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If you're a painter, you're not alone. There's no way to be alone.

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Painter Man

Went to college, studied arts
To be an artist make a start
Studied hard, gettin my degree
But no one seemed to notice me
Painter man, painter man
Who wanna be a painter man
Painter man, painter man
Who wanna be a painter man
Tried cartoons and comic books
Dirty postcards could have done
Here was where the money laid
Classic art has had its day
Painter man, painter man
Who wanna be a painter man
Painter man, painter man
Who wanna be a painter man
Did adverts for t.v.
Household shops and brands of tea
Labels all around the cans
Who wanna be a painter man
Painter man, painter man
Who wanna be a painter man
Painter man, painter man
Who wanna be a painter man
La...la...la...la...la...la...
La...la...la...la...la...la...la...
Painter man, painter man
Who wanna be a painter man

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Last Instructions to a Painter

After two sittings, now our Lady State
To end her picture does the third time wait.
But ere thou fall'st to work, first, Painter, see
If't ben't too slight grown or too hard for thee.
Canst thou paint without colors? Then 'tis right:
For so we too without a fleet can fight.
Or canst thou daub a signpost, and that ill?
'Twill suit our great debauch and little skill.
Or hast thou marked how antic masters limn
The aly-roof with snuff of candle dim,
Sketching in shady smoke prodigious tools?
'Twill serve this race of drunkards, pimps and fools.
But if to match our crimes thy skill presumes,
As th' Indians, draw our luxury in plumes.
Or if to score out our compendious fame,
With Hooke, then, through the microscope take aim,
Where, like the new Comptroller, all men laugh
To see a tall louse brandish the white staff.
Else shalt thou oft thy guiltless pencil curse,
Stamp on thy palette, not perhaps the worse.
The painter so, long having vexed his cloth--
Of his hound's mouth to feign the raging froth--
His desperate pencil at the work did dart:
His anger reached that rage which passed his art;
Chance finished that which art could but begin,
And he sat smiling how his dog did grin.
So mayst thou pérfect by a lucky blow
What all thy softest touches cannot do.

Paint then St Albans full of soup and gold,
The new court's pattern, stallion of the old.
Him neither wit nor courage did exalt,
But Fortune chose him for her pleasure salt.
Paint him with drayman's shoulders, butcher's mien,
Membered like mules, with elephantine chine.
Well he the title of St Albans bore,
For Bacon never studied nature more.
But age, allayed now that youthful heat,
Fits him in France to play at cards and treat.
Draw no commission lest the court should lie,
That, disavowing treaty, asks supply.
He needs no seal but to St James's lease,
Whose breeches wear the instrument of peace;
Who, if the French dispute his power, from thence
Can straight produce them a plenipotence..
Nor fears he the Most Christian should trepan
Two saints at once, St Germain, St Alban,
But thought the Golden Age was now restored,
When men and women took each other's word.

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La Fontaine

The Rhemese

NO city I to Rheims would e'er prefer:
Of France the pride and honour I aver;
The Holy Ampoule and delicious wine,
Which ev'ry one regards as most divine,
We'll set apart, and other objects take:
The beauties round a paradise might make!
I mean not tow'rs nor churches, gates, nor streets;
But charming belles with soft enchanting sweets:
Such oft among the fair Rhemese we view:
Kings might be proud those graces to pursue.

ONE 'mong these belles had to the altar led,
A painter, much esteemed, and who had bread.
What more was requisite!--he lived at ease,
And by his occupation sought to please.
A happy woman all believed his wife;
The husband's talents pleased her to the life:
For gallantry howe'er he was renowned,
And many am'rous dames, who dwelled around,
Would seek the artist with a double aim:
So all our chronicles record his fame.
But since much penetration 's not my boast,
I just believe--what's requisite at most.

WHENE'ER the painter had in hand a fair,
He'd jest his wife, and laugh with easy air;
But Hymen's rights proceeding as they ought,
With jealous fears her breast was never fraught.
She might indeed repay his tricks in kind,
And gratify, in soft amours, her mind,
Except that she less confidence had shown,
And was not led to him the truth to own.

