A child sitting under the piano, in the boom of the
tingling strings
And pressing the small, poised feet of a mother who
smiles as she sings.
In spite of myself, the insidious mastery of song
Betrays me back, till the heart of me weeps to belong
To the old Sunday evenings at home, with winter
outside
And hymns in the cosy parlour, the tinkling piano
our guide.
So now it is vain for the singer to burst into clamour
With the great black piano appassionato. The
glamour
Of childish days is upon me, my manhood is cast
Down in the flood of remembrance, I weep like a
child for the past.
EMBANKMENT AT NIGHT,
BEFORE THE WAR
_Charity_.
BY the river
In the black wet night as the furtive rain slinks
down,
Dropping and starting from sleep
Alone on a seat
A woman crouches.
I must go back to her.
I want to give her
Some money. Her hand slips out of the breast of
her gown
Asleep. My fingers creep
Carefully over the sweet
Thumb-mound, into the palm's deep pouches.
So, the gift!
God, how she starts!
And looks at me, and looks in the palm of her hand!
And again at me!
I turn and run
Down the Embankment, run for my life.
But why?--why?
Because of my heart's
Beating like sobs, I come to myself, and stand
In the street spilled over splendidly
With wet, flat lights. What I've done
I know not, my soul is in strife.
The touch was on the quick. I want to forget.
PHANTASMAGORIA
RIGID sleeps the house in darkness, I alone
Like a thing unwarrantable cross the hall
And climb the stairs to find the group of doors
Standing angel-stern and tall.
I want my own room's shelter. But what is this
Throng of startled beings suddenly thrown
In confusion against my entry? Is it only the trees'
Large shadows from the outside street lamp blown?
Phantom to phantom leaning; strange women weep
Aloud, suddenly on my mind
Startling a fear unspeakable, as the shuddering wind
Breaks and sobs in the blind.
So like to women, tall strange women weeping!
Why continually do they cross the bed?
Why does my soul contract with unnatural fear?
I am listening! Is anything said?
Ever the long black figures swoop by the bed;
They seem to be beckoning, rushing away, and
beckoning.
Whither then, whither, what is it, say
What is the reckoning.
Tall black Bacchae of midnight, why then, why
Do you rush to assail me?
Do I intrude on your rites nocturnal?
What should it avail me?
Is there some great Iacchos of these slopes
Suburban dismal?
Have I profaned some female mystery, orgies
Black and phantasmal?
NEXT MORNING
How have I wandered here to this vaulted room
In the house of life?--the floor was ruffled with gold
Last evening, and she who was softly in bloom,
Glimmered as flowers that in perfume at twilight
unfold
For the flush of the night; whereas now the gloom
Of every dirty, must-besprinkled mould,
And damp old web of misery's heirloom
Deadens this day's grey-dropping arras-fold.
And what is this that floats on the undermist
Of the mirror towards the dusty grate, as if feeling
Unsightly its way to the warmth?--this thing with
a list
To the left? this ghost like a candle swealing?
Pale-blurred, with two round black drops, as if it
missed
Itself among everything else, here hungrily stealing
Upon me!--my own reflection!--explicit gist
Of my presence there in the mirror that leans from
the ceiling!
Then will somebody square this shade with the
being I know
I was last night, when my soul rang clear as a bell
And happy as rain in summer? Why should it be
so?
What is there gone against me, why am I in hell?
PALIMPSEST OF TWILIGHT
DARKNESS comes out of the earth
And swallows dip into the pallor of the west;
From the hay comes the clamour of children's
mirth;
Wanes the old palimpsest.
The night-stock oozes scent,
And a moon-blue moth goes flittering by:
All that the worldly day has meant
Wastes like a lie.
The children have forsaken their play;
A single star in a veil of light
Glimmers: litter of day
Is gone from sight.
EMBANKMENT AT NIGHT,
BEFORE THE WAR
_Outcasts_.
THE night rain, dripping unseen,
Comes endlessly kissing my face and my hands.
The river, slipping between
Lamps, is rayed with golden bands
Half way down its heaving sides;
Revealed where it hides.
Under the bridge
Great electric cars
Sing through, and each with a floor-light racing
along at its side.
Far off, oh, midge after midge
Drifts over the gulf that bars
The night with silence, crossing the lamp-touched
tide.
At Charing Cross, here, beneath the bridge
Sleep in a row the outcasts,
Packed in a line with their heads against the wall.
Their feet, in a broken ridge
Stretch out on the way, and a lout casts
A look as he stands on the edge of this naked stall.
Beasts that sleep will cover
Their faces in their flank; so these
Have huddled rags or limbs on the naked sleep.
Save, as the tram-cars hover
Past with the noise of a breeze
And gleam as of sunshine crossing the low black heap,
Two naked faces are seen
Bare and asleep,
Two pale clots swept and swept by the light of the
cars.
Foam-clots showing between
The long, low tidal-heap,
The mud-weed opening two pale, shadowless stars.
