IRRADIATIONS
SAND AND SPRAY
BY
JOHN GOULD FLETCHER
BOSTON AND NEW YORK
HOUGHTON MIFFLIN COMPANY
The Riverside Press Cambridge
1915
TO
AMY LOWELL
BEST OF FRIENDS AND POETS
Thanks are due to the Editors of Poetry (Chicago) and The Egoist
(London) for permission to reprint here matter that originally appeared
in the pages of their respective publications.
PREFACE
The art of poetry as practised in the English-speaking countries to-day,
is in a greatly backward state. Among the reading public there are
exactly three opinions generally held about it. The first, and by far
the most popular, view is that all poets are fools and that poetry is
absurd. The second is that poetry is an agreeable after-dinner
entertainment, and that a poet is great because he has written quotable
lines. The last and worst is that which strives to press the poet into
the service of some philosophical dogma, ism, or fad.
For these views the poets themselves, and no others, are largely
responsible. With their exaggerated vanity, they have attempted to make
of their craft a Masonic secret, iterating that a poet composes by ear
alone; that rhythm is not to be analyzed, that rhyme is sacrosanct; that
poets, by some special dispensation of Providence, write by inspiration,
being born with more insight than other men; and so forth. Is it any
wonder that the public is indifferent, hostile, or befooled when poets
themselves disdain to explain clearly what they are trying to do, and
refuse to admit the public into the privacy of their carefully guarded
workrooms?
It was Theophile Gautier, I think, who offered to teach any one how to
write poetry in twenty-five lessons. Now this view has in it some
exaggeration, but, at the same time, much truth. No amount of lessoning
will turn an idiot into a wise man, or enable a man to say something
when he is naturally one who has nothing to say. Nevertheless, I believe
that there would have been fewer mute inglorious Miltons, greater
respect paid to poetry, and many better poets, if the poets themselves
had stopped working through sheer instinct and set themselves the task
of considering some elementary principles in their craft. In this
belief, and in the hope of enlightening some one as to the aim and
purpose of my work, I am writing this preface.
To begin with, the basis of English poetry is rhythm, or, as some would
prefer to call it, cadence. This rhythm is obtained by mingling stressed
and unstressed syllables. Stress may be produced by accent. It may--and
often is--produced by what is known as quantity, the breath required to
pronounce certain syllables being more than is required on certain
others. However it be produced, it is precisely this insistence upon
cadence, upon the rhythm of the line when spoken, which sets poetry
apart from prose, and not--be it said at the outset--a certain way of
printing, with a capital letter at the beginning of each line, or an
insistence upon end-rhymes.
Now this rhythm can be made the same in every line of the poem. This was
the aim of Alexander Pope, for instance. My objection to this method is
that it is both artificial and unmusical. In the case of the eighteenth
century men, it gave the effect of a perfectly balanced pattern, like a
minuet or fugue. In the case of the modern imitator of Kipling or
Masefield, it gives the effect of monotonous rag-time. In neither case
does it offer full scope for emotional development.
I maintain that poetry is capable of as many gradations in cadence as
music is in time. We can have a rapid group of syllables--what is called
a line--succeeded by a slow heavy one; like the swift, scurrying-up of
the wave and the sullen dragging of itself away. Or we can gradually
increase or decrease our _tempo_, creating _accelerando_ and
_rallentando_ effects. Or we can follow a group of rapid lines with a
group of slow ones, or a single slow, or _vice versa_. Finally, we can
have a perfectly even and unaltered movement throughout if we desire to
be monotonous.
The good poem is that in which all these effects are properly used to
convey the underlying emotions of its author, and that which welds all
these emotions into a work of art by the use of dominant _motif_,
subordinate themes proportionate treatment, repetition, variation,--what
in music is called development, reversal of roles, and return In short,
the good poem fixes a free emotion, or a free range of emotions, into an
inevitable and artistic whole. The real secret of the greatest English
poets lies not in their views on life,--which were, naturally, only
those which every sane man is obliged to hold,--but in their profound
knowledge of their craft, whereby they were enabled to put forth their
views in perfect form. Each era of man has its unique and self-sufficing
range of expression and experience, and therefore every poet must seek
anew for himself, out of the language-medium at his disposal, rhythms
which are adequate and forms which are expressive of his own unique
personality.
