The Project Gutenberg EBook of The Poetical Works of Oliver Wendell
Holmes, Vol. 11, by Oliver Wendell Holmes, Sr.
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
Title: The Poetical Works of Oliver Wendell Holmes, Vol. 11
Poems From Over The Teacups
Author: Oliver Wendell Holmes, Sr.
Release Date: September 30, 2004 [EBook #7398]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK POETRY OF HOLMES, VOL. 11 ***
Produced by David Widger
THE POETICAL WORKS
OF
OLIVER WENDELL HOLMES
[Volume 3 of the 1893 three volume set]
POEMS FROM OVER THE TEACUPS
POEMS FROM OVER THE TEACUPS.
TO THE ELEVEN LADIES WHO PRESENTED ME WITH A SILVER LOVING CUP
THE PEAU DE CHAGRIN OF STATE STREET
CACOETHES SCRIBENDI
THE ROSE AND THE FERN
I LIKE YOU AND I LOVE YOU
LA MAISON D'OR BAR HARBOR
TOO YOUNG FOR LOVE
THE BROOMSTICK TRAIN; OR, THE RETURN OF THE WITCHES
TARTARUS
AT THE TURN OF THE ROAD
INVITA MINERVA
READINGS OVER THE TEACUPS
TO MY OLD READERS
THE BANKER'S SECRET
THE EXILE'S SECRET
THE LOVER'S SECRET
THE STATESMAN'S SECRET
THE MOTHER'S SECRET
THE SECRET OF THE STARS
TO THE ELEVEN LADIES
WHO PRESENTED ME WITH A SILVER LOVING CUP
ON THE TWENTY-NINTH OF AUGUST, M DCCC LXXXIX
"WHO gave this cup?" The secret thou wouldst steal
Its brimming flood forbids it to reveal:
No mortal's eye shall read it till he first
Cool the red throat of thirst.
If on the golden floor one draught remain,
Trust me, thy careful search will be in vain;
Not till the bowl is emptied shalt thou know
The names enrolled below.
Deeper than Truth lies buried in her well
Those modest names the graven letters spell
Hide from the sight; but wait, and thou shalt see
Who the good angels be.
Whose bounty glistens in the beauteous gift
That friendly hands to loving lips shall lift
Turn the fair goblet when its floor is dry,--
Their names shall meet thine eye.
Count thou their number on the beads of Heaven
Alas! the clustered Pleiads are but seven;
Nay, the nine sister Muses are too few,--
The Graces must add two.
"For whom this gift?" For one who all too long
Clings to his bough among the groves of song;
Autumn's last leaf, that spreads its faded wing
To greet a second spring.
Dear friends, kind friends, whate'er the cup may hold,
Bathing its burnished depths, will change to gold
Its last bright drop let thirsty Maenads drain,
Its fragrance will remain.
Better love's perfume in the empty bowl
Than wine's nepenthe for the aching soul;
Sweeter than song that ever poet sung,
It makes an old heart young!
THE PEAU DE CHAGRIN OF STATE STREET
How beauteous is the bond
In the manifold array
Of its promises to pay,
While the eight per cent it gives
And the rate at which one lives
Correspond!
But at last the bough is bare
Where the coupons one by one
Through their ripening days have run,
And the bond, a beggar now,
Seeks investment anyhow,
Anywhere!
CACOETHES SCRIBENDI
IF all the trees in all the woods were men;
And each and every blade of grass a pen;
If every leaf on every shrub and tree
Turned to a sheet of foolscap; every sea
Were changed to ink, and all earth's living tribes
Had nothing else to do but act as scribes,
And for ten thousand ages, day and night,
The human race should write, and write, and write,
Till all the pens and paper were used up,
And the huge inkstand was an empty cup,
Still would the scribblers clustered round its brink
Call for more pens, more paper, and more ink.
THE ROSE AND THE FERN
LADY, life's sweetest lesson wouldst thou learn,
Come thou with me to Love's enchanted bower
High overhead the trellised roses burn;
Beneath thy feet behold the feathery fern,--
A leaf without a flower.
What though the rose leaves fall? They still are sweet,
And have been lovely in their beauteous prime,
While the bare frond seems ever to repeat,
"For us no bud, no blossom, wakes to greet
The joyous flowering time!"
Heed thou the lesson. Life has leaves to tread
And flowers to cherish; summer round thee glows;
Wait not till autumn's fading robes are shed,
But while its petals still are burning red
Gather life's full-blown rose!
I LIKE YOU AND I LOVE YOU
I LIKE YOU Met I LOVE You, face to face;
The path was narrow, and they could not pass.
I LIKE YOU smiled; I LOVE YOU cried, Alas!
And so they halted for a little space.
"Turn thou and go before," I LOVE YOU said,
"Down the green pathway, bright with many a flower;
Deep in the valley, lo! my bridal bower
Awaits thee." But I LIKE YOU shook his head.
Then while they lingered on the span-wide shelf
That shaped a pathway round the rocky ledge,
I LIKE You bared his icy dagger's edge,
And first he slew I LOVE You,--then himself.
LA MAISON D'OR
(BAR HARBOR)
FROM this fair home behold on either side
The restful mountains or the restless sea
So the warm sheltering walls of life divide
Time and its tides from still eternity.
Look on the waves: their stormy voices teach
That not on earth may toil and struggle cease.
Look on the mountains: better far than speech
Their silent promise of eternal peace.
TOO YOUNG FOR LOVE
Too young for love?
Ah, say not so!
Tell reddening rose-buds not to blow
Wait not for spring to pass away,--
Love's summer months begin with May!
Too young for love?
Ah, say not so!
Too young? Too young?
Ah, no! no! no!
Too young for love?
Ah, say not so,
To practise all love learned in May.
June soon will come with lengthened day
While daisies bloom and tulips glow!
Too young for love?
Ah, say not so!
Too young? Too young?
Ah, no! no! no!
THE BROOMSTICK TRAIN; OR,
THE RETURN OF THE WITCHES
LOOK out! Look out, boys! Clear the track!
The witches are here! They've all come back!
They hanged them high,--No use! No use!
What cares a witch for a hangman's noose?
They buried them deep, but they wouldn't lie still,
For cats and witches are hard to kill;
They swore they shouldn't and wouldn't die,--
Books said they did, but they lie! they lie!
A couple of hundred years, or so,
They had knocked about in the world below,
When an Essex Deacon dropped in to call,
And a homesick feeling seized them all;
For he came from a place they knew full well,
And many a tale he had to tell.
They longed to visit the haunts of men,
To see the old dwellings they knew again,
And ride on their broomsticks all around
Their wide domain of unhallowed ground.
In Essex county there's many a roof
Well known to him of the cloven hoof;
The small square windows are full in view
Which the midnight hags went sailing through,
On their well-trained broomsticks mounted high,
Seen like shadows against the sky;
Crossing the track of owls and bats,
Hugging before them their coal-black cats.
