The World's Best Poetry, Volume 8 National Spirit by Various
The World's Best Poetry, Volume 8 National Spirit by Various
The World's Best Poetry, Volume 8 National Spirit by Various
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Author: Various
Edited by Bliss Carman
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK THE WORLD'S BEST POETRY, VOLUME 8 ***
_I Home: Friendship
II Love
III Sorrow and Consolation
IV The Higher Life
V Nature
VI Fancy: Sentiment
VII Descriptive: Narrative
VIII National Spirit
IX Tragedy: Humor
X Poetical Quotations_
Editor-in-Chief
BLISS CARMAN
Associate Editors
John Vance Cheney
Charles G.D. Roberts
Charles F. Richardson
Francis H. Stoddard
Managing Editor
John R. Howard
1904.
From all these works the student will not be likely to get a
definition of poetry which will satisfy him. One may say indeed with
truth that poetry is such expression as parallels the real and the
ideal by means of some rhythmic form. But this is not a complete
definition. Poetry is not to be bounded with a measuring line or
sounded with a plummet. The student must feel after its limits as
these authors have done, and find for himself its satisfactions. One
can feel more of its power than the mind can define; for definitions
are prose-forms of mind action, while poetry in its higher
manifestations is pure emotion, outpassing prose limits. Yet one can
know poetry if he cannot completely define it. The one essential
element which distinguishes it from prose is rhythm. In its primal
expressions this is mainly a rhythm of stresses and sounds--of accents
and measures, of alliterations and rhymes. Poetry began when man,
swaying his body, first sang or moaned to give expression to his joy
or sorrow. Its earliest forms are the songs which accompany the
simplest emotions. When rowers were in a boat the swinging oars became
rhythmic, and the oarsman's chant naturally followed. When the savage
overcame his enemy, he danced his war dance, and sang his war song
around his campfire at night, tone and words and gestures all fitting
into harmony with the movement of his body. So came the chants and
songs of work and of triumph. For the dead warrior the moan of
lamentation fitted itself to the slower moving to and fro of the
mourner, and hence came the elegy. In its first expression this was
but inarticulate, half action, half music, dumbly voicing the emotion
through the senses; its rhythms were all for the ear and it had little
meaning beyond the crude representation of some simple human desire
and grief.
Such poetry, which is mainly to delight and charm the ear, is really a
primal form of verse and we may properly call it the poetry of the
Senses. In studying it Lanier's "Science of English Verse" is a
delightful companion, and many minor hand-books besides those named
above, such as are found in most schools, and some of the shorter
accounts of versification such as are found in works on rhetoric, will
give assistance.
Yet the pathway to the mastery of the problems of metre is for each
student to tread alone. The best plan is to read aloud a considerable
quantity. Then the technical language of the books will lose its
terrors and the simplicity of construction of good poetry will become
apparent. If the student will read so much of this poetry that his
senses become responsive to its music, he will no longer need a
hand-book. For this purpose let him read such poems as can be sung,
chanted, or spoken to the ear; such as Macaulay's "Lays of Ancient
Rome," Scott's "Marmion," Browning's "Pied Piper" and "How They
Brought the Good News," Tennyson's "Charge of the Light Brigade." Let
him read mainly for the senses rather than for the mind, getting the
reward in the quickening of life through the throbbing rhythms; then
the metrical system of poetry will become as real to him as the
rhythmic movements of the planets are to an astronomer. There is no
other way to get a feeling for the pulsations of poetry than through
this intimate acquaintance. Without this, months of reading of
amphibrachs and trochees and dactyls will not avail. It should be read
aloud as much as possible to make the swing of its verses perfectly
clear. When it sings to us as we read, it has begun to teach the
message of its rhythms.
Thus far the text-books have been pleasant companions, even when
unable to give as much aid to the student as he could wish; but the
fact will come to him at length that there is something more in poetry
than the hand-books permit him to consider. These books deal with the
forms, and most of them with the forms only. They analyze the methods,
work out the metre, show how the parts are woven together, explain how
the chords produce the harmonies. But just in proportion as the
student becomes learned in these rhythms, and can distinguish minute
or subtle variations of metrical structure, does he realize that this
study teaches not its own use and that there is something beyond which
must be won by his own observation. He finds in his search for
rhythmical perfection that there are poems which make little appeal to
his senses, whose lines do not sing themselves through his day-dreams,
which yet affect his imagination even more powerfully than the musical
strains thrilled his senses. He finds that there is much more in
poetry than its rhymes and jingles, that there is a rhythm greater
than that of the senses. In its more complex forms poetry is rhythm of
thought, leading the mind to find relations which prose may describe,
but which poetry alone can recreate. There is such a thing as a prose
thought and such a thing as a poetic thought. The one gives with
exactness the fact as it exists, clearly, honestly, directly, and for
all completed and tangible things is the natural medium of expression.
The other parallels the actual with a suggestion of an ideal
rhythmically consonant with the motive underlying the fact. Justice,
for example, deals in prose fashion with a crime and awards the
punishment which the law allows; poetic justice suggests such
recompense as would come of itself in a community perfectly organized.
The prose of life is honest living, a worthy endeavor to do the best
one can in the world as it is; the poetry of life is the feeling for,
and the striving after, the bringing of this life into harmony with a
nobler living. So we rightly give the name of poetry to such verse as
Goldsmith's "Deserted Village," Johnson's "London," Gray's "Elegy,"
Wordsworth's "Excursion," Milton's "Paradise Lost," Chaucer's
"Knight's Tale," Browning's "King and the Book," Tennyson's "In
Memoriam," which do not much stir our senses. They parallel the real
with the ideal, suggesting the eternal rhythms of infinite mind as the
poetry of the senses suggests the eternal rhythms of omnipotent
nature.