AMONG the men attracted by her smiles,
Two neighbours, much delighted with her wiles;
Were often tempted, by her sprightly wit,
To listen to her chat, and with her sit;
For she had far the most engaging mien,
Of any charmer that around was seen.
Superior understanding she possessed;
Though fond of laughter, frolick, fun, and jest.
She to her husband presently disclosed
The love these cit-gallants to her proposed;
Both known for arrant blockheads through the town,
And ever boasting of their own renown.
To him she gave their various speeches, tones,
Each silly air: their tears, and sighs, and groans;
They'd read, or rather heard, we may believe,
That, when in love, with sighs fond bosoms heave.
Their utmost to succeed these coxcombs tried,

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Howard Nemerov

The Painter Dreaming in the Scholar’s House

in memory of the painters Paul Klee
and Paul Terence Feeley

I

The painters eye follows relation out.
His work is not to paint the visible,
He says, it is to render visible.

Being a man, and not a god, he stands
Already in a world of sense, from which
He borrows, to begin with, mental things
Chiefly, the abstract elements of language:
The point, the line, the plane, the colors and
The geometric shapes. Of these he spins
Relation out, he weaves its fabric up
So that it speaks darkly, as music does
Singing the secret history of the mind.
And when in this the visible world appears,
As it does do, mountain, flower, cloud, and tree,
All haunted here and there with the human face,
It happens as by accident, although
The accident is of design. It is because
Language first rises from the speechless world
That the painterly intelligence
Can say correctly that he makes his world,
Not imitates the one before his eyes.
Hence the delightsome gardens, the dark shores,
The terrifying forests where nightfall
Enfolds a lost and tired traveler.

And hence the careless crowd deludes itself
By likening his hieroglyphic signs
And secret alphabets to the drawing of a child.
That likeness is significant the other side
Of what they see, for his simplicities
Are not the first ones, but the furthest ones,
Final refinements of his thought made visible.
He is the painter of the human mind
Finding and faithfully reflecting the mindfulness
That is in things, and not the things themselves.

For such a man, art is an act of faith:
Prayer the study of it, as Blake says,
And praise the practice; nor does he divide
Making from teaching, or from theory.
The three are one, and in his hours of art
There shines a happiness through darkest themes,
As though spirit and sense were not at odds.

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Of Pacchiarotto, and How He Worked in Distemper

I
Query: was ever a quainter
Crotchet than this of the painter
Giacomo Pacchiarotto
Who took "Reform" for his motto?

II
He, pupil of old Fungaio,
Is always confounded (heigho!)
With Pacchia, contemporaneous
No question, but how extraneous
In the grace of soul, the power
Of hand,—undoubted dower
Of Pacchia who decked (as we know,
My Kirkup!) San Bernardino,
Turning the small dark Oratory
To Siena's Art-laboratory,
As he made its straitness roomy
And glorified its gloomy,
With Bazzi and Beccafumi.
(Another heigho for Bazzi:
How people miscall him Razzi!)

III
This Painter was of opinion
Our earth should be his dominion
Whose Art could correct to pattern
What Nature had slurred—the slattern!
And since, beneath the heavens,
Things lay now at sixes and sevens,
Or, as he said, sopra-sotto—
Thought the painter Pacchiarotto
Things wanted reforming, therefore.
"Wanted it"—ay, but wherefore?
When earth held one so ready
As he to step forth, stand steady
In the middle of God's creation
And prove to demonstration
What the dark is, what the light is,
What the wrong is, what the right is,
What the ugly, what the beautiful,
What the restive, what the dutiful,
In Mankind profuse around him?
Man, devil as now he found him,
Would presently soar up angel
At the summons of such evangel,
And owe—what would Man not owe
To the painter Pacchiarotto?
Ay, look to thy laurels, Giotto!

[...] Read more

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The Painter (Ang Pintor)

The Painter...
He colored the sky
He colored the sea
and even the mountains
and the field.

The Painter...
He colored the roses
and even the birds
and animals
in the farm.

The Painter...
even my life...
He colored.

But the Painter,
I guess no one
have seen Him yet.

The Painter...
can anyone paint the colors
of His life?