Well did they know, those gray old wives,
The sights we see in our daily drives
Shimmer of lake and shine of sea,
Browne's bare hill with its lonely tree,
(It was n't then as we see it now,
With one scant scalp-lock to shade its brow;)
Dusky nooks in the Essex woods,
Dark, dim, Dante-like solitudes,
Where the tree-toad watches the sinuous snake
Glide through his forests of fern and brake;
Ipswich River; its old stone bridge;
Far off Andover's Indian Ridge,
And many a scene where history tells
Some shadow of bygone terror dwells,--
Of "Norman's Woe" with its tale of dread,
Of the Screeching Woman of Marblehead,
(The fearful story that turns men pale
Don't bid me tell it,--my speech would fail.)
Who would not, will not, if he can,
Bathe in the breezes of fair Cape Ann,--
Rest in the bowers her bays enfold,
Loved by the sachems and squaws of old?
Home where the white magnolias bloom,
Sweet with the bayberry's chaste perfume,
Hugged by the woods and kissed by the sea!
Where is the Eden like to thee?
For that "couple of hundred years, or so,"
There had been no peace in the world below;
The witches still grumbling, "It is n't fair;
Come, give us a taste of the upper air!
We 've had enough of your sulphur springs,
And the evil odor that round them clings;
We long for a drink that is cool and nice,--
Great buckets of water with Wenham ice;
We've served you well up-stairs, you know;
You 're a good old--fellow--come, let us go!"
I don't feel sure of his being good,
But he happened to be in a pleasant mood,--
As fiends with their skins full sometimes are,--
(He'd been drinking with "roughs" at a Boston bar.)
So what does he do but up and shout
To a graybeard turnkey, "Let 'em out!"
To mind his orders was all he knew;
The gates swung open, and out they flew.
"Where are our broomsticks?" the beldams cried.
"Here are your broomsticks," an imp replied.
"They 've been in--the place you know--so long
They smell of brimstone uncommon strong;
But they've gained by being left alone,--
Just look, and you'll see how tall they've grown."
"And where is my cat?" a vixen squalled.
"Yes, where are our cats?" the witches bawled,
And began to call them all by name
As fast as they called the cats, they came
There was bob-tailed Tommy and long-tailed Tim,
And wall-eyed Jacky and green-eyed Jim,
And splay-foot Benny and slim-legged Beau,
And Skinny and Squally, and Jerry and Joe,
And many another that came at call,--
It would take too long to count them all.
All black,--one could hardly tell which was which,
But every cat knew his own old witch;
And she knew hers as hers knew her,--
Ah, didn't they curl their tails and purr!
No sooner the withered hags were free
Than out they swarmed for a midnight spree;
I couldn't tell all they did in rhymes,
But the Essex people had dreadful times.
The Swampscott fishermen still relate
How a strange sea-monster stole their bait;
How their nets were tangled in loops and knots,
And they found dead crabs in their lobster-pots.
Poor Danvers grieved for her blasted crops,
And Wilmington mourned over mildewed hops.
A blight played havoc with Beverly beans,--
It was all the work of those hateful queans!
A dreadful panic began at "Pride's,"
Where the witches stopped in their midnight rides,
And there rose strange rumors and vague alarms
'Mid the peaceful dwellers at Beverly Farms.
Now when the Boss of the Beldams found
That without his leave they were ramping round,
He called,--they could hear him twenty miles,
From Chelsea beach to the Misery Isles;
The deafest old granny knew his tone
Without the trick of the telephone.
"Come here, you witches! Come here!" says he,--
"At your games of old, without asking me!
I'll give you a little job to do
That will keep you stirring, you godless crew!"
They came, of course, at their master's call,
The witches, the broomsticks, the cats, and all;
He led the hags to a railway train
The horses were trying to drag in vain.
"Now, then," says he, "you've had your fun,
And here are the cars you've got to run.
The driver may just unhitch his team,
We don't want horses, we don't want steam;
You may keep your old black cats to hug,
But the loaded train you've got to lug."
Since then on many a car you 'll see
A broomstick plain as plain can be;
On every stick there's a witch astride,--
The string you see to her leg is tied.
She will do a mischief if she can,
But the string is held by a careful man,
And whenever the evil-minded witch
Would cut some caper, he gives a twitch.
As for the hag, you can't see her,
But hark! you can hear her black cat's purr,
And now and then, as a car goes by,
You may catch a gleam from her wicked eye.
Often you've looked on a rushing train,
But just what moved it was not so plain.
It couldn't be those wires above,
For they could neither pull nor shove;
Where was the motor that made it go
You couldn't guess, but now you know.
Remember my rhymes when you ride again
On the rattling rail by the broomstick train!
TARTARUS
WHILE in my simple gospel creed
That "God is Love" so plain I read,
Shall dreams of heathen birth affright
My pathway through the coming night?
Ah, Lord of life, though spectres pale
Fill with their threats the shadowy vale,
With Thee my faltering steps to aid,
How can I dare to be afraid?
Shall mouldering page or fading scroll
Outface the charter of the soul?
Shall priesthood's palsied arm protect
The wrong our human hearts reject,
And smite the lips whose shuddering cry
Proclaims a cruel creed a lie?
The wizard's rope we disallow
Was justice once,--is murder now!
Is there a world of blank despair,
And dwells the Omnipresent there?
Does He behold with smile serene
The shows of that unending scene,
Where sleepless, hopeless anguish lies,
And, ever dying, never dies?
Say, does He hear the sufferer's groan,
And is that child of wrath his own?
O mortal, wavering in thy trust,
Lift thy pale forehead from the dust!
The mists that cloud thy darkened eyes
Fade ere they reach the o'erarching skies
When the blind heralds of despair
Would bid thee doubt a Father's care,
Look up from earth, and read above
On heaven's blue tablet, GOD IS LOVE!
AT THE TURN OF THE ROAD
THE glory has passed from the goldenrod's plume,
The purple-hued asters still linger in bloom
The birch is bright yellow, the sumachs are red,
The maples like torches aflame overhead.
But what if the joy of the summer is past,
And winter's wild herald is blowing his blast?
For me dull November is sweeter than May,
For my love is its sunshine,--she meets me to-day!
Will she come? Will the ring-dove return to her nest?
Will the needle swing back from the east or the west?
At the stroke of the hour she will be at her gate;
A friend may prove laggard,--love never comes late.
Do I see her afar in the distance? Not yet.
Too early! Too early! She could not forget!
When I cross the old bridge where the brook overflowed,
She will flash full in sight at the turn of the road.
I pass the low wall where the ivy entwines;
I tread the brown pathway that leads through the pines;
I haste by the boulder that lies in the field,
Where her promise at parting was lovingly sealed.
Will she come by the hillside or round through the wood?
Will she wear her brown dress or her mantle and hood?
The minute draws near,--but her watch may go wrong;
My heart will be asking, What keeps her so long?
Why doubt for a moment? More shame if I do!
Why question? Why tremble? Are angels more true?
She would come to the lover who calls her his own
Though she trod in the track of a whirling cyclone!
I crossed the old bridge ere the minute had passed.
I looked: lo! my Love stood before me at last.
Her eyes, how they sparkled, her cheeks, how they glowed,
As we met, face to face, at the turn of the road!
