone, tale, and rhyme,
Stuffed love's infinity,
And sucked all lovers of all time
To rarify ecstasy.
Helen's the hair shuts out from me
Verona's livid skies;
Gypsy the lips I press; and see
Two Antonys in your eyes.
The unheard invisible lovely dead
Lie with us in this place,
And ghostly hands above my head
Close face to straining face;
Their blood is wine along our limbs;
Their whispering voices wreathe
Savage forgotten drowsy hymns
Under the names we breathe;
Woven from their tomb, and one with it,
The night wherein we press;
Their thousand pitchy pyres have lit
Your flaming nakedness.
For the uttermost years have cried and clung
To kiss your mouth to mine;
And hair long dust was caught, was flung,
Hand shaken to hand divine,
And Life has fired, and Death not shaded,
All Time's uncounted bliss,
And the height o' the world has flamed and faded,
Love, that our love be this!
216

Lines Written In The Belief That The Ancient Roman Festival Of The Dead Was

Lines Written In The Belief That The Ancient Roman Festival Of The Dead Was
Called Ambarvalia
Swings the way still by hollow and hill,
And all the world's a song;
"She's far," it sings me, "but fair," it rings me,
"Quiet," it laughs, "and strong!"
Oh! spite of the miles and years between us,
Spite of your chosen part,
I do remember; and I go
With laughter in my heart.
So above the little folk that know not,
Out of the white hill-town,
High up I clamber; and I remember;
And watch the day go down.
Gold is my heart, and the world's golden,
And one peak tipped with light;
And the air lies still about the hill
With the first fear of night;
Till mystery down the soundless valley
Thunders, and dark is here;
And the wind blows, and the light goes,
And the night is full of fear,
And I know, one night, on some far height,
In the tongue I never knew,
I yet shall hear the tidings clear
From them that were friends of you.
They'll call the news from hill to hill,
Dark and uncomforted,
Earth and sky and the winds; and I
Shall know that you are dead.
I shall not hear your trentals,
Nor eat your arval bread;
For the kin of you will surely do
Their duty by the dead.
Their little dull greasy eyes will water;
They'll paw you, and gulp afresh.
They'll sniffle and weep, and their thoughts will creep
Like flies on the cold flesh.
They will put pence on your grey eyes,
Bind up your fallen chin,
And lay you straight, the fools that loved you
Because they were your kin.
They will praise all the bad about you,


And hush the good away,
And wonder how they'll do without you,
And then they'll go away.
But quieter than one sleeping,
And stranger than of old,
You will not stir for weeping,
You will not mind the cold;
But through the night the lips will laugh not,
The hands will be in place,
And at length the hair be lying still
About the quiet face.
With snuffle and sniff and handkerchief,
And dim and decorous mirth,
With ham and sherry, they'll meet to bury
The lordliest lass of earth.
The little dead hearts will tramp ungrieving
Behind lone-riding you,
The heart so high, the heart so living,
Heart that they never knew.
I shall not hear your trentals,
Nor eat your arval bread,
Nor with smug breath tell lies of death
To the unanswering dead.
With snuffle and sniff and handkerchief,
The folk who loved you not
Will bury you, and go wondering
Back home. And you will rot.
But laughing and half-way up to heaven,
With wind and hill and star,
I yet shall keep, before I sleep,
Your Ambarvalia.
186