As regards the length of the lines themselves, that depends altogether
upon the apparatus which Nature has given us, to enable us to breathe
and to speak. Each line of a poem, however many or few its stresses,
represents a single breath, and therefore a single perception. The
relation between breath and perception is a commonplace of Oriental
philosophy. As we breathe so do we know the universe, whether by sudden,
powerful gusts of inspiration, or through the calmer--but rarer--gradual
ascent into the hidden mysteries of knowledge, and slow falling away
therefrom into darkness.
So much for the question of metre. The second range of problems with
which we are immediately concerned, when we examine the poetic craft, is
that which is generally expressed under the name of rhyme.
Now rhyme is undoubtedly an element of poetry, but it is neither an
indissoluble element, nor is it, in every case, an inevitable one. In
the main, the instinct which makes for rhyme is sound. Poetry is an art
which demands--though not invariably--the utmost richness and fulness of
musical effect. When rhyme is considered as an additional instrument of
what may be called the poetic orchestra, it both loses and gains in
importance. It loses because it becomes of no greater import than
assonance, consonance, alliteration, and a host of similar devices. It
gains because it is used intelligently as a device for adding richness
of effect, instead of blindly as a mere tag at the end of a line.
The system which demands that the end of every line of poetry must rhyme
with the end of some one preceding or following it, has not even the
merit of high antiquity or of civilized adherence. In its essence it is
barbarous; it derives from the stamping of feet, clapping of hands,
pounding of drums, or like devices of savage peoples to mark the rhythms
in their dances and songs. And its introduction into European poetry, as
a rule to be invariably followed, dates precisely from the time of the
break-up of the Latin civilization, and the approach of what the
historians know as the Dark Ages. Since it has come into common use
among European peoples, every poet of eminence has tried to avoid its
fatiguing monotony, by constructing new stanza-forms. Dante, Petrarch,
Chaucer, Spenser, all these were innovators or developers of what may be
known as formal metre. But let us not forget that the greatest of all,
Shakespeare, used rhyme in his plays, only as additional decoration to
a lyric, or in a perfectly legitimate fashion as marking the necessary
pause at the close of a scene. Let us also remember that, as he advanced
in thought and expression, he gradually abandoned rhyme for the only
reason that an artist abandons anything; because it was no longer
adequate.
The process that began with the Pervigilium Veneris, the mediæval
hymn-writers, and the Provençal troubadours, and which culminated in the
orchestral blank verse of Shakespeare, has now passed through all the
stages of reduction to formula, eclecticism, archaistic reaction,
vulgarization, gramaphone popularity, and death. Milton--Gibbon among
poets--reduced it to his too-monotonous organ-roll. Dryden, Pope and his
followers, endlessly repeated a formula. Blake, Wordsworth, Coleridge,
attempted a return to the Elizabethan and to the even earlier ballad
forms. In the later nineteenth century we come back to still earlier
forms. Ballades, rondeaus, even sestinas appear. Gradually we find the
public attention dropping away from these juggling feats performed with
stale form, and turning to what may be called the new balladist--the
street singer who is content to doggerelize and make strident a once
noble form. We have our Masefields, our Kiplings, and worse. Rag-time
has at last made its appearance in poetry. Let us be grateful to the man
who invented it--Nicholas Vachel Lindsay--but let us admit that the
force of nature can no further go.
It is time to create something new. It is time to strip poetry of
meaningless tatters of form, and to clothe her in new, suitable
garments. Portents and precursors there have been in plenty. We already
have Blake, Matthew Arnold, Whitman, Samuel Butler, and I know not how
many more. Every one is talking--many poets, poeticules, and poetasters
are writing--what they call "free verse." Let there be no mistake about
one thing. Free verse that is flabby, in-organic, shapelessly obvious,
is as much of a crime against poetry as the cheapest echo of a Masefield
that any doggerel scribbler ever strummed. Let poets drop their
formulas--"free" or otherwise--and determine to discipline themselves
through experiment. There is much to be learned from the precursors I
have mentioned. There is a great deal to be learned from the French
poets--Parnassians, Symbolists, Whitmanites, Fantaisistes--who have, in
the years 1860 to 1900, created a new Renaissance under our noses. But
above all, what will teach us the most is our language and life. Never
was life lived more richly, more fully, with more terrible blind
intensity than it is being lived at this instant. Never was the noble
language which is ours surpassed either in richness or in concision. We
have the material with which to work, and the tools to do the work with.