IN VITA MINERVA
VEX not the Muse with idle prayers,--
She will not hear thy call;
She steals upon thee unawares,
Or seeks thee not at all.
Soft as the moonbeams when they sought
Endymion's fragrant bower,
She parts the whispering leaves of thought
To show her full-blown flower.
For thee her wooing hour has passed,
The singing birds have flown,
And winter comes with icy blast
To chill thy buds unblown.
Yet, though the woods no longer thrill
As once their arches rung,
Sweet echoes hover round thee still
Of songs thy summer sung.
Live in thy past; await no more
The rush of heaven-sent wings;
Earth still has music left in store
While Memory sighs and sings.
READINGS OVER THE TEACUPS
FIVE STORIES AND A SEQUEL
TO MY OLD READERS
You know "The Teacups," that congenial set
Which round the Teapot you have often met;
The grave DICTATOR, him you knew of old,--
Knew as the shepherd of another fold
Grayer he looks, less youthful, but the same
As when you called him by a different name.
Near him the MISTRESS, whose experienced skill
Has taught her duly every cup to fill;
"Weak;" "strong;" "cool;" "lukewarm;" "hot as you can pour;"
"No sweetening;" "sugared;" "two lumps;" "one lump more."
Next, the PROFESSOR, whose scholastic phrase
At every turn the teacher's tongue betrays,
Trying so hard to make his speech precise
The captious listener finds it overnice.
Nor be forgotten our ANNEXES twain,
Nor HE, the owner of the squinting brain,
Which, while its curious fancies we pursue,
Oft makes us question, "Are we crack-brained too?"
Along the board our growing list extends,
As one by one we count our clustering friends,--
The youthful DOCTOR waiting for his share
Of fits and fevers when his crown gets bare;
In strong, dark lines our square-nibbed pen should draw
The lordly presence of the MAN OF LAW;
Our bashful TUTOR claims a humbler place,
A lighter touch, his slender form to trace.
Mark the fair lady he is seated by,--
Some say he is her lover,--some deny,--
Watch them together,--time alone can show
If dead-ripe friendship turns to love or no.
Where in my list of phrases shall I seek
The fitting words of NUMBER FIVE to speak?
Such task demands a readier pen than mine,--
What if I steal the Tutor's Valentine?
Why should I call her gracious, winning, fair?
Why with the loveliest of her sex compare?
Those varied charms have many a Muse inspired,--
At last their worn superlatives have tired;
Wit, beauty, sweetness, each alluring grace,
All these in honeyed verse have found their place;
I need them not,--two little words I find
Which hold them all in happiest form combined;
No more with baffled language will I strive,--
All in one breath I utter: Number Five!
Now count our teaspoons--if you care to learn
How many tinkling cups were served in turn,--
Add all together, you will find them ten,--
Our young MUSICIAN joined us now and then.
Our bright DELILAH you must needs recall,
The comely handmaid, youngest of us all;
Need I remind you how the little maid
Came at a pinch to our Professor's aid,--
Trimmed his long locks with unrelenting shears
And eased his looks of half a score of years?
Sometimes, at table, as you well must know,
The stream of talk will all at once run low,
The air seems smitten with a sudden chill,
The wit grows silent and the gossip still;
This was our poet's chance, the hour of need,
When rhymes and stories we were used to read.
One day a whisper round the teacups stole,--
"No scrap of paper in the silver bowl!"
(Our "poet's corner" may I not expect
My kindly reader still may recollect?)
"What! not a line to keep our souls alive?"
Spoke in her silvery accents Number Five.
"No matter, something we must find to read,--
Find it or make it,--yes, we must indeed!
Now I remember I have seen at times
Some curious stories in a book of rhymes,--
How certain secrets, long in silence sealed,
In after days were guessed at or revealed.
Those stories, doubtless, some of you must know,--
They all were written many a year ago;
But an old story, be it false or true,
Twice told, well told, is twice as good as new;
Wait but three sips and I will go myself,
And fetch the book of verses from its shelf."
No time was lost in finding what she sought,--
Gone but one moment,--lo! the book is brought.
"Now, then, Professor, fortune has decreed
That you, this evening, shall be first to read,--
Lucky for us that listen, for in fact
Who reads this poem must know how to _act_."
Right well she knew that in his greener age
He had a mighty hankering for the stage.
The patient audience had not long to wait;
Pleased with his chance, he smiled and took the bait;
Through his wild hair his coaxing fingers ran,--
He spread the page before him and began.
THE BANKER'S SECRET
THE Banker's dinner is the stateliest feast
The town has heard of for a year, at least;
The sparry lustres shed their broadest blaze,
Damask and silver catch and spread the rays;
The florist's triumphs crown the daintier spoil
Won from the sea, the forest, or the soil;
The steaming hot-house yields its largest pines,
The sunless vaults unearth their oldest wines;
With one admiring look the scene survey,
And turn a moment from the bright display.
Of all the joys of earthly pride or power,
What gives most life, worth living, in an hour?
When Victory settles on the doubtful fight
And the last foeman wheels in panting flight,
No thrill like this is felt beneath the sun;
Life's sovereign moment is a battle won.
But say what next? To shape a Senate's choice,
By the strong magic of the master's voice;
To ride the stormy tempest of debate
That whirls the wavering fortunes of the state.
Third in the list, the happy lover's prize
Is won by honeyed words from women's eyes.
If some would have it first instead of third,
So let it be,--I answer not a word.
The fourth,--sweet readers, let the thoughtless half
Have its small shrug and inoffensive laugh;
Let the grave quarter wear its virtuous frown,
The stern half-quarter try to scowl us down;
But the last eighth, the choice and sifted few,
Will hear my words, and, pleased, confess them true.
Among the great whom Heaven has made to shine,
How few have learned the art of arts,--to dine!
Nature, indulgent to our daily need,
Kind-hearted mother! taught us all to feed;
But the chief art,--how rarely Nature flings
This choicest gift among her social kings
Say, man of truth, has life a brighter hour
Than waits the chosen guest who knows his power?
He moves with ease, itself an angel charm,--
Lifts with light touch my lady's jewelled arm,
Slides to his seat, half leading and half led,
Smiling but quiet till the grace is said,
Then gently kindles, while by slow degrees
Creep softly out the little arts that please;
Bright looks, the cheerful language of the eye,
The neat, crisp question and the gay reply,--
Talk light and airy, such as well may pass
Between the rested fork and lifted glass;--
With play like this the earlier evening flies,
Till rustling silks proclaim the ladies rise.
His hour has come,--he looks along the chairs,
As the Great Duke surveyed his iron squares.
That's the young traveller,--is n't much to show,--
Fast on the road, but at the table slow.
Next him,--you see the author in his look,--
His forehead lined with wrinkles like a book,--
Wrote the great history of the ancient Huns,--
Holds back to fire among the heavy guns.
Oh, there's our poet seated at his side,
Beloved of ladies, soft, cerulean-eyed.
Poets are prosy in their common talk,
As the fast trotters, for the most part, walk.
