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Behind closed doors they had what were legendary battles I hear but when the doors opened there was absolute unity. Not a crack could be found. No separation whatsoever. They were locked together for the good of the community.

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My Almighty Comes To Defend With A Rescue

No more fighting battles.
No more fighting battles.
No more fighting battles from a saddle I no longer sit!
No more fighting battles.
No more fighting battles.

No more fighting battles from a saddle I no longer sit!
No more fighting battles.
No more fighting battles.

I...
Do believe,
My Creator has a plan for me.
Without those battles,
Fought straddled to a saddle.

And I don't,
Fight any battle
Strapped high on any saddle.

No I don't,
Fight any battle
Strapped high on any saddle.

My Almighty comes,
To defend
With a rescue.
And to fight my battles.
Those battles fought from saddles.

My Almighty comes,
To defend
With a rescue.
And to fight my battles.
Those battles fought from saddles.

No more fighting battles.
No more fighting battles.
No more fighting battles from a saddle I no longer sit!
No more fighting battles.
No more fighting battles.

No more fighting battles from a saddle I no longer sit!
No more fighting battles.
No more fighting battles.

My Almighty comes,
To defend
With a rescue.
And to fight my battles.

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One Way To Go

Youve got to lift yourself up so high
Youve got to lift yourself up so high
You cant see the ground
You cant see the ground
You dont hear a sound
You dont hear a sound
Youve got to move it up so slow
Youve got to move it up so slow
You see it all
You see it all
Youll probably fall
Youll probably fall
Id rather die than see you fly
Than see you try
Id rather die than see you fly
Id rather die than see you fly
Than see you try
Than see you try
Id rather die than see you fly
Than see you try
Its like pushing locked doors to get in your mind
I dont care what I find
Its like pushing locked doors to get in your mind
Its like pushing locked doors to get in your mind
I dont know what Ill find
I dont care what I find
Its like pushing locked doors to get in your mind
Youve got to move me up
I dont know what Ill find
So high it hurts
So high it burns
But if you let me down
Youve got to move me up
Dont bother to call
So high it hurts
Just let me fall
So high it burns
Id rather die than see you fly
But if you let me down
Than see you try
Dont bother to call
Id rather die than see you fly
Just let me fall
Than see you try
Id rather die than see you fly
Than see you try
Its like pushing locked doors to get in your mind
Id rather die than see you fly
I dont know what Ill find
Than see you try

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One Way To Go

Youve got to lift yourself up so high
Youve got to lift yourself up so high
You cant see the ground
You cant see the ground
You dont hear a sound
You dont hear a sound
Youve got to move it up so slow
Youve got to move it up so slow
You see it all
You see it all
Youll probably fall
Youll probably fall
Id rather die than see you fly
Than see you try
Id rather die than see you fly
Id rather die than see you fly
Than see you try
Than see you try
Id rather die than see you fly
Than see you try
Its like pushing locked doors to get in your mind
I dont care what I find
Its like pushing locked doors to get in your mind
Its like pushing locked doors to get in your mind
I dont know what Ill find
I dont care what I find
Its like pushing locked doors to get in your mind
Youve got to move me up
I dont know what Ill find
So high it hurts
So high it burns
But if you let me down
Youve got to move me up
Dont bother to call
So high it hurts
Just let me fall
So high it burns
Id rather die than see you fly
But if you let me down
Than see you try
Dont bother to call
Id rather die than see you fly
Just let me fall
Than see you try
Id rather die than see you fly
Than see you try
Its like pushing locked doors to get in your mind
Id rather die than see you fly
I dont know what Ill find
Than see you try

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Prince Hohenstiel-Schwangau, Saviour of Society

Epigraph

Υδραν φονεύσας, μυρίων τ᾽ ἄλλων πόνων
διῆλθον ἀγέλας . . .
τὸ λοίσθιον δὲ τόνδ᾽ ἔτλην τάλας πόνον,
. . . δῶμα θριγκῶσαι κακοῖς.