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A Painter Passing Through

Once upon a time I was on my own
Once upon a time like youve never known
Once upon a time I would be impressed
Once upon a time my life would be obsessed
Once upon a time, once upon a day when
I was in my prime, once along the way
If you want to know my secret dont come runnin after me
For I am just a painter passing through in history
Yesterday is gone, yesterdays alright
Yesterday belongs in my dreams at night
Yesterday is swell, yesterday is great
Yesterday is strong, remembering can wait
Once upon a time, once upon a day when
I was in my prime, once along the way
If you want to know an answer I cant turn your life around
For I am just a painter passing through the underground
I was in my stride, always at my game
Here comes mister cool, along the walk of fame
I was in demand, always in control
The world was in my hands, my touch had turn to gold
Once upon a time, I was in a daze when
I was in my prime, once along the way
If you want to know my secret dont come runnin after me
For I am just a painter passing through in history
Now that I am old, let me rest a spell
All that I am told, I can never tell
Never in my life, never will it pass
I am still alone, remembering at last
Once upon a time, once upon a day when
I was in my prime, once along the way
If you want to know an answer I cant turn your life around
For I am just a painter passing through the underground
If you want to know my secret dont come runnin after me
For I am just a painter passing through in history

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Matthew Arnold

Epilogue To Lessing's Laocooen

One morn as through Hyde Park we walk'd,
My friend and I, by chance we talk'd
Of Lessing's famed Laocooen;
And after we awhile had gone
In Lessing's track, and tried to see
What painting is, what poetry--
Diverging to another thought,
'Ah,' cries my friend, 'but who hath taught
Why music and the other arts
Oftener perform aright their parts
Than poetry? why she, than they,
Fewer fine successes can display?

'For 'tis so, surely! Even in Greece,
Where best the poet framed his piece,
Even in that Phoebus-guarded ground
Pausanias on his travels found
Good poems, if he look'd, more rare
(Though many) than good statues were--
For these, in truth, were everywhere.
Of bards full many a stroke divine
In Dante's, Petrarch's, Tasso's line,
The land of Ariosto show'd;
And yet, e'en there, the canvas glow'd
With triumphs, a yet ampler brood,
Of Raphael and his brotherhood.
And nobly perfect, in our day
Of haste, half-work, and disarray,
Profound yet touching, sweet yet strong,
Hath risen Goethe's, Wordsworth's song;
Yet even I (and none will bow
Deeper to these) must needs allow,
They yield us not, to soothe our pains,
Such multitude of heavenly strains
As from the kings of sound are blown,
Mozart, Beethoven, Mendelssohn. '

While thus my friend discoursed, we pass
Out of the path, and take the grass.
The grass had still the green of May,
And still the unblackan'd elms were gay;
The kine were resting in the shade,
The flies a summer-murmur made.
Bright was the morn and south the air;
The soft-couch'd cattle were as fair
As those which pastured by the sea,
That old-world morn, in Sicily,
When on the beach the Cyclops lay,
And Galatea from the bay
Mock'd her poor lovelorn giant's lay.

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IX. Juris Doctor Johannes-Baptista Bottinius, Fisci et Rev. Cam. Apostol. Advocatus

Had I God's leave, how I would alter things!
If I might read instead of print my speech,—
Ay, and enliven speech with many a flower
Refuses obstinate to blow in print,
As wildings planted in a prim parterre,—
This scurvy room were turned an immense hall;
Opposite, fifty judges in a row;
This side and that of me, for audience—Rome:
And, where yon window is, the Pope should hide—
Watch, curtained, but peep visibly enough.
A buzz of expectation! Through the crowd,
Jingling his chain and stumping with his staff,
Up comes an usher, louts him low, "The Court
"Requires the allocution of the Fisc!"
I rise, I bend, I look about me, pause
O'er the hushed multitude: I count—One, two—

Have ye seen, Judges, have ye, lights of law,—
When it may hap some painter, much in vogue
Throughout our city nutritive of arts,
Ye summon to a task shall test his worth,
And manufacture, as he knows and can,
A work may decorate a palace-wall,
Afford my lords their Holy Family,—
Hath it escaped the acumen of the Court
How such a painter sets himself to paint?
Suppose that Joseph, Mary and her Babe
A-journeying to Egypt, prove the piece:
Why, first he sedulously practiseth,
This painter,—girding loin and lighting lamp,—
On what may nourish eye, make facile hand;
Getteth him studies (styled by draughtsmen so)
From some assistant corpse of Jew or Turk
Or, haply, Molinist, he cuts and carves,—
This Luca or this Carlo or the like.
To him the bones their inmost secret yield,
Each notch and nodule signify their use:
On him the muscles turn, in triple tier,
And pleasantly entreat the entrusted man
"Familiarize thee with our play that lifts
"Thus, and thus lowers again, leg, arm and foot!"
—Ensuring due correctness in the nude.
Which done, is all done? Not a whit, ye know!
He,—to art's surface rising from her depth,—
If some flax-polled soft-bearded sire be found,
May simulate a Joseph, (happy chance!)—
Limneth exact each wrinkle of the brow,
Loseth no involution, cheek or chap,
Till lo, in black and white, the senior lives!
Is it a young and comely peasant-nurse

