Songs of Ourselves: Cambridge Assessment International Education Anthology of Poetry in English

Songs of Ourselves
Volume 1
Cambridge Assessment International Education
Anthology of Poetry in English
Copyright Material - Review Only - Not for Redistribution

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Volume 1
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Cambridge Assessment International Education
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Anthology of Poetry in English
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University Printing House, Cambridge CB2 8BS, United Kingdom
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It furthers the University’s mission by disseminating knowledge in the pursuit of
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education, learning and research at the highest international levels of excellence.

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www.cambridge.org
Information on this title: www.cambridge.org/9781108462266
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© Cambridge Assessment International Education 2018
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This publication is in copyright. Subject to statutory exception

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and to the provisions of relevant collective licensing agreements,

no reproduction of any part may take place without the written
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permission of Cambridge University Press.

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First published 2005

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This edition 2018
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Printed in Italy by Rotolito S.p.A.
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A catalogue record for this publication is available from the British Library
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ISBN 978-1-108-46226-6 Paperback

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Cambridge University Press has no responsibility for the persistence or accuracy

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of URLs for external or third-party internet websites referred to in this publication,

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accurate or appropriate. Information regarding prices, travel timetables, and other

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factual information given in this work is correct at the time of first printing but
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Cambridge University Press does not guarantee the accuracy of such information
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thereafter.
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Contents
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Introduction xv
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PART 1
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Poems from the Sixteenth and Early Seventeenth Centuries
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1 Song: Why So Pale and Wan, Fond Lover? 3
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sir john suckling
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What Thing Is Love?

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george peele
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3 Sonnet 11
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lady mary wroth

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4 Song: Sigh No More, Ladies 6

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william shakespeare
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5 Song: Weep You No More, Sad Fountains 7
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anonymous
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6 When I Was Fair And Young 8
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queen elizabeth i
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7 They Flee From Me, That Sometime Did Me Seek 9

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sir thomas wyatt

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8 Since there’s no help, come let us kiss and part (Sonnet 61 from Idea) 10
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michael drayton
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Song: Go, Lovely Rose!

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edmund waller
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No Crooked Leg, No Bleared Eye

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queen elizabeth i
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11 With how sad steps, O Moon, thou climb’st the skies

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(Sonnet 31 from Astrophil and Stella) 13

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sir philip sidney

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iv Contents
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Written The Night Before His Execution
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chidiock tichbourne
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13 The Author’s Epitaph, Made By Himself 15
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sir walter raleigh
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14 A Litany In Time Of Plague 16
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thomas nashe
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15 Come darkest night, becoming sorrow best
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(Sonnet 19 from Pamphilia to Amphilanthus)
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lady mary wroth
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16 From Underwoods 19
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ben jonson
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17 Song: Fear No More The Heat O’ Th’ Sun 20
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william shakespeare Pr
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18 A Song 22
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thomas carew
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Walsingham
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19 23
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sir walter raleigh
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The Flowers That on The Banks and Walks Did Grow

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aemilia lanyer
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21 Come Live with me, and be my Love 27

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christopher marlowe
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22 Sonnet 54 28
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edmund spenser
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23 What is Our Life? 29

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sir walter raleigh

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24 Sonnet 75 30
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edmund spenser
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Song: Spring, The Sweet Spring

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thomas nashe
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26 Sonnet 18 32
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william shakespeare
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Contents v
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Sonnet 73
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william shakespeare
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28 Song: Blow, Blow, Thou Winter Wind 34
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william shakespeare
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29 The Procession of The Seasons 35
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edmund spenser
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30 The Man of Life Upright
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thomas campion
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31 A Mind Content 38
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robert greene
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32 I Grieve, and Dare Not Show my Discontent 39
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queen elizabeth i
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33 Song: To Celia
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ben jonson
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Golden Slumbers
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34 41
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thomas dekker
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35 Song: Full Fathom Five 42

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william shakespeare
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36 A Farewell To The Reader 43
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isabella whitney
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PART 2
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Poems from the Seventeenth and Eighteenth Centuries

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37 The Fly 47
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william blake
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38 Shadows In The Water 48

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thomas traherne
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39 Ants (From Dryades) 51

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The Ant or Emmet

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isaac watts
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vi Contents
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The Grasshopper
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42 To The Virgins, To Make Much of Time 55
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robert herrick
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43 The Call 56
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john hall
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44 Love ge 58
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henry baker
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45 Song: Love Armed 60
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46 Song: I Feed A Flame Within 61
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john dryden
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47 The Mower To The Glow-Worms

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andrew marvell
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Her Window
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48 63
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richard leigh
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49 To One That Asked Me Why I Loved J.G. 65

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‘ephelia’
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50 As Loving Hind That, Hartless, Wants Her Deer 67
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anne bradstreet
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A Married State
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katherine philips
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52 Ode on Solitude 70
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alexander pope
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From A Dialogue Between a Squeamish Cotting Mechanic and His

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Sluttish Wife, In a Kitchen 71

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On My Dreaming of my Wife
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jonathan richardson
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55 William and Margaret 75

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Contents vii
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The Widow
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robert southey
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57 The Rights of Woman 80
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anna laetitia barbauld
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58 Song: To Lucasta, Going to The Wars 82
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richard lovelace
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59 Ode: I Hate That Drum’s Discordant Sound
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john scott
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60 From Blenheim 84
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john philips
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61 The Hunting of The Hare 86
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margaret cavendish, duchess of newcastle
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62 From A Satyr Against Mankind

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john wilmot, earl of rochester

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The Chimney-Sweeper’s Complaint

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mary alcock
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64 The Chimney-Sweeper 94
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william blake
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65 Song: The Unconcerned 95
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thomas flatman
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Careless Content
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john byrom
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67 Sonnet 16: On His Blindness 99

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john milton
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The Collar
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george herbert
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69 Quickness 102
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henry vaughan
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70 Death the Leveller 103

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Sonnet: Death, Be Not Proud
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john donne
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72 Elegy Written in a Country Churchyard 105
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thomas gray
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73 Kubla Khan 110
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samuel taylor coleridge
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74 From An Essay on Man
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alexander pope
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PART 3
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Poems from the Nineteenth and Twentieth Centuries (I)
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75 Caged Bird 115
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maya angelou
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76 Rising Five 117

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norman nicholson
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Little Boy Crying
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mervyn morris
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78 Carpet-weavers, Morocco
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carol rumens
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79 Song to the Men of England 121

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percy bysshe shelley

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80 From Spectator Ab Extra 123

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arthur hugh clough

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81 Monologue 124
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hone tuwhare
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82 The Justice of the Peace 126

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hilaire belloc
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83 Before the Sun 127

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Muliebrity
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sujata bhatt
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Contents ix
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She Dwelt Among the Untrodden Ways
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william wordsworth
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86 Farmhand 131
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james k. baxter
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87 Plenty 132
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isobel dixon
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88 Storyteller ge 134
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liz lochhead
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89 Those Winter Sundays 136
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robert hayden
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90 The Old Familiar Faces 137
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charles lamb
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91 Mid-Term Break
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seamus heaney
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The Listeners
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walter de la mare
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93 Not Waving But Drowning 141

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stevie smith
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94 The Three Fates 142
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Elegy for Drowned Children

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bruce dawe
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96 The Voice 144

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thomas hardy
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allen curnow
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98 Dover Beach 146

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99 Amends 148
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Full Moon and Little Frieda
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101 Lament 150
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gillian clarke
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102 On The Grasshopper and The Cricket 151
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john keats
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103 The Flower-Fed Buffaloes
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104 Report To Wordsworth 153
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105 First Love 154
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john clare
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106 Marrysong
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dennis scott
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So, We’ll Go No More A-Roving

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george gordon, lord byron
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108 Sonnet 43 157

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elizabeth barrett browning
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109 Sonnet 29 158
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edna st vincent millay

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PART 4
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Poems from the Nineteenth and Twentieth Centuries (II)

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110 A Different History 161

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sujata bhatt
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111 Pied Beauty 162

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gerard manley hopkins

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112 Continuum 163

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Horses
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edwin muir
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Contents xi
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Hunting Snake
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judith wright
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115 Pike 167
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ted hughes
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116 A Birthday 169
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christina rossetti
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117 The Woodspurge ge 170
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dante gabriel rossetti
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118 The Cockroach 171
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kevin halligan
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119 The City Planners 172
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margaret atwood
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120 The Planners

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boey kim cheng

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Summer Farm
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norman maccaig
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122 Where I Come From 176

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elizabeth brewster
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123 Sonnet: Composed Upon Westminster Bridge 177
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william wordsworth
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The Bay
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james k. baxter
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125 Where Lies the Land? 179

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arthur hugh clough

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Morse
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les murray
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127 The Man with Night Sweats 181

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thom gunn
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128 Night Sweat 182

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robert lowell
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xii Contents
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Rain
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edward thomas
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130 Any Soul to Any Body 184
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cosmo monkhouse
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131 The Spirit is too Blunt an Instrument 186
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anne stevenson
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132 From Long Distance ge 188
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tony harrison
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133 From Modern Love 189
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george meredith
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134 Funeral Blues 190
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135 La Figlia Che Piange

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t.s. eliot
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From Song of Myself

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walt whitman
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137 He Never Expected Much 194

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thomas hardy
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138 The Telephone Call 195
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fleur adcock
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A Consumer’s Report
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peter porter
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140 Request To A Year 199

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judith wright
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On Finding a Small Fly Crushed in a Book

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charles tennyson turner

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142 Ozymandias 201

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percy bysshe shelley

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143 Away, Melancholy 202

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Contents xiii
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PART 5
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Poems from the Nineteenth and Twentieth Centuries (III)
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144 Childhood 207
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frances cornford
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Because I Could Not Stop For Death
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emily dickinson
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One Art
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147 Song: Tears, Idle Tears 210

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alfred, lord tennyson
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148 My Parents 211
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stephen spender
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149 For Heidi With Blue Hair 212

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fleur adcock
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150 Praise Song For My Mother 214

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grace nichols
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Follower
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seamus heaney
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Elegy For My Father’s Father
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james k. baxter
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153 The Trees Are Down 218

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charlotte mew
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154 The Trees 220

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philip larkin
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155 Country School 221

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allen curnow
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156 Cambodia 222

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james fenton
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157 Attack 223

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Reservist
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xiv Contents
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You Cannot Do This
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gwendolyn macewen
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160 Anthem For Doomed Youth 227
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wilfred owen
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161 My Dreams Are Of A Field Afar 228
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a.e. housman
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162 Friend ge 229
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163 A Man I Am 231
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stevie smith
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164 Here 232
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165 A Dream
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william allingham
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Time’s Fool
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ruth pitter
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167 Cold In The Earth 236

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emily brontË
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168 À Quoi Bon Dire 238
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charlotte mew
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From The Triumph of Time

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169 239
a.c. swinburne
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170 Meeting At Night 241

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robert browning
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Because I Liked You Better

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a.e. housman
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172 From The Ballad of Reading Gaol 243

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oscar wilde
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Index of First Lines 245

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Acknowledgements 250
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Introduction
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Songs of Ourselves Volume 1 contains work by more than a hundred poets from all parts of
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the English-speaking world. It goes beyond being a book for students following a course
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for an examination: it is simultaneously a wide-ranging collection of verse for the school
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library, a resource for teachers and students of literature and language, and a handy single
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volume compendium for the general reader. Drawn from four centuries, it covers a great
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variety of poetic forms, styles and subjects, as well as reflecting a great variety of cultures.
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All the choices provide something to enjoy for readers of all ages, including those for whom
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English is not their first language.
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The anthology is arranged in five broad sections, each illustrating the varied and exciting
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ways that poets choose forms, structures and words to shape meaning. Within each section
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the poems have been loosely grouped by theme so that many different connections (not just
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thematic) may be made between them, increasing and enhancing the reader’s enjoyment.
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The reader will find all human experience here: love in its many forms, relationships and
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human personalities; sickness, death and war; nature, animals and the environment; youth
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and age, the rich and the poor. Poems offer an insight into the writer’s innermost thoughts,
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feelings and insights: memory and hope, joy, wonder, grief and reflection are all to be found
within these pages.
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Poetry anthologies tend to belong to one of two main types: anthologies that are standard
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and traditional, or anthologies that concentrate mainly on to the new and contemporary.
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Songs of Ourselves Volume 1 combines these two approaches but greatly extends the range
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of the pre-twentieth-century poems usually included in such collections. This reflects
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something of the important work that has been done by scholars in recent years in retrieving
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many forgotten poets, challenging the traditional ‘canon’ of poetry. Many significant new
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voices have been emerging – for example, many women poets who had previously been
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written out of poetic history. The twentieth – and early twenty-first-century writing here
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spans the globe, drawing in poets who write in English from places as geographically far
apart as New Zealand, the Caribbean, Canada, India, Singapore and South Africa, for
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example, but all part of a wider community of poets who write in English.
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As you lift the lid on the poems in this anthology, we hope that you will enjoy the diversity
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of voices and continue to explore the world of poetry in English outside these pages.
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xvi Introduction
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A note on glosses to the poems
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Poems whose content is too obscure, or with content that is too specialised have been
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deliberately avoided.
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Short glosses have been provided where the meaning of words, phrases or names (such
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ie
as mythological characters) might not be known.
ve
y
ev
It is assumed that readers will have access to and use a good dictionary, so only the most
op
ni
obviously obscure words have been glossed. The glosses provided could certainly be added
R
C
to and reworded because that is the nature of poetry: one definition of poetry is that it is
ge
untranslatable writing.
w
Glosses should not be taken to indicate that glossed words have particular significance
ie
id
and the glosses do not attempt to ‘explain the poem’. They have been deliberately kept
ev
br
to the minimum so that they do not distract from the experience of reading the poem. It
am
-R
is important that readers do not feel put off by not knowing every word of a poem on a
first reading; students should be encouraged by the thought that the most sophisticated
-C
s
reader will often hesitate and wonder about a meaning, and the poet might want us to do
es
just that.
y
Pr
op
It is always a good idea to return to a poem more than once: further readings invariably
reveal new depths.
ity
C
Separate support material for teachers using part of this anthology as a set text for
rs
w
Cambridge Assessment International Education examinations is available from Cambridge

ie
ve
International.
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op
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C
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Editors’ Acknowledgements
w
ie
id
ev
br
We would like to thank Stewart Eames, Noel Cassidy and Nick de Somogyi for their help
in the making of this anthology.
am
-R
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Mary Wilmer and Tim Underhill

s
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am
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R R R
ev ev ev
ie ie ie
w w w
C C C
op op op
y y y
-C -C -C -C
am am am am
br br br br
id id id id
ge ge ge
U U U
ni ni ni
ve ve ve
rs rs rs
ity ity ity
Part 1
Pr Pr Pr
es es es es
s s s s
-R -R Poems from the Sixteenth -R -R
ev ev ev ev
ie ie ie ie
w w w
and Early Seventeenth Centuries

C C C
op op op
y y y
R R R
ev ev ev
ie ie ie
w w w
C C C
op op op
y y y
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am am am am
br br br br
id id id id
ge ge ge
U U U
ni ni ni
ve ve ve
rs rs rs
ity ity ity
Pr Pr Pr
es es es es
s s s s
-R -R -R -R
ev ev ev ev
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w w w

C C C
op op op
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Songs of Ourselves Volume 1 3
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1
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rs
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Song: Why So Pale and Wan, Fond Lover?
y
ev
op
ni
Sir John Suckling
R
C
ge
w
ie
id
Why so pale and wan, fond lover?
ev
br
Prithee, why so pale?

am
-R
Will, when looking well can’t move her,
Looking ill prevail?
-C
s
Prithee, why so pale?
es
y
Pr
op
Why so dull and mute, young sinner?