I slew the Hydra, and from labour pass'd
To labour — tribes of labours! Till, at last,
Attempting one more labour, in a trice,
Alack, with ills I crowned the edifice.

You have seen better days, dear? So have I
And worse too, for they brought no such bud-mouth
As yours to lisp "You wish you knew me!" Well,
Wise men, 't is said, have sometimes wished the same,
And wished and had their trouble for their pains.
Suppose my Œdipus should lurk at last
Under a pork-pie hat and crinoline,
And, latish, pounce on Sphynx in Leicester Square?
Or likelier, what if Sphynx in wise old age,
Grown sick of snapping foolish people's heads,
And jealous for her riddle's proper rede, —
Jealous that the good trick which served the turn
Have justice rendered it, nor class one day
With friend Home's stilts and tongs and medium-ware,—
What if the once redoubted Sphynx, I say,
(Because night draws on, and the sands increase,
And desert-whispers grow a prophecy)
Tell all to Corinth of her own accord.
Bright Corinth, not dull Thebes, for Lais' sake,
Who finds me hardly grey, and likes my nose,
And thinks a man of sixty at the prime?
Good! It shall be! Revealment of myself!
But listen, for we must co-operate;
I don't drink tea: permit me the cigar!
First, how to make the matter plain, of course —
What was the law by which I lived. Let 's see:
Ay, we must take one instant of my life
Spent sitting by your side in this neat room:
Watch well the way I use it, and don't laugh!
Here's paper on the table, pen and ink:
Give me the soiled bit — not the pretty rose!
See! having sat an hour, I'm rested now,
Therefore want work: and spy no better work
For eye and hand and mind that guides them both,
During this instant, than to draw my pen
From blot One — thus — up, up to blot Two — thus —
Which I at last reach, thus, and here's my line
Five inches long and tolerably straight:

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Fundamental of Liar Chapter XCVIII: Absolutely Relative

Expensive is absolute, cheap is relative
Far is absolute, near is relative
Ugly is absolute, beauty is relative
Weird is absolute, crazy is relative
Stubborn is absolute, brave is relative
Stupid is absolute, smart is relative
Weak is absolute, strong is relative
Old is absolute, mature is relative
Lose is absolute, win is relative
Rich is absolute, poor is relative
Sad is absolute, happy is relative
Misfortune is absolute, lucky is relative
Safe is absolute, fear is relative
Love is absolute, hate is relative
Important is absolute, forgotten is relative
Easy is absolute, difficult is relative
Wrong is absolute, right is relative
Bad is absolute, good is relative
Lie is absolute, truth is relative

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[9] O, Moon, My Sweet-heart!

O, Moon, My Sweet-heart!
[LOVE POEMS]

POET: MAHENDRA BHATNAGAR

POEMS

1 Passion And Compassion / 1
2 Affection
3 Willing To Live
4 Passion And Compassion / 2
5 Boon
6 Remembrance
7 Pretext
8 To A Distant Person
9 Perception
10 Conclusion
10 You (1)
11 Symbol
12 You (2)
13 In Vain
14 One Night
15 Suddenly
16 Meeting
17 Touch
18 Face To Face
19 Co-Traveller
20 Once And Once only
21 Touchstone
22 In Chorus
23 Good Omens
24 Even Then
25 An Evening At ‘Tighiraa’ (1)
26 An Evening At ‘Tighiraa’ (2)
27 Life Aspirant
28 To The Condemned Woman
29 A Submission
30 At Midday
31 I Accept
32 Who Are You?
33 Solicitation
34 Accept Me
35 Again After Ages …
36 Day-Dreaming
37 Who Are You?
38 You Embellished In Song