Over the pallor of only two faces
Passes the gallivant beam of the trams;
Shows in only two sad places
The white bare bone of our shams.
A little, bearded man, pale, peaked in sleeping,
With a face like a chickweed flower.
And a heavy woman, sleeping still keeping
Callous and dour.
Over the pallor of only two places
Tossed on the low, black, ruffled heap
Passes the light of the tram as it races
Out of the deep.
Eloquent limbs
In disarray
Sleep-suave limbs of a youth with long, smooth
thighs
Hutched up for warmth; the muddy rims
Of trousers fray
On the thin bare shins of a man who uneasily lies.
The balls of five red toes
As red and dirty, bare
Young birds forsaken and left in a nest of mud--
Newspaper sheets enclose
Some limbs like parcels, and tear
When the sleeper stirs or turns on the ebb of the
flood--
One heaped mound
Of a woman's knees
As she thrusts them upward under the ruffled skirt--
And a curious dearth of sound
In the presence of these
Wastrels that sleep on the flagstones without any
hurt.
Over two shadowless, shameless faces
Stark on the heap
Travels the light as it tilts in its paces
Gone in one leap.
At the feet of the sleepers, watching,
Stand those that wait
For a place to lie down; and still as they stand,
they sleep,
Wearily catching
The flood's slow gait
Like men who are drowned, but float erect in the
deep.
Oh, the singing mansions,
Golden-lighted tall
Trams that pass, blown ruddily down the night!
The bridge on its stanchions
Stoops like a pall
To this human blight.
On the outer pavement, slowly,
Theatre people pass,
Holding aloft their umbrellas that flash and are
bright
Like flowers of infernal moly
Over nocturnal grass
Wetly bobbing and drifting away on our sight.
And still by the rotten
Row of shattered feet,
Outcasts keep guard.
Forgotten,
Forgetting, till fate shall delete
One from the ward.
The factories on the Surrey side
Are beautifully laid in black on a gold-grey sky.
The river's invisible tide
Threads and thrills like ore that is wealth to the eye.
And great gold midges
Cross the chasm
At the bridges
Above intertwined plasm.
WINTER IN THE BOULEVARD
THE frost has settled down upon the trees
And ruthlessly strangled off the fantasies
Of leaves that have gone unnoticed, swept like old
Romantic stories now no more to be told.
The trees down the boulevard stand naked in
thought,
Their abundant summery wordage silenced, caught
In the grim undertow; naked the trees confront
Implacable winter's long, cross-questioning brunt.
Has some hand balanced more leaves in the depths
of the twigs?
Some dim little efforts placed in the threads of the
birch?--
It is only the sparrows, like dead black leaves on
the sprigs,
Sitting huddled against the cerulean, one flesh with
their perch.
The clear, cold sky coldly bethinks itself.
Like vivid thought the air spins bright, and all
Awaiting the sentence out from the welkin brought.
SCHOOL ON THE OUTSKIRTS
How different, in the middle of snows, the great
school rises red!
A red rock silent and shadowless, clung round
with clusters of shouting lads,
Some few dark-cleaving the doorway, souls that
cling as the souls of the dead
In stupor persist at the gates of life, obstinate
dark monads.
This new red rock in a waste of white rises against
the day
With shelter now, and with blandishment, since
the winds have had their way
And laid the desert horrific of silence and snow on
the world of mankind,
School now is the rock in this weary land the winter
burns and makes blind.
SICKNESS
WAVING slowly before me, pushed into the dark,
Unseen my hands explore the silence, drawing the
bark
Of my body slowly behind.
Nothing to meet my fingers but the fleece of night
Invisible blinding my face and my eyes! What if
in their flight
My hands should touch the door!
What if I suddenly stumble, and push the door
Open, and a great grey dawn swirls over my feet,
before
I can draw back!
What if unwitting I set the door of eternity wide
And am swept away in the horrible dawn, am gone
down the tide
Of eternal hereafter!
Catch my hands, my darling, between your breasts.
Take them away from their venture, before fate
wrests
The meaning out of them.
EVERLASTING FLOWERS
WHO do you think stands watching
The snow-tops shining rosy
In heaven, now that the darkness
Takes all but the tallest posy?
Who then sees the two-winged
Boat down there, all alone
And asleep on the snow's last shadow,
Like a moth on a stone?
The olive-leaves, light as gad-flies,
Have all gone dark, gone black.
And now in the dark my soul to you
Turns back.
To you, my little darling,
To you, out of Italy.
For what is loveliness, my love,
Save you have it with me!
So, there's an oxen wagon
Comes darkly into sight:
A man with a lantern, swinging
A little light.
What does he see, my darling
Here by the darkened lake?
Here, in the sloping shadow
The mountains make?
He says not a word, but passes,
Staring at what he sees.
What ghost of us both do you think he saw
Under the olive trees?
All the things that are lovely--
The things you never knew--
I wanted to gather them one by one
And bring them to you.