Prithee, why so mute?
ity
C
Will, when speaking well can’t win her,

rs
w
Saying nothing do’t?

ie
ve
Prithee, why so mute?
y
ev
op
ni
Quit, quit, for shame; this will not move,

R
C
This cannot take her.
ge
w
If of herself she will not love,
ie
id
Nothing can make her:

ev
br
The devil take her!

am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
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y
ev
op
ni
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ge
w
ie
id
fond – foolish
ev
br
prithee – please, may I ask

am
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-C
s
es

ie
id
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br
am
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4 Songs of Ourselves Volume 1
-C
s
es
y
Pr
op
2
ity
C
rs
w
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What Thing Is Love?
y
ev
op
ni
George Peele
R
C
ge
w
ie
id
What thing is love? – for sure love is a thing.
ev
br
It is a prick, it is a sting,
am
-R
It is a pretty, pretty thing;
It is a fire, it is a coal,
-C
s
Whose flame creeps in at every hole;
es
And, as my wit doth best devise,
y
Pr
op
Love’s dwelling is in ladies’ eyes,

From whence do glance love’s piercing darts,
ity
C
That make such holes into our hearts.

rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
darts – the arrows shot by Cupid, the Roman god of love

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
3
ity
C
rs
w
ie
ve
Sonnet 11
y
ev
op
ni
Lady Mary Wroth
R
C
ge
w
ie
id
You endless torments that my rest oppress,
ev
br
How long will you delight in my sad pain?

am
-R
Will never Love your favour more express?
Shall I still live, and ever feel disdain?
-C
s
Alas, now stay, and let my grief obtain
es
Some end; feed not my heart with sharp distress.
y
Pr
op
Let me once see my cruel fortunes gain

At least release, and long-felt woes redress.
ity
C
Let not the blame of cruelty disgrace

rs
w
The honoured title of your godhead Love;

ie
ve
Give not just cause for me to say a place
y
ev
op
ni
Is found for rage alone on me to move.

R
O quickly end, and do not long debate

My needful aid, lest help do come too late.
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
blame – offence, sin

am
-R
-C
s
es

ie
id
ev
br
am
-R
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s
es
y
Pr
op
4
ity
C
rs
w
ie
ve
Song: Sigh No More, Ladies
y
ev
op
ni
William Shakespeare
R
C
ge
w
ie
id
Sigh no more, ladies, sigh no more,
ev
br
Men were deceivers ever;

am
-R
One foot in sea, and one on shore,
To one thing constant never.
-C
s
Then sigh not so,
es
But let them go,
y
Pr
op
And be you blithe and bonny,

Converting all your sounds of woe
ity
C
Into ‘Hey nonny, nonny’.

rs
w
ie
ve
Sing no more ditties, sing no more
y
ev
op
ni
Of dumps so dull and heavy;

R
The fraud of men was ever so,

Since summer first was leavy.
C
ge
w
Then sigh not so,
ie
id
But let them go

ev
br
And be you blithe and bonny,

am
-R
Converting all your sounds of woe

Into ‘Hey nonny, nonny’.
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
blithe and bonny – merry and beautiful

C
ge
‘Hey nonny, nonny’ – a cheerful chorus

w
ditties – songs
ie
id
dumps – fits of depression

ev
br
leavy – leafy, decked with foliage

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
5
ity
C
rs
w
ie
ve
Song: Weep You No More, Sad Fountains
y
ev
op
ni
Anonymous
R
C
ge
w
ie
id
Weep you no more, sad fountains;
ev
br
What need you flow so fast?

am
-R
Look how the snowy mountains
Heaven’s sun doth gently waste.
-C
s
But my sun’s heavenly eyes
es
View not your weeping,
y
Pr
That now lies sleeping
op
Softly, now softly lies

ity
C
Sleeping.
rs
w
ie
ve
Sleep is a reconciling,
y
ev
A rest that peace begets:
op
ni
Doth not the sun rise smiling

R
C
When fair at even he sets?
ge
w
Rest you then, rest, sad eyes,
ie
id
Melt not in weeping,

ev
br
While she lies sleeping,

Softly, now softly lies
am
-R
Sleeping.
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
what need you – what reason is there for you to

ge
waste – erode
w
begets – engenders, produces

ie
id
fair – finely
ev
br
even – evening
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
6
ity
C
rs
w
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ve
When I Was Fair And Young
y
ev
op
ni
Queen Elizabeth I
R
C
ge
w
ie
id
When I was fair and young, and favour graced me,
ev
br
Of many was I sought their mistress for to be.

am
-R
But I did scorn them all, and said to them therefore:
‘Go, go, go, seek some otherwhere; importune me no more.’
-C
s
es
How many weeping eyes I made to pine in woe;
y
Pr
op
How many sighing hearts I have not skill to show,

But I the prouder grew, and still this spake therefore:
ity
C

rs
w
ie
ve
Then spake fair Venus’ son, that brave victorious boy,
y
ev
Saying: ‘You dainty dame, for that you be so coy,
op
ni
R
I will so pluck your plumes as you shall say no more:

U
C
“Go, go, go, seek some otherwhere; importune me no more”.’
ge
w
ie
id
As soon as he had said, such change grew in my breast

ev
br
That neither night nor day I could take any rest.

am
Wherefore I did repent that I had said before:

-R

-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
favour – good looks

op
ni
importune – solicit, proposition

R
spake – said, spoke

ge
Venus – Roman goddess of love (mother of Cupid)

w
for that you be – since you are being

ie
id
pluck your plumes – remove your finery

ev
br
wherefore – for which

am
-R
-C
s
es

ie
id
ev
br
am
-R
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s
es
y
Pr
op
7
ity
C
rs
w
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ve
They Flee From Me, That Sometime Did Me Seek
y
ev
op
ni
Sir Thomas Wyatt
R
C
ge
w
ie
id
They flee from me, that sometime did me seek,
ev
br
With naked foot stalking in my chamber.

am
-R
I have seen them, gentle, tame, and meek,
That now are wild, and do not remember
-C
s
That sometime they put themselves in danger
es
To take bread at my hand; and now they range,
y
Pr
op
Busily seeking with a continual change.

ity
C
Thankèd be fortune it hath been otherwise,

rs
w
Twenty times better; but once in special,

ie
ve
In thin array, after a pleasant guise,
y
ev
op
ni
When her loose gown from her shoulders did fall,

R
And she me caught in her arms long and small,

Therewith all sweetly did me kiss,
C
ge
w
And softly said, ‘Dear heart, how like you this?’
ie
id
ev
br
It was no dream, I lay broad waking,

am
-R
But all is turned, thorough my gentleness,

Into a strange fashion of forsaking;
-C
And I have leave to go, of her goodness,

s
es
And she also to use newfangleness.

y
But since that I so kindly am servèd

Pr
op
I fain would know what she hath deservèd.

ity
C
rs
w
in special – in particular
ie
ve
guise – manner, way

y
ev
op
ni
small – slender
R
broad waking – wide awake

C
thorough – through, via

ge
forsaking – abandonment
ie
id
newfangleness – fashionable fickleness

ev
br
kindly – appropriately
am
-R
fain – gladly
-C
s
es

ie
id
ev
br
am
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s
es
y
Pr
op
8
ity
C
rs
w
ie
ve
Since there’s no help, come let us kiss and part
y
ev
(Sonnet 61 from Idea)
op
ni
R
C
ge Michael Drayton
w
ie
id
ev
br
Since there’s no help, come let us kiss and part;

am
-R
Nay, I have done, you get no more of me,
-C
And I am glad, yea, glad with all my heart
s
es
That thus so cleanly I myself can free;
y
Shake hands for ever, cancel all our vows,

Pr
op
And when we meet at any time again,

ity
C
Be it not seen in either of our brows

That we one jot of former love retain.
rs
w
Now at the last gasp of love’s latest breath,

ie
ve
y
When, his pulse failing, Passion speechless lies,
ev
op
ni
When Faith is kneeling by his bed of death,

R
And Innocence is closing up his eyes;

C
ge
Now if thou wouldst, when all have given him over,

w
From death to life thou mightst him yet recover.
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
there’s no help – there’s nothing for it

R
I have done – I have finished

ge
yea – yes, indeed

w
latest – final
ie
id
given him over – given him up for dead

ev
br
yet – still
am
-R
-C
s
es

ie
id
ev
br
am
-R
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s
es
y
Pr
op
9
ity
C
rs
w
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ve
Song: Go, Lovely Rose!
y
ev
op
ni
Edmund Waller
R
C
ge
w
ie
id
Go, lovely rose!
ev
br
Tell her that wastes her time and me

am
-R
That now she knows,
When I resemble her to thee,
-C
s
How sweet and fair she seems to be.
es
y
Pr
op
Tell her that’s young,

And shuns to have her graces spied,
ity
C
That hadst thou sprung

rs
w
In deserts, where no men abide,

ie
ve
Thou must have uncommended died.
y
ev
op
ni
R
Small is the worth

U
C
Of beauty from the light retired;
ge
w
Bid her come forth,
ie
id
Suffer herself to be desired,

ev
br
And not blush so to be admired.

am
-R
Then die! that she

-C
The common fate of all things rare

s
es
May read in thee;

y
How small a part of time they share

Pr
op
That are so wondrous sweet and fair!

ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
resemble – compare
ie
id
shuns – is reluctant
ev
br
suffer – allow
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
10
ity
C
rs
w
ie
ve
No Crooked Leg, No Bleared Eye
y
ev
op
ni
Queen Elizabeth I
R
C
ge
w
ie
id
No crookèd leg, no blearèd eye,
ev
br
No part deformèd out of kind,

am
-R
Nor yet so ugly half can be
As is the inward suspicious mind.
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
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w
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y
ev
op
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R
C
ge
w
ie
id
ev
out of kind – unnaturally

br
am
-R
-C
s
es

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id
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am
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y
Pr
op
11
ity
C
rs
w
ie
ve
With how sad steps, O Moon, thou climb’st the skies
y
ev
(Sonnet 31 from Astrophil and Stella)
op
ni
R
C
ge Sir Philip Sidney
w
ie
id
ev
br
With how sad steps, O Moon, thou climb’st the skies!

am
-R
How silently, and with how wan a face!
-C
What, may it be that even in heavenly place
s
es
That busy archer his sharp arrows tries?
y
Sure, if that long-with-love-acquainted eyes

Pr
op
Can judge of love, thou feel’st a lover’s case,

ity
C
I read it in thy looks; thy languished grace,

To me that feel the like, thy state descries.
rs
w
Then, even of fellowship, O Moon, tell me,

ie
ve
y
Is constant love deemed there but want of wit?
ev
op
ni
Are beauties there as proud as here they be?

R
Do they above love to be loved, and yet

C
ge
Those lovers scorn whom that love doth possess?

w
Do they call virtue there ungratefulness?
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
that busy archer – Cupid, the Roman love-god, who fired arrows of love
ie
ve
tries – tests
y
ev
if that – if it is true that

op
ni
case – situation
R
languished grace – graceful sadness

ge
state – circumstance, situation

ie
id
descries – discovers, betrays

ev
br
of fellowship – in the name of solidarity

want of wit – stupidity
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
12
ity
C
rs
w
ie
ve
Written The Night Before His Execution
y
ev
op
ni
Chidiock Tichbourne
R
C
ge
w
ie
id
My prime of youth is but a frost of cares;
ev
br
My feast of joy is but a dish of pain;

am
-R
My crop of corn is but a field of tares;
And all my good is but vain hope of gain;
-C
s
My life is fled, and yet I saw no sun;
es
And now I live, and now my life is done.
y
Pr
op
The spring is past, and yet it hath not sprung;

ity
C
The fruit is dead, and yet the leaves be green;

rs
w
My youth is gone, and yet I am but young;

ie
ve
I saw the world, and yet I was not seen;
y
ev
My thread is cut, and yet it is not spun;
op
ni
R

U
C
ge
w
I sought my death, and found it in my womb,
ie
id
I looked for life, and saw it was a shade,

ev
br
I trod the earth and knew it was my tomb,

am
And now I die, and now I am but made:

-R
The glass is full, and now my glass is run,

-C

s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
tares – weeds
ev
br
glass – hourglass (an early device to measure time, using sand running through a glass)
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
13
ity
C
rs
w
ie
ve
The Author’s Epitaph, Made By Himself
y
ev
op
ni
Sir Walter Raleigh
R
C
ge
w
ie
id
Even such is time, which takes in trust
ev
br
Our youth, our joys, and all we have,

am
-R
And pays us but with age and dust,
Who in the dark and silent grave
-C
s
When we have wandered all our ways
es
Shuts up the story of our days,
y
Pr
op
And from which earth, and grave, and dust,

The Lord shall raise me up, I trust.
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
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s
es
y
Pr
op
14
ity
C
rs
w
ie
ve
A Litany In Time Of Plague
y
ev
op
ni
Thomas Nashe
R
C
ge
w
ie
id
Adieu, farewell, earth’s bliss;
ev
br
This world uncertain is;

am
-R
Fond are life’s lustful joys;
Death proves them all but toys;
-C
s
None from his darts can fly;
es
I am sick, I must die.
y
Pr
op
Lord, have mercy on us!

ity
C
Rich men, trust not in wealth,

rs
w
Gold cannot buy you health;

ie
ve
Physic himself must fade.
y
ev
op
ni
All things to end are made,

R
The plague full swift goes by;

C
ge
w
ie
id
ev
br
Beauty is but a flower

am
Which wrinkles will devour;

-R
Brightness falls from the air;

-C
Queens have died young and fair;

s
es
Dust hath closed Helen’s eye.

y

Pr
op

ity
C
rs
w
ie
ve
y
ev
op
ni
R
litany – long prayer

ge
fond – foolish
ie
id
physic – medical skill

ev
br
Helen – legendarily beautiful woman, Helen of Troy

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Strength stoops unto the grave,
y Worms feed on Hector brave;
Pr
op
Swords may not fight with fate,
ity
Earth still holds ope her gate.
C
‘Come, come!’ the bells do cry.
rs
w

ie
ve
y
ev
op
ni
R
U
Wit with his wantonness
C
Tasteth death’s bitterness;
ge
w
Hell’s executioner
ie
id
Hath no ears for to hear
ev
br
What vain art can reply.

am
-R
-C
s
es
Haste, therefore, each degree,
y
Pr
To welcome destiny;
op
Heaven is our heritage,

ity
C
Earth but a player’s stage;

rs
w
Mount we unto the sky.

ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
Hector – legendarily valiant warrior

ie
ve
ope – open
y
ev
bells – church bells tolling a death

op
ni
wit – intelligence
R
wantonness – lewdness
ge
art – skill
ie
id
degree – level of society

ev
br
heritage – inheritance
player – actor
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
15
ity
C
rs
w
ie
ve
Come darkest night, becoming sorrow best
y
ev
op
ni
(Sonnet 19 from Pamphilia to Amphilanthus)
R
C
Lady Mary Wroth
ge
w
ie
id
ev
br
am
Come, darkest night, becoming sorrow best;
-R
Light, leave thy light, fit for a lightsome soul;
-C
Darkness doth truly suit with me oppressed,
s
es
Whom absence’ power doth from mirth control:
y
The very trees with hanging heads condole

Pr
op
Sweet summer’s parting, and of leaves distressed

ity
C
In dying colours make a grief-ful roll,

So much, alas, to sorrow are they pressed.
rs
w
Thus of dead leaves her farewell carpet’s made:

ie
ve
y
Their fall, their branches, all their mournings prove,
ev
op
ni
With leafless, naked bodies, whose hues fade

R
C
From hopeful green, to wither in their love:
ge
If trees and leaves for absence mourners be,

w
No marvel that I grieve, who like want see.
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
lightsome – carefree
C
ge
from mirth control – exercise power over happiness

w
condole – commiserate with

ie
id
roll – catalogue
ev
br
like want – a similar lack

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
16
ity
C
rs
w
ie
ve
From Underwoods
y
ev
op
ni
Ben Jonson
R
C
ge
w
ie
id
ev
br
It is not growing like a tree

In bulk, doth make man better be,
am
-R
Or standing long an oak, three hundred year,
-C
To fall a log at last, dry, bald, and sere:
s
es
A lily of a day
y
Is fairer far in May Pr

op
Although it fall and die that night;

ity
It was the plant and flower of light.

C
In small proportions we just beauties see,

rs
w
And in short measures life may perfect be.

ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
just – proper
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
17
ity
C
rs
w
ie
ve
Song: Fear No More The Heat O’ Th’ Sun
y
ev
op
ni
William Shakespeare
R
C
ge
w
ie
id
Fear no more the heat o’ th’ sun
ev
br
Nor the furious winter’s rages;

am
-R
Thou thy worldly task hast done,
Home art gone, and ta’en thy wages.
-C
s
Golden lads and girls all must,
es
As chimney-sweepers, come to dust.
y
Pr
op
Fear no more the frown o’ th’ great;

ity
C
Thou art past the tyrant’s stroke.

rs
w
Care no more to clothe and eat;

ie
ve
To thee the reed is as the oak.
y
ev
op
ni
The sceptre, learning, physic, must

R
All follow this and come to dust.
C
ge
w
Fear no more the lighning flash,
ie
id
Nor th’all-dreaded thunder-stone;

ev
br
Fear not slander, censure rash;

am
-R
Thou hast finished joy and moan.

All lovers young, all lovers must
-C
Consign to thee and come to dust.

es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
ta’en – taken
op
ni
past the tyrant’s stroke – beyond the reach of the tyrant’s blow
R
the sceptre – symbol of power

ge
physic – medical skill

w
ie
thunder-stone – thunderbolt
id
ev
censure rash – sharp criticism

br
consign to – submit to the circumstance of

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
No exorciser harm thee!
y Nor no witchcraft charm thee!
Pr
op
Ghost unlaid forbear thee!
ity
Nothing ill come near thee!
C
Quiet consummation have,
rs
w
And renownèd be thy grave!

ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ghost unlaid forbear thee – may your soul rest untroubled

ev
br
consummation – completion, fulfilment

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
18
ity
C
rs
w
ie
ve
A Song
y
ev
op
ni
Thomas Carew
R
C
ge
w
ie
id
Ask me no more where Jove bestows,
ev
br
When June is past, the fading rose;

am
-R
For in your beauty’s orient deep
These flowers, as in their causes, sleep.
-C
s
es
Ask me no more whither do stray
y
The golden atoms of the day;

Pr
op
For in pure love heaven did prepare

ity
Those powders to enrich your hair.

C
rs
w
Ask me no more whither doth haste

ie
ve
The nightingale when May is past;
y
ev
For in your sweet-dividing throat
op
ni
She winters, and keeps warm her note.

R
Ask me no more where those stars light,

C
ge
w
That downwards fall in dead of night;
ie
id
For in your eyes they sit, and there

ev
br
Fixèd become, as in their sphere.

am
-R
Ask me no more if east or west

The phoenix builds her spicy nest;
-C
For unto you at last she flies,

es
And in your fragrant bosom dies.

y
Pr
op
ity
C
Jove – the Roman god Jupiter

rs
w
bestows – disposes of
ie
ve
orient – (1) (noun) sunrise; (2) (adjective) lustrous, brilliant

ev
op
ni
as in their causes – to the same extent as their origins

R
sweet-dividing – melodiously singing

C
ge
winters – stays the winter

w
light – alight
ie
id
sphere – what people believed to be the crystal sphere of the night-sky

ev
br
phoenix – mythical bird that built its nest from spices, burnt itself, and was born from
am
-R
its own ashes

-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
19
ity
C
rs
w
ie
ve
Walsingham
y
ev
op
ni
Sir Walter Raleigh
R
C
ge
w
ie
id
‘As you came from the holy land
ev
br
Of Walsingham,
am
-R
Met you not with my true love
By the way as you came?’
-C
s
es
‘How shall I know your true love,
y
Pr
That have met many one
op
As I went from the holy land,

ity
C
That have come, that have gone?’

rs
w
ie
ve
‘She is neither white nor brown,
y
ev
But as the heavens fair:
op
ni
There is none hath a form so divine

R
C
In the earth or the air.’
ge
w
ie
id
‘Such an one I did meet, sir,

ev
br
Such an angelic face,

Who like a queen, like a nymph, did appear
am
-R
By her gait, by her grace.’

-C
s
es
‘She hath left me here alone,

y
All alone, as unknown,

Pr
op
Who sometimes did me lead with herself

ity
And me loved as her own.’

C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
nymph – legendary semi-divine maiden

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
‘What’s the cause that she leaves you alone
y And a new way doth take,
Pr
op
That sometime did you love as her own,
ity
C
And her joy did you make?’
rs
w
‘I have loved her all my youth,

ie
ve
y
But now am old, as you see:
ev
op
ni
Love likes not the falling fruit.
R
U
Nor the withered tree.’
C
ge
w
‘Know that love is a careless child,
ie
id
And forgets promise past:
ev
br
He is blind, he is deaf when he list,

am
-R
And in faith never fast.
-C
s
‘His desire is a dureless content,
es
And a trustless joy;
y
Pr
op
He is won with a world of despair,

And is lost with a toy.
ity
C
rs
w
‘Of womenkind such indeed is the love

ie
ve
(Or the word love abused)
y
ev
Under which many childish desires
op
ni
R
And conceits are excused.

U
C
ge
w
‘But true love is a durable fire,
ie
id
In the mind ever burning,

ev
br
Never sick, never dead, never cold,

am
From itself never turning.’

-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
when he list – when it pleases him

w
fast – constant
ie
id
dureless – transient
ev
br
toy – unimportant thing

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
20
ity
C
rs
w
ie
ve
The Flowers That on The Banks and
y
ev
op
ni
Walks Did Grow
R
C
Aemilia Lanyer
ge
w
ie
id
ev
br
The flowers that on the banks and walks did grow

am
-R
Crept in the ground, the grass did weep for woe;
The winds and waters seemed to chide together
-C
s
Because you went away they knew not whither;
es
And those sweet brooks that ran so fair and clear,
y
Pr
op
With grief and trouble wrinkled did appear.

Those pretty birds that wonted were to sing,
ity
C
Now neither sing, nor chirp, nor use their wing;

rs
w
But with their tender feet on some bare spray,

ie
ve
Warble forth sorrow and their own dismay.
y
ev
op
ni
Fair Philomela leaves her mournful ditty,

R
Drowned in dead sleep, yet can procure no pity.

Each arbour, bank, each seat, each stately tree
C
ge
w
Looks bare and desolate now for want of thee.
ie
id
Turning green tresses into frosty grey,

ev
br
While in cold grief they wither all away.

am
-R
The sun grew weak, his beams no comfort gave,

While all green things did make the earth their grave.
-C
Each brier, each bramble, when you went away,

es
Caught fast your clothes, thinking to make you stay.

y
Pr
op
ity
C
rs
w
ie
ve
y
ev
chide together – quarrel with each other

op
ni
wonted – accustomed
R
spray – twig, branch

ge
Philomela – in Greek myth, Philomela was transformed into a nightingale, and sang
w
ie
id
of her cruel treatment by King Tereus

ev
ditty – song
br
arbour – garden, flower-bed

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Delightful Echo, wonted to reply
y To our last words, did now for sorrow die.
Pr
op
The house cast off each garment that might grace it,
ity
C
Putting on dust and cobwebs to deface it.

All desolation then there did appear,
rs
w
When you were going, whom they held so dear.

ie
ve
y
This last farewell to Cookham here I give:
ev
op
ni
When I am dead thy name in this may live,
R
U
Wherein I have performed her noble hest,
C
ge
Whose virtues lodge in my unworthy breast,
w
And ever shall, so long as life remains,
ie
id
Tying my heart to her by those rich chains.
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
Echo – in Greek myth, Echo was a nymph who, in unrequited love, pined away till
ge
only her voice remained

w
ie
id
Cookham – the home of the author’s friend

ev
br
hest – command, behest

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
21
ity
C
rs
w
ie
ve
Come Live with me, and be my Love
y
ev
op
ni
Christopher Marlowe
R
C
ge
w
ie
id
Come live with me, and be my love,
ev
br
And we will all the pleasures prove

am
-R
That valleys, groves, hills and fields,
Woods, or steepy mountains yields.
-C
s
es
And we will sit upon the rocks,
y
Seeing the shepherds feed their flocks

Pr
op
By shallow rivers, to whose falls

ity
C
Melodious birds sing madrigals.

rs
w
And I will make thee beds of roses

ie
ve
And a thousand fragrant posies,
y
ev
op
ni
A cap of flowers, and a kirtle

R
Embroidered all with leaves of myrtle,
C
ge
A gown made of our finest wool,

w
Which from our pretty lambs we pull,
ie
id
Fair linèd slippers for the cold,

ev
br
With buckles of the purest gold,

am
-R
A belt of straw and ivy buds

-C
With coral clasps and amber studs:

s
es
And if these pleasures may thee move,

y
Come live with me, and be my love.

Pr
op
The shepherd swains shall dance and sing

ity
C
For thy delight each May morning:

rs
w
‘If these delights thy mind may move,

ie
ve
Then live with me, and be my love.’

y
ev
op
ni
R
C
ge
falls – (1) waterfalls; (2) cadences

w
kirtle – dress
ie
id
myrtle – an evergreen shrub

ev
br
swains – country youths

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
22
ity
C
rs
w
ie
ve
Sonnet 54
y
ev
op
ni
Edmund Spenser
R
C
ge
w
ie
id
Of this world’s theatre in which we stay,
ev
br
My love like the spectator idly sits,

am
-R
Beholding me, that all the pageants play,
Disguising diversly my troubled wits.
-C
s
Sometimes I joy when glad occasion fits,
es
And mask in mirth like to a comedy:
y
Pr
op
Soon after, when my joy to sorrow flits,

I wail, and make my woes a tragedy.
ity
C
Yet she, beholding me with constant eye,

rs
w
Delights not in my mirth nor rues my smart:

ie
ve
But when I laugh she mocks, and when I cry
y
ev
op
ni
She laughs, and hardens evermore her heart.

R
What then can move her? If nor mirth nor moan,

She is no woman, but a senseless stone.
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
diversly – variously
ie
id
smart – pain
ev
br
nor . . . nor – neither . . . nor

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
23
ity
C
rs
w
ie
ve
What is Our Life?
y
ev
op
ni
Sir Walter Raleigh
R
C
ge
w
ie
id
What is our life? A play of passion;
ev
br
Our mirth the music of division;

am
-R
Our mothers’ wombs the tiring-houses be,
Where we are dressed for this short comedy.
-C
s
Heaven the judicious sharp spectator is,
es
That sits and marks still who doth act amiss;
y
Pr
op
Our graves that hide us from the searching sun

Are like drawn curtains when the play is done.
ity
C
Thus march we, playing, to our latest rest,

rs
w
Only we die in earnest – that’s no jest.

ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
music of division – music played between the acts of a play

ge
tiring-houses – dressing rooms

w
judicious sharp – wisely critical

ie
id
still – ever
ev
br
latest – final
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
24
ity
C
rs
w
ie
ve
Sonnet 75
y
ev
op
ni
Edmund Spenser
R
C
ge
w
ie
id
One day I wrote her name upon the strand,
ev
br
But came the waves, and washèd it away:

am
-R
Again I wrote it with a second hand,
But came the tide, and made my pains his prey.
-C
s
‘Vain man,’ said she, ‘that dost in vain assay
es
A mortal thing so to immortalise;
y
Pr
op
For I myself shall like to this decay,

And eke my name be wipèd out likewise.’
ity
C
‘Not so,’ quod I, ‘let baser things devise

rs
w
To die in dust, but you shall live by fame:

ie
ve
My verse your virtues rare shall eternise,
y
ev
op
ni
And in the heavens write your glorious name:

R
Where, whenas death shall all the world subdue,
C
Our love shall live, and later life renew.’
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
strand – beach
y
ev
pains – troublesome labours

op
ni
assay – attempt
R
eke – also
ge
quod – said
ie
id
devise – intend
ev
br
eternise – render immortal

whenas – when
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
25
ity
C
rs
w
ie
ve
Song: Spring, The Sweet Spring
y
ev
op
ni
Thomas Nashe
R
C
ge
w
ie
id
Spring, the sweet spring, is the year’s pleasant king,
ev
br
Then blooms each thing, then maids dance in a ring,

am
-R
Cold doth not sting, the pretty birds do sing:
Cuckoo, jug-jug, pu-wee, to-witta-woo!
-C
s
es
The palm and may make country houses gay,
y
Pr
op
Lambs frisk and play, the shepherds pipe all day,

And we hear aye birds tune this merry lay:
ity
C

rs
w
ie
ve
The fields breathe sweet, the daisies kiss our feet,
y
ev
op
ni
Young lovers meet, old wives a-sunning sit,

R
In every street these tunes our ears do greet:

C
ge
w
Spring, the sweet spring!
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
Cuckoo, jug-jug, pu-wee, to-witta-woo! – the songs of the cuckoo, nightingale, lapwing,
ge
and owl
ie
the palm and may – festival decorations

id
ev
aye – ever
br
lay – song
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
26
ity
C
rs
w
ie
ve
Sonnet 18
y
ev
op
ni
William Shakespeare
R
C
ge
w
ie
id
Shall I compare thee to a summer’s day?
ev
br
Thou art more lovely and more temperate:

am
-R
Rough winds do shake the darling buds of May,
And summer’s lease hath all too short a date:
-C
s
Sometime too hot the eye of heaven shines
es
And often is his gold complexion dimmed;
y
Pr
op
And every fair from fair sometime declines,

By chance, or nature’s changing course, untrimmed.
ity
C
But thy eternal summer shall not fade,

rs
w
Nor lose possession of that fair thou ow’st;

ie
ve
Nor shall death brag thou wander’st in his shade,
y
ev
op
ni
When in eternal lines to time thou grow’st:

R
So long as men can breathe, or eyes can see,

So long lives this, and this gives life to thee.
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
temperate – moderate, evenly tempered

y
ev
lease – terms of a tenancy agreement

op
ni
the eye of heaven – the sun

R
every fair – all that is beautiful

ge
untrimmed – (1) stripped of decoration; (2) thrown off balance

ie
id
ow’st – possess, own

ev
br
shade – darkness, shadow

this – this poem
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
27
ity
C
rs
w
ie
ve
Sonnet 73
y
ev
op
ni
William Shakespeare
R
C
ge
w
ie
id
That time of year thou mayst in me behold
ev
br
When yellow leaves, or none, or few, do hang

am
-R
Upon those boughs which shake against the cold,
Bare ruined choirs where late the sweet birds sang.
-C
s
In me thou see’st the twilight of such day
es
As after sunset fadeth in the west:
y
Pr
op
Which by and by black night doth take away,

Death’s second self that seals up all in rest.
ity
C
In me thou see’st the glowing of such fire,

rs
w
That on the ashes of his youth doth lie,

ie
ve
As the deathbed whereon it must expire,
y
ev
op
ni
Consumed with that which it was nourished by.

R
This thou perceivest, which makes thy love more strong,

To love that well which thou must leave ere long.
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
choirs – part of churches where hymns are sung

ie
id
see’st – see
ev
br
consumed with – eaten up by

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
28
ity
C
rs
w
ie
ve
Song: Blow, Blow, Thou Winter Wind
y
ev
op
ni
William Shakespeare
R
C
ge
w
ie
id
Blow, blow, thou winter wind,
ev
br
Thou art not so unkind

am
-R
As man’s ingratitude;
Thy tooth is not so keen,
-C
s
Because thou art not seen,
es
Although thy breath be rude.
y
Pr
op
Heigh-ho, sing heigh-ho, unto the green holly;

Most friendship is feigning, most loving mere folly.
ity
C
Then heigh-ho, the holly,

rs
w
This life is most jolly!

ie
ve
y
ev
op
ni
Freeze, freeze, thou bitter sky,

R
That dost not bite so nigh

As benefits forgot:
C
ge
w
Though thou the waters warp,
ie
id
Thy sting is not so sharp

ev
br
As friend remembered not.

am
-R
Heigh-ho, sing heigh-ho, unto the green holly;

Most friendship is feigning, most loving mere folly.
-C
Then heigh-ho, the holly,

es
This life is most jolly!

y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
keen – sharp
w
rude – harsh
ie
id
benefits forgot – neglected favours

ev
br
warp – wrinkle (into ice)

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
29
ity
C
rs
w
ie
ve
The Procession of The Seasons
y
ev
op
ni
Edmund Spenser
R
C
ge
w
ie
id
So forth issued the seasons of the year.
ev
br
First, lusty Spring, all dight in leaves of flowers

am
-R
That freshly budded and new blooms did bear,
In which a thousand birds had built their bowers
-C
s
That sweetly sung to call forth paramours,
es
And in his hand a javelin he did bear,
y
Pr
op
And on his head, as fit for warlike stours,

A gilt-engraven morion he did wear,
ity
C
That, as some did him love, so others did him fear.

rs
w
ie
ve
Then came the jolly Summer, being dight
y
ev
op
ni
In a thin silken cassock coloured green

R
That was unlinèd all, to be more light,

And on his head a garland well beseen
C
ge
w
He wore, from which as he had chafèd been
ie
id
The sweat did drop; and in his hand he bore

ev
br
A bow and shafts, as he in forest green

am
-R
Had hunted late the leopard or the boar

And now would bathe his limbs, with labour heated sore.
-C
s
es
y
Pr
lusty – vigorous
op
dight – dressed
ity
C
bowers – leafy glades, arbours

rs
w
paramours – lovers
ie
ve
stours – encounters
y
ev
morion – helmet
op
ni
cassock – long coat

R
unlinèd – without a lining

ge
well beseen – handsome of appearance

ie
id
chafèd – heated
ev
br
shafts – arrows
sore – painfully
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Then came the Autumn all in yellow clad
y As though he joyèd in his plenteous store,
Pr
op
Laden with fruits that made him laugh, full glad
ity
C
That he had banished hunger, which to-fore

Had by the belly oft him pinchèd sore;
rs
w
Upon his head a wreath, that was enrolled

ie
ve
y
With ears of corn of every sort, he bore,
ev
op
ni
And in his hand a sickle he did hold
R
U
To reap the ripened fruits the which the earth had yold.
C
ge
w
Lastly came Winter clothèd all in frieze,
ie
id
Chattering his teeth for cold that did him chill,
ev
br
Whilst on his hoary beard his breath did freeze;

am
-R
And the dull drops that from his purpled bill,
As from a limbeck, did adown distil.
-C
s
In his right hand a tippèd staff he held
es
With which his feeble steps he stayèd still,
y
Pr
op
For he was faint with cold and weak with eld

That scarce his loosèd limbs he able was to wield.
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
to-fore – previously
y
pinchèd – tormented
Pr
op
corn – grain
ity
C
yold – yielded
frieze – coarse woollen cloth
rs
w
hoary – white with age

ie
ve
bill – nose
ev
op
ni
limbeck – apparatus for distilling

R
adown – downwards
ge
stayèd – supported
w
still – always
ie
id
eld – old age

ev
br
loosèd – weakened
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
30
ity
C
rs
w
ie
ve
The Man of Life Upright
y
ev
op
ni
Thomas Campion
R
C
ge
w
ie
id
The man of life upright,
ev
br
Whose guiltless heart is free

am
-R
From all dishonest deeds
Or thought of vanity;
-C
s
es
The man whose silent days
y
In harmless joys are spent,

Pr
op
Whom hopes cannot delude

ity
C
Nor sorrow discontent:

rs
w
That man needs neither towers

ie
ve
Nor armour for defence,
y
ev
Nor secret vaults to fly
op
ni
From thunder’s violence.

R
C
ge
He only can behold

w
With unaffrighted eyes
ie
id
The horrors of the deep

ev
br
And terrors of the skies.

am
-R
Thus scorning all the cares

-C
That fate or fortune brings,

s
es
He makes the heaven his book,

y
His wisdom heavenly things;

Pr
op
Good thoughts his only friends,

ity
C
His wealth a well-spent age,

rs
w
The earth his sober inn

ie
ve
And quiet pilgrimage.

y
ev
op
ni
R
C
ge
w
ie
id
ev
secret vaults – hiding-places

br
unaffrighted – unafraid
am
-R
age – life
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
31
ity
C
rs
w
ie
ve
A Mind Content
y
ev
op
ni
Robert Greene
R
C
ge
w
ie
id
Sweet are the thoughts that savour of content;
ev
br
The quiet mind is richer than a crown;

am
-R
Sweet are the nights in careless slumber spent;
The poor estate scorns fortune’s angry frown:
-C
s
Such sweet content, such minds, such sleep, such bliss,
es
Beggars enjoy, when princes oft do miss.
y
Pr
op
The homely house that harbours quiet rest;

ity
C
The cottage that affords no pride nor care;

rs
w
The mean that ’grees with country music best;

ie
ve
The sweet consort of mirth and music’s fare;
y
ev
op
ni
Obscurèd life sets down a type of bliss:

R
A mind content both crown and kingdom is.
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
savour – taste
rs
w
careless – untroubled
ie
ve
estate – level of society

ev
op
ni
mean – (1) lowly sort; (2) middle range in music

R
’grees with – agrees with, suits

C
ge
consort – company (of musicians)

w
fare – provision, merriment

ie
id
obscurèd – anonymous
ev
br
type – ideal sort

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
32
ity
C
rs
w
ie
ve
I Grieve, and Dare Not Show my Discontent
y
ev
op
ni
Queen Elizabeth I
R
C
ge
w
ie
id
I grieve, and dare not show my discontent;
ev
br
I love, and yet am forced to seem to hate;

am
-R
I do, yet dare not say I ever meant,
I seem stark mute but inwardly do prate.
-C
s
I am and not, I freeze and yet am burned,
es
Since from myself another self I turned.
y
Pr
op
My care is like my shadow in the sun:

ity
C
Follows me flying, flies when I pursue it,

rs
w
Stands and lies by me, doth what I have done;

ie
ve
His too familiar care doth make me rue it.
y
ev
op
ni
No means I find to rid him from my breast,

R
Till by the end of things it be suppressed.
C
ge
w
Some gentler passion slide into my mind,
ie
id
For I am soft and made of melting snow;

ev
br
Or be more cruel, love, and so be kind.

am
-R
Let me or float or sink, be high or low.

Or let me live with some more sweet content,
-C
Or die and so forget what love ere meant.

es
y
Pr
op
ity
C
rs
w
ie
ve
stark – entirely
ev
op
ni
prate – chatter
R
turned – (1) fashioned; (2) became

C
ge
care – (1) trouble, unhappiness; (2) carefulness, solicitude

w
rue – regret
ie
id
or . . . or – either . . . or
ev
br
ere – before
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
33
ity
C
rs
w
ie
ve
Song: To Celia
y
ev
op
ni
Ben Jonson
R
C
ge
w
ie
id
Drink to me only with thine eyes,
ev
br
And I will pledge with mine;

am
-R
And leave a kiss but in the cup,
And I’ll not look for wine.
-C
s
es
The thirst that from the soul doth rise
y
Pr
op
Doth ask a drink divine,

But might I of Jove’s nectar sup,
ity
C
I would not change for thine.

rs
w
ie
ve
I sent thee late a rosy wreath,
y
ev
op
ni
Not so much honouring thee

R
As giving it a hope that there

It could not withered be.
C
ge
w
ie
id
But thou thereon didst only breathe

ev
br
And sent’st it back to me,

am
-R
Since when it breathes and smells, I swear,

Not of itself but thee.
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
ask – demand
w
Jove – Jupiter, the supreme god of Roman mythology

ie
id
nectar – the drink of the gods

ev
br
sup – drink
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
34
ity
C
rs
w
ie
ve
Golden Slumbers
y
ev
op
ni
Thomas Dekker
R
C
ge
w
ie
id
Golden slumbers kiss your eyes,
ev
br
Smiles awake you when you rise.

am
-R
Sleep, pretty wantons, do not cry,
And I will sing a lullaby:
-C
s
Rock them, rock them, lullaby.
es
y
Pr
op
Care is heavy, therefore sleep you;

You are care, and care must keep you.
ity
C
Sleep, pretty wantons, do not cry,

rs
w
And I will sing a lullaby:

ie
ve
Rock them, rock them, lullaby.
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
wantons – naughty children

w
care – (1) worldly preoccupation, sorrow; (2) the object of cherishing; (3) attentive
ie
id
solicitude
ev
br
sleep you – go to sleep

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
35
ity
C
rs
w
ie
ve
Song: Full Fathom Five
y
ev
op
ni
William Shakespeare
R
C
ge
w
ie
id
Full fathom five thy father lies;
ev
br
Of his bones are coral made;

am
-R
Those are pearls that were his eyes:
Nothing of him that doth fade,
-C
s
But doth suffer a sea-change
es
Into something rich and strange.
y
Pr
op
Sea nymphs hourly ring his knell:

Ding-dong.
ity
C
Hark! now I hear them – Ding-dong, bell.

rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
full fathom five – five fathoms deep (1 fathom = 6 feet)

w
suffer – undergo
ie
id
nymphs – in Greek myth, semi-divine maidens

ev
br
knell – funeral bell

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
36
ity
C
rs
w
ie
ve
A Farewell To The Reader
y
ev
op
ni
Isabella Whitney
R
C
ge
w
ie
id
Good reader, now you tasted have
ev
br
And smelt of all my flowers,

am
-R
The which to get some pain I took,
And travailed many hours.
-C
s
I must request you spoil them not,
es
Nor do in pieces tear them;
y
Pr
op
But if thyself do loathe the scent,

Give others leave to wear them.
ity
C
I shall no whit be discontent,

rs
w
For nothing is so pure

ie
ve
But one or other will mislike,
y
ev
op
ni
Thereof we may be sure.