And there's our well-dressed gentleman, who sits,
By right divine, no doubt, among the wits,
Who airs his tailor's patterns when he walks,
The man that often speaks, but never talks.
Why should he talk, whose presence lends a grace
To every table where he shows his face?
He knows the manual of the silver fork,
Can name his claret--if he sees the cork,--
Remark that "White-top" was considered fine,
But swear the "Juno" is the better wine;--
Is not this talking? Ask Quintilian's rules;
If they say No, the town has many fools.
Pause for a moment,--for our eyes behold
The plain unsceptred king, the man of gold,
The thrice illustrious threefold millionnaire;
Mark his slow-creeping, dead, metallic stare;
His eyes, dull glimmering, like the balance-pan
That weighs its guinea as he weighs his man.
Who's next? An artist in a satin tie
Whose ample folds defeat the curious eye.
And there 's the cousin,--must be asked, you know,--
Looks like a spinster at a baby-show.
Hope he is cool,--they set him next the door,--
And likes his place, between the gap and bore.
Next comes a Congressman, distinguished guest
We don't count him,--they asked him with the rest;
And then some white cravats, with well-shaped ties,
And heads above them which their owners prize.
Of all that cluster round the genial board,
Not one so radiant as the banquet's lord.
Some say they fancy, but they know not why,
A shade of trouble brooding in his eye,
Nothing, perhaps,--the rooms are overhot,--
Yet see his cheek,--the dull-red burning spot,--
Taste the brown sherry which he does not pass,--
Ha! That is brandy; see him fill his glass!
But not forgetful of his feasting friends,
To each in turn some lively word he sends;
See how he throws his baited lines about,
And plays his men as anglers play their trout.
A question drops among the listening crew
And hits the traveller, pat on Timbuctoo.
We're on the Niger, somewhere near its source,--
Not the least hurry, take the river's course
Through Kissi, Foota, Kankan, Bammakoo,
Bambarra, Sego, so to Timbuctoo,
Thence down to Youri;--stop him if we can,
We can't fare worse,--wake up the Congressman!
The Congressman, once on his talking legs,
Stirs up his knowledge to its thickest dregs;
Tremendous draught for dining men to quaff!
Nothing will choke him but a purpling laugh.
A word,--a shout,--a mighty roar,--'t is done;
Extinguished; lassoed by a treacherous pun.
A laugh is priming to the loaded soul;
The scattering shots become a steady roll,
Broke by sharp cracks that run along the line,
The light artillery of the talker's wine.
The kindling goblets flame with golden dews,
The hoarded flasks their tawny fire diffuse,
And the Rhine's breast-milk gushes cold and bright,
Pale as the moon and maddening as her light;
With crimson juice the thirsty southern sky
Sucks from the hills where buried armies lie,
So that the dreamy passion it imparts
Is drawn from heroes' bones and lovers' hearts.
But lulls will come; the flashing soul transmits
Its gleams of light in alternating fits.
The shower of talk that rattled down amain
Ends in small patterings like an April's rain;
With the dry sticks all bonfires are begun;
Bring the first fagot, proser number one
The voices halt; the game is at a stand;
Now for a solo from the master-hand
'T is but a story,--quite a simple thing,--
An aria touched upon a single string,
But every accent comes with such a grace
The stupid servants listen in their place,
Each with his waiter in his lifted hands,
Still as a well-bred pointer when he stands.
A query checks him: "Is he quite exact?"
(This from a grizzled, square-jawed man of fact.)
The sparkling story leaves him to his fate,
Crushed by a witness, smothered with a date,
As a swift river, sown with many a star,
Runs brighter, rippling on a shallow bar.
The smooth divine suggests a graver doubt;
A neat quotation bowls the parson out;
Then, sliding gayly from his own display,
He laughs the learned dulness all away.
So, with the merry tale and jovial song,
The jocund evening whirls itself along,
Till the last chorus shrieks its loud encore,
And the white neckcloths vanish through the door.
One savage word!--The menials know its tone,
And slink away; the master stands alone.
"Well played, by ---"; breathe not what were best unheard;
His goblet shivers while he speaks the word,--
"If wine tells truth,--and so have said the wise,--
It makes me laugh to think how brandy lies!
Bankrupt to-morrow,--millionnaire to-day,--
The farce is over,--now begins the play!"
The spring he touches lets a panel glide;
An iron closet harks beneath the slide,
Bright with such treasures as a search might bring
From the deep pockets of a truant king.
Two diamonds, eyeballs of a god of bronze,
Bought from his faithful priest, a pious bonze;
A string of brilliants; rubies, three or four;
Bags of old coin and bars of virgin ore;
A jewelled poniard and a Turkish knife,
Noiseless and useful if we come to strife.
Gone! As a pirate flies before the wind,
And not one tear for all he leaves behind
From all the love his better years have known
Fled like a felon,--ah! but not alone!
The chariot flashes through a lantern's glare,--
Oh the wild eyes! the storm of sable hair!
Still to his side the broken heart will cling,--
The bride of shame, the wife without the ring
Hark, the deep oath,--the wail of frenzied woe,--
Lost! lost to hope of Heaven and peace below!
He kept his secret; but the seed of crime
Bursts of itself in God's appointed time.
The lives he wrecked were scattered far and wide;
One never blamed nor wept,--she only died.
None knew his lot, though idle tongues would say
He sought a lonely refuge far away,
And there, with borrowed name and altered mien,
He died unheeded, as he lived unseen.
The moral market had the usual chills
Of Virtue suffering from protested bills;
The White Cravats, to friendship's memory true,
Sighed for the past, surveyed the future too;
Their sorrow breathed in one expressive line,--
"Gave pleasant dinners; who has got his wine?"
. . . . . . . . . . . . . .
The reader paused,--the Teacups knew his ways,--
He, like the rest, was not averse to praise.
Voices and hands united; every one
Joined in approval: "Number Three, well done!"
"Now for the Exile's story; if my wits
Are not at fault, his curious record fits
Neatly as sequel to the tale we've heard;
Not wholly wild the fancy, nor absurd
That this our island hermit well might be
That story's hero, fled from over sea.
Come, Number Seven, we would not have you strain
The fertile powers of that inventive brain.
Read us 'The Exile's Secret'; there's enough
Of dream-like fiction and fantastic stuff
In the strange web of mystery that invests
The lonely isle where sea birds build their nests."
"Lies! naught but lies!" so Number Seven began,--
No harm was known of that secluded man.
He lived alone,--who would n't if he might,
And leave the rogues and idiots out of sight?
A foolish story,--still, I'll do my best,--
The house was real,--don't believe the rest.
How could a ruined dwelling last so long
Without its legends shaped in tale and song?
Who was this man of whom they tell the lies?
Perhaps--why not?--NAPOLEON! in disguise,--
So some said, kidnapped from his ocean coop,
Brought to this island in a coasting sloop,--
Meanwhile a sham Napoleon in his place
Played Nap. and saved Sir Hudson from disgrace.
Such was one story; others used to say,
"No,--not Napoleon,--it was Marshal Ney."