It is America's opportunity to lay the foundations for a new flowering
of English verse, and to lay them as broad as they are strong.
_January, 1915._
CONTENTS
IRRADIATIONS
EPILOGUE
SAND AND SPRAY (A SEA-SYMPHONY)
PART I. THE GALE
PART II. VARIATIONS
(1) SAILBOATS
(2) THE TIDE
(3) THE SANDS
(4) THE GULLS
(5) STEAMERS
(6) NIGHT OF STARS
PART III. VARIATIONS
(1) THE GROUNDSWELL
(2) SNOW AT SEA
(3) THE NIGHT WIND
(4) THE WRECK
(5) TIDE OF STORMS
PART IV. THE CALM
IRRADIATIONS
I
The spattering of the rain upon pale terraces
Of afternoon is like the passing of a dream
Amid the roses shuddering 'gainst the wet green stalks
Of the streaming trees--the passing of the wind
Upon the pale lower terraces of my dream
Is like the crinkling of the wet grey robes
Of the hours that come to turn over the urn
Of the day and spill its rainy dream.
Vague movement over the puddled terraces:
Heavy gold pennons--a pomp of solemn gardens
Half hidden under the liquid veil of spring:
Far trumpets like a vague rout of faded roses
Burst 'gainst the wet green silence of distant forests:
A clash of cymbals--then the swift swaying footsteps
Of the wind that undulates along the languid terraces.
Pools of rain--the vacant terraces
Wet, chill and glistening
Towards the sunset beyond the broken doors of to-day.
II
Gaunt sails--bronze boats of the evening--
Float along the river where aloft
Like dim swans the clouds die
Softly.
I am afraid to traverse the long still streets of evening;
For I fear to see the ghosts that stare at me
From the shadows.
I will stay indoors instead and await my wandering dream.
She is about me, fluid yet, and formless;
The wind in her hair whispers like dim violins:
And the faint glint of her eyes shifts like a sudden movement
Over the surface of a dark pool.
She comes to me slowly down the lost streets of the evening,
And their immutable silence is in her feet.
Let no lamps flare--be still, my heart--hands, stay:
For I would touch the lips of my new love with my lips.
III
In the grey skirts of the fog seamews skirl desolately,
And flick like bits of paper propelled by a wind
About the flabby sails of a departing ship
Crawling slowly down the low reaches
Of the river.
About the keel there is a bubbling and gurgling
Of grumpy water;
And as the prow noses out a way for itself,
It seems to weave a dream of bubbles and flashing foam,
A dream of strange islands whereto it is bound:
Pear-islands drenched with the dawn.
The palms flash under the immense dark sky,
Down which the sun dives to embrace the earth:
Drums boom and conches bray,
And with a crash of crimson cymbals
Suddenly appears above the polished backs of slaves
A king in a breastplate of gold
Gigantic
Amid tossed roses and swaying dancers
That melt into pale undulations and muffled echoes
'Mid the bubbling of the muddy lumpy water,
And the swirling of the seamews above the sullen river.
IV
The iridescent vibrations of midsummer light
Dancing, dancing, suddenly flickering and quivering
Like little feet or the movement of quick hands clapping,
Or the rustle of furbelows or the clash of polished gems.
The palpitant mosaic of the midday light
Colliding, sliding, leaping and lingering:
O, I could lie on my back all day,
And mark the mad ballet of the midsummer sky.
V
Over the roof-tops race the shadows of clouds;
Like horses the shadows of clouds charge down the street.
Whirlpools of purple and gold,
Winds from the mountains of cinnabar,
Lacquered mandarin moments, palanquins swaying and balancing
Amid the vermilion pavilions, against the jade balustrades.
Glint of the glittering wings of dragon-flies in the light:
Silver filaments, golden flakes settling downwards,
Rippling, quivering flutters, repulse and surrender,
The sun broidered upon the rain,
The rain rustling with the sun.