The office of poetry is to parallel the actual with the ideal, to cast
upon an earthly landscape something of a heavenly glow, to interpret
earthly things in terms of the spirit. The poetry of the Senses lifts
a mortal to the skies, thinking the thought of one higher than itself
as the poet muses, singing the songs of an angelic choir in harmony
with the rhythm of the verse. The poetry of the Spirit brings the
message of the angels down to men and makes the harmonies they speak
the music of this earthly life.
Study the metre. Why called Trochaic Octameter? In what way does this
metre resemble and in what way differ from Lowell's "Present Crisis,"
Swinburne's "Triumph of Time," Browning's "There 's a woman like a
dewdrop" (from "The Blot i' the Scutcheon"), and Mrs. Browning's
"Rhyme of the Duchess May"? Why is this metre peculiarly adapted to
the sentiment of "Locksley Hall"? How does the metre differ in effect
from that of Mrs. Julia Ward Howe's "Battle Hymn of the Republic" and
Bryant's "The Death of the Flowers" and Tennyson's "May Queen"? Is the
effect of the rhythm optimistic as opposed to the pessimism of the
"Triumph of Time," and why? Why are the lines of this poem so easily
carried in the memory? What is there in the use of the words which
gives such sweetness to the verses as one reads them aloud. Has the
poem for you a music of its own which haunts you like a remembered
vision? Find out, if you can, something of the secret of this music.
(3) What is the story in the poem, and in what manner is it told? How
is the story continued in "Sixty Years After"? Was Locksley Hall an
inland or a seashore residence, and why? Describe the surroundings
from suggestions in the poems. Sum up what the hero tells of himself
and his love-story. What suggestions are there regarding the
characters of Amy and Edith? Is the emotional side of the hero as
finely balanced as the intellectual side? What light is thrown on the
character of his love by his outbursts against Amy? Would it be fair
to judge of Amy and her husband by what he says of them in his first
anguish? Does he ever admit that he judged them harshly? If so, do you
agree with him altogether? Was it well for Amy to marry as she did?
When obedience to parental wishes and love are in conflict, which
should be followed? Did the hero's evil prophecies come true? Whose
love do you think was the greatest, Amy's, or his, or the Squire's?
(4) How does Tennyson all through the poem make it a parable of human
life?
(C) The emotional influence of the poem. How has this poem influenced
you? For many persons, Tennyson, out of a simple love-story, has made
a prophecy of ideal love. Has he for you? For many persons Tennyson
made poetry out of this simple story when he paralleled the tale of
earthly passion with a vision of completer life, so vivid that the
pain and tragedy of this present life come to be for us but the
preparation for the better life to come, as the poet sings to us that
"Through the ages one increasing purpose runs And the thoughts of men
are widened with the process of the suns."
Has he to you in like manner through his poem given a truer conception
of the nature and use of poetry?
"Angel of light
Singing to welcome the pilgrims of the night."
INTRODUCTORY ESSAY:
"THE STUDY OF POETRY."
By _Francis Hovey Stoddard_
LIST OF ILLUSTRATIONS.
WILLIAM WATSON
_After a life-photograph by Elliott and Fry, London_.
THOMAS CAMPBELL
_From an engraving after the portrait by James Lonsdale._
WILLIAM COWPER
_From an engraving_.
A CAVALRY CHARGE
"My darling! ah, the glass is out!
The bullets ring, the riders shout--
No time for wine or sighing!
There! bring my love the shattered glass--
Charge! On the foe! No joys surpass
Such dying!"
_From photogravure by Goupil, after a painting
by �douard D�taille_.
NATHAN HALE
"'Neath the blue morn, the sunny morn,
He dies upon the tree,
And he mourns that he can lose
But one life for liberty."
* * * * *
I.
PATRIOTISM.
* * * * *
* * * * *
* * * * *
MY COUNTRY.
JAMES MONTGOMERY.
* * * * *
SAMUEL LOVER.
* * * * *
OLIVER GOLDSMITH.
* * * * *
GIFTS.
"O World-God, give me Wealth!" the Egyptian cried.
His prayer was granted. High as heaven behold
Palace and Pyramid; the brimming tide
Of lavish Nile washed all his land with gold.
Armies of slaves toiled ant-wise at his feet,
World-circling traffic roared through mart and street,
His priests were gods, his spice-balmed kings enshrined
Set death at naught in rock-ribbed charnels deep.
Seek Pharaoh's race to-day, and ye shall find
Rust and the moth, silence and dusty sleep.
EMMA LAZARUS.
* * * * *
ENGLAND.
WILLIAM COWPER.
* * * * *
RULE, BRITANNIA.
JAMES THOMSON.
* * * * *
* * * * *
HENRY FIELDING.
* * * * *
* * * * *
THE SNUG LITTLE ISLAND.
THOMAS DIBDIN.
* * * * *
* * * * *
HENRY CAREY.
* * * * *
* * * * *
["Some Seiks, and a private of the Buffs, having remained behind with
the grog carts, fell into the hands of the Chinese. On the next day
they were brought before the authorities and ordered to perform
_Kotou_. The Seiks obeyed, but Moyse, the English soldier, declared he
would not prostrate himself before any Chinaman alive, and was
immediately knocked upon the head, and his body thrown upon a
dunghill."--_China Correspondent of the London Times.]_
WILLIAM WATSON.