"Shot?" Yes, no doubt, but not with balls of lead,
But balls of pith that never shoot folks dead.
He wandered round, lived South for many a year,
At last came North and fixed his dwelling here.
Choose which you will of all the tales that pile
Their mingling fables on the tree-crowned isle.
Who wrote this modest version I suppose
That truthful Teacup, our Dictator, knows;
Made up of various legends, it would seem,
The sailor's yarn, the crazy poet's dream.
Such tales as this, by simple souls received,
At first are stared at and at last believed;
From threads like this the grave historians try
To weave their webs, and never know they lie.
Hear, then, the fables that have gathered round
The lonely home an exiled stranger found.
THE EXILE'S SECRET
YE that have faced the billows and the spray
Of good St. Botolph's island-studded bay,
As from the gliding bark your eye has scanned
The beaconed rocks, the wave-girt hills of sand,
Have ye not marked one elm-o'ershadowed isle,
Round as the dimple chased in beauty's smile,--
A stain of verdure on an azure field,
Set like a jewel in a battered shield?
Fixed in the narrow gorge of Ocean's path,
Peaceful it meets him in his hour of wrath;
When the mailed Titan, scourged by hissing gales,
Writhes in his glistening coat of clashing scales,
The storm-beat island spreads its tranquil green,
Calm as an emerald on an angry queen.
So fair when distant should be fairer near;
A boat shall waft us from the outstretched pier.
The breeze blows fresh; we reach the island's edge,
Our shallop rustling through the yielding sedge.
No welcome greets us on the desert isle;
Those elms, far-shadowing, hide no stately pile
Yet these green ridges mark an ancient road;
And to! the traces of a fair abode;
The long gray line that marks a garden-wall,
And heaps of fallen beams,--fire-branded all.
Who sees unmoved, a ruin at his feet,
The lowliest home where human hearts have beat?
Its hearthstone, shaded with the bistre stain
A century's showery torrents wash in vain;
Its starving orchard, where the thistle blows
And mossy trunks still mark the broken rows;
Its chimney-loving poplar, oftenest seen
Next an old roof, or where a roof has been;
Its knot-grass, plantain,--all the social weeds,
Man's mute companions, following where he leads;
Its dwarfed, pale flowers, that show their straggling heads,
Sown by the wind from grass-choked garden-beds;
Its woodbine, creeping where it used to climb;
Its roses, breathing of the olden time;
All the poor shows the curious idler sees,
As life's thin shadows waste by slow degrees,
Till naught remains, the saddening tale to tell,
Save home's last wrecks,--the cellar and the well?
And whose the home that strews in black decay
The one green-glowing island of the bay?
Some dark-browed pirate's, jealous of the fate
That seized the strangled wretch of "Nix's Mate"?
Some forger's, skulking in a borrowed name,
Whom Tyburn's dangling halter yet may claim?
Some wan-eyed exile's, wealth and sorrow's heir,
Who sought a lone retreat for tears and prayer?
Some brooding poet's, sure of deathless fame,
Had not his epic perished in the flame?
Or some gray wooer's, whom a girlish frown
Chased from his solid friends and sober town?
Or some plain tradesman's, fond of shade and ease,
Who sought them both beneath these quiet trees?
Why question mutes no question can unlock,
Dumb as the legend on the Dighton rock?
One thing at least these ruined heaps declare,--
They were a shelter once; a man lived there.
But where the charred and crumbling records fail,
Some breathing lips may piece the half-told tale;
No man may live with neighbors such as these,
Though girt with walls of rock and angry seas,
And shield his home, his children, or his wife,
His ways, his means, his vote, his creed, his life,
From the dread sovereignty of Ears and Eyes
And the small member that beneath them lies.
They told strange things of that mysterious man;
Believe who will, deny them such as can;
Why should we fret if every passing sail
Had its old seaman talking on the rail?
The deep-sunk schooner stuffed with Eastern lime,
Slow wedging on, as if the waves were slime;
The knife-edged clipper with her ruffled spars,
The pawing steamer with her inane of stars,
The bull-browed galliot butting through the stream,
The wide-sailed yacht that slipped along her beam,
The deck-piled sloops, the pinched chebacco-boats,
The frigate, black with thunder-freighted throats,
All had their talk about the lonely man;
And thus, in varying phrase, the story ran.
His name had cost him little care to seek,
Plain, honest, brief, a decent name to speak,
Common, not vulgar, just the kind that slips
With least suggestion from a stranger's lips.
His birthplace England, as his speech might show,
Or his hale cheek, that wore the red-streak's glow;
His mouth sharp-moulded; in its mirth or scorn
There came a flash as from the milky corn,
When from the ear you rip the rustling sheath,
And the white ridges show their even teeth.
His stature moderate, but his strength confessed,
In spite of broadcloth, by his ample breast;
Full-armed, thick-handed; one that had been strong,
And might be dangerous still, if things went wrong.
He lived at ease beneath his elm-trees' shade,
Did naught for gain, yet all his debts were paid;
Rich, so 't was thought, but careful of his store;
Had all he needed, claimed to have no more.
But some that lingered round the isle at night
Spoke of strange stealthy doings in their sight;
Of creeping lonely visits that he made
To nooks and corners, with a torch and spade.
Some said they saw the hollow of a cave;
One, given to fables, swore it was a grave;
Whereat some shuddered, others boldly cried,
Those prowling boatmen lied, and knew they lied.
They said his house was framed with curious cares,
Lest some old friend might enter unawares;
That on the platform at his chamber's door
Hinged a loose square that opened through the floor;
Touch the black silken tassel next the bell,
Down, with a crash, the flapping trap-door fell;
Three stories deep the falling wretch would strike,
To writhe at leisure on a boarder's pike.
By day armed always; double-armed at night,
His tools lay round him; wake him such as might.
A carbine hung beside his India fan,
His hand could reach a Turkish ataghan;
Pistols, with quaint-carved stocks and barrels gilt,
Crossed a long dagger with a jewelled hilt;
A slashing cutlass stretched along the bed;--
All this was what those lying boatmen said.
Then some were full of wondrous stories told
Of great oak chests and cupboards full of gold;
Of the wedged ingots and the silver bars
That cost old pirates ugly sabre-scars;
How his laced wallet often would disgorge
The fresh-faced guinea of an English George,
Or sweated ducat, palmed by Jews of yore,
Or double Joe, or Portuguese moidore;
And how his finger wore a rubied ring
Fit for the white-necked play-girl of a king.
But these fine legends, told with staring eyes,
Met with small credence from the old and wise.
Why tell each idle guess, each whisper vain?
Enough: the scorched and cindered beams remain.
He came, a silent pilgrim to the West,
Some old-world mystery throbbing in his breast;
Close to the thronging mart he dwelt alone;
He lived; he died. The rest is all unknown.
Stranger, whose eyes the shadowy isle survey,
As the black steamer dashes through the bay,
Why ask his buried secret to divine?
He was thy brother; speak, and tell us thine!
. . . . . . . . . . .