Over the roof-tops race the shadows of clouds;
Like horses the shadows of clouds charge down the street.
VI
The balancing of gaudy broad pavilions
Of summer against the insolent breeze:
The bellying of the sides of striped tents,
Swelling taut, shuddering in quick collapse,
Silent under the silence of the sky.
Earth is streaked and spotted
With great splashes and dapples of sunlight:
The sun throws an immense circle of hot light upon the world,
Rolling slowly in ponderous rhythm
Darkly, musically forward.
All is silent under the steep cone of afternoon:
The sky is imperturbably profound.
The ultimate divine union seems about to be accomplished,
All is troubled at the attainment
Of the inexhaustible infinite.
The rolling and the tossing of the sides of immense pavilions
Under the whirling wind that screams up the cloudless sky.
VII
Flickering of incessant rain
On flashing pavements:
Sudden scurry of umbrellas:
Bending, recurved blossoms of the storm.
The winds came clanging and clattering
From long white highroads whipping in ribbons up summits:
They strew upon the city gusty wafts of appleblossom,
And the rustling of innumerable translucent leaves.
Uneven tinkling, the lazy rain
Dripping from the eaves.
VIII
The fountain blows its breathless spray
From me to you and back to me.
Whipped, tossed, curdled,
Crashing, quivering:
I hurl kisses like blows upon your lips.
The dance of a bee drunken with sunlight:
Irradiant ecstasies, white and gold,
Sigh and relapse.
The fountain tosses pallid spray
Far in the sorrowful, silent sky.
IX
The houses of the city no longer hum and play:
They lie like careless drowsy giants, dumb, estranged.
One presses to his breast his toy, a lighted pane:
One stirs uneasily: one is cold in death.
And the late moon, fearfully peering over an immense shoulder,
Sees, in the shadow below, the unpeopled hush of a street.
X
The trees, like great jade elephants,
Chained, stamp and shake 'neath the gadflies of the breeze
The trees lunge and plunge, unruly elephants:
The clouds are their crimson howdah-canopies,
The sunlight glints like the golden robe of a Shah.
Would I were tossed on the wrinkled backs of those trees
XI
The clouds are like a sombre sea:
On shining screens of ebony
Are carven marvels of my heart.
'Gainst crimson placques of cinnabar
Shrills, like a diamond, dawn's last star.
The gardens of my heart are green:
The rain drips off the glistening leaves.
In the humid gardens of my soul,
The crimson peonies explode.
I am like a drop of rose-flushed rain,
Clinging to crimson petals of love.
In the afternoon, over gold screens,
I will brush the blue dust of my dreams.
XII
The pine, rough-bearded Pan of the woods
Whispered in my ear his sleepy-sweet song.
Like liquid fire it ran through my veins.
Thus he piped: Sad, lonely son of the woods,
Lie down in the long still grass and sleep,
Ere the dawn has hidden her swelling breasts,
Ere the morning has covered her massive flanks,
With the flame-coloured mantle of noon.
Lie down in the dewless grass nor awake
To see whether afternoon has hurried in
From the rim of her purple robe dropping dim flowers
Golden flowers with pollen-dusty cups,
Flowers of silence. Heed not though eve
Should sail, a grey swan, in the pool of the sky,
Spreading low ripples. Heed these not!
Only awake when slim twilight
Plunges her body in the last blown spray of the sun!
Awake, then, for twilight and dawn are your day:
Therefore lie down in the long dim grass and sleep,
And I will blow my low pipes over you.
XIII
As I went through the city by day
I saw shadows in sunlight:
But in the night I saw everywhere
Stars within the darkness.
(A coldly fluting breeze:
Dark Pan under the trees.
Low laughter: up the sky
A star like a street-lamp left on high.)
As I went through the city by day
I was hustled by jostling people.
But in the night, the wind of the darkness
Whispered, "Hush!" to my soul.
XIV
Brown bed of earth, still fresh and warm with love,
Now hold me tight:
Broad field of sky, where the clouds laughing move,
Fill up my pores with light:
You trees, now talk to me, chatter and scold or weep,
Or drowsing stand:
You winds, now play with me, you wild things creep,
You boulders, bruise my hand!