R
If he for whom I gathered them

Take pleasure in the same,
C
ge
w
And that for my presumption
ie
id
My friends do not me blame;

ev
br
And that the savour take effect

am
-R
In such as I do know,
And bring no harm to any else,
-C
In place where it shall go;

es
And that when I am distant far,

y
Pr
It worn be for my sake;

op
That some may say, ‘God speed her well

ity
C
That did this nosegay make.’

rs
w
ie
ve
y
ev
op
ni
travailed – laboured
R
give others leave to – allow others to

C
ge
no whit – not in the least

w
mislike – fail to impress

ie
id
savour – odour, bouquet

ev
br
nosegay – bouquet of flowers

am
-R
-C
s
es

R R R
ev ev ev
ie ie ie
w w w
C C C
op op op
y y y
-C -C -C -C
am am am am
br br br br
id id id id
ge ge ge
U U U
ni ni ni
ve ve ve
rs rs rs
ity ity ity
Pr Pr Pr
es es es es
s s s s
-R -R -R -R
ev ev ev ev
ie ie ie ie
w w w

C C C
op op op
y y y
R R R
ev ev ev
ie ie ie
w w w
C C C
op op op
y y y
-C -C -C -C
am am am am
br br br br
id id id id
ge ge ge
U U U
ni ni ni
ve ve ve
rs rs rs
ity ity ity
Part 2
Pr Pr Pr
es es es es
s s s s
-R -R -R -R
ev ev and Eighteenth Centuries ev ev
Poems from the Seventeenth
ie ie ie ie
w w w

C C C
op op op
y y y
R R R
ev ev ev
ie ie ie
w w w
C C C
op op op
y y y
-C -C -C -C
am am am am
br br br br
id id id id
ge ge ge
U U U
ni ni ni
ve ve ve
rs rs rs
ity ity ity
Pr Pr Pr
es es es es
s s s s
-R -R -R -R
ev ev ev ev
ie ie ie ie
w w w

C C C
op op op
y y y
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
37
ity
C
rs
w
ie
ve
The Fly
y
ev
op
ni
William Blake
R
C
ge
w
ie
id
ev
br
Little Fly,
Thy summer’s play
am
-R
My thoughtless hand
-C
Has brush’d away.
s
es
y
Am not I
Pr
op
A fly like thee?

ity
C
Or art not thou

A man like me?
rs
w
ie
ve
y
For I dance,
ev
op
ni
And drink, & sing,

R
Till some blind hand

C
ge
Shall brush my wing.

w
ie
id
If thought is life,
ev
br
And strength & breath,

am
-R
And the want

Of thought is death;
-C
s
es
Then am I
y
Pr
op
A happy fly,
If I live
ity
C
or if I die.
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
38
ity
C
rs
w
ie
ve
Shadows In The Water
y
ev
op
ni
Thomas Traherne
R
C
ge
w
ie
id
ev
br
In unexperienced infancy
Many a sweet mistake doth lie:
am
-R
Mistake though false, intending true,
A seeming somewhat more than view,
-C
s
es
That doth instruct the mind
y
In things that lie behind,

Pr
op
And many secrets to us show

ity
Which afterwards we come to know.

C
rs
w
Thus did I by the water’s brink

ie
ve
y
Another world beneath me think;
ev
op
ni
And while the lofty spacious skies,

R
Reversèd there, abused mine eyes,

C
ge
I fancied other feet

w
Came mine to touch and meet;
ie
id
As by some puddle I did play,

ev
br
Another world within it lay.

am
-R
Beneath the water people drowned,

-C
Yet with another heaven crowned,

es
In spacious regions seemed to go,

y
Pr
op
Freely moving to and fro:

In bright and open space
ity
C
I saw their very face;

rs
w
Eyes, hands, and feet they had like mine;

ie
ve
Another sun did with them shine.

y
ev
op
ni
R
shadows – images
C
ge
unexperienced – inexperienced
w
intending – meaning
ie
id
brink – edge
ev
br
abused – misled
am
-R
fancied – playfully imagined

crowned – surmounted, canopied
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
’Twas strange that people there should walk,
y And yet I could not hear them talk;
Pr
op
That through a little watery chink,
ity
Which one dry ox or horse might drink,
C
We other worlds should see,
rs
w
Yet not admitted be;

ie
ve
And other confines there behold
y
ev
op
ni
Of light and darkness, heat and cold.
R
C
ge
I called them oft, but called in vain;
w
No speeches we could entertain:
ie
id
Yet did I there expect to find
ev
br
Some other world, to please my mind.

am
-R
I plainly saw by these
A new Antipodes,
-C
s
Whom, though they were so plainly seen,
es
A film kept off that stood between.
y
Pr
op
By walking men’s reversèd feet

ity
C
I chanced another world to meet;

rs
w
Though it did not to view exceed

ie
ve
A phantasm, ’tis a world indeed,
y
ev
Where skies beneath us shine,
op
ni
And earth by art divine

R
C
Another face presents below,
ge
w
Where people’s feet against ours go.
ie
id
ev
br
Within the regions of the air,

am
Compassed about with heavens fair,

-R
Great tracts of land there may be found,

-C
Enriched with fields and fertile ground;

s
es
Where many numerous hosts,

y
In those far distant coasts,

Pr
op
For other great and glorious ends,

ity
C
Inhabit, my yet-unknown friends.

rs
w
ie
ve
entertain – conduct
y
ev
op
ni
Antipodes – the supposed land-of-opposites situated on the underside of the globe

R
kept off – stood out

C
ge
phantasm – shadowy vision

w
art – creative skill

ie
id
compassed about with – surrounded by

ev
br
hosts – crowds of people

am
-R
ends – purposes
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
O ye that stand upon the brink,
y Whom I so near me, through the chink,
Pr
op
With wonder see: what faces there,
ity
Whose feet, whose bodies, do ye wear?
C
I, my companions, see
rs
w
In you another me.

ie
ve
They seemèd others, but are we;
y
ev
op
ni
Our second selves those shadows be!
R
C
ge Look how far off those lower skies
w
Extend themselves! Scarce with mine eyes
ie
id
I can them reach. O ye, my friends,
ev
br
What secret borders on those ends?

am
-R
Are lofty heavens hurled
’Bout your inferior world?
-C
s
Are ye the representatives
es
Of other people’s distant lives?
y
Pr
op
Of all the playmates which I knew

ity
C
That here I do the image view

rs
w
In other selves, what can it mean?

ie
ve
But that below the purling stream
y
ev
Some unknown joys there be
op
ni
Laid up in store for me;

R
C
To which I shall, when that thin skin
ge
w
Is broken, be admitted in.
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
second selves – alter egos

U
borders on – (verb) stands at the boundary of

ge
’bout – about, around

ie
id
inferior – lower
ev
br
purling – twisting, curling

am
skin – surface
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
39
ity
C
rs
w
ie
ve
Ants (From Dryades)
y
ev
op
ni
William Diaper
R
C
ge
w
ie
id
ev
br
Ants prudent bite the ends of hoarded wheat,

am
-R
Lest growing seeds their future hopes defeat;
And when they conscious scent the gathering rains,
-C
Draw down their windy eggs and pilfered grains;
s
es
With summer’s toil and ready viands fill
y
The deepest caverns of their puny hill;

Pr
op
There lie secure, and hug the treasured goods,

ity
C
And safe in laboured cells they mock the coming floods.

rs
w
ie
A thousand kinds unknown in forests breed,

ve
y
ev
And bite the leaves, and notch the growing weed;
op
ni
Have each their several laws, and settled states,

R
C
And constant sympathies, and constant hates.
ge
Their changing forms no artful verse describes,

w
Or how fierce war destroys the wandering tribes.
ie
id
How prudent Nature feeds her various young,

ev
br
Has been, if not untold, at least unsung.

am
-R
To th’insect race the Muse her pain denies,

While prouder men the little ant despise.
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
windy – puffed up, growing

R
viands – supplies of food

ge
kinds – sorts of life, species

ie
id
notch – keep score of

ev
br
the Muse – poetry

pain – careful labour
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
40
ity
C
rs
w
ie
ve
The Ant or Emmet
y
ev
op
ni
Isaac Watts
R
C
ge
w
ie
id
ev
br
These emmets, how little they are in our eyes!

We tread them to dust, and a troop of them dies
am
-R
Without our regard or concern:
-C
Yet, as wise as we are, if we went to their school,
s
es
There’s many a sluggard, and many a fool,
y
Some lessons of wisdom might learn.

Pr
op
ity
C
They don’t wear their time out in sleeping or play,

But gather up corn in a sunshiny day,
rs
w
And for winter they lay up their stores:

ie
ve
y
They manage their work in such regular forms,
ev
op
ni
One would think they foresaw all the frosts and the storms,
R
C
And so brought their food within doors.
ge
w
But I have less sense than a poor creeping ant
ie
id
If I take not due care for the things I shall want,

ev
br
Nor provide against dangers in time:

am
-R
When death or old age shall stare in my face,

What a wretch shall I be in the end of my days,
-C
If I rifle away all their prime?

es
y
Pr
op
Now, now, while my strength and my youth are in bloom,

Let me think what will serve me when sickness shall come,
ity
C
And pray that my sins be forgiven:

rs
w
Let me read in good books, and believe and obey,

ie
ve
That when death turns me out of this cottage of clay,

y
ev
op
ni
I may dwell in a palace in heaven.

R
C
ge
w
ie
id
emmet – ant
ev
br
rifle away – ransack, squander

cottage of clay – i.e. the human body
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
41
ity
C
rs
w
ie
ve
The Grasshopper
y
ev
op
ni
Abraham Cowley
R
C
ge
w
ie
id
ev
br
Happy insect, what can be

In happiness compared to thee?
am
-R
Fed with nourishment divine,
-C
The dewy morning’s gentle wine!
s
es
Nature waits upon thee still,
y
And thy verdant cup does fill;

Pr
op
’Tis filled wherever thou dost tread,

ity
C
Nature self’s thy Ganymede.

Thou dost drink and dance and sing,
rs
w
Happier than the happiest king!

ie
ve
y
All the fields which thou dost see,
ev
op
ni
All the plants, belong to thee;

R
All that summer hours produce,

C
ge
Fertile made with early juice.

w
Man for thee does sow and plough;
ie
id
Farmer he, and landlord thou!

ev
br
Thou dost innocently joy,

am
-R
Nor does thy luxury destroy;

The shepherd gladly heareth thee,
-C
More harmonious than he.

es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
still – always, ever

ge
verdant – green
ie
id
Ganymede – the cup-bearer to Jove, the supreme god of Greek myth

ev
br
farmer he, and landlord thou! – man merely labours on the land you own!
am
joy – revel
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Thee country hinds with gladness hear,
y Prophet of the ripened year!
Pr
op
Thee Phoebus loves, and does inspire;
ity
Phoebus is himself thy sire.
C
To thee of all things upon earth,
rs
w
Life is no longer than thy mirth.

ie
ve
Happy insect, happy thou,
y
ev
op
ni
Dost neither age nor winter know.
R
U
But when thou’st drunk and danced and sung
C
ge
Thy fill the flowery leaves among
w
(Voluptuous and wise withal,
ie
id
Epicurean animal!),
ev
br
Sated with thy summer feast,

am
-R
Thou retirest to endless rest.
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
hinds – female deer

R
Phoebus – the Greek sun-god

ge
sire – father
ie
id
voluptuous – addicted to sensual pleasures

ev
br
withal – moreover
epicurean – devoted to pleasure
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
42
ity
C
rs
w
ie
ve
To The Virgins, To Make Much of Time
y
ev
op
ni
Robert Herrick
R
C
ge
w
ie
id
ev
br
Gather ye rosebuds while ye may,

Old time is still a-flying;
am
-R
And this same flower that smiles today
-C
Tomorrow will be dying.
s
es
y
The glorious lamp of heaven, the sun,

Pr
op
The higher he’s a-getting,

ity
C
The sooner will his race be run,

And nearer he’s to setting.
rs
w
ie
ve
y
That age is best which is the first,
ev
op
ni
When youth and blood are warmer;

R
But being spent, the worse and worst

C
ge
Times still succeed the former.

w
ie
id
Then be not coy, but use your time;

ev
br
And while ye may, go marry:

am
-R
For, having lost but once your prime,

You may for ever tarry.
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
tarry – linger, remain

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
43
ity
C
rs
w
ie
ve
The Call
y
ev
op
ni
John Hall
R
C
ge
w
ie
id
ev
br
Romira, stay,
And run not thus like a young roe away;
am
-R
No enemy
-C
Pursues thee, foolish girl, ’tis only I:
s
es
I’ll keep off harms,
y
If thou’ll be pleased to garrison mine arms.

Pr
op
What, dost thou fear

ity
C
I’ll turn a traitor? May these roses here

To paleness shred,
rs
w
And lilies stand disguisèd in new red,

ie
ve
y
If that I lay
ev
op
ni
A snare wherein thou wouldst not gladly stay.

R
See, see, the sun

C
ge
Does slowly to his azure lodging run;

w
Come, sit but here,
ie
id
And presently he’ll quit our hemisphere:

ev
br
So, still among

am
-R
Lovers, time is too short or else too long;

Here will we spin
-C
Legends for them that have love-martyrs been;

es
Here on this plain

y
Pr
op
We’ll talk Narcissus to a flower again.

ity
C
rs
w
ie
ve
y
ev
roe – female deer

op
ni
garrison – inhabit (as soldiers of their barracks)

R
shred – dissolve into pieces

ge
azure – sky-blue
w
ie

id
ev
Narcissus – in Greek myth, a beautiful youth who, thinking it a nymph, fell in love with
br
his own reflection in a pool, jumped in, was drowned, and was turned into a flower
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Come here, and and choose
y On which of these proud plats thou would repose;
Pr
op
Here mayst thou shame
ity
The rusty violets, with the crimson flame
C
Of either cheek,
rs
w
And primroses, white as thy fingers, seek;

ie
ve
Nay, thou mayst prove
y
ev
op
ni
That man’s most noble passion is to love.
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
proud plats – splendid patches of grass

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
44
ity
C
rs
w
ie
ve
Love
y
ev
op
ni
Henry Baker
R
C
ge
w
ie
id
ev
br
Love’s an headstrong wild desire

To possess what we admire:
am
-R
Hurrying on without reflecting,
-C
All that’s just or wise neglecting.
s
es
Pain, or pleasure, it is neither,
y
But excess of both together;

Pr
op
Now, addressing, cringing, whining,

ity
C
Vowing, fretting, weeping, pining,

Murmuring, languishing, and sighing,
rs
w
Mad, despairing, raving, dying:

ie
ve
y
Now caressing, laughing, toying,
ev
op
ni
Fondling, kissing, and enjoying.