But never now, my darling
Can I gather the mountain-tips
From the twilight like half-shut lilies
To hold to your lips.
And never the two-winged vessel
That sleeps below on the lake
Can I catch like a moth between my hands
For you to take.
But hush, I am not regretting:
It is far more perfect now.
I'll whisper the ghostly truth to the world
And tell them how
I know you here in the darkness,
How you sit in the throne of my eyes
At peace, and look out of the windows
In glad surprise.
THE NORTH COUNTRY
IN another country, black poplars shake them-
selves over a pond,
And rooks and the rising smoke-waves scatter and
wheel from the works beyond;
The air is dark with north and with sulphur, the
grass is a darker green,
And people darkly invested with purple move
palpable through the scene.
Soundlessly down across the counties, out of the
resonant gloom
That wraps the north in stupor and purple travels
the deep, slow boom
Of the man-life no
rth-imprisoned, shut in the hum
of the purpled steel
As it spins to sleep on its motion, drugged dense in
the sleep of the wheel.
Out of the sleep, from the gloom of motion, sound-
lessly, somnambule
Moans and booms the soul of a people imprisoned,
asleep in the rule
Of the strong machine that runs mesmeric, booming
the spell of its word
Upon them and moving them helpless, mechanic,
their will to its will deferred.
Yet all the while comes the droning inaudible, out
of the violet air,
The moaning of sleep-bound beings in travail that
toil and are will-less there
In the spell-bound north, convulsive now with a
dream near morning, strong
With violent achings heaving to burst the sleep
that is now not long.
BITTERNESS OF DEATH
I
AH, stern, cold man,
How can you lie so relentless hard
While I wash you with weeping water!
Do you set your face against the daughter
Of life? Can you never discard
Your curt pride's ban?
You masquerader!
How can you shame to act this part
Of unswerving indifference to me?
You want at last, ah me!
To break my heart
Evader!
You know your mouth
Was always sooner to soften
Even than your eyes.
Now shut it lies
Relentless, however often
I kiss it in drouth.
It has no breath
Nor any relaxing. Where,
Where are you, what have you done?
What is this mouth of stone?
How did you dare
Take cover in death!
II
Once you could see,
The white moon show like a breast revealed
By the slipping shawl of stars.
Could see the small stars tremble
As the heart beneath did wield
Systole, diastole.
All the lovely macrocosm
Was woman once to you,
Bride to your groom.
No tree in bloom
But it leaned you a new
White bosom.
And always and ever
Soft as a summering tree
Unfolds from the sky, for your good,
Unfolded womanhood;
Shedding you down as a tree
Sheds its flowers on a river.
I saw your brows
Set like rocks beside a sea of gloom,
And I shed my very soul down into your
thought;
Like flowers I fell, to be caught
On the comforted pool, like bloom
That leaves the boughs.
III
Oh, masquerader,
With a hard face white-enamelled,
What are you now?
Do you care no longer how
My heart is trammelled,
Evader?
Is this you, after all,
Metallic, obdurate
With bowels of steel?
Did you _never_ feel?--
Cold, insensate,
Mechanical!
Ah, no!--you multiform,
You that I loved, you wonderful,
You who darkened and shone,
You were many men in one;
But never this null
This never-warm!
Is this the sum of you?
Is it all nought?
Cold, metal-cold?
Are you all told
Here, iron-wrought?
Is _this_ what's become of you?
SEVEN SEALS
SINCE this is the last night I keep you home,
Come, I will consecrate you for the journey.
Rather I had you would not go. Nay come,
I will not again reproach you. Lie back
And let me love you a long time ere you go.
For you are sullen-hearted still, and lack
The will to love me. But even so
I will set a seal upon you from my lip,
Will set a guard of honour at each door,
Seal up each channel out of which might slip
Your love for me.
I kiss your mouth. Ah, love,
Could I but seal its ruddy, shining spring
Of passion, parch it up, destroy, remove
Its softly-stirring crimson welling-up
Of kisses! Oh, help me, God! Here at the source
I'd lie for ever drinking and drawing in
Your fountains, as heaven drinks from out their
course
The floods.
I close your ears with kisses
And seal your nostrils; and round your neck you'll
wear--
Nay, let me work--a delicate chain of kisses.
Like beads they go around, and not one misses
To touch its fellow on either side.
And there
Full mid-between the champaign of your breast
I place a great and burning seal of love
Like a dark rose, a mystery of rest
On the slow bubbling of your rhythmic heart.
Nay, I persist, and very faith shall keep
You integral to me. Each door, each mystic port
Of egress from you I will seal and steep
In perfect chrism.
Now it is done. The mort
Will sound in heaven before it is undone.
But let me finish what I have begun
And shirt you now invulnerable in the mail
Of iron kisses, kisses linked like steel.
Put greaves upon your thighs and knees, and frail
Webbing of steel on your feet. So you shall feel