I now am yours and you are mine: it matters not
What Gods herein I see:
You grow in me, I am rooted to this spot,
We drink and pass the cup, immortally.
XV
O seeded grass, you army of little men
Crawling up the long slope with quivering, quick blades of steel:
You who storm millions of graves, tiny green tentacles of Earth,
Interlace yourselves tightly over my heart,
And do not let me go:
For I would lie here forever and watch with one eye
The pilgrimaging ants in your dull, savage jungles,
The while with the other I see the stiff lines of the slope
Break in mid-air, a wave surprisingly arrested,
And above them, wavering, dancing, bodiless, colourless, unreal,
The long thin lazy fingers of the heat.
XVI
An ant crawling up a grass-blade,
And above it, the sky.
I shall remember these when I die:
An ant and a butterfly
And the sky.
The grass is full of forget-me-nots and poppies:
Through the air darts many a fly.
The ant toils up its grass-blade,
The careless hours go by.
The grass-blades bow to the feet of the lazy hours:
They walk out of the wood, showering shadows on flowers.
Their robes flutter vaguely far off there in the clearing:
I see them sometimes from the corner of my eye.
XVII
The wind that drives the fine dry sand
Across the strand:
The sad wind spinning arabesques
With a wrinkled hand.
Labyrinths of shifting sand,
The dancing dunes!
I will arise and run with the sand,
And gather it greedily in my hand:
I will wriggle like a long yellow snake over the beaches.
I will lie curled up, sleeping,
And the wind shall chase me
Far inland.
My breath is the music of the mad wind;
Shrill piping, stamping of drunken feet,
The fluttering, tattered broidery flung
Over the dunes' steep escarpments.
The fine dry sand that whistles
Down the long low beaches.
XVIII
Blue, brown, blue: sky, sand, sea:
I swell to your immensity.
I will run over the endless beach,
I will shout to the breaking spray,
I will touch the sky with my fingers.
My happiness is like this sand:
I let it run out of my hand.
XIX
The clouds pass
Over the polished mirror of the sky:
The clouds pass, puffs of grey,
There is no star.
The clouds pass slowly:
Suddenly a disengaged star flashes.
The night is cold and the clouds
Roll slowly over the sky.
XX
I dance:
I exist in motion:
A wind-shaken flower spilling my drops in the sunlight.
I feel the muscles bending, relaxing beneath me;
I direct the rippling sweep of the lines of my body;
Its impact crashes through the thin walls of the atmosphere,
I dance.
About me whirls
The sombre hall, the gaudy stage, the harsh glare of the footlights,
And in the brains of thousands watching
Little flames leap quivering to the music of my effort.
I have danced:
I have expressed my soul
In unbroken rhythm,
Sorrow, and flame.
I am tired: I would be extinguished beneath your beating hands.
XXI
Not noisily, but solemnly and pale,
In a meditative ecstasy you entered life:
As performing some strange rite, to which you alone held the clue.
Child, life did not give rude strength to you;
from the beginning, you would seem to have thrown away,
As something cold and cumbersome, that armour men use against death.
You would perhaps look on him face to face, and so learn the secret
Whether that face wears oftenest a smile or no?
Strange, old, and silent being, there is something
Infinitely vast in your intense tininess:
I think you could point out, with a smile, some curious star
Far off in the heavens, which no man has seen before.
XXII
The morning is clean and blue and the wind blows up the clouds:
Now my thoughts gathered from afar
Once again in their patched armour, with rusty plumes and blunted swords,
Move out to war.
Smoking our morning pipes we shall ride two and two
Through the woods.
For our old cause keeps us together,
And our hatred is so precious not death or defeat can break it.
God willing, we shall this day meet that old enemy
Who has given us so many a good beating.
Thank God we have a cause worth fighting for,
And a cause worth losing and a good song to sing.
XXIII
Torridly the moon rolls upward
Against the smooth immensity of midsummer sky,
Changeless, inexhaustible:
The city beneath is still:
Heaven and Earth are clasped together,
Momently life grows as careless
As the life of the intense stars.
Out of the houses climbing,
Fuming up windows, flickering from every roof-top,
Rigid on sonorous pinnacles,
Silently swirl aloft
Love's infinite flamelets.