Silence at first, a kind of spell-bound pause;
Then all the Teacups tinkled their applause;
When that was hushed no sound the stillness broke
Till once again the soft-voiced lady spoke:
"The Lover's Secret,--surely that must need
The youngest voice our table holds to read.
Which of our two 'Annexes' shall we choose?
Either were charming, neither will refuse;
But choose we must,--what better can we do
Than take the younger of the youthful two?"
True to the primal instinct of her sex,
"Why, that means me," half whispered each Annex.
"What if it does?" the voiceless question came,
That set those pale New England cheeks aflame;
"Our old-world scholar may have ways to teach
Of Oxford English, Britain's purest speech,--
She shall be youngest,--youngest for _to-day_,--
Our dates we'll fix hereafter as we may;
_All rights reserved_,--the words we know so well,
That guard the claims of books which never sell."
The British maiden bowed a pleased assent,
Her two long ringlets swinging as she bent;
The glistening eyes her eager soul looked through
Betrayed her lineage in their Saxon blue.
Backward she flung each too obtrusive curl
And thus began,--the rose-lipped English girl.
THE LOVER'S SECRET
WHAT ailed young Lucius? Art had vainly tried
To guess his ill, and found herself defied.
The Augur plied his legendary skill;
Useless; the fair young Roman languished still.
His chariot took him every cloudless day
Along the Pincian Hill or Appian Way;
They rubbed his wasted limbs with sulphurous oil,
Oozed from the far-off Orient's heated soil;
They led him tottering down the steamy path
Where bubbling fountains filled the thermal bath;
Borne in his litter to Egeria's cave,
They washed him, shivering, in her icy wave.
They sought all curious herbs and costly stones,
They scraped the moss that grew on dead men's bones,
They tried all cures the votive tablets taught,
Scoured every place whence healing drugs were brought,
O'er Thracian hills his breathless couriers ran,
His slaves waylaid the Syrian caravan.
At last a servant heard a stranger speak
A new chirurgeon's name; a clever Greek,
Skilled in his art; from Pergamus he came
To Rome but lately; GALEN was the name.
The Greek was called: a man with piercing eyes,
Who must be cunning, and who might be wise.
He spoke but little,--if they pleased, he said,
He 'd wait awhile beside the sufferer's bed.
So by his side he sat, serene and calm,
His very accents soft as healing balm;
Not curious seemed, but every movement spied,
His sharp eyes searching where they seemed to glide;
Asked a few questions,--what he felt, and where?
"A pain just here," "A constant beating there."
Who ordered bathing for his aches and ails?
"Charmis, the water-doctor from Marseilles."
What was the last prescription in his case?
"A draught of wine with powdered chrysoprase."
Had he no secret grief he nursed alone?
A pause; a little tremor; answer,--"None."
Thoughtful, a moment, sat the cunning leech,
And muttered "Eros!" in his native speech.
In the broad atrium various friends await
The last new utterance from the lips of fate;
Men, matrons, maids, they talk the question o'er,
And, restless, pace the tessellated floor.
Not unobserved the youth so long had pined
By gentle-hearted dames and damsels kind;
One with the rest, a rich Patrician's pride,
The lady Hermia, called "the golden-eyed";
The same the old Proconsul fain must woo,
Whom, one dark night, a masked sicarius slew;
The same black Crassus over roughly pressed
To hear his suit,--the Tiber knows the rest.
(Crassus was missed next morning by his set;
Next week the fishers found him in their net.)
She with the others paced the ample hall,
Fairest, alas! and saddest of them all.
At length the Greek declared, with puzzled face,
Some strange enchantment mingled in the case,
And naught would serve to act as counter-charm
Save a warm bracelet from a maiden's arm.
Not every maiden's,--many might be tried;
Which not in vain, experience must decide.
Were there no damsels willing to attend
And do such service for a suffering friend?
The message passed among the waiting crowd,
First in a whisper, then proclaimed aloud.
Some wore no jewels; some were disinclined,
For reasons better guessed at than defined;
Though all were saints,--at least professed to be,--
The list all counted, there were named but three.
The leech, still seated by the patient's side,
Held his thin wrist, and watched him, eagle-eyed.
Aurelia first, a fair-haired Tuscan girl,
Slipped off her golden asp, with eyes of pearl.
His solemn head the grave physician shook;
The waxen features thanked her with a look.
Olympia next, a creature half divine,
Sprung from the blood of old Evander's line,
Held her white arm, that wore a twisted chain
Clasped with an opal-sheeny cymophane.
In vain, O daughter I said the baffled Greek.
The patient sighed the thanks he could not speak.
Last, Hermia entered; look, that sudden start!
The pallium heaves above his leaping heart;
The beating pulse, the cheek's rekindled flame,
Those quivering lips, the secret all proclaim.
The deep disease long throbbing in the breast,
The dread enchantment, all at once confessed!
The case was plain; the treatment was begun;
And Love soon cured the mischief he had done.
Young Love, too oft thy treacherous bandage slips
Down from the eyes it blinded to the lips!
Ask not the Gods, O youth, for clearer sight,
But the bold heart to plead thy cause aright.
And thou, fair maiden, when thy lovers sigh,
Suspect thy flattering ear, but trust thine eye;
And learn this secret from the tale of old
No love so true as love that dies untold.
. . . . . . . . . .
"Bravo, Annex!" they shouted, every one,--
"Not Mrs. Kemble's self had better done."
"Quite so," she stammered in her awkward way,--
Not just the thing, but something she must say.
The teaspoon chorus tinkled to its close
When from his chair the MAN OF LAW arose,
Called by her voice whose mandate all obeyed,
And took the open volume she displayed.
Tall, stately, strong, his form begins to own
Some slight exuberance in its central zone,--
That comely fulness of the growing girth
Which fifty summers lend the sons of earth.
A smooth, round disk about whose margin stray,
Above the temples, glistening threads of gray;
Strong, deep-cut grooves by toilsome decades wrought
On brow and mouth, the battle-fields of thought;
A voice that lingers in the listener's ear,
Grave, calm, far-reaching, every accent clear,--
(Those tones resistless many a foreman knew
That shaped their verdict ere the twelve withdrew;)
A statesman's forehead, athlete's throat and jaw,
Such the proud semblance of the Man of Law.
His eye just lighted on the printed leaf,
Held as a practised pleader holds his brief.
One whispered softly from behind his cup,
"He does not read,--his book is wrong side up!
He knows the story that it holds by heart,--
So like his own! How well he'll act his part!"
Then all were silent; not a rustling fan
Stirred the deep stillness as the voice began.
THE STATESMAN'S SECRET
WHO of all statesmen is his country's pride,
Her councils' prompter and her leaders' guide?
He speaks; the nation holds its breath to hear;
He nods, and shakes the sunset hemisphere.
Born where the primal fount of Nature springs
By the rude cradles of her throneless kings,
In his proud eye her royal signet flames,
By his own lips her Monarch she proclaims.
Why name his countless triumphs, whom to meet
Is to be famous, envied in defeat?
The keen debaters, trained to brawls and strife,
Who fire one shot, and finish with the knife,
Tried him but once, and, cowering in their shame,
Ground their hacked blades to strike at meaner game.