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VI. Giuseppe Caponsacchi

Answer you, Sirs? Do I understand aright?
Have patience! In this sudden smoke from hell,—
So things disguise themselves,—I cannot see
My own hand held thus broad before my face
And know it again. Answer you? Then that means
Tell over twice what I, the first time, told
Six months ago: 't was here, I do believe,
Fronting you same three in this very room,
I stood and told you: yet now no one laughs,
Who then … nay, dear my lords, but laugh you did,
As good as laugh, what in a judge we style
Laughter—no levity, nothing indecorous, lords!
Only,—I think I apprehend the mood:
There was the blameless shrug, permissible smirk,
The pen's pretence at play with the pursed mouth,
The titter stifled in the hollow palm
Which rubbed the eyebrow and caressed the nose,
When I first told my tale: they meant, you know,
"The sly one, all this we are bound believe!
"Well, he can say no other than what he says.
"We have been young, too,—come, there's greater guilt!
"Let him but decently disembroil himself,
"Scramble from out the scrape nor move the mud,—
"We solid ones may risk a finger-stretch!
And now you sit as grave, stare as aghast
As if I were a phantom: now 't is—"Friend,
"Collect yourself!"—no laughing matter more—
"Counsel the Court in this extremity,
"Tell us again!"—tell that, for telling which,
I got the jocular piece of punishment,
Was sent to lounge a little in the place
Whence now of a sudden here you summon me
To take the intelligence from just—your lips!
You, Judge Tommati, who then tittered most,—
That she I helped eight months since to escape
Her husband, was retaken by the same,
Three days ago, if I have seized your sense,—
(I being disallowed to interfere,
Meddle or make in a matter none of mine,
For you and law were guardians quite enough
O' the innocent, without a pert priest's help)—
And that he has butchered her accordingly,
As she foretold and as myself believed,—
And, so foretelling and believing so,
We were punished, both of us, the merry way:
Therefore, tell once again the tale! For what?
Pompilia is only dying while I speak!
Why does the mirth hang fire and miss the smile?
My masters, there's an old book, you should con
For strange adventures, applicable yet,

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Crack Attack

You stand there, stutter, brains like butter,
You dissed your father, sister, your mother,
Times have tried too hard to your answer to give up instead of live up,
To the stance of a man, understand that Im a right hand,
Five out of five will die, from crack and on my left the birth the same and the same birth (? ),
The kid once did and now his death is echoed around the world for all to hear,
So lets have a merry new year
Yo grace, school em.
Theyre lost now, taken over, crack attack,
Theyre lost now, taken over, crack attack,
Theres a little boy who lives down the way,
I heard hes crazy from crack in his brain,
Hes lost now, hes taken over, crack attack,
Lost now, taken over, crack attack,
Dont do it,cheap high,say no! (echoes).
Though I wonder who is to blame,
All this epidemic is driving me insane, all of it,
I see the kids dying in the streets,
Whoever makes one, theyre going lose his way,
Lost know, taken over, crack attack,
Theyre lost now, taken over, crack attack.
Stuck in the middle, and dont know where to go,
Theyve got so now, theyre living for the blow,
They get it babe, doing it for the thrill,
Its so insane, such danger for a thrill,
Lost now, theyre taken over, crack attack,
Dont do it, cheap high, break the tie.
You can turn it over, you can take control,
You want your mind, your body and soul,
Dont you let crack put you in a hole,
Youve done without and you can do it now.
Said crack attack, crack attack, crack attack,
Dont do it, say no!, give it up,
Lost now, lost now...lost now, taken over crack attack, crack attack,
Taken over, crack attack, crack attack,
Lost now...give it up, give it up, taken over.

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The Cloud Messenger - Part 04

The slender young woman who is there would be the premier creation by the
Creator in the sphere of women, with fine teeth, lips like a ripe bimba fruit, a
slim waist, eyes like a startled gazelle’s, a deep navel, a gait slow on account
of the weight of her hips, and who is somewhat bowed down by her breasts.

You should know that she whose words are few, my second life, is like a
solitary female cakravaka duck when I, her mate, am far away. While these
weary days are passing, I think the girl whose longing is deep has taken on an
altered appearance, like a lotus blighted by frost.

Surely the face of my beloved, her eyes swollen from violent weeping, the
colour of her lower lip changed by the heat of her sighs, resting upon her
hand, partially hidden by the hanging locks of her hair, bears the miserable
appearance of the moon with its brightness obscured when pursued by you.