R
Always in extremes abiding,

C
ge
Without measure, fond or chiding:

w
Either furious with possessing,
ie
id
Or despairing of the blessing:

ev
br
Now transported, now tormented,

am
-R
Still uneasy, ne’er contented.

None can tell its rise, or progress,
-C
Or its ingress, or its egress,

es
Whether by a look produced,

y
Pr
op
Or by sympathy infused.
ity
C
rs
w
ie
ve
y
ev
op
ni
R
measure – moderation
ge
fond – foolishly doting

ie
id
transported – sent into raptures

ev
br

am
ingress . . . egress – entrance . . . exit

-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Fancy does so well maintain it,
y Weaker reason can’t restrain it,
Pr
op
But is forced to fly before it,
ity
Or else worship and adore it.
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
fancy – imagination
ev
br
maintain – sustain the notion of

fly before – flee at the sight of
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
45
ity
C
rs
w
ie
ve
Song: Love Armed
y
ev
op
ni
Aphra Behn
R
C
ge
w
ie
id
ev
br
Love in fantastic triumph sat,

Whilst bleeding hearts around him flowed,
am
-R
For whom fresh pains he did create,
-C
And strange tyrannic power he showed:
s
es
From thy bright eyes he took his fire,
y
Which round about in sport he hurled;

Pr
op
But ’twas from mine he took desire,

ity
C
Enough to undo the amorous world.

rs
w
From me he took his sighs and tears,

ie
ve
y
From thee his pride and cruelty;
ev
op
ni
From me his languishments and fears,

R
And every killing dart from thee.

C
ge
Thus thou and I the god have armed,

w
And set him up a deity;
ie
id
But my poor heart alone is harmed,

ev
br
Whilst thine the victor is, and free.

am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
fantastic – (1) extravagant; (2) imagined

ev
br
undo – destroy, utterly ruin

languishments – fits of misery
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
46
ity
C
rs
w
ie
ve
Song: I Feed A Flame Within
y
ev
op
ni
John Dryden
R
C
ge
w
ie
id
ev
br
I feed a flame within which so torments me

That it both pains my heart and yet contents me:
am
-R
’Tis such a pleasing smart, and I so love it,
-C
That I had rather die than once remove it.
s
es
y
Yet he for whom I grieve shall never know it,

Pr
op
My tongue does not betray, nor my eyes show it:

ity
Not a sigh nor a tear my pain discloses,

C
But they fall silently like dew on roses.

rs
w
ie
ve
Thus to prevent my love from being cruel,
y
ev
op
ni
My heart’s the sacrifice as ’tis the fuel:

R
And while I suffer this to give him quiet,

C
ge
My faith rewards my love, though he deny it.

w
ie
id
On his eyes will I gaze, and there delight me;

ev
br
While I conceal my love, no frown can fright me:

am
-R
To be more happy I dare not aspire;

Nor can I fall more low, mounting no higher.
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
smart – pain
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
47
ity
C
rs
w
ie
ve
The Mower To The Glow-Worms
y
ev
op
ni
Andrew Marvell
R
C
ge
w
ie
id
ev
br
Ye living lamps, by whose dear light

The nightingale does sit so late
am
-R
And, studying all the summer night,
-C
Her matchless songs does meditate;
s
es
y
Ye country comets, that portend

Pr
op
No war, nor prince’s funeral,

ity
Shining unto no higher end

C
Than to presage the grasses’ fall;

rs
w
ie
ve
Ye glow-worms, whose officious flame
y
ev
op
ni
To wandering mowers shows the way,

R
That in the night have lost their aim,

C
ge
And after foolish fires do stray:

w
ie
id
Your courteous lights in vain you waste,

ev
br
Since Juliana here is come,

am
-R
For she my mind hath so displaced

That I shall never find my home.
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
matchless – incomparable
R
meditate – rehearse
ge
end – purpose
ie
id
officious – dutiful
ev
br
foolish fires – the ignis fatuus or ‘will o’ the wisp’ (the flaming phosphorescence that
am
appears over marshy ground); hence a delusive object

-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
48
ity
C
rs
w
ie
ve
Her Window
y
ev
op
ni
Richard Leigh
R
C
ge
w
ie
id
ev
br
Here first the day does break,

And for access does seek,
am
-R
Repairing for supplies
-C
To her new-opened eyes;
s
es
Then, with a gentle light
y
Gilding the shades of night,

Pr
op
Their curtains drawn, does come

ity
C
To draw those of her room:

Both open, a small ray
rs
w
Does spread abroad the day,

ie
ve
y
Which peeps into each nest,
ev
op
ni
Where neighbouring birds do rest,

R
C
Who, spread upon their young,
ge
Begin their morning-song,

w
And from their little home
ie
id
Nearer her window come;

ev
br
While from low boughs they hop,

am
-R
And perch upon the top;

And so from bough to bough,
-C
Still singing as they go,

es
In praise of light and her

y
Pr
op
Whom they to light prefer,

By whose protection blest,
ity
C
So quietly they nest

rs
w
Secure, as in the wood,

ie
ve
In such a neighbourhood;
y
ev
op
ni
R
C
ge
repairing – returning with reinforcements

ie
id
curtains – (1) eyelids; (2) drapes

ev
br
spread abroad – widely distribute

am
spread upon – sitting over

-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
While undisturbed they sit,
y Fearing no hawk nor net,
Pr
op
And here the first news sing
ity
Of the approaching spring –
C
The spring which ever here
rs
w
Does first of all appear,

ie
ve
Its fair course still begun
y
ev
op
ni
By her, and by the sun.
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
still – once more

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
49
ity
C
rs
w
ie
ve
To One That Asked me Why I Loved J.G.
y
ev
op
ni
‘Ephelia’
R
C
ge
w
ie
id
ev
br
Why do I love? Go, ask the glorious sun

Why every day it round the world doth run;
am
-R
Ask Thames and Tiber why they ebb and flow;
-C
Ask damask roses why in June they blow;
s
es
Ask ice and hail the reason why they’re cold;
y
Decaying beauties, why they will grow old:

Pr
op
They’ll tell thee fate, that everything doth move,

ity
C
Enforces them to this, and me to love.

There is no reason for our love or hate:
rs
w
’Tis irresistible as death or fate.

ie
ve
y
’Tis not his face: I’ve sense enough to see
ev
op
ni
That is not good, though doted on by me.

R
Nor is’t his tongue that has this conquest won,

C
ge
For that at least is equalled by my own.

w
His carriage can to none obliging be –
ie
id
’Tis rude, affected, full of vanity,

ev
br
Strangely ill-natured, peevish and unkind,

am
-R
Unconstant, false, to jealousy inclined.

His temper could not have so great a power:
-C
’Tis mutable, and changes every hour.

es
Those vigorous years that women so adore

y
Pr
op
Are past in him: he’s twice my age and more.

ity
C
rs
w
ie
ve
y
ev
Thames and Tiber – the rivers of London and Rome

op
ni
R
damask – light-pink
U
blow – come into bloom

ge
move – motivate
ie
id
carriage – bearing, demeanour

ev
br
rude – brash, uncivilised

am
unkind – unnatural
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
And yet I love this false, this worthless, man
y With all the passion that a woman can
Pr
op
Dote on his imperfections: though I spy
ity
Nothing to love, I love, and know not why.
C
Sure ’tis decreed in the dark book of fate
rs
w
That I should love, and he should be ingrate.

ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
ingrate – ungrateful
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
50
ity
C
rs
w
ie
ve
As Loving Hind That, Hartless, Wants Her Deer
y
ev
op
ni
Anne Bradstreet
R
C
ge
w
ie
id
ev
br
As loving hind that, hartless, wants her deer

Scuds through the woods and fern with hearkening
am
-R
ear,
-C
Perplexed, in every bush and nook doth pry,
s
es
Her dearest deer might answer ear or eye;
y
So doth my anxious soul, which now doth miss

Pr
op
A dearer dear, far dearer heart, than this,

ity
C
Still wait with doubts, and hopes, and failing eye,

His voice to hear or person to descry.
rs
w
Or as the pensive dove doth all alone

ie
ve
y
On withered bough most uncouthly bemoan
ev
op
ni
The absence of her love and loving mate,

R
Whose loss hath made her so unfortunate,

C
ge
Even thus do I, with many a deep sad groan,

w
Bewail my turtle true, who now is gone:
ie
id
His presence and his safe return still woos

ev
br
With thousand doleful sighs and mournful coos.

am
-R
-C
s
es
y
Pr
op
ity
C
hind – female deer

rs
w
hartless – i.e. without a hart, or male deer

ie
ve
wants – lacks
y
ev
scuds – glides
op
ni
hearkening – listening
R
descry – catch sight of

ge
uncouthly – artlessly
ie
id
turtle – turtle-dove
ev
br
woos – attempts to achieve

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Or as the loving mullet, that true fish,
y Her fellow lost, nor joy nor life do wish,
Pr
op
But launches on that shore, there for to die,
ity
Where she her captive husband doth espy;
C
Mine being gone, I lead a joyless life,
rs
w
I have a loving peer, yet seem no wife:

ie
ve
But worst of all, to him can’t steer my course,
y
ev
op
ni
I here, he there, alas, both kept by force.
R
U
Return, my dear, my joy, my only love,
C
ge
Unto thy hind, thy mullet, and thy dove,
w
Who neither joys in pasture, house, nor streams;
ie
id
The substance gone, O me, these are but dreams!
ev
br
Together at one tree, O let us browse,

am
-R
And like two turtles roost within one house,
And like the mullets in one river glide:
-C
s
Let’s still remain but one, till death divide.
es
Thy loving love and dearest dear,
y
Pr
At home, abroad, and everywhere.
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R

ge
launches on – rushes onto

ie
id
captive – i.e. caught

ev
br
peer – companion, mate

am
browse – graze, feed on leaves

-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
51
ity
C
rs
w
ie
ve
A Married State
y
ev
op
ni
Katherine Philips
R
C
ge
w
ie
id
ev
br
A married state affords but little ease;

The best of husbands are so hard to please:
am
-R
This in wives’ careful faces you may spell,
-C
Though they dissemble their misfortunes well.
s
es
A virgin state is crowned with much content,
y
It’s always happy as it’s innocent:

Pr
op
No blustering husbands to create your fears,

ity
C
No pangs of childbirth to extort your tears,

No children’s cries for to offend your ears,
rs
w
Few worldly crosses to distract your prayers.

ie
ve
y
Thus are you freed from all the cares that do
ev
op
ni
Attend on matrimony, and a husband too.

R
Therefore, Madam, be advised by me:

C
ge
Turn, turn apostate to love’s levity.

w
Suppress wild nature if she dare rebel,
ie
id
There’s no such thing as leading apes in hell.

ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
careful – full of care

R
spell – observe
ge
extort – extract forcibly

ie
id
crosses – troubles
ev
br
apostate – religious traitor

leading apes in hell – the proverbial fate of spinsters
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
52
ity
C
rs
w
ie
ve
Ode on Solitude
y
ev
op
ni
Alexander Pope
R
C
ge
w
ie
id
ev
br
Happy the man whose wish and care

A few paternal acres bound,
am
-R
Content to breathe his native air,
-C
In his own ground.
s
es
y
Whose herds with milk, whose fields with bread,

Pr
op
Whose flocks supply him with attire,

ity
Whose trees in summer yield him shade,

C
In winter fire.
rs
w
ie
ve
Blessed! who can unconcernedly find
y
ev
op
ni
Hours, days, and years slide soft away,

R
In health of body, peace of mind,

C
ge
Quiet by day.
w
ie
id
Sound sleep by night; study and ease

ev
br
Together mixed; sweet recreation

am
-R
And innocence, which most does please,

With meditation.
-C
s
es
Thus let me live, unseen, unknown;

y
Pr
Thus unlamented let me die;

op
Steal from the world, and not a stone

ity
C
Tell where I lie.

rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
paternal acres – inherited land

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
53
ity
C
rs
w
ie
ve
From A Dialogue Between a Squeamish Cotting
y
ev
op
ni
Mechanic and His Sluttish Wife, In a Kitchen
R
C
Edward Ward
ge
w
ie
id
ev
br
am
Husband
-R
Is the fish ready? You’re a tedious while;
Take care the butter does not turn to oil.
-C
Lay on more coals, and hang the pot down lower,
s
es
Or ’twill not boil with such a fire this hour.
y
Is that, my dear, the saucepan you design

Pr
op
To stew the shrimps and melt the butter in?

ity
C
Nouns! withinside as nasty it appears

rs
As if’t had ne’er been scoured this fifty years.

w
ie
Rare hussifs! How confounded black it looks!

ve
y
ev
God sends us meat; the devil sends us cooks.
op
ni
Wife Why, how now, cot! Must I be taught by you?

R
C
Sure, I without you know what I’ve to do.
ge
Prithee go mind your shop, attend your trade,

w
And leave the kitchen to your wife and maid.
ie
id
O’erlook your ’prentices, you cot, and see

ev
br
They do their work, leave cookery to me.

am
-R
Is’t fit a man, you contradicting sot,

-C
s
es
cotting mechanic – interfering tradesman

y
Pr
op
sluttish – dirty, untidy

this hour – for the next hour
ity
C
design – intend
rs
w
Nouns! – an exclamation (‘God’s wounds!’)

ie
ve
rare – unusual, wonderful (sarcastic)

y
ev
hussifs – housewives
op
ni
R
cot – meddler, interferer

U
prithee – please
ge
o’erlook – supervise
ie
id
’prentices – apprentices
ev
br
fit – appropriate
am
sot – dolt, fool

-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Should mind the kettle or the porridge-pot,
y And run his nose in every dirty hole,
Pr
op
To see what platter’s clean, what dish is foul?
ity
Be gone, you prating ninny, whilst you’re well,
C
Or, faith, I’ll pin the dish-clout to your tail.
rs
w
Husband I’ll not be poisoned by a sluttish quean. –

ie
ve
Hussy, I say, go scour the saucepan clean.
y
ev
op
ni
What though your mistress is a careless beast,
R
U
I love to have my victuals cleanly dressed! –
C
ge I will direct and govern, since I find
w
You’re both to so much nastiness inclined.
ie
id
I’d have you know I neither fear or matter
ev
br
Your threatened dish-clouts or your scalding water.

am
-R
Wife Stand by, you prating fool, you damned provoker,
Or, by my soul, I’ll burn you with the poker.
-C
s
Must I be thus abused, as if your maid,
es
And called a slut before a saucy jade?
y
Pr
Gad, speak another word and, by my troth,
op
I’ll spoil the fish and scald you with the broth.
ity
C
The kitchen fire, alas! don’t burn to please ye;

rs
w
The saucepan is, forsooth, too foul and greasy!

ie
ve
Husband Hussy, what I direct, you ought to do;
y
ev
I’m lord and master of this house and you.
op
ni
Do you not know that wise and noble prince,

R
C
King ’Hasuerus, made a law long since
ge
w
That every husband should the ruler be
ie
id
Of his own wife, as well as family?

ev
br
How dare you then control my lawful sway,

am
When Scripture tells you woman should obey?