* * * * *
AVE IMPERATRIX.
OSCAR WILDE.
* * * * *
WASHINGTON ALLSTON.
* * * * *
* * * * *
RECESSIONAL.
RUDYARD KIPLING.
* * * * *
* * * * *
SCOTLAND.
* * * * *
THE BARD.
A PINDARIC ODE.
II.
III.
THOMAS GRAY.
* * * * *
ROBERT BURNS.
* * * * *
* * * * *
* * * * *
BORDER BALLAD.
* * * * *
ROBERT GILFILLAN.
* * * * *
THE IRISHMAN.
JAMES ORR.
* * * * *
TURLOUGH MACSWEENEY.
* * * * *
A SPINNING SONG.
* * * * *
THE WEARING OF THE GREEN.[A]
O Paddy dear, an' did you hear the news that's goin' round?
The shamrock is forbid by law to grow on Irish ground;
St. Patrick's Day no more we'll keep; his colors can't be seen:
For there's a cruel law agin' the wearin' of the green.
I met with Napper Tandy, and he tuk me by the hand,
And he said, "How's poor ould Ireland, and how does she stand?"
She's the most distressful country that ever yet was seen:
They are hangin' men and women there for wearin' of the green.
* * * * *
MY NATIVE LAND.
* * * * *
* * * * *
IRELAND.
[1847.]
They are dying! they are dying! where the golden corn is growing;
They are dying! they are dying! where the crowded herds are lowing:
They are gasping for existence where the streams of life are flowing,
And they perish of the plague where the breeze of health is blowing!
'Tis for this they are dying where the golden corn is growing,
'Tis for this they are dying where the crowded herds are lowing,
'Tis for this they are dying where the streams of life are flowing,
And they perish of the plague where the breeze of health is blowing!
* * * * *
IRELAND.
A SEASIDE PORTRAIT.
EXILE OF ERIN.
THOMAS CAMPBELL.
* * * * *
AFTER DEATH.
* * * * *
AT VENICE.
AT FLORENCE.
AT ROME.
REFLECTION.
* * * * *
CANADA.
* * * * *
* * * * *
PATRIOTIC SONG.
* * * * *
* * * * *
* * * * *
PROEM.
* * * * *
PARTING LOVERS.
SIENNA.
* * * * *
AMERICA
* * * * *
COLUMBIA.
TIMOTHY DWIGHT.
* * * * *
* * * * *
ENGLAND TO AMERICA.
SYDNEY DOBELL.
* * * * *
OUR STATE.
* * * * *
THE REPUBLIC.
* * * * *
AMERICA
[1832.]
* * * * *
"OLD IRONSIDES."
[On the proposed breaking up of the United States frigate
"Constitution."]
* * * * *
[APRIL, 1861.]
* * * * *
[1861.]
* * * * *
A CRY TO ARMS.
[1861.]
HENRY TIMROD.
* * * * *
[1861].
I.
II.
Our follies we confess:
O God, forgive and bless!
Let Mercy's light
Illumine this dark hour,
When war clouds o'er us lower,
And Thine eternal power
Defend the right!
III.
IV.
V.
CRAMMOND KENNEDY.
* * * * *
MY MARYLAND.
[1861.]
DIXIE.
[1861.]
ALBERT PIKE.
* * * * *
Hats off!
Along the street there comes
A blare of bugles, a ruffle of drums,
A dash of color beneath the sky:
Hats off!
The flag is passing by!
Hats off!
Along the street there comes
A blare of bugles, a ruffle of drums;
And loyal hearts are beating high:
Hats off!
The flag is passing by!
* * * * *
II.
FREEDOM.
* * * * *
LIBERTY.
JOHN HAY.
* * * * *
PATIENCE.
* * * * *
HALLOWED GROUND.
THOMAS CAMPBELL.
* * * * *
* * * * *
FROM "RIENZI."
Friends!
I come not here to talk. Ye know too well
The story of our thraldom. We are slaves!
The bright sun rises to his course, and lights
A race of slaves! he sets, and his last beam
Falls on a slave! Not such as, swept along
By the full tide of power, the conqueror leads
To crimson glory and undying fame,
But base, ignoble slaves!--slaves to a horde
Of petty tyrants, feudal despots; lords
Rich in some dozen paltry villages,
Strong in some hundred spearmen, only great
In that strange spell,--a name! Each hour, dark fraud,
Or open rapine, or protected murder,
Cries out against them. But this very day
An honest man, my neighbor (_pointing to_ PAOLO),
--there he stands,--
Was struck--struck like a dog--by one who wore
The badge of Ursini! because, forsooth,
He tossed not high his ready cap in air,
Nor lifted up his voice in servile shouts,
At sight of that great ruffian! Be we men,
And suffer such dishonor? men, and wash not
The stain away in blood? Such shames are common.
I have known deeper wrongs. I, that speak to ye,
I had a brother once, a gracious boy,
Full of all gentleness, of calmest hope,
Of sweet and quiet joy; there was the look
Of Heaven upon his face which limners give
To the beloved disciple. How I loved
That gracious boy! younger by fifteen years,
Brother at once and son! He left my side;
A summer bloom on his fair cheeks, a smile
Parting his innocent lips. In one short hour
The pretty, harmless boy was slain! I saw
The corse, the mangled corse, and then I cried
For vengeance! Rouse ye, Romans! Rouse ye, slaves!