She will come at once into your sight, either engaged in pouring oblations, or
drawing from memory my portrait, but grown thin on account of separation,
or asking the sweet-voiced sarika bird in its cage, ‘I hope you remember the
master, O elegant one, for you are his favourite’;

Or having placed a lute on a dirty cloth on her lap, friend, wanting to sing a
song whose words are contrived to contain my name, and somehow plucking
the strings wet with tears, again and again she forgets the melody, even
though she composed it herself;

Or engaged in counting the remaining months set from the day of our
separation until the end by placing flowers on the ground at the threshold, or
enjoying acts of union that are preserved in her mind. These generally are the
diversions of women when separated from their husbands.

During the day, when she has distractions, separation will not torment her so
much. I fear that your friend will have greater suffering at night without
distraction. You who carry my message, positioned above the palace roof-top,
see the good woman at midnight, lying on the ground, sleepless, and cheer her
thoroughly.

Grown thin with anxiety, lying on one side on a bed of separation, resembling
the body of the moon on the eastern horizon when only one sixteenth part
remains, shedding hot tears, passing that night, lengthened by separation,
which spent in desired enjoyments in company with me would have passed in
an instant.

Covering with eyelashes heavy with tears on account of her sorrow, her eyes
which were raised to face the rays of the moon, which were cool with nectar
and which entered by way of the lattice, fall again on account of her previous
love, like a bed of land-lotuses on an overcast day, neither open nor closed.

She whose sighs that trouble her bud-like lower lip will surely be scattering
the locks of her hair hanging at her cheek, dishevelled after a simple bath,
thinking how enjoyment with me might arise even if only in a dream, yearning

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The House Of Dust: Complete

I.

The sun goes down in a cold pale flare of light.
The trees grow dark: the shadows lean to the east:
And lights wink out through the windows, one by one.
A clamor of frosty sirens mourns at the night.
Pale slate-grey clouds whirl up from the sunken sun.

And the wandering one, the inquisitive dreamer of dreams,
The eternal asker of answers, stands in the street,
And lifts his palms for the first cold ghost of rain.
The purple lights leap down the hill before him.
The gorgeous night has begun again.

'I will ask them all, I will ask them all their dreams,
I will hold my light above them and seek their faces.
I will hear them whisper, invisible in their veins . . .'
The eternal asker of answers becomes as the darkness,
Or as a wind blown over a myriad forest,
Or as the numberless voices of long-drawn rains.

We hear him and take him among us, like a wind of music,
Like the ghost of a music we have somewhere heard;
We crowd through the streets in a dazzle of pallid lamplight,
We pour in a sinister wave, ascend a stair,
With laughter and cry, and word upon murmured word;
We flow, we descend, we turn . . . and the eternal dreamer
Moves among us like light, like evening air . . .

Good-night! Good-night! Good-night! We go our ways,
The rain runs over the pavement before our feet,
The cold rain falls, the rain sings.
We walk, we run, we ride. We turn our faces
To what the eternal evening brings.

Our hands are hot and raw with the stones we have laid,
We have built a tower of stone high into the sky,
We have built a city of towers.

Our hands are light, they are singing with emptiness.
Our souls are light; they have shaken a burden of hours . . .
What did we build it for? Was it all a dream? . . .
Ghostly above us in lamplight the towers gleam . . .
And after a while they will fall to dust and rain;
Or else we will tear them down with impatient hands;
And hew rock out of the earth, and build them again.


II.