The lordly chief, his party's central stay,
Whose lightest word a hundred votes obey,
Found a new listener seated at his side,
Looked in his eye, and felt himself defied,
Flung his rash gauntlet on the startled floor,
Met the all-conquering, fought,--and ruled no more.
See where he moves, what eager crowds attend!
What shouts of thronging multitudes ascend!
If this is life,--to mark with every hour
The purple deepening in his robes of power,
To see the painted fruits of honor fall
Thick at his feet, and choose among them all,
To hear the sounds that shape his spreading name
Peal through the myriad organ-stops of fame,
Stamp the lone isle that spots the seaman's chart,
And crown the pillared glory of the mart,
To count as peers the few supremely wise
Who mark their planet in the angels' eyes,--
If this is life--
What savage man is he
Who strides alone beside the sounding sea?
Alone he wanders by the murmuring shore,
His thoughts as restless as the waves that roar;
Looks on the sullen sky as stormy-browed
As on the waves yon tempest-brooding cloud,
Heaves from his aching breast a wailing sigh,
Sad as the gust that sweeps the clouded sky.
Ask him his griefs; what midnight demons plough
The lines of torture on his lofty brow;
Unlock those marble lips, and bid them speak
The mystery freezing in his bloodless cheek.
His secret? Hid beneath a flimsy word;
One foolish whisper that ambition heard;
And thus it spake: "Behold yon gilded chair,
The world's one vacant throne,--thy plate is there!"
Ah, fatal dream! What warning spectres meet
In ghastly circle round its shadowy seat!
Yet still the Tempter murmurs in his ear
The maddening taunt he cannot choose but hear
"Meanest of slaves, by gods and men accurst,
He who is second when he might be first
Climb with bold front the ladder's topmost round,
Or chain thy creeping footsteps to the ground!"
Illustrious Dupe! Have those majestic eyes
Lost their proud fire for such a vulgar prize?
Art thou the last of all mankind to know
That party-fights are won by aiming low?
Thou, stamped by Nature with her royal sign,
That party-hirelings hate a look like thine?
Shake from thy sense the wild delusive dream
Without the purple, art thou not supreme?
And soothed by love unbought, thy heart shall own
A nation's homage nobler than its throne!
. . . . . . . . . .
Loud rang the plaudits; with them rose the thought,
"Would he had learned the lesson he has taught!"
Used to the tributes of the noisy crowd,
The stately speaker calmly smiled and bowed;
The fire within a flushing cheek betrayed,
And eyes that burned beneath their penthouse shade.
"The clock strikes ten, the hours are flying fast,--
Now, Number Five, we've kept you till the last!"
What music charms like those caressing tones
Whose magic influence every listener owns,--
Where all the woman finds herself expressed,
And Heaven's divinest effluence breathes confessed?
Such was the breath that wooed our ravished ears,
Sweet as the voice a dreaming vestal hears;
Soft as the murmur of a brooding dove,
It told the mystery of a mother's love.
THE MOTHER'S SECRET
How sweet the sacred legend--if unblamed
In my slight verse such holy things are named--
Of Mary's secret hours of hidden joy,
Silent, but pondering on her wondrous boy!
Ave, Maria! Pardon, if I wrong
Those heavenly words that shame my earthly song!
The choral host had closed the Angel's strain
Sung to the listening watch on Bethlehem's plain,
And now the shepherds, hastening on their way,
Sought the still hamlet where the Infant lay.
They passed the fields that gleaning Ruth toiled o'er,--
They saw afar the ruined threshing-floor
Where Moab's daughter, homeless and forlorn,
Found Boaz slumbering by his heaps of corn;
And some remembered how the holy scribe,
Skilled in the lore of every jealous tribe,
Traced the warm blood of Jesse's royal son
To that fair alien, bravely wooed and won.
So fared they on to seek the promised sign,
That marked the anointed heir of David's line.
At last, by forms of earthly semblance led,
They found the crowded inn, the oxen's shed.
No pomp was there, no glory shone around
On the coarse straw that strewed the reeking ground;
One dim retreat a flickering torch betrayed,--
In that poor cell the Lord of Life was laid
The wondering shepherds told their breathless tale
Of the bright choir that woke the sleeping vale;
Told how the skies with sudden glory flamed,
Told how the shining multitude proclaimed,
"Joy, joy to earth! Behold the hallowed morn
In David's city Christ the Lord is born!
'Glory to God!' let angels shout on high,
'Good-will to men!' the listening earth reply!"
They spoke with hurried words and accents wild;
Calm in his cradle slept the heavenly child.
No trembling word the mother's joy revealed,--
One sigh of rapture, and her lips were sealed;
Unmoved she saw the rustic train depart,
But kept their words to ponder in her heart.
Twelve years had passed; the boy was fair and tall,
Growing in wisdom, finding grace with all.
The maids of Nazareth, as they trooped to fill
Their balanced urns beside the mountain rill,
The gathered matrons, as they sat and spun,
Spoke in soft words of Joseph's quiet son.
No voice had reached the Galilean vale
Of star-led kings, or awe-struck shepherd's tale;
In the meek, studious child they only saw
The future Rabbi, learned in Israel's law.
Beyond the hills that girt the village green;
Save when at midnight, o'er the starlit sands,
Snatched from the steel of Herod's murdering bands,
A babe, close folded to his mother's breast,
Through Edom's wilds he sought the sheltering West.
Then Joseph spake: "Thy boy hath largely grown;
Weave him fine raiment, fitting to be shown;
Fair robes beseem the pilgrim, as the priest;
Goes he not with us to the holy feast?"
And Mary culled the flaxen fibres white;
Till eve she spun; she spun till morning light.
The thread was twined; its parting meshes through
From hand to hand her restless shuttle flew,
Till the full web was wound upon the beam;
Love's curious toil,--a vest without a seam!
They reach the Holy Place, fulfil the days
To solemn feasting given, and grateful praise.
At last they turn, and far Moriah's height
Melts in the southern sky and fades from sight.
All day the dusky caravan has flowed
In devious trails along the winding road;
(For many a step their homeward path attends,
And all the sons of Abraham are as friends.)
Evening has come,--the hour of rest and joy,--
Hush! Hush! That whisper,--"Where is Mary's boy?"
Oh, weary hour! Oh, aching days that passed
Filled with strange fears each wilder than the last,--
The soldier's lance, the fierce centurion's sword,
The crushing wheels that whirl some Roman lord,
The midnight crypt that sucks the captive's breath,
The blistering sun on Hinnom's vale of death!
Thrice on his cheek had rained the morning light;
Thrice on his lips the mildewed kiss of night,
Crouched by a sheltering column's shining plinth,
Or stretched beneath the odorous terebinth.
At last, in desperate mood, they sought once more
The Temple's porches, searched in vain before;
They found him seated with the ancient men,--
The grim old rufflers of the tongue and pen,--
Their bald heads glistening as they clustered near,
Their gray beards slanting as they turned to hear,
Lost in half-envious wonder and surprise
That lips so fresh should utter words so wise.