Have ye brave sons?--Look in the next fierce brawl
To see them die! Have ye fair daughters?--Look
To see them live, torn from your arms, distained.
Dishonored; and, if ye dare call for justice,
Be answered by the lash! Yet this is Rome,
That sat on her seven hills, and from her throne
Of beauty ruled the world! Yet we are Romans!
Why, in that elder day, to be a Roman
Was greater than a king! And once again--
Hear me, ye walls, that echoed to the tread
Of either Brutus!--once again, I swear,
The eternal city shall be free; her sons shall walk with princes.
* * * * *
FALLEN GREECE.
LORD BYRON.
* * * * *
GREECE ENSLAVED.
LORD BYRON.
* * * * *
LORD BYRON.
* * * * *
RICHARD LOVELACE.
* * * * *
SLAVERY.
WILLIAM COWPER.
* * * * *
* * * * *
THOMAS MOORE.
* * * * *
THOMAS MOORE.
* * * * *
* * * * *
SWITZERLAND.
* * * * *
MAKE WAY FOR LIBERTY!
JAMES MONTGOMERY.
* * * * *
POLAND.
THOMAS CAMPBELL.
* * * * *
THE MARSEILLAISE.
* * * * *
A COURT LADY.
Her hair was tawny with gold, her eyes with purple were dark,
Her cheeks' pale opal burnt with a red and restless spark.
She stood in the early morning, and said to her maidens, "Bring
That silken robe made ready to wear at the court of the king.
Up she passed through the wards, and stood at a young man's bed:
Bloody the band on his brow, and livid the droop of his head.
Wounds in his body were sore, wounds in his life were sorer.
"Art thou a Romagnole?" Her eyes drove lightnings before her.
"Austrian and priest had joined to double and tighten the cord
Able to bind thee, O strong one,--free by the stroke of a sword.
"Now be grave for the rest of us, using the life overcast
To ripen our wine of the present (too new) in glooms of the past."
"Art thou from Tuscany, brother? and seest thou, dreaming in pain,
Thy mother stand in the piazza, searching the list of the slain?"
Kind as a mother herself, she touched his cheeks with her hands:
"Bless�d is she who has borne thee, although she should weep as she
stands."
"Each of the heroes round us has fought for his land and line,
But _thou_ hast fought for a stranger, in hate of a wrong not thine.
Ever she passed on her way, and came to a couch where pined
One with a face from Venetia, white with a hope out of mind.
Long she stood and gazed, and twice she tried at the name,
But two great crystal tears were all that faltered and came.
* * * * *
FELICIA HEMANS.
* * * * *
* * * * *
* * * * *
ISAAC M'LELLAN.
* * * * *
THE REFORMER.
* * * * *
When a deed is done for Freedom, through the broad earth's aching
breast
Runs a thrill of joy prophetic, trembling on from east to west,
And the slave, where'er he cowers, feels the soul within him climb
To the awful verge of manhood, as the energy sublime
Of a century bursts full-blossomed on the thorny stem of Time.
Through the walls of hut and palace shoots the instantaneous throe,
When the travail of the Ages wrings earth's systems to and fro;
At the birth of each new Era, with a recognizing start,
Nation wildly looks at nation, standing with mute lips apart.
And glad Truth's yet mightier man-child leaps beneath the Future's
heart.
Then to side with Truth is noble when we share her wretched crust,
Ere her cause bring fame and profit, and 'tis prosperous to be just;
Then it is the brave man chooses, while the coward stands aside,
Doubting in his abject spirit, till his Lord is crucified,
And the multitude make virtue of the faith they had denied.
New occasions teach new duties; Time makes ancient good uncouth;
They must upward still, and onward, who would keep abreast of Truth;
Lo, before us gleam her camp-fires! we ourselves must Pilgrims be,
Launch our Mayflower, and steer boldly through the desperate winter
sea,
Nor attempt the Future's portal with the Past's blood-rusted key.
_December_, 1845.
* * * * *
[1853.]
* * * * *
BROWN OF OSSAWATOMIE.
Perish with him the folly that seeks through evil good!
Long live the generous purpose unstained with human blood!
Not the raid of midnight terror, but the thought which underlies;
Not the borderer's pride of daring, but the Christian's sacrifice.
* * * * *
WORDS FOR THE "HALLELUJAH CHORUS."
* * * * *
Mine eyes have seen the glory of the coming of the Lord:
He is trampling out the vintage where the grapes of wrath are
stored;
He hath loosed the fateful lightning of his terrible swift sword:
His truth is marching on.
He has sounded forth the trumpet that shall never call retreat;
He is sifting out the hearts of men before his judgment-seat:
O, be swift, my soul, to answer him! be jubilant, my feet!
Our God is marching on.
In the beauty of the lilies Christ was born across the sea,
With a glory in his bosom that transfigures you and me;
As he died to make men holy, let us die to make men free,
While God is marching on.
* * * * *
* * * * *
HEROES.
* * * * *
LAUS DEO!
It is done!
Clang of bell and roar of gun
Send the tidings up and down.
How the belfries rock and reel!
How the great guns, peal on peal,
Fling the joy from town to town!
Ring, O bells!
Every stroke exulting tells
Of the burial hour of crime.
Loud and long, that all may hear,
Ring for every listening ear
Of Eternity and Time!
Let us kneel:
God's own voice is in that peal,
And this spot is holy ground.
Lord, forgive us! What are we,
That our eyes this glory see,
That our ears have heard the sound!