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V. Count Guido Franceschini

Thanks, Sir, but, should it please the reverend Court,
I feel I can stand somehow, half sit down
Without help, make shift to even speak, you see,
Fortified by the sip of … why, 't is wine,
Velletri,—and not vinegar and gall,
So changed and good the times grow! Thanks, kind Sir!
Oh, but one sip's enough! I want my head
To save my neck, there's work awaits me still.
How cautious and considerate … aie, aie, aie,
Nor your fault, sweet Sir! Come, you take to heart
An ordinary matter. Law is law.
Noblemen were exempt, the vulgar thought,
From racking; but, since law thinks otherwise,
I have been put to the rack: all's over now,
And neither wrist—what men style, out of joint:
If any harm be, 't is the shoulder-blade,
The left one, that seems wrong i' the socket,—Sirs,
Much could not happen, I was quick to faint,
Being past my prime of life, and out of health.
In short, I thank you,—yes, and mean the word.
Needs must the Court be slow to understand
How this quite novel form of taking pain,
This getting tortured merely in the flesh,
Amounts to almost an agreeable change
In my case, me fastidious, plied too much
With opposite treatment, used (forgive the joke)
To the rasp-tooth toying with this brain of mine,
And, in and out my heart, the play o' the probe.
Four years have I been operated on
I' the soul, do you see—its tense or tremulous part—
My self-respect, my care for a good name,
Pride in an old one, love of kindred—just
A mother, brothers, sisters, and the like,
That looked up to my face when days were dim,
And fancied they found light thereno one spot,
Foppishly sensitive, but has paid its pang.
That, and not this you now oblige me with,
That was the Vigil-torment, if you please!
The poor old noble House that drew the rags
O' the Franceschini's once superb array
Close round her, hoped to slink unchallenged by,—
Pluck off these! Turn the drapery inside out
And teach the tittering town how scarlet wears!
Show men the lucklessness, the improvidence
Of the easy-natured Count before this Count,
The father I have some slight feeling for,
Who let the world slide, nor foresaw that friends
Then proud to cap and kiss their patron's shoe,
Would, when the purse he left held spider-webs,
Properly push his child to wall one day!

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XI. Guido

You are the Cardinal Acciaiuoli, and you,
Abate Panciatichi—two good Tuscan names:
Acciaiuoli—ah, your ancestor it was
Built the huge battlemented convent-block
Over the little forky flashing Greve
That takes the quick turn at the foot o' the hill
Just as one first sees Florence: oh those days!
'T is Ema, though, the other rivulet,
The one-arched brown brick bridge yawns over,—yes,
Gallop and go five minutes, and you gain
The Roman Gate from where the Ema's bridged:
Kingfishers fly there: how I see the bend
O'erturreted by Certosa which he built,
That Senescal (we styled him) of your House!
I do adjure you, help me, Sirs! My blood
Comes from as far a source: ought it to end
This way, by leakage through their scaffold-planks
Into Rome's sink where her red refuse runs?
Sirs, I beseech you by blood-sympathy,
If there be any vile experiment
In the air,—if this your visit simply prove,
When all's done, just a well-intentioned trick,
That tries for truth truer than truth itself,
By startling up a man, ere break of day,
To tell him he must die at sunset,—pshaw!
That man's a Franceschini; feel his pulse,
Laugh at your folly, and let's all go sleep!
You have my last word,—innocent am I
As Innocent my Pope and murderer,
Innocent as a babe, as Mary's own,
As Mary's self,—I said, say and repeat,—
And why, then, should I die twelve hours hence? I
Whom, not twelve hours ago, the gaoler bade
Turn to my straw-truss, settle and sleep sound
That I might wake the sooner, promptlier pay
His due of meat-and-drink-indulgence, cross
His palm with fee of the good-hand, beside,
As gallants use who go at large again!
For why? All honest Rome approved my part;
Whoever owned wife, sister, daughter,—nay,
Mistress,—had any shadow of any right
That looks like right, and, all the more resolved,
Held it with tooth and nail,—these manly men
Approved! I being for Rome, Rome was for me.
Then, there's the point reserved, the subterfuge
My lawyers held by, kept for last resource,
Firm should all else,—the impossible fancy!—fail,
And sneaking burgess-spirit win the day.
The knaves! One plea at least would hold,—they laughed,—
One grappling-iron scratch the bottom-rock