-R
Therefore, I say, I’ll have my fish well dressed,

-C
After such manner as shall please me best,

s
es
Or, hussy, by this ladle, if I ha’n’t,

y
I’ll make you show good reason why I shan’t.

Pr
op
ity
C
prating ninny – chattering fool

rs
w
dish-clout – dish-cloth
ie
ve
quean . . . hussy . . . jade . . . trull – strumpet, low woman

y
ev
matter – pay attention to, heed

op
ni
R
Gad – by God
U
by my troth – by my faith
ge
direct – instruct
ie
id
King ’Hasuerus – Ahasuerus, the Biblical name for Xerxes I

ev
br
control – object to
am
ha’n’t – have not

-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
Wife
es
Pray clean the saucepan, you forgetful trull,
y I must confess it looks a little dull. –
Pr
op
You shall not say I love this jarring life,
ity
You shall have no complaints against your wife.
C
But prithee, husband, leave us and be easy,
rs
w
Ne’er doubt but I will cook your fish to please ye.

ie
ve
Husband Since you repent your failings, I’ll be gone,
y
ev
op
ni
But prithee let the fish be nicely done.
R
U
I buy the best and, whether roast or boiled,
C
geYou know I hate to have my victuals spoiled.
w
Wife My dear, I’ll take such care that you shall find
ie
id
It shall be rightly ordered to your mind.
ev
br
I’m glad he’s gone. Pox take him for a cot!

am
-R
What wife would humour such a snarling sot?
Here, Katherine, take my keys, slip gently by
-C
s
The Fox, and fetch a dram for thee and I.
es
Lay down the saucepan. Pah! It’s clean enough
y
Pr
For such an old, ill-natured, stingy cuff.
op
Prithee ne’er value what thy master says;

ity
C
You should not mind his cross-grained, foolish ways;

rs
w
But when I bid you, hussy, you must run.

ie
ve
Now his back’s turned, the kitchen is our own.
y
ev
Bless me! how easily can a woman blind
op
ni
And cheat a husband, if he proves unkind.

R
C
He thinks, poor cuckold, that he bears the rule,
ge
w
When heaven knows I do but gull the fool.
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
victuals – food
U
humour – tolerate
ge
The Fox – i.e. the name of a tavern

ie
id
cuff – (slang) old miser

ev
br
cross-grained – abrasive
am
gull – deceive
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
54
ity
C
rs
w
ie
ve
On My Dreaming of my Wife
y
ev
op
ni
Jonathan Richardson
R
C
ge
w
ie
id
ev
br
As waked from sleep, methought I heard the voice

Of one that mourned; I listened to the noise.
am
-R
I looked, and quickly found it was my dear;
-C
Dead as she was, I little thought her there.
s
es
I questioned her with tenderness, while she
y
Sighed only, but would else still silent be.

Pr
op
I waked indeed; the lovely mourner’s gone,

ity
C
She sighs no more, ’tis I that sigh alone.

rs
w
Musing on her, I slept again, but where

ie
ve
y
I went I know not, but I found her there.
ev
op
ni
Her lovely eyes she kindly fixed on me;

R
‘Let Miser not be nangry then,’ said she,

C
ge
A language love had taught, and love alone

w
Could teach; we prattled as we oft had done,
ie
id
But she, I know not how, was quickly gone.

ev
br
am
-R
With her imaginary presence blessed,

My slumbers are emphatically rest;
-C
I of my waking thoughts can little boast:

es
They always sadly tell me she is lost.

y
Pr
op
Much of our happiness we always owe

To error; better to believe than know!
ity
C
Return, delusion sweet, and oft return!

rs
w
I joy, mistaken; undeceived, I mourn;

ie
ve
But all my sighs and griefs are fully paid,

y
ev
When I but see the shadow of her shade.

op
ni
R
C
ge
w
ie
id
little thought her – hardly thought of (seeing) her

ev
br
Miser . . . nangry – (baby talk) Mister . . . angry

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
55
ity
C
rs
w
ie
ve
William and Margaret
y
ev
op
ni
David Mallet
R
C
ge
w
ie
id
ev
br
’Twas at the silent, solemn hour,

When night and morning meet;
am
-R
In glided Margaret’s grimly ghost,
-C
And stood at William’s feet.
s
es
y
Her face was like an April morn,

Pr
op
Clad in a wintry cloud:

ity
C
And clay-cold was her lily hand

That held her sable shroud.
rs
w
ie
ve
y
So shall the fairest face appear,
ev
op
ni
When youth and years are flown:

R
Such is the robe that kings must wear,

C
ge
When death has reft their crown.

w
ie
id
Her bloom was like the springing flower,

ev
br
That sips the silver dew;

am
-R
The rose was budded in her cheek,

Just opening to the view.
-C
s
es
But love had, like the canker-worm,

y
Pr
op
Consumed her early prime:

The rose grew pale, and left her cheek;
ity
C
She died before her time.

rs
w
ie
ve
y
ev
op
ni
grimly – grim-looking
R
lily – white (as a lily)

ge
sable – black
ie
id
reft – snatched
ev
br
bloom – complexion
canker-worm – maggot
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
‘Awake!’ she cried, ‘thy true love calls,
y Come from her midnight grave;
Pr
op
Now let thy pity hear the maid
ity
Thy love refused to save.
C
rs
w
‘This is the dumb and dreary hour,

ie
ve
When injured ghosts complain;
y
ev
op
ni
When yawning graves give up their dead
R
U
To haunt the faithless swain.
C
ge
w
‘Bethink thee, William, of thy fault,
ie
id
Thy pledge, and broken oath:
ev
br
And give me back my maiden vow,

am
-R
And give me back my troth.
-C
s
‘Why did you promise love to me,
es
And not that promise keep?
y
Pr
Why did you swear my eyes were bright,
op
Yet leave those eyes to weep?

ity
C
rs
w
‘How could you say my face was fair,

ie
ve
And yet that face forsake?
y
ev
How could you win my virgin heart,
op
ni
Yet leave that heart to break?

R
C
ge
w
‘Why did you say my lip was sweet,
ie
id
And made the scarlet pale?

ev
br
And why did I, young witless maid,

am
Believe the flattering tale?

-R
-C
‘That face, alas! no more is fair;

s
es
Those lips no longer red:

y
Dark are my eyes, now closed in death,

Pr
op
And every charm is fled.

ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
faithless swain – inconstant lover

w
ie
bethink thee – consider

id
ev
troth – betrothal
br
charm – aspect of beauty

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
‘The hungry worm my sister is;
y This winding-sheet I wear:
Pr
op
And cold and weary lasts our night,
ity
Till that last morn appear.
C
rs
w
‘But hark! – the cock has warned me hence;

ie
ve
A long and late adieu!
y
ev
op
ni
Come, see, false man, how low she lies,
R
U
Who died for love of you.’
C
ge
w
The lark sung loud; the morning smiled,
ie
id
And raised her glistering head:
ev
br
Pale William quaked in every limb,

am
-R
And raving left his bed.
-C
s
He hied him to the fatal place
es
Where Margaret’s body lay:
y
Pr
And stretched him on the grass-green turf,
op
That wrapped her breathless clay.

ity
C
rs
w
And thrice he called on Margaret’s name,

ie
ve
And thrice he wept full sore:
y
ev
Then laid his cheek to her cold grave,
op
ni
And word spake never more.

R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
winding-sheet – shroud
ie
id
glistering – shining
ev
br
hied him – hurried

am
clay – body
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
56
ity
C
rs
w
ie
ve
The Widow
y
ev
op
ni
Robert Southey
R
C
ge
w
ie
id
ev
br
Cold was the night wind, drifting fast the snows fell,
Wide were the downs and shelterless and naked,
am
-R
When a poor wanderer struggled on her journey
-C
Weary and way-sore.
s
es
y
Drear were the downs, more dreary her reflections;

Pr
op
Cold was the night wind, colder was her bosom!

ity
C
She had no home, the world was all before her,

She had no shelter.
rs
w
ie
ve
y
Fast o’er the bleak heath rattling drove a chariot,
ev
op
ni
‘Pity me!’ feebly cried the poor night-wanderer.

R
‘Pity me, strangers! lest with cold and hunger

C
ge
Here I should perish.

w
ie
id
‘Once I had friends, – but they have all forsook me!

ev
br
Once I had parents, – they are now in heaven!

am
-R
I had a home once – I had once a husband –

Pity me, strangers!
-C
s
es
‘I had a home once – I had once a husband –

y
Pr
op
I am a widow poor and broken-hearted!’

Loud blew the wind, unheard was her complaining,
ity
C
On drove the chariot.

rs
w
ie
ve
On the cold snows she laid her down to rest her;

y
ev
She heard a horseman, ‘Pity me!’ she groaned out;

op
ni
R
Loud blew the wind, unheard was her complaining,

U
On went the horseman.

ge
w
ie
id
ev
br
downs – open land

drear – bleak
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Worn out with anguish, toil and cold and hunger,
y Down sunk the wanderer, sleep had seized her senses;
Pr
op
There did the traveller find her in the morning,
ity
God had released her.
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
57
ity
C
rs
w
ie
ve
The Rights of Woman
y
ev
op
ni
Anna Laetitia Barbauld
R
C
ge
w
ie
id
ev
br
Yes, injured Woman! rise, assert thy right!

Woman! too long degraded, scorned, oppressed;
am
-R
O born to rule in partial Law’s despite,
-C
Resume thy native empire o’er the breast!
s
es
y
Go forth arrayed in panoply divine,

Pr
op
That angel pureness which admits no stain;

ity
Go, bid proud Man his boasted rule resign

C
And kiss the golden sceptre of thy reign.

rs
w
ie
ve
Go, gird thyself with grace, collect thy store
y
ev
op
ni
Of bright artillery glancing from afar;

R
Soft melting tones thy thundering cannon’s roar,

C
ge
Blushes and fears thy magazine of war.

w
ie
id
Thy rights are empire: urge no meaner claim –

ev
br
Felt, not defined, and if debated, lost;

am
-R
Like sacred mysteries which, withheld from fame,

Shunning discussion, are revered the most.
-C
s
es
Try all that wit and art suggest to bend

y
Pr
Of thy imperial foe the stubborn knee;

op
Make treacherous Man thy subject, not thy friend;

ity
C
Thou mayst command, but never canst be free.

rs
w
ie
ve
y
ev
op
ni
R
C
ge
in partial Law’s despite – despite the sway of biased laws

ie
id
panoply – magnificent armour

ev
br
admits – allows
magazine – arsenal
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Awe the licentious and restrain the rude;
y Soften the sullen, clear the cloudy brow:
Pr
op
Be more than princes’ gifts thy favours sued –
ity
She hazards all, who will the least allow.
C
rs
w
But hope not, courted idol of mankind,

ie
ve
On this proud eminence secure to stay;
y
ev
op
ni
Subduing and subdued, thou soon shalt find
R
U
Thy coldness soften, and thy pride give way.
C
ge
w
Then, then, abandon each ambitious thought;
ie
id
Conquest or rule thy heart shall feebly move,
ev
br
In Nature’s school, by her soft maxims taught

am
-R
That separate rights are lost in mutual love.
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
licentious – lascivious, lewd

R
rude – harsh, uncivil

ge
sued – sought for

ie
id
she hazards all, who will the least allow – ‘nothing ventured, nothing gained’
ev
br
eminence – elevated ground (hence lofty status)

maxims – moral sayings
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
58
ity
C
rs
w
ie
ve
Song: To Lucasta, Going to The Wars
y
ev
op
ni
Richard Lovelace
R
C
ge
w
ie
id
ev
br
Tell me not, sweet, I am unkind,

am
That from the nunnery
-R
Of thy chaste breast and quiet mind,
-C
To war and arms I fly.
s
es
y
True, a new mistress now I chase,

Pr
op
The first foe in the field;

ity
C
And with a stronger faith embrace

A sword, a horse, a shield.
rs
w
ie
ve
y
Yet this inconstancy is such
ev
op
ni
As you too shall adore;

R
C
I could not love thee, dear, so much,
ge
Loved I not Honour more.

w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
unkind – (1) cruel; (2) unnatural

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
59
ity
C
rs
w
ie
ve
Ode: I Hate That Drum’s Discordant Sound
y
ev
op
ni
John Scott
R
C
ge
w
ie
id
ev
br
I hate that drum’s discordant sound,

Parading round, and round, and round:
am
-R
To thoughtless youth it pleasure yields,
-C
And lures from cities and from fields,
s
es
To sell their liberty for charms
y
Of tawdry lace, and glittering arms;

Pr
op
And, when Ambition’s voice commands,

ity
To march and fight, and fall, in foreign lands.