XXIV
O all you stars up yonder,
Do you hear me? Beautiful, winking, sullen eyes,
I am tired of seeing you in the same old places,
Night after night in the sky.
I hoped you would dance--but after twenty-six years,
I find you are determined to stay as you are.
So I make it known to you, stars clustered or solitary,
That I want you to fall into my lap to-night.
Come down, little stars, let me play with you:
I will string you like beads, and shovel you together,
And wear you in my ears, and scatter you over people--
And toss you back, like apples, if I choose.
XXV
As I wandered over the city through the night,
I saw many strange things:
But I have forgotten all
Except one painted face.
Gaudy, shameless night-orchid,
Heavy, flushed, sticky with narcotic perfume,
There was something in you which made me prefer you
Above all the feeble forget-me-nots of the world.
You were neither burnt out nor pallid,
There was plain, coarse, vulgar meaning in every line of you
And no make-believe:
You were at least alive,
When all the rest were but puppets of the night.
XXVI
Slowly along the lamp-emblazoned street,
Amid the last sad drifting crowds of midnight
Like lost souls wandering,
Comes marching by solemnly
As for some gem-bedecked ritual of old,
A monotonous procession of black carts
Full crowded with blood-red blossom:
Scarlet geraniums
Unfolding their fiery globes upon the night.
These are the memories of day moulded in jagged flame:
Lust, joy, blood, and death.
With crushed hands, weary eyes, and hoarse clamour,
We consecrate and acclaim them tumultuously
Ere they pass, contemptuous, beyond the unpierced veil of silence.
XXVII
I think there was an hour in which God laughed at me,
For as I passed along the street,
saw that all the women--although their bodies were dexterously concealed--
Were thinking with all their might what men were like:
And the men, mechanically correct, cigars at lips,
Were wanting to rush at the women,
But were restrained by respectability or timidity,
Or fear of the consequences or vanity or some puerile dream
Of a pale ideal lost in the vast grey sky.
So I said to myself, it is time to end all this:
I will take the first woman that comes along.
And then God laughed at me--and I too smiled
To see that He was in such good humour and that the sun was shining.
XXVIII
I remember, there was a day
During which I did not write a line of verse:
Nor did I speak a word to any woman,
Nor did I meet with death.
Yet all that day I was fully occupied:
My eyes saw trees, clouds, streets, houses, people;
My lungs breathed air;
My mouth swallowed food and drink;
My hands seized things, my feet touched earth,
Or spurned it at my desire.
On that day I know I would have been sufficiently happy,
If I could have kept my brain from bothering at all
About my next trite poem;
About the tedious necessities of sex;
And about the day on which I would at last meet death.
XXIX
It is evening, and the earth
Wraps her shoulders in an old blue shawl.
Afar off there clink the polychrome points of the stars,
Indefatigable, after all these years!
Here upon earth there is life, and then death,
Dawn, and later nightfall,
Fire, and the quenching of embers:
But why should I not remember that my night is dawn in another part of
the world,
If the idea fits my fancy?
Dawns of marvellous light, wakeful, sleepy, weary, dancing dawns,
You are rose petals settling through the blue of my evening:
I light my pipe to salute you,
And sit puffing smoke in the air and never say a word.
XXX
I have seemed often feeble and useless to myself,
And many times I have wished that the tedium of my life
Lay at last dissolved in the cold acid of death:
Yet I have not forgotten
The sparkling of waters in the sunlight,
The sound of a woman's voice,
Gliding dancers,
Chanting worshippers,
A child crying,
The wind amid the hills.
These I can remember,
And I think they are more of me
Than the wrinkles on my face and the hungry ache at my heart.
XXXI
My stiff-spread arms
Break into sudden gesture;
My feet seize upon the rhythm;
My hands drag it upwards:
Thus I create the dance.
I drink of the red bowl of the sunlight:
I swim through seas of rain:
I dig my toes into earth:
I taste the smack of the wind:
I am myself:
I live.
The temples of the gods are forgotten or in ruins:
Professors are still arguing about the past and the future:
I am sick of reading marginal notes on life,
I am weary of following false banners:
I desire nothing more intensely or completely than this present;
There is nothing about me you are more likely to notice than my being:
Let me therefore rejoice silently,
A golden butterfly glancing against an unflecked wall.