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VII. Pompilia

I am just seventeen years and five months old,
And, if I lived one day more, three full weeks;
'T is writ so in the church's register,
Lorenzo in Lucina, all my names
At length, so many names for one poor child,
—Francesca Camilla Vittoria Angela
Pompilia Comparini,—laughable!
Also 't is writ that I was married there
Four years ago: and they will add, I hope,
When they insert my death, a word or two,—
Omitting all about the mode of death,—
This, in its place, this which one cares to know,
That I had been a mother of a son
Exactly two weeks. It will be through grace
O' the Curate, not through any claim I have;
Because the boy was born at, so baptized
Close to, the Villa, in the proper church:
A pretty church, I say no word against,
Yet stranger-like,—while this Lorenzo seems
My own particular place, I always say.
I used to wonder, when I stood scarce high
As the bed here, what the marble lion meant,
With half his body rushing from the wall,
Eating the figure of a prostrate man—
(To the right, it is, of entry by the door)
An ominous sign to one baptized like me,
Married, and to be buried there, I hope.
And they should add, to have my life complete,
He is a boy and Gaetan by name—
Gaetano, for a reason,—if the friar
Don Celestine will ask this grace for me
Of Curate Ottoboni: he it was
Baptized me: he remembers my whole life
As I do his grey hair.

All these few things
I know are true,—will you remember them?
Because time flies. The surgeon cared for me,
To count my wounds,—twenty-two dagger-wounds,
Five deadly, but I do not suffer much—
Or too much pain,—and am to die to-night.

Oh how good God is that my babe was born,
—Better than born, baptized and hid away
Before this happened, safe from being hurt!
That had been sin God could not well forgive:
He was too young to smile and save himself.
When they took two days after he was born,
My babe away from me to be baptized
And hidden awhile, for fear his foe should find,—

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IV. Tertium Quid

True, Excellency—as his Highness says,
Though she's not dead yet, she's as good as stretched
Symmetrical beside the other two;
Though he's not judged yet, he's the same as judged,
So do the facts abound and superabound:
And nothing hinders that we lift the case
Out of the shade into the shine, allow
Qualified persons to pronounce at last,
Nay, edge in an authoritative word
Between this rabble's-brabble of dolts and fools
Who make up reasonless unreasoning Rome.
"Now for the Trial!" they roar: "the Trial to test
"The truth, weigh husband and weigh wife alike
"I' the scales of law, make one scale kick the beam!"
Law's a machine from which, to please the mob,
Truth the divinity must needs descend
And clear things at the play's fifth act—aha!
Hammer into their noddles who was who
And what was what. I tell the simpletons
"Could law be competent to such a feat
"'T were done already: what begins next week
"Is end o' the Trial, last link of a chain
"Whereof the first was forged three years ago
"When law addressed herself to set wrong right,
"And proved so slow in taking the first step
"That ever some new grievance,—tort, retort,
"On one or the other side,—o'ertook i' the game,
"Retarded sentence, till this deed of death
"Is thrown in, as it were, last bale to boat
"Crammed to the edge with cargo—or passengers?
"'Trecentos inseris: ohe, jam satis est!
"'Huc appelle!'—passengers, the word must be."
Long since, the boat was loaded to my eyes.
To hear the rabble and brabble, you'd call the case
Fused and confused past human finding out.
One calls the square round, t' other the round square—
And pardonably in that first surprise
O' the blood that fell and splashed the diagram:
But now we've used our eyes to the violent hue
Can't we look through the crimson and trace lines?
It makes a man despair of history,
Eusebius and the established fact—fig's end!
Oh, give the fools their Trial, rattle away
With the leash of lawyers, two on either side—
One barks, one bites,—Masters Arcangeli
And Spreti,—that's the husband's ultimate hope
Against the Fisc and the other kind of Fisc,
Bound to do barking for the wife: bow—wow!
Why, Excellency, we and his Highness here
Would settle the matter as sufficiently