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Juan De Paresa, The Painter's Slave

'T was sunset upon Spain. The sky of June
Bent o'er her airy hills, and on their tops,
The mountain cork-trees caught the fading light
Of a resplendent day. The painter threw
His pencil down, and with a glance of pride
Upon his beautiful and finish'd work,
Went from his rooms. And Juan stood alone
Gazing upon the canvas, with his arms
Folded across his bosom, and his eye
Fill'd with deep admiration, till a shade
Of earnest thought stole o'er it. With a sigh,
He turn'd away, and leaning listlessly
Against the open casement, look'd abroad.
The cool fresh breezes of the evening came,
To bathe his temples with the scented breath
Of orange blossoms; and the caroll'd song
Of the light-hearted muleteer, who climb'd
The mountain pass—the tinkling of the bells,
That cheer'd his dumb companions on their way
The passing vesper chime—the song of birds—
And the soft hum of insects—soothingly
Stole in with blended sweetness to his ear.
And then the scene! 't was of Spain's loveliest;
Mountain and forest, emerald pasture slopes,
Dark olive groves, and bowers of lemon-trees;
Vineyards, and tangled glens, the swift cascade,
Leaping from rock to rock, the calm bright stream,
The castle, and the peasant hut, were there,
All group'd in one bright landscape. Juan gazed,
Until the spirit of its beauty pass'd,
Like some fine subtle influence to his heart,
Filling it with rich thoughts. He had not known
The teachings of Philosophy, nor fed
The cravings of his spirit, from the page
Of intellectual glory; but his eye
Had been unseal'd by Nature, and his mind
Was full of nice perceptions; and a love,
Deep and intense, for what was beautiful,
Thrill'd like vitality around his heart,
With an ennobling influence.

He had stood
Beside the easel, day by day, to feed
The pallet of the Painter with the hues
That lived upon the canvas, and had watch'd
The fine and skilful touch, that made a thing
Of magic of the pencil, till he caught
The o'ermastering glow of spirit, and he long'd
So to pour out his soul, and give the forms
Of beauty, that were thronging it, to life.

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The Master's Hand

The painter was a genius,
His pupil knew this well,
For in the times that they discuss
They bond as in a spell...
They think such thoughts that change their art,
Their purpose and their style,
Such that new wisdom can impart
Its reasons for a smile...

The pupil spent a whole weekend
Within the studio,
Together with his brand new friend,
Who seemed all things to know...
The painting pupil's Easter scene
Was called The Cross of Christ.
Behold the Man... The Nazarene...
God's Lamb here sacrificed...

The pupil thought his painting done
When Sunday night came round,
He smiled as if a war was won,
As if a treasure found...
The master painter let him leave
So he could travel home
And yet Christ's painting made him grieve
The cruelty of Rome...

And in the night, he painted on,
Transforming here and there,
A stream of light to shine upon
The Saviour's bleeding hair...
With Pilate's words now coloured gold,
For all the world to see
The greatest story ever told...
Christ died for you and me...

When morning came, he painted still,
The gamblers at Christ's feet,
The thieves who died there on that hill,
The sort you'd hate to meet...
The scoffers in the crowd below
And Mary full of tears...
The crown of thorns, Christ's blood in flow,
While Satan stares and cheers...