Did we dare,
In our agony of prayer,
Ask for more than He has done?
When was ever his right hand
Over any time or land
Stretched as now beneath the sun?
Blotted out!
All within and all about
Shall a fresher life begin;
Freer breathe the universe
As it rolls its heavy curse
On the dead and buried sin.
It is done!
In the circuit of the sun
Shall the sound thereof go forth.
It shall bid the sad rejoice,
It shall give the dumb a voice,
It shall belt with joy the earth!
* * * * *
A HOLY NATION.
RICHARD REALF.
* * * * *
III.
WAR.
* * * * *
BATTLE OF THE ANGELS.
THE ARRAY.
* * * * *
THE CONFLICT.
* * * * *
* * * * *
THE VICTOR.
MILTON.
* * * * *
And there lay the steed with his nostril all wide,
But through it there rolled not the breath of his pride:
And the foam of his gasping lay white on the turf,
And cold as the spray of the rock-beating surf.
LORD BYRON.
* * * * *
FROM "TAMBURLAINE."
CHRISTOPHER MARLOWE.
* * * * *
GEORGE CROLY.
* * * * *
CARACTACUS.
BERNARD BARTON.
* * * * *
SEMPRONIUS' SPEECH FOR WAR.
JOSEPH ADDISON.
* * * * *
GEORGE CROLY.
* * * * *
[1821.]
THOMAS CAMPBELL.
* * * * *
MARCO BOZZARIS.
FITZ-GREENE HALLECK.
* * * * *
HARMOSAN.
Now the third and fatal conflict for the Persian throne was done,
And the Moslem's fiery valor had the crowning victory won.
In his hand he took the goblet: but awhile the draught forbore,
Seeming doubtfully the purpose of the foeman to explore.
Well might then have paused the bravest--for, around him, angry foes
With a hedge of naked weapons did the lonely man enclose.
"But what fear'st thou?" cried the caliph; "is it, friend, a secret blow?
Fear it not! our gallant Moslems no such treacherous dealing know.
"Thou may'st quench thy thirst securely, for thou shalt not die before
Thou hast drunk that cup of water--this reprieve is thine--no more!"
Quick the satrap dashed the goblet down to earth with ready hand,
And the liquid sank forever, lost amid the burning sand.
"Thou hast said that mine my life is, till the water of that cup
I have drained; then bid thy servants that spilled water gather up!"
* * * * *
BATTLE SCENE.
* * * * *
"My King, my King,! you're wounded sore,--the blood runs from your feet;
But only lay a hand before, and I'll lift you to your seat;
Mount, Juan, for they gather fast!--I hear their coming cry,--
Mount, mount, and ride for jeopardy,--I'll save you though I die!
"Nay, never speak; my sires, Lord King, received their land from yours,
And joyfully their blood shall spring, so be it thine secures;
If I should fly, and thou, my King, be found among the dead,
How could I stand 'mong gentlemen, such scorn on my gray head?
* * * * *
HAKON'S DEFIANCE.
OLAF.--He is asleep.
HAKON.--Asleep?
HAKON.--Then wake him up. [_Aside._] Asleep, Asleep, and after such
A deed--Ha! Thorer, I admire thee;
Thou hast rare courage. [_Aloud._] Thrall, go wake him up.
OLAF [_takes his hat off, and throws off his cloak_].--
On my shoulders, Earl.
Forgive me that I bring it thee myself
In such a way: 'twas easiest for me.
OLAF.--Remember, Hakon,--
Remember, Hakon, that e'en thou thyself
Hast been a Christian; that thou wast baptized
By Bishop Popo, and that thou since then
Didst break thy oath. How many hast thou broken?
A DANISH BARROW
* * * * *
HERMANN AND THUSNELDA.
Rest thee, while from thy brow I wipe the big drops,
And the blood from thy cheek!--that cheek, how glowing!
Hermann! Hermann! Thusnelda
Never so loved thee before!
* * * * *
* * * * *
SWORD SONG.
* * * * *
* * * * *
"Tell my brothers and companions, when they meet and crowd around,
To hear my mournful story, in that pleasant vineyard ground,
That we fought the battle bravely, and when the day was done,
Full many a corse lay ghastly pale beneath the setting sun;
And, mid the dead and dying, were some grown old in wars,--
The death-wound on their gallant breasts, the last of many scars;
And some were young, and suddenly beheld life's morn decline,--
And one had come from Bingen,--fair Bingen on the Rhine.
"Tell my mother that her other son shall comfort her old age;
For I was still a truant bird, that thought his home a cage.
For my father was a soldier, and even as a child
My heart leaped forth to hear him tell of struggles fierce and wild;
And when he died, and left us to divide his scanty hoard,
I let them take whate'er they would,--but kept my father's sword;
And with boyish love I hung it where the bright light used to shine,
On the cottage wall at Bingen,--calm Bingen on the Rhine.
"Tell my sister not to weep for me, and sob with drooping head,
When the troops come marching home again with glad and gallant
tread,
But to look upon them proudly, with a calm and steadfast eye,
For her brother was a soldier too, and not afraid to die;
And if a comrade seek her love, I ask her in my name
To listen to him kindly, without regret or shame,
And to hang the old sword in its place (my father's sword and mine)
For the honor of old Bingen,--dear Bingen on the Rhine.
"I saw the blue Rhine sweep along,--I heard, or seemed to hear,
The German songs we used to sing, in chorus sweet and clear;
And down the pleasant river, and up the slanting hill,
The echoing chorus sounding, through the evening calm and still;
And her glad blue eyes were on me, as we passed, with friendly talk,
Down many a path beloved of yore, and well-remembered walk!