Mary and Gabriel

Mary and Gabriel
Young Mary, loitering once her garden way,
Felt a warm splendour grow in the April day,
As wine that blushes water through. And soon,
Out of the gold air of the afternoon,
One knelt before her: hair he had, or fire,
Bound back above his ears with golden wire,
Baring the eager marble of his face.
Not man's nor woman's was the immortal grace
Rounding the limbs beneath that robe of white,
And lighting the proud eyes with changeless light,
Incurious. Calm as his wings, and fair,
That presence filled the garden.
She stood there,
Saying, "What would you, Sir?"
He told his word,
"Blessed art thou of women!" Half she heard,
Hands folded and face bowed, half long had known,
The message of that clear and holy tone,
That fluttered hot sweet sobs about her heart;
Such serene tidings moved such human smart.
Her breath came quick as little flakes of snow.
Her hands crept up her breast. She did but know
It was not hers. She felt a trembling stir
Within her body, a will too strong for her
That held and filled and mastered all. With eyes
Closed, and a thousand soft short broken sighs,
She gave submission; fearful, meek, and glad. . . .
She wished to speak. Under her breasts she had
Such multitudinous burnings, to and fro,
And throbs not understood; she did not know
If they were hurt or joy for her; but only
That she was grown strange to herself, half lonely,
All wonderful, filled full of pains to come
And thoughts she dare not think, swift thoughts and dumb,
Human, and quaint, her own, yet very far,
Divine, dear, terrible, familiar . . .
Her heart was faint for telling; to relate
Her limbs' sweet treachery, her strange high estate,
Over and over, whispering, half revealing,
Weeping; and so find kindness to her healing.
'Twixt tears and laughter, panic hurrying her,
She raised her eyes to that fair messenger.
He knelt unmoved, immortal; with his eyes
Gazing beyond her, calm to the calm skies;
Radiant, untroubled in his wisdom, kind.
His sheaf of lilies stirred not in the wind.
How should she, pitiful with mortality,
Try the wide peace of that felicity
With ripples of her perplexed shaken heart,
And hints of human ecstasy, human smart,


And whispers of the lonely weight she bore,
And how her womb within was hers no more
And at length hers?
Being tired, she bowed her head;
And said, "So be it!"
The great wings were spread
Showering glory on the fields, and fire.
The whole air, singing, bore him up, and higher,
Unswerving, unreluctant. Soon he shone
A gold speck in the gold skies; then was gone.
The air was colder, and grey. She stood alone.
223

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Identification and basic context

Rupert Chawner Brooke was an English poet, often considered to be the most distinguished poet of the Georgian era.

Childhood and education

Born into a well-to-do family, Brooke received a comprehensive education, first at Rugby School and then at King's College, Cambridge, where he was a member of the Apostles. His early life was marked by intellectual pursuits and friendships with prominent literary figures.

Literary trajectory

Brooke's poetic career, though short, gained significant traction during World War I. His sonnets, particularly "1914," captured the public imagination with their patriotic fervor and romanticized view of war. He was associated with the Georgian poets, a group that favored traditional forms and themes.

Works, style, and literary characteristics

Brooke is best known for his war sonnets, including "The Soldier." His style is lyrical, elegant, and often employs traditional forms like the sonnet. His poetry frequently explores themes of love, beauty, England, and the perceived glory of dying for one's country. His language is accessible and his imagery often draws from nature.

Cultural and historical context

Brooke lived during a period of significant social and political change, culminating in World War I. His work resonated with the prevailing patriotic sentiment in Britain at the beginning of the conflict. He was part of a literary circle that included figures like Virginia Woolf and D.H. Lawrence.

Personal life

Brooke had complex personal relationships, including romantic involvements that influenced his poetry. He was known for his striking good looks and charismatic personality. His experiences traveling and living abroad also informed his worldview.

Recognition and reception

Brooke achieved immense posthumous fame, largely due to his heroic image and his famous war poems. He became a symbol of lost youth and patriotic sacrifice, though later critical assessments have sometimes debated the sincerity and depth of his war poetry.

Influences and legacy

Brooke was influenced by classical poets and contemporary writers. His legacy is tied to his idealized vision of warfare and his status as a war poet. He inspired a generation with his patriotic verses, even as his artistic merit has been subject to later re-evaluation.

Interpretation and critical analysis

Brooke's poetry is often interpreted as embodying a youthful, idealistic patriotism. Critics have debated whether his work represents genuine belief or a romanticized, almost naive, response to the realities of war. His lyrical qualities are generally admired, but his thematic depth has been questioned.

Curiosities and lesser-known aspects

Brooke's personal life was the subject of much fascination, with details of his relationships and friendships often discussed. His involvement in unconventional lifestyles and his charismatic presence contributed to his legendary status.

Death and memory

Rupert Brooke died of an infected mosquito bite on April 23, 1915, while en route to Gallipoli. He was buried on the Greek island of Skyros, and his death was widely mourned, solidifying his image as a fallen hero of World War I. His poems were published posthumously, further cementing his fame.