Then something new the painter felt
That he should add that day...
A weeping angel humbly knelt
At Christ's feet there to pray...
He was Death's angel sent ahead

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Builder Has Finished Build Well

Builder has finished build well
Only the painter to paint good
Wish he paints bright and peace
Builder has finished build well

Who the builder? who the painter?
Light your search to find rather
Builder has finished build well
Only the painter to paint good

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Meet James Ensor

Meet james ensor
Belgiums famous painter
Dig him up and shake his hand
Appreciate the man
Before there were junk stores
Before there was junk
He lived with his mother and the torments of christ
The world was transformed
A crowd gathered round
Pressed against his window so they could be the first
To meet james ensor
Belgiums famous painter
Raise a glass and sit and stare
Understand the man
He lost all his friends
He didnt need his friends
He lived with his mother and repeated himself
The world has forgotten
The world moved along
The crowd at his window went back to their homes
Meet james ensor
Meet james ensor
Belgiums famous painter
Dig him up and shake his hand
Appreciate the man

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Charles Lamb

On A Picture Of The Finding Of Moses By Pharoah's Daughter

This picture does the story express
Of Moses in the bulrushes.
How livelily the painter's hand
By colours makes us understand!


Moses that little infant is.
This figure is his sister. This
Fine stately lady is no less
A personage than a princess,
Daughter of Pharaoh, Egypt's king;
Whom Providence did hither bring
This little Hebrew child to save.
See how near the perilous wave
He lies exposëd in the ark,
His rushy cradle, his frail bark!
Pharaoh, king of Egypt land,
In his greatness gave command
To his slaves, they should destroy
Every new-born Hebrew boy.
This Moses was an Hebrew's son.
When he was born, his birth to none
His mother told, to none revealed,
But kept her goodly child concealed.
Three months she hid him; then she wrought
With bulrushes this ark, and brought
Him in it to this river's side,
Carefully looking far and wide
To see that no Egyptian eye
Her ark-hid treasure should espy.
Among the river-flags she lays
The child. Near him his sister stays.
We may imagine her affright,
When the king's daughter is in sight.
Soon the princess will perceive
The ark among the flags, and give
Command to her attendant maid
That its contents shall be displayed.
Within the ark the child is found,
And now he utters mournful sound.
Behold he weeps, as if he were
Afraid of cruel Egypt's heir!
She speaks, she says, 'This little one
I will protect, though he the son
Be of an Hebrew.' Every word
She speaks is by the sister heard.-
And now observe, this is the part
The painter chose to show his art.
Look at the sister's eager eye,
As here she seems advancing nigh.

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Painter Named William

WILLIAM THE PAINTER
With a great smile that always shines,
he is a great painter, he paints art real fine.
William makes paintings with acrylic, oils and pastels,
he is a realistic painter, muralist and cartoonist as well.
I went to William’s art event,
it was at a church is where I went.
He did a mural on their wall,
it was huge, it wasn’t small.
William has a great eye for shape and form,
he is an original artist, not in the norm.
Now I just saw William today,
he was happy to see me and we talked away.
I will do a mural with him in Lake Worth soon,
we will paint a wall with some cartoons.
Looking forward William to see more of your art,
your art is unique, it sets you apart.

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The Canvas (Part 2)

We last left off with such the fright,
She paints—but gasp! —that's not quite right,
For every story has a twist,
And every painting is done on her wrist.

She paints with—sorry? —with little regard,
To what may bleed and what may scar,
But oh, she paints a lovely spar,
Despite the way that most things are.

Some find it funny and watch as she flees,
Others feel sick the moment they see,
Because a painter, she can't have much of a life,
If all of her painting is done with a knife.

This painter—in fact—she thinks she's alone,
Because of the burden of problems at home,
And then there's her mind, a nasty old place,
It's mostly the cause of the paintings she makes.

But one can be trapped, or one can be freed,
Though most painters like her find this hard to believe,
Yet this very painter broke free of her sadness,
And if she ever wonders 'why? ' she can look at her canvas.

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Pregnancy

A meaningful painter painting the walls of love,
And pregnancy dragged the two people into marriage;
The love of the team,
The love of the pair with amorous ideas!
Today, this pregnancy had made them to be married together.

What is in his soul?
What is in her soul?
Like the light at the end of the turnel to keep them going;
But, this pregnancy had dragged them into marriage.
Of an amorous expediction,
Of a name calling;
She was raped in her own bedroom.

Of a meaningful painter painting,
From the brink of things to the wink of the act;
But catapulted like the poles apart from the walls,
With pet names on your only mistake in life.

These are the memories of the past,
And to share a lot of common interest with you;
But it is of gifts without reasons.
This is all about the sweet spot of love,
And the pregnancy is like the pot of love to share;
But, the blood stain on her mattress is the truth of the matter.