And her little hand lay lightly, confidingly in mine,--
But we'll meet no more at Bingen,--loved Bingen on the Rhine."
His trembling voice grew faint and hoarse,--his grasp was childish
weak,--
His eyes put on a dying look,--he sighed and ceased to speak;
His comrade bent to lift him, but the spark of life had fled,--
The soldier of the Legion in a foreign land is dead!
And the soft moon rose up slowly, and calmly she looked down
On the red sand of the battle-field, with bloody corses strewn;
Yes, calmly on that dreadful scene her pale light seemed to shine,
As it shone on distant Bingen,--fair Bingen on the Rhine.
* * * * *
HOHENLINDEN.
[1800.]
THOMAS CAMPBELL.
* * * * *
IVRY.
[1590.]
Now glory to the Lord of hosts, from whom all glories are!
And glory to our sovereign liege, King Henry of Navarre!
Now let there be the merry sound of music and the dance,
Through thy corn-fields green, and sunny vines, O pleasant land of
France!
And thou, Rochelle, our own Rochelle, proud city of the waters,
Again let raptures light the eyes of all thy mourning daughters;
As thou wert constant in our ills, be joyous in our joys;
For cold and stiff and still are they who wrought thy walls annoy.
Hurrah! hurrah! a single field hath turned the chance of war!
Hurrah! hurrah! for Ivry, and Henry of Navarre.
Oh! how our hearts were beating, when, at the dawn of day,
We saw the army of the League drawn out in long array;
With all its priest-led citizens, and all its rebel peers,
And Appenzel's stout infantry, and Egmont's Flemish spears.
There rode the brood of false Lorraine, the curses of our land;
And dark Mayenne was in the midst, a truncheon in his hand;
An as we looked on them, we thought of Seine's empurpled flood,
And good Coligni's hoary hair all dabbled with his blood;
And we cried unto the living God, who rules the fate of war,
To fight for His own holy name, and Henry of Navarre.
The king has come to marshal us, in all his armor drest;
And he has bound a snow-white plume upon his gallant crest.
He looked upon his people, and a tear was in his eye;
He looked upon the traitors, and his glance was stern and high.
Right graciously he smiled on us, as rolled from wing to wing,
Down all our line, a deafening shout: God save our lord the king!
"And if my standard-bearer fall, as fall full well he may--
For never saw I promise yet of such a bloody fray--
Press where you see my white plume shine amidst the ranks of war,
And be your oriflamme to-day the helmet of Navarre."
Right well fought all the Frenchmen who fought for France to-day;
And many a lordly banner God gave them for a prey.
But we of the religion have borne us best in fight;
And the good lord of Rosny hath ta'en the cornet white--
Our own true Maximilian the cornet white hath ta'en,
The cornet white with crosses black, the flag of false Lorraine.
Up with it high; unfurl it wide--that all the host may know
How God hath humbled the proud house which wrought His Church such
woe.
Then on the ground, while trumpets sound their loudest point of war,
Fling the red shreds, a footcloth meet for Henry of Navarre.
LORD MACAULAY.
* * * * *
ROBERT BROWNING.
* * * * *
* * * * *
* * * * *
ALFRED THE HARPER.
JOHN STERLING.
* * * * *
CHEVY-CHACE.
[A modernized form of the old ballad of the "Hunting o' the Cheviot."
Some circumstances of the battle of Olter-bourne (A.D. 1388) are
woven into the ballad, and the affairs of the two events are
confounded. The ballad preserved in the "Percy Reliques" is probably
as old as 1574. The one following is not later than the time of
Charles II]
ANONYMOUS.
* * * * *
[Footnote A: Suffice.]
ANONYMOUS BALLAD
* * * * *
ANONYMOUS BALLAD.
* * * * *
* * * * *
[1415.]
MICHAEL DRAYTON.
* * * * *
[1415.]
SHAKESPEARE.
* * * * *
* * * * *
GIVE A ROUSE.
_(Chorus)_
_(Chorus)_
ROBERT BROWNING.
* * * * *
NASEBY.
[June, 1645.]
BY OBADIAH BIND-THEIR-KINGS-IN-CHAINS-AND-THEIR-NOBLES-WITH-
LINKS-OF-IRON; SERGEANT IN IRETON'S REGIMENT.
Like a servant of the Lord, with his Bible and his sword,
The General rode along us to form us to the fight;
When a murmuring sound broke out, and swelled into a shout
Among the godless horsemen upon the tyrant's right.
The furious German comes, with his clarions and his drums,
His bravoes of Alsatia, and pages of Whitehall;
They are bursting on our flanks. Grasp your pikes! Close your ranks!
For Rupert never comes but to conquer, or to fall.
They are here! They rush on! We are broken! We are gone!
Our left is borne before them like stubble on the blast.
O Lord, put forth thy might! O Lord, defend the right!
Stand back to back, in God's name! and fight it to the last!
Ho! comrades, scour the plain; and, ere ye strip the slain,
First give another stab to make your search secure;
Then shake from sleeves and pockets their broadpieces and lockets,
The tokens of the wanton, the plunder of the poor.
Fools! your doublets shone with gold, and your hearts were gay and bold,
When you kissed your lily hands to your lemans to-day;
And to-morrow shall the fox, from her chambers in the rocks,
Lead forth her tawny cubs to howl above the prey.