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Crack At Your Love

Ive been keepin my eyes on you
I finally found the nerve to talk to you
Theres something that you ought to know
Dont you know that I love you so
Our life together could be eternal bliss
If we could just get close enough to kiss
And ya know Id like to get a crack at your love
Crack at your love
Crack at your love
You make me feel so warm inside
A sense of humor you cant hide
Who taught you darlin how to move that way?
And when you smile I know the worlds okay
And when I see the twinkle in your eye
It sends my heart all the way to the sky
And ya know Id like to get a crack at your love
Crack at your love
Crack at your love
Lonely nights, lonely days
Lonely nights, lonely days
Im reachin out for you
In my mind, in my mind
Im goin crazy
Would ya be my baby
Im gonna need a little help from above
Would ya say no if I asked for your love?
I cant afford to get hurt again
Like the time I remember when
But I know Id like to get a crack at your
And ya know Id like to get a crack at your
Dont ya know Id like to get a crack at your love
Crack at your love
Crack at your love
Crack at your love
Crack at your love
Crack at your love
Crack at your love
Crack at your love

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Nazim Hikmet

Poems For Piraye (9 To 10 O’Clock Poems)

Remembering you is good
in prison
amid the news
of victory and death
as my fortieth year passes...

Remembering you is good
your hand
forgotten upon a blue dress
your hair
with the grave softness
of the earth of my beloved Istanbul.
This joy of loving you
is like a second person inside me...
The smell of geranium leaves
on your fingertips
warm and comforting
The invitation of your flesh
a hot
intense darkness
scored by vivid red lines...

Remembering you is good
or writing about you
as I lie on my back
in prison
thinking of such and such a day
at such and such a place
of some words you said
not of the words so much
but of the world and you within them...

Remembering you is good
I must carve some things for you again
a jewel box
a ring
I must weave a length of thin silk
then jump up
and clutching the window bars
shout what I have written for you
to the innocent blue
of freedom.

Remembering you is good
in prison
amid the news
of victory and death
as my fortieth year passes...
1942

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Henry Wadsworth Longfellow

Courtship of Miles Standish, The

I
MILES STANDISH

In the Old Colony days, in Plymouth the land of the Pilgrims
To and fro in a room of his simple and primitive dwelling,
Clad in doublet and hose, and boots of Cordovan leather,
Strode, with a martial air, Miles Standish the Puritan Captain.
Buried in thought he seemed, with his hands behind him, and pausing
Ever and anon to behold his glittering weapons of warfare,
Hanging in shining array along the walls of the chamber, --
Cutlass and corselet of steel, and his trusty sword of Damascus,
Curved at the point and inscribed with its mystical Arabic sentence,
While underneath, in a corner, were fowling-piece, musket, and matchlock.
Short of stature he was, but strongly built and athletic,
Broad in the shoulders, deep-chested, with muscles and sinews of iron;
Brown as a nut was his face, but his russet beard was already
Flaked with patches of snow, as hedges sometimes in November.
Near him was seated John Alden, his friend and household companion,
Writing with diligent speed at a table of pine by the window:
Fair-haired, azure-eyed, with delicate Saxon complexion,
Having the dew of his youth, and the beauty thereof, as the captives
Whom Saint Gregory saw, and exclaimed, "Not Angles, but Angels."
Youngest of all was he of the men who came in the Mayflower.

Suddenly breaking the silence, the diligent scribe interrupting,
Spake, in the pride of his heart, Miles Standish the Captain of Plymouth.
"Look at these arms," he said, "the war-like weapons that hang here
Burnished and bright and clean, as if for parade or inspection!
This is the sword of Damascus I fought with in Flanders; this breastplate,
Well I remember the day! once save my life in a skirmish;
Here in front you can see the very dint of the bullet
Fired point-blank at my heart by a Spanish arcabucero.
Had it not been of sheer steel, the forgotten bones of Miles Standish
Would at this moment be mould, in their grave in the Flemish morasses."
Thereupon answered John Alden, but looked not up from his writing:
"Truly the breath of the Lord hath slackened the speed of the bullet;
He in his mercy preserved you, to be our shield and our weapon!"
Still the Captain continued, unheeding the words of the stripling:
"See, how bright they are burnished, as if in an arsenal hanging;
That is because I have done it myself, and not left it to others.
Serve yourself, would you be well served, is an excellent adage;
So I take care of my arms, as you of your pens and your inkhorn.
Then, too, there are my soldiers, my great, invincible army,
Twelve men, all equipped, having each his rest and his matchlock,
Eighteen shillings a month, together with diet and pillage,
And, like Caesar, I know the name of each of my soldiers!"
This he said with a smile, that danced in his eyes, as the sunbeams
Dance on the waves of the sea, and vanish again in a moment.
Alden laughed as he wrote, and still the Captain continued:
"Look! you can see from this window my brazen howitzer planted