And Mary said,--as one who, tried too long,
Tells all her grief and half her sense of wrong,--
What is this thoughtless thing which thou hast done?
Lo, we have sought thee sorrowing, O my son!
Few words he spake, and scarce of filial tone,
Strange words, their sense a mystery yet unknown;
Then turned with them and left the holy hill,
To all their mild commands obedient still.
The tale was told to Nazareth's sober men,
And Nazareth's matrons told it oft again;
The maids retold it at the fountain's side,
The youthful shepherds doubted or denied;
It passed around among the listening friends,
With all that fancy adds and fiction lends,
Till newer marvels dimmed the young renown
Of Joseph's son, who talked the Rabbis down.
But Mary, faithful to its lightest word,
Kept in her heart the sayings she had heard,
Till the dread morning rent the Temple's veil,
And shuddering earth confirmed the wondrous tale.
Youth fades; love droops; the leaves of friendship fall
A mother's secret hope outlives them all.
. . . . . . . . . . .
Hushed was the voice, but still its accents thrilled
The throbbing hearts its lingering sweetness filled.
The simple story which a tear repays
Asks not to share the noisy breath of praise.
A trance-like stillness,--scarce a whisper heard,
No tinkling teaspoon in its saucer stirred;
A deep-drawn sigh that would not be suppressed,
A sob, a lifted kerchief told the rest.
"Come now, Dictator," so the lady spoke,
"You too must fit your shoulder to the yoke;
You'll find there's something, doubtless, if you look,
To serve your purpose,--so, now take the book."
"Ah, my dear lady, you must know full well,
'Story, God bless you, I have none to tell.'
To those five stories which these pages hold
You all have listened,--every one is told.
There's nothing left to make you smile or weep,--
A few grave thoughts may work you off to sleep."
THE SECRET OF THE STARS
Is man's the only throbbing heart that hides
The silent spring that feeds its whispering tides?
Speak from thy caverns, mystery-breeding Earth,
Tell the half-hinted story of thy birth,
And calm the noisy champions who have thrown
The book of types against the book of stone!
Have ye not secrets, ye refulgent spheres,
No sleepless listener of the starlight hears?
In vain the sweeping equatorial pries
Through every world-sown corner of the skies,
To the far orb that so remotely strays
Our midnight darkness is its noonday blaze;
In vain the climbing soul of creeping man
Metes out the heavenly concave with a span,
Tracks into space the long-lost meteor's trail,
And weighs an unseen planet in the scale;
Still o'er their doubts the wan-eyed watchers sigh,
And Science lifts her still unanswered cry
"Are all these worlds, that speed their circling flight,
Dumb, vacant, soulless,--baubles of the night?
Warmed with God's smile and wafted by his breath,
To weave in ceaseless round the dance of Death?
Or rolls a sphere in each expanding zone,
Crowned with a life as varied as our own?"
Maker of earth and stars! If thou hast taught
By what thy voice hath spoke, thy hand hath wrought,
By all that Science proves, or guesses true,
More than thy poet dreamed, thy prophet knew,--
The heavens still bow in darkness at thy feet,
And shadows veil thy cloud-pavilioned seat!
Not for ourselves we ask thee to reveal
One awful word beneath the future's seal;
What thou shalt tell us, grant us strength to bear;
What thou withholdest is thy single care.
Not for ourselves; the present clings too fast,
Moored to the mighty anchors of the past;
But when, with angry snap, some cable parts,
The sound re-echoing in our startled hearts,--
When, through the wall that clasps the harbor round,
And shuts the raving ocean from its bound,
Shattered and rent by sacrilegious hands,
The first mad billow leaps upon the sands,--
Then to the Future's awful page we turn,
And what we question hardly dare to learn.
Still let us hope! for while we seem to tread
The time-worn pathway of the nations dead,
Though Sparta laughs at all our warlike deeds,
And buried Athens claims our stolen creeds,
Though Rome, a spectre on her broken throne,
Beholds our eagle and recalls her own,
Though England fling her pennons on the breeze
And reign before us Mistress of the seas,--
While calm-eyed History tracks us circling round
Fate's iron pillar where they all were bound,
Still in our path a larger curve she finds,
The spiral widening as the chain unwinds
Still sees new beacons crowned with brighter flame
Than the old watch-fires, like, but not the same
No shameless haste shall spot with bandit-crime
Our destined empire snatched before its time.
Wait,--wait, undoubting, for the winds have caught
From our bold speech the heritage of thought;
No marble form that sculptured truth can wear
Vies with the image shaped in viewless air;
And thought unfettered grows through speech to deeds,
As the broad forest marches in its seeds.
What though we perish ere the day is won?
Enough to see its glorious work begun!
The thistle falls before a trampling clown,
But who can chain the flying thistle-down?
Wait while the fiery seeds of freedom fly,
The prairie blazes when the grass is dry!
What arms might ravish, leave to peaceful arts,
Wisdom and love shall win the roughest hearts;
So shall the angel who has closed for man
The blissful garden since his woes began
Swing wide the golden portals of the West,
And Eden's secret stand at length confessed!
. . . . . . . . . . .
The reader paused; in truth he thought it time,--
Some threatening signs accused the drowsy rhyme.
The Mistress nodded, the Professor dozed,
The two Annexes sat with eyelids closed,--
Not sleeping,--no! But when one shuts one's eyes,
That one hears better no one, sure, denies.
The Doctor whispered in Delilah's ear,
Or seemed to whisper, for their heads drew near.
Not all the owner's efforts could restrain
The wild vagaries of the squinting brain,--
Last of the listeners Number Five alone
The patient reader still could call his own.
"Teacups, arouse!" 'T was thus the spell I broke;
The drowsy started and the slumberers woke.
"The sleep I promised you have now enjoyed,
Due to your hour of labor well employed.
Swiftly the busy moments have been passed;
This, our first 'Teacups,' must not be our last.
Here, on this spot, now consecrated ground,
The Order of 'The Teacups' let us found!
By winter's fireside and in summer's bower
Still shall it claim its ever-welcome hour,
In distant regions where our feet may roam
The magic teapot find or make a home;
Long may its floods their bright infusion pour,
Till time and teacups both shall be no more!"
End of the Project Gutenberg EBook of The Poetical Works of Oliver Wendell
Holmes, Vol. 11, by Oliver Wendell Holmes, Sr.
*** END OF THIS PROJECT GUTENBERG EBOOK POETRY OF HOLMES, VOL. 11 ***
***** This file should be named 7398.txt or 7398.zip *****
This and all associated files of various formats will be found in:
https://www.gutenberg.org/7/3/9/7398/
Produced by David Widger
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
https://gutenberg.org/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
1.E.2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation."
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1.F.3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at https://www.pglaf.org.
Section 3. Information about the Project Gutenberg Literary Archive
Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
https://pglaf.org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
[email protected]. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at https://pglaf.org
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
[email protected]
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit https://pglaf.org
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including including checks, online payments and credit card
donations. To donate, please visit: https://pglaf.org/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart was the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Most people start at our Web site which has the main PG search facility:
https://www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