Where be your tongues that late mocked at heaven and hell and fate?
And the fingers that once were so busy with your blades,
Your perfumed satin clothes, your catches and your oaths!
Your stage-plays and your sonnets, your diamonds and your spades?
Down! down! forever down, with the mitre and the crown!
With the Belial of the court, and the Mammon of the Pope!
There is woe in Oxford halls; there is wail in Durham's stalls;
The Jesuit smites his bosom; the bishop rends his cope.
And she of the seven hills shall mourn her children's ills,
And tremble when she thinks on the edge of England's sword;
And the kings of earth in fear shall shudder when they hear
What the hand of God hath wrought for the Houses and the Word!
* * * * *
* * * * *
FONTENOY.
[May 11, 1745.]
More idly than the summer flies, French tirailleurs rush round;
As stubble to the lava-tide, French squadrons strew the ground;
Bombshells and grape and round-shot tore, still on they marched and
fired;
Fast from each volley grenadier and voltigeur retired.
"Push on my household cavalry," King Louis madly cried.
To death they rush, but rude their shock, not unavenged they died.
On through the camp the column trod--King Louis turned his rein.
"Not yet, my liege," Saxe interposed; "the Irish troops remain."
And Fontenoy, famed Fontenoy, had been a Waterloo,
Had not these exiles ready been, fresh, vehement, and true.
"Lord Clare," he said, "you have your wish; there are your Saxon foes!"
The Marshal almost smiles to see how furiously he goes.
How fierce the look these exiles wear, who're wont to be so gay!
The treasured wrongs of fifty years are in their hearts to-day:
The treaty broken ere the ink wherewith 'twas writ could dry;
Their plundered homes, their ruined shrines, their women's parting cry;
Their priesthood hunted down like wolves, their country overthrown--
Each looks as if revenge for all were staked on him alone.
On Fontenoy, on Fontenoy, nor ever yet elsewhere,
Rushed on to fight a nobler band than these proud exiles were.
* * * * *
[April 2, 1801.]
THOMAS CAMPBELL.
* * * * *
CHARLES WOLFE.
* * * * *
"PICCIOLA."
* * * * *
WATERLOO.
LORD BYRON.
* * * * *
* * * * *
* * * * *
THE RELIEF OF LUCKNOW.
* * * * *
DANNY DEEVER.
RUDYARD KIPLING.
* * * * *
[About 1307.]
BERNARD BARTON.
* * * * *
BANNOCKBURN.
ROBERT BURNS.
* * * * *
SONG OF CLAN-ALPINE.
BEAL' AN DHUINE.
[1411.]
* * * * *
[1481.]
* * * * *
FLODDEN FIELD.
[September, 1513.]
* * * * *
* * * * *
[About 1688.]
To the lords of convention 'twas Claverhouse spoke,
"Ere the king's crown shall fall, there are crowns to be broke;
So let each cavalier who loves honor and me
Come follow the bonnets of bonnie Dundee!"
* * * * *
LIBERTY TREE.
[1775.]
THOMAS PAINE.
* * * * *
HYMN:
* * * * *
WARREN'S ADDRESS.[A]
JOHN PIERPONT.
* * * * *
GRENVILLE MELLEN.
* * * * *
NATHAN HALE.[A]
* * * * *
SONG OF MARION'S MEN.[A]
* * * * *
CARMEN BELLICOSUM.
* * * * *
THE DANCE.
ANONYMOUS.
* * * * *
MONTEREY.
* * * * *
COMING.
[April, 1861.]
* * * * *
IN STATE.
I.
III.
FORCEYTHE WILLSON.
* * * * *
Has our love all died out? Have its altars grown cold?
Has the curse come at last which the fathers foretold?
Then Nature must teach us the strength of the chain
That her petulant children would sever in vain.
They may fight till the buzzards are gorged with their spoil,--
Till the harvest grows black as it rots in the soil,
Till the wolves and the catamounts troop from their caves,
And the shark tracks the pirate, the lord of the waves:
* * * * *
JONATHAN TO JOHN.
* * * * *
* * * * *
THE COUNTERSIGN.
ANONYMOUS.
* * * * *
CIVIL WAR.
And the colonel that leaped from his horse and knelt
To close the eyes so dim,
A high remorse for God's mercy felt,
Knowing the shot was meant for him.
* * * * *
[September, 1861;]
If you look across the hill-tops that meet the northern sky,
Long moving lines of rising dust your vision may descry;
And now the wind, an instant, tears the cloudy veil aside,
And floats aloft our spangled flag in glory and in pride,
And bayonets in the sunlight gleam, and bands brave music pour:
We are coming, Father Abraham, three hundred thousand more!
If you look all up our valleys where the growing harvests shine,
You may see our sturdy farmer boys fast forming into line;
And children from their mother's knees are pulling at the weeds,
And learning how to reap and sow against their country's needs;
And a farewell group stands weeping at every cottage door:
We are coming, Father Abraham, three hundred thousand more!
You have called us, and we're coming, by Richmond's bloody tide
To lay us down, for Freedom's sake, our brothers' bones beside,
Or from foul treason's savage grasp to wrench the murderous blade,
And in the face of foreign foes its fragments to parade.
Six hundred thousand loyal men and true have gone before:
We are coming, Father Abraham, three hundred thousand more!
ANONYMOUS.
* * * * *
* * * * *
STONEWALL JACKSON'S WAY
* * * * *
BARBARA FRIETCHIE.
* * * * *
CAVALRY SONG.