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Thespis: Act II

DRAMATIS PERSONAE

GODS

Jupiter, Aged Diety
Apollo, Aged Diety
Mars, Aged Diety
Diana, Aged Diety
Mercury

THESPIANS

Thespis
Sillimon
TimidonTipseion
Preposteros
Stupidas
Sparkeio n
Nicemis
Pretteia
Daphne
Cymon

ACT II - The same Scene, with the Ruins Restored


SCENE-the same scene as in Act I with the exception that in place
of the ruins that filled the foreground of the stage, the
interior of a magnificent temple is seen showing the background
of the scene of Act I, through the columns of the portico at the
back. High throne. L.U.E. Low seats below it. All the substitute
gods and goddesses [that is to say, Thespians] are discovered
grouped in picturesque attitudes about the stage, eating and
drinking, and smoking and singing the following verses.

CHO. Of all symposia
The best by half
Upon Olympus, here await us.
We eat ambrosia.
And nectar quaff,
It cheers but don't inebriate us.
We know the fallacies,
Of human food
So please to pass Olympian rosy,
We built up palaces,
Where ruins stood,
And find them much more snug and cosy.

SILL. To work and think, my dear,
Up here would be,

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Legendary Hearts

Legendary hearts
Tearing up apart
With stories of their love
Their great transcendent loves
While we stand here and fight
And lose another night
Of legendary love
Legendary loves
Haunt me in my sleep
Promises to keep
I never should have made
I cant live up to this
Im good for just a kiss
Not legendary love
Romeo, oh, romeo, wherefore art thou romeo
Hes in a car or at a bar
Or churning his blood with an impure drug
Hes in the past and seemingly lost forever
He worked hard at being good
But his basic soul was stained not pure
And when he took his bow
No audience was clapping
Legendary hearts
Tear us all apart
Make our emotions bleed
Crying out in need
No legendary love
Is coming from above
Its in this room right now
And youve got to fight
To make whats right
Youve got to fight
To make whats right
Youve got to fight
To make whats right
Youve got to fight to keep your legendary love

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A glimpse

a glimpse
the half opened door
some would say
a half closed door
it all depends on the
state of mind you are in
well half closed for pessismist
and half opened for optimist
half opened or half closed door
so long as it is open
and not close
a good exercise for the mind
of a story teller, novelist, a film maker
a glimpse at the half closed door
the mind is thrown open
like the kick you would give
a half opened door
so that you and pet cat could
glide through easily
the stories that start coming out
from a glimpse at the half opened door
agatha's murdered corpse lying behind
a stalker, a ghost in the corridor of the mind
from the glimpse of the half closed door
a million possibilities, ideas pouring forth
half closed door, half opened door
whichever way you may say
it is an opened door
a million stories, ideas, possibilities
knock at the door of my mind
a glimpse of the half closed, half opened door
my half closed half opened eyes
open themselves to my ever curious mind
boundless as the universe

inspired by

A Glimpse
A GLIMPSE, through an interstice caught,
Of a crowd of workmen and drivers in a bar-room, around the stove,
late of a winter night-And I unremark'd seated in a corner;
Of a youth who loves me, and whom I love, silently approaching, and
seating himself near, that he may hold me by the hand;
A long while, amid the noises of coming and going-of drinking and
oath and smutty jest,
There we two, content, happy in being together, speaking little,
perhaps not a word.
Walt Whitman

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