XXXII
Today you shall have but little song from me,
For I belong to the sunlight.
This I would not barter for any kingdom.
I am a wheeling swallow,
Blue all over is my delight.
I am a drowsy grass-blade
In the greenest shadow.
XXXIII
My desire goes bristling and growling like an angry leopard;
My ribs are a hollow grating, my hair is coarse and hard,
My flanks are like sharp iron wedges, my eyes glitter as chill glass;
Down below there are the meadows where my famished hopes are feeding,
I will waylay them to windward, stalking in watchful patience,
I will pounce upon them, plunging my muzzle in the hot spurt of their
blood.
XXXIV
The flag let loose for a day of festivity;
Free desperate symbol of battle and desire,
Leaping, lunging, tossing up the halyards;
Below it a tumult of music,
Above it the streaming wastes of the sky,
Pinnacles of clouds, pyres of dawn,
Infinite effort, everlasting day.
The immense flag waving
Aloft in glory:
Over seas and hilltops
Transmitting its lightnings.
XXXV
What weave you, what spin you,
What wonder win you,
You looms of desire?
Sin that is splendour,
Love that is shameless,
Life that is glory,
Life that is all.
XXXVI
Like cataracts that crash from a crumbling crag
Into the dull-blue smouldering gulf of a lake below,
Landlocked amid the mountains, so my soul
Was a gorge that was filled with the warring echoes of song.
Of old, they wore
Shining armour, and banners of broad gold they bore:
Now they drift, like a wild bird's cry,
Downwards from chill summits of the sky.
Fountains of flashing joy were their source afar;
Now they lie still, to mirror every star.
In circles of opal, ruby, blue, out-thrown,
They drift down to a dull, dark monotone.
Pluck the loose strings, singer,
Thrum the strings;
For the wind brings distant, drowsy bells of song.
Loose the plucked string, poet,
Spurn the strings,
For the echoes of memory float through the gulf for long.
My songs seem now one humming note afar:
Light as ether, quivering 'twixt star and star,
But yet, so still
I know not whence they come, if mine they are.
Yet that low note
Increases in force as if it said, "I will":
Kindled by God's fierce breath, it would the whole world fill.
Till steadily outwards thrown,
By trumpets blazoned, from the sky downblown,
It grows a vast march, massive, monotonous, known
Of old gold trumpeteers
Through infinite years:
Bursting the white, thronged vaults of the cool sky.
Till hurtling down there falls one mad black hammer-blow:
Then the chained echoes in their maniac woe
Are loosed against the silence, to shriek uncannily.
The strings shiver faintly, poet:
Strike the strings,
Speed the song:
Tremulous upward rush of wheeling, whirling wings.
EPILOGUE
The barking of little dogs in the night is more remembered than
the shining of the stars:
Only those who watch for long may see the moon rise:
And they are mad ever after and go with blind eyes
Nosing hungrily in the gutter for the scraps that men throw to the dogs;
Few heed their babblings.
SAND AND SPRAY
A SEA-SYMPHONY
PART I. THE GALE
_Allegro furioso._
Pale green-white, in a gallop across the sky,
The clouds retreating from a perilous affray
Carry the moon with them, a heavy sack of gold;
Sharp arrows, stars between them shoot and play.
The wind, as it strikes the sand,
Clutches with rigid hands
And tears from them
Thin ribbons of pallid sleet,
Long stinging hissing drift,
Which it trails up inland.
I lean against the bitter wind:
My body plunges like a ship.
Out there I see grey breakers rise,
Their ravelled beards are white,
And foam is in their eyes.
My heart is blown from me to-night
To be transfixed by all the stars.
Steadily the wind
Rages up the shore:
In the trees it roars and battles,
With rattling drums
And heavy spears,
Towards the housefronts on it comes.
The village, a loose mass outflung,
Breaks its path.
Between the walls
It bounces, tosses in its wrath.
It is broken, it is lost.
With green-grey eyes,
With whirling arms,
With clashing feet,
With bellowing lungs,
Pale green-white in a gallop across the sky,
The wind comes.
The great gale of the winter flings himself flat upon earth.
He hurriedly scribbles on the sand
His transient tragic destiny.