FROM "ALICE OF MONMOUTH."
* * * * *
CAVALRY SONG.
ROSSITER W. RAYMOND.
* * * * *
When the battle went ill, and the bravest were solemn,
Near the dark Seven Pines, where we still held our ground,
He rode down the length of the withering column,
And his heart at our war-cry leapt up with a bound;
He snuffed, like his charger, the wind of the powder,--
His sword waved us on and we answered the sign:
Loud our cheer as we rushed, but his laugh rang the louder,
"There's the devil's own fun, boys, along the whole line!"
How he strode his brown steed! How we saw his blade brighten
In the one hand still left,--and the reins in his teeth!
He laughed like a boy when the holidays heighten.
But a soldier's glance shot from his visor beneath.
Up came the reserves to the mellay infernal,
Asking where to go in,--through the clearing or pine?
"O, anywhere! Forward! 'Tis all the same, Colonel:
You'll find lovely fighting along the whole line!"
* * * * *
JOSEPH O'CONNOR.
* * * * *
* * * * *
BAY BILLY.
FRANK H. GASSAWAY.
* * * * *
WOUNDED TO DEATH.
JOHN W. WATSON.
* * * * *
SOMEBODY'S DARLING.
MARIA LA CONTE.
* * * * *
_Chorus._
ANONYMOUS.
* * * * *
OUR ORDERS.
* * * * *
ANONYMOUS.
* * * * *
SHERIDAN'S RIDE.
* * * * *
* * * * *
REQUIEM
GEORGE LUNT.
* * * * *
MUSIC IN CAMP.
* * * * *
[The last words of Stonewall Jackson[A] were: "Let us cross the river
and rest under the shade of the trees."]
[Footnote A: Major-General Thomas J. Jackson, C.S.A., killed on a
reconnoissance, May 10, 1863.]
* * * * *
* * * * *
I.--1863.
II.--1864.
* * * * *
[July 3, 1863.]
* * * * *
* * * * *
* * * * *
* * * * *
* * * * *
ANONYMOUS.
* * * * *
* * * * *
ALL.
* * * * *
* * * * *
A cheer and salute for the Admiral, and here's to the Captain bold,
And never forget the Commodore's debt when the deeds of might are
told!
They stand to the deck through the battle's wreck when the great
shells roar and screech--
And never they fear when the foe is near to practise what they
preach:
But off with your hat and three times three for Columbia's true-blue
sons,
The men below who batter the foe--the men behind the guns!
Oh, light and merry of heart are they when they swing into port once
more,
When, with more than enough of the "green-backed stuff," they start
for their leave-o'-shore;
And you'd think, perhaps, that the blue-bloused chaps who loll along
the street
Are a tender bit, with salt on it, for some fierce "mustache" to
eat--
Some warrior bold, with straps of gold, who dazzles and fairly stuns
The modest worth of the sailor boys--the lads who serve the guns.
But say not a word till the shot is heard that tells the fight is
on.
Till the long, deep roar grows more and more from the ships of
"Yank" and "Don,"
Till over the deep the tempests sweep of fire and bursting shell,
And the very air is a mad Despair in the throes of a living hell;
Then down, deep down, in the mighty ship, unseen by the midday suns,
You'll find the chaps who are giving the raps--the men behind the
guns!
Oh, well they know how the cyclones blow that they loose from their
cloud of death,
And they know is heard the thunder-word their fierce ten-incher
saith!
The steel decks rock with the lightning shock, and shake with the
great recoil,
And the sea grows red with the blood of the dead and reaches for his
spoil--
But not till the foe has gone below or turns his prow and runs,
Shall the voice of peace bring sweet release to the men behind the
guns!
* * * * *
[May I, 1898.]
* * * * *
Be warned by Manila,
Take warning by Manila,
Ye may trade by land, ye may fight by land,
Ye may hold the land in fee;
But not go down to the sea in ships
To battle with the free;
For England and America
Will keep and hold the sea!
RICHARD HOVEY.
* * * * *
IV.
PEACE.
* * * * *
ODE TO PEACE.
* * * * *
SHAKESPEARE.
* * * * *
DISARMAMENT.
* * * * *
TUBAL CAIN.
CHARLES MACKAY.
* * * * *
* * * * *
JOHN PIERPONT.
* * * * *
WILLIAM MORRIS.
* * * * *
LEONARD HEATH.
* * * * *
[In Bavaria, August 13, 1704, between the English and Austrians on one
side, under the Duke of Marlborough and Prince Eugene, and the French
and Bavarians on the other side, led by Marshal Tallart and the
Elector of Bavaria. The latter party was defeated, and the schemes of
Louis XIV. of France were materially checked.]
ROBERT SOUTHEY.
* * * * *
AT GIBRALTAR.
I.
II.
* * * * *
THEODORE O'HARA.
* * * * *
Were half the power that fills the world with terror,
Were half the wealth bestowed on camps and courts,
Given to redeem the human mind from error,
There were no need of arsenals nor forts;
AN OLD BATTLE-FIELD.
* * * * *
THE BATTLE-FIELD.
* * * * *
WILLIAM COLLINS.
* * * * *
OUR FALLEN HEROES.
* * * * *
* * * * *
* * * * *
SENTINEL SONGS.
* * * * *
ODE.
HENRY TIMROD.
* * * * *
* * * * *
CENTENNIAL HYMN.
[1876.]
* * * * *
[1904.]
End of Project Gutenberg's The World's Best Poetry, Volume 8, by Bliss Carman
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