C
rs
w
I hate that drum’s discordant sound,

ie
ve
y
Parading round, and round, and round:
ev
op
ni
To me it talks of ravaged plains,

R
And burning towns, and ruined swains,

C
ge
And mangled limbs, and dying groans,

w
And widows’ tears, and orphans’ moans;
ie
id
And all that Misery’s hand bestows

ev
br
To fill the catalogue of human woes.

am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
that drum – i.e. that used to ‘drum up’ recruits to the army
ev
br
yields – provides, furnishes

swains – youths
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
60
ity
C
rs
w
ie
ve
From Blenheim
y
ev
op
ni
John Philips
R
C
ge
w
ie
id
ev
br
Now from each van

The brazen instruments of death discharge
am
-R
Horrible flames, and turbid streaming clouds
-C
Of smoke sulphureous; intermixed with these
s
es
Large globous irons fly, of dreadful hiss,
y
Singeing the air, and from long distance bring

Pr
op
Surprising slaughter; on each side they fly

ity
By chains connexed, and with destructive sweep

C
Behead whole troops at once; the hairy scalps

rs
w
Are whirled aloof, while numerous trunks bestrow

ie
ve
Th’ensanguined field; with latent mischief stored,
y
ev
op
ni
Showers of grenadoes rain, by sudden burst

R
Disploding murderous bowels: fragments of steel,

C
ge
And stones, and glass, and nitrous grain adust.

w
ie
id
ev
br
am
-R
-C
Blenheim – the Battle of Blenheim (1704)

es
van – forefront of an army

y
Pr
brazen – brass
op
turbid – opaque
ity
C
globous irons – cannonballs

rs
w
connexed – joined together (‘irons . . . by chains connexed’ = chainshot)

ie
ve
bestrow – litter
y
ev
ensanguined – bloodied
op
ni
latent – held within

R
grenadoes – grenades
ge
disploding – explosively scattering

ie
id
bowels – contents
ev
br
nitrous grain – gunpowder

adust – burnt, scorched
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
A thousand ways at once the shivered orbs
y Fly diverse, working torment and foul rout
Pr
op
With deadly bruise, and gashes furrowed deep.
ity
Of pain impatient, the high-prancing steeds
C
Disdain the curb, and flinging to and fro,
rs
w
Spurn their dismounted riders; they expire

ie
ve
Indignant, by unhostile wounds destroyed.
y
ev
op
ni
Thus through each army death in various shapes
R
U
Prevailed; here mangled limbs, here brains and gore
C
ge
Lie clotted; lifeless some: with anguish these
w
Gnashing, and loud laments invoking aid,
ie
id
Unpitied and unheard; the louder din
ev
br
Of guns, and trumpets’ clang, and solemn sound

am
-R
Of drums, o’ercame their groans.
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
shivered – shattered, fragmented

ge
diverse – variously
ie
id
rout – disorder
ev
br
curb – bridle
am
unhostile – unintentionally aggressive (compare ‘friendly fire’)

-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
61
ity
C
rs
w
ie
ve
The Hunting of The Hare
y
ev
op
ni
Margaret Cavendish, Duchess of Newcastle
R
C
ge
w
ie
id
ev
br
Betwixt two ridges of ploughed land lay Wat,

Pressing his body close to earth lay squat.
am
-R
His nose upon his two forefeet close lies,
-C
Glaring obliquely with his great grey eyes.
s
es
His head he always sets against the wind:
y
If turn his tail, his hairs blow up behind,

Pr
op
Which he too cold will grow; but he is wise,

ity
And keeps his coat still down, so warm he lies.

C
Thus resting all the day, till sun doth set,

rs
w
Then riseth up, his relief for to get,

ie
ve
Walking about until the sun doth rise;
y
ev
op
ni
Then back returns, down in his form he lies.

R
At last poor Wat was found, as he there lay,

C
ge
By huntsmen with their dogs which came that way.

w
Seeing, gets up, and fast begins to run,
ie
id
Hoping some ways the cruel dogs to shun.

ev
br
But they by nature have so quick a scent

am
-R
That by their nose they trace what way he went;

And with their deep, wide mouths set forth a cry
-C
Which answered was by echoes in the sky.

es
Then Wat was struck with terror and with fear,

y
Pr
Thinks every shadow still the dogs they were;

op
And running out some distance from the noise

ity
C
To hide himself, his thoughts he new employs.

rs
w
ie
ve
y
ev
op
ni
betwixt – between
R
Wat – a traditional name for the hare (as ‘Tom’ is for a cat)
C
grow – cause to become

ge
still – ever
ie
id
relief – food, sustenance

ev
br
form – a hare’s nest or lair

am
-R
scent – sense of smell

-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Under a clod of earth in sandpit wide,
y Poor Wat sat close, hoping himself to hide.
Pr
op
There long he had not sat but straight his ears
ity
The winding horns and crying dogs he hears:
C
Starting with fear up leaps, then doth he run,
rs
w
And with such speed, the ground scarce treads upon.

ie
ve
Into a great thick wood he straightway gets,
y
ev
op
ni
Where underneath a broken bough he sits;
R
U
At every leaf that with the wind did shake
C
ge
Did bring such terror, made his heart to ache.
w
That place he left; to champian plains he went,
ie
id
Winding about, for to deceive their scent,
ev
br
And while they snuffling were, to find his track,

am
-R
Poor Wat, being weary, his swift pace did slack.
On his two hinder legs for ease did sit:
-C
s
His forefeet rubbed his face from dust and sweat.
es
Licking his feet, he wiped his ears so clean
y
Pr
That none could tell that Wat had hunted been.
op
But casting round about his fair great eyes,

ity
C
The hounds in full career he near him spies;

rs
w
To Wat it was so terrible a sight,

ie
ve
Fear gave him wings, and made his body light.
y
ev
Though weary as before, by running long,
op
ni
Yet now his breath he ever felt more strong.

R
C
Like those that dying are, think health returns,
ge
w
When ’tis but a faint blast which life out burns –
ie
id
For spirits seek to guard the heart about,

ev
br
Striving with death; but death doth quench them

am
out.
-R
Thus they so fast came on, with such loud cries,

-C
That he no hopes hath left, nor help espies.

s
es
With that the winds did pity poor Wat’s case,

y
And with their breath the scent blew from the place.
Pr
op
Then every nose is busily employed,

ity
C
And every nostril is set open wide;

And every head doth seek a several way
rs
w
To find what grass or track the scent on lay.

ie
ve
y
ev
op
ni
R
close – secretly
U
straight – immediately, straight away

ge
winding – blowing
ie
id
doth – does
ev
br
champian – unenclosed
am
espies – catches sight of

-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Thus quick industry, that is not slack,
y Is like to witchery: brings lost things back.
Pr
op
For though the wind had tied the scent up close,
ity
A busy dog thrust in his snuffling nose,
C
And drew it out, with it did foremost run;
rs
w
Then horns blew loud, for the rest to follow on.

ie
ve
The great slow hounds, their throats did set a bass,
y
ev
op
ni
The fleet swift hounds as tenors next in place;
R
U
The little beagles they a treble sing,
C
ge
And through the air their voice a round did ring,
w
Which made a consort as they ran along:
ie
id
If they but words could speak, might sing a song:
ev
br
The horns kept time, the hunters shout for joy,

am
-R
And valiant seem, poor Wat for to destroy.
Spurring their horses to a full career,
-C
s
Swim rivers deep, leap ditches without fear;
es
Endanger life and limbs, so fast will ride,
y
Pr
Only to see how patiently Wat died.
op
For why, the dogs so near his heels did get

ity
C
That they their sharp teeth in his breech did set.

rs
w
Then tumbling down, did fall with weeping eyes,

ie
ve
Gives up the ghost, and thus poor Wat he dies.
y
ev
Men hooping loud such acclamations make
op
ni
As if the devil they did prisoner take,

R
C
When they do but a shiftless creature kill,
ge
w
To hunt, there needs no valiant soldier’s skill.
ie
id
But man doth think that exercise and toil,

ev
br
To keep their health, is best, which makes most spoil;

am
Thinking that food and nourishment so good,

-R
And appetite, that feeds on flesh and blood.

-C
s
es
y
Pr
op
witchery – witchcraft
bass . . . tenor . . . treble – low, medium, and high musical voices
ity
C
beagles – hunting dogs

rs
w
round – a song, shared by two or more voices

ie
ve
consort – group of musicians; concert

y
ev
career – gallop
op
ni
R
for why – the reason being

U
breech – rump
ge
hooping – crying, shouting, whooping

ie
id
acclamations – cries of praise

ev
br
shiftless – helpless
am
makes most spoil – creates the most damage

-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
When they do lions, wolves, bears, tigers see
y To kill poor sheep, straight say they cruel be;
Pr
op
But, for themselves, all creatures think too few
ity
For luxury, wish God would make them new –
C
As if that God made creatures for man’s meat,
rs
w
And gave them life and sense for man to eat;

ie
ve
Or else for sport, or recreation’s sake,
y
ev
op
ni
Destroy those lives that God saw good to make;
R
U
Making their stomachs graves, which full they fill
C
ge
With murdered bodies that in sport they kill.
w
Yet man doth think himself so gentle mild,
ie
id
When of all creatures he’s most cruel wild;
ev
br
And is so proud, thinks only he shall live,

am
-R
That God a godlike nature did him give,
And that all creatures for his sake alone
-C
s
Was made for him to tyrannise upon.
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
as if that – as if it were the case that

-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
62
ity
C
rs
w
ie
ve
From A Satyr Against Mankind
y
ev
op
ni
John Wilmot, Earl of Rochester
R
C
ge
w
ie
id
ev
br
Be judge yourself, I’ll bring it to the test

Which is the basest creature, man or beast?
am
-R
Birds feed on birds, beasts on each other prey,
-C
But savage man alone does man betray.
s
es
Pressed by necessity, they kill for food;
y
Man undoes man to do himself no good.

Pr
op
With teeth and claws by nature armed, they hunt

ity
C
Nature’s allowance to supply their want,

But man with smiles, embraces, friendship, praise,
rs
w
Most humanly his fellow’s life betrays,

ie
ve
y
With voluntary pains works his distress,
ev
op
ni
Not through necessity but wantonness.

R
For hunger or for love they bite and tear,

C
ge
Whilst wretched man is still in arms for fear.

w
For fear he arms and is of arms afraid,
ie
id
From fear to fear successively betrayed,

ev
br
Base fear, the source whence his best actions came,

am
-R
His boasted honour and his dear-bought fame,

The lust of power to which he’s such a slave
-C
And for the which alone he dares be brave,

es
To which his various projects are designed,

y
Pr
op
Which makes him generous, affable, and kind,

For which he takes such pains to be thought wise,
ity
C
And screws his actions in a forced disguise,

rs
w
Leads a most tedious life in misery

ie
ve
Under laborious, mean hypocrisy.

y
ev
op
ni
R
C
ge
satyr – (1) an old spelling of ‘satire’; (2) a creature who is part-animal and part-man
ie
id
(who might be seen as a narrator speaking against mankind)

ev
br
in arms – i.e. armed with weapons

dear-bought – obtained at great cost
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Look to the bottom of this vast design,
y Wherein man’s wisdom, power, and glory join:
Pr
op
The good he acts, the ill he does endure,
ity
’Tis all from fear, to make himself secure.
C
Merely for safety, after fame they thirst,
rs
w
For all men would be cowards if they durst,

ie
ve
And honesty’s against all common sense:
y
ev
op
ni
Men must be knaves, ’tis in their own defence.
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
durst – dared
ev
br
knaves – rogues, scoundrels

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
63
ity
C
rs
w
ie
ve
The Chimney-Sweeper’s Complaint
y
ev
op
ni
Mary Alcock
R
C
ge
w
ie
id
ev
br
A chimney-sweeper’s boy am I;
Pity my wretched fate!
am
-R
Ah, turn your eyes; ’twould draw a tear,
-C
Knew you my helpless state.
s
es
y
Far from my home, no parents I

Pr
op
Am ever doomed to see;

ity
C
My master, should I sue to him,

He’d flog the skin from me.
rs
w
ie
ve
y
Ah, dearest madam, dearest sir,
ev
op
ni
Have pity on my youth;

R
Though black, and covered o’er with rags,

C
ge
I tell you naught but truth.

w
ie
id
My feeble limbs, benumbed with cold,

ev
br
Totter beneath the sack,

am
-R
Which ere the morning dawn appears

Is loaded on my back.
-C
s
es
My legs you see are burnt and bruised,

y
Pr
op
My feet are galled by stones,

My flesh for lack of food is gone,
ity
C
I’m little else but bones.

rs
w
ie
ve
y
ev
op
ni
R
chimney-sweeper’s boy – Note: children were routinely employed to clean chimneys,

U
since they were small enough to crawl up into them

ge
doomed – destined
ie
id
sue to – petition, seek help from

ev
br
ere – before
am
galled – injured, hurt

-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Yet still my master makes me work,
y Nor spares me day or night;
Pr
op
His ’prentice boy he says I am,
ity
And he will have his right.
C
rs
w
‘Up to the highest top,’ he cries,

ie
ve
‘There call out chimney-sweep!’
y
ev
op
ni
With panting heart and weeping eyes,
R
U
Trembling I upwards creep.
C
ge
w
But stop! no more – I see him come;
ie
id
Kind sir, remember me!
ev
br
Oh, could I hide me under ground,

am
-R
How thankful should I be!
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
’prentice – apprentice
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
64
ity
C
rs
w
ie
ve
The Chimney-Sweeper
y
ev
op
ni
William Blake
R
C
ge
w
ie
id
ev
br
A little black thing among the snow,

Crying ‘weep, ‘weep, in notes of woe!
am
-R
Where are thy father and mother, say?
-C
‘They are both gone up to the church to pray.
s
es
y
‘Because I was happy upon the heath

Pr
op
And smiled among the winter’s snow,

ity
C
They clothed me in the clothes of death

And taught me to sing the notes of woe.
rs
w
ie
ve
y
‘And because I am happy and dance and sing,
ev
op
ni
They think they have done me no injury:

R
And are gone to praise God and his priest and king,
C
ge
Who make up a heaven of our misery.’

w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
65
ity
C
rs
w
ie
ve
Song: The Unconcerned
y
ev
op
ni
Thomas Flatman
R
C
ge
w
ie
id
ev
br
Now that the world is all in amaze,

Drums and trumpets rending heavens,
am
-R
Wounds a-bleeding, mortals dying,
-C
Widows and orphans piteously crying;
s
es
Armies marching, towns in a blaze,
y
Kingdoms and states at sixes and sevens:

Pr
op
What should an honest fellow do,

ity
C
Whose courage and fortunes run equally low?

Let him live, say I, till his glass be run,
rs
w
As easily as he may;
ie
ve
y
Let the wine and the sand of his glass flow together,
ev
op
ni
For life’s but a winter’s day;

R
Alas! from sun to sun

C
ge
The time’s very short, very dirty the weather,

w
And we silently creep away.
ie
id
Let him nothing do he could wish undone,

ev
br
And keep himself safe from the noise of a gun.

am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
amaze – amazement (literally lost in a maze)

ge
rending – tearing, splitting