AOf a meaningful painter painting the walls of love,
In a wooden kiosk to crown the day;
But today we know where they came from,
Because the pregnancy united them in marriage.

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Byron

English Bards and Scotch Reviewers: A Satire

'I had rather be a kitten, and cry mew!
Than one of these same metre ballad-mongers'~Shakespeare

'Such shameless bards we have; and yet 'tis true,
There are as mad, abandon'd critics too,'~Pope.


Still must I hear? -- shall hoarse Fitzgerald bawl
His creaking couplets in a tavern hall,
And I not sing, lest, haply, Scotch reviews
Should dub me scribbler, and denounce my muse?
Prepare for rhyme -- I'll publish, right or wrong:
Fools are my theme, let satire be my song.

O nature's noblest gift -- my grey goose-quill!
Slave of my thoughts, obedient to my will,
Torn from thy parent bird to form a pen,
That mighty instrument of little men!
The pen! foredoom'd to aid the mental throes
Of brains that labour, big with verse or prose,
Though nymphs forsake, and critics may deride,
The lover's solace, and the author's pride.
What wits, what poets dost thou daily raise!
How frequent is thy use, how small thy praise!
Condemn'd at length to be forgotten quite,
With all the pages which 'twas thine to write.
But thou, at least, mine own especial pen!
Once laid aside, but now assumed again,
Our task complete, like Hamet's shall be free;
Though spurn'd by others, yet beloved by me:
Then let us soar today, no common theme,
No eastern vision, no distemper'd dream
Inspires -- our path, though full of thorns, is plain;
Smooth be the verse, and easy be the strain.

When Vice triumphant holds her sov'reign sway,
Obey'd by all who nought beside obey;
When Folly, frequent harbinger of crime,
Bedecks her cap with bells of every clime;
When knaves and fools combined o'er all prevail,
And weigh their justice in a golden scale;
E'en then the boldest start from public sneers,
Afraid of shame, unknown to other fears,
More darkly sin, by satire kept in awe,
And shrink from ridicule, though not from law.

Such is the force of wit! but not belong
To me the arrows of satiric song;
The royal vices of our age demand
A keener weapon, and a mightier hand.

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Nimmo

Since you remember Nimmo, and arrive
At such a false and florid and far drawn
Confusion of odd nonsense, I connive
No longer, though I may have led you on.

So much is told and heard and told again,
So many with his legend are engrossed,
That I, more sorry now than I was then,
May live on to be sorry for his ghost.

You knew him, and you must have known his eyes,—
How deep they were, and what a velvet light
Came out of them when anger or surprise,
Or laughter, or Francesca, made them bright.

No, you will not forget such eyes, I think,—
And you say nothing of them. Very well.
I wonder if all history’s worth a wink,
Sometimes, or if my tale be one to tell.

For they began to lose their velvet light;
Their fire grew dead without and small within;
And many of you deplored the needless fight
That somewhere in the dark there must have been.

All fights are needless, when they’re not our own,
But Nimmo and Francesca never fought.
Remember that; and when you are alone,
Remember me—and think what I have thought.

Now, mind you, I say nothing of what was,
Or never was, or could or could not be:
Bring not suspicion’s candle to the glass
That mirrors a friend’s face to memory.

Of what you see, see all,—but see no more;
For what I show you here will not be there.
The devil has had his way with paint before,
And he’s an artist,—and you needn’t stare.

There was a painter and he painted well:
He’d paint you Daniel in the lion’s den,
Beelzebub, Elaine, or William Tell.
I’m coming back to Nimmo’s eyes again.

The painter put the devil in those eyes,
Unless the devil did, and there he stayed;
And then the lady fled from paradise,
And theres your fact. The lady was afraid.

[...] Read more

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A Toast To Wilkie Collins

FEBRUARY 16, 1874

THE painter's and the poet's fame
Shed their twinned lustre round his name,
To gild our story-teller's art,
Where each in turn must play his part.

What scenes from Wilkie's pencil sprung,
The minstrel saw but left unsung!
What shapes the pen of Collins drew,
No painter clad in living hue!

But on our artist's shadowy screen
A stranger miracle is seen
Than priest unveils or pilgrim seeks,--
The poem breathes, the picture speaks!

And so his double name comes true,
They christened better than they knew,
And Art proclaims him twice her son,--
Painter and poet, both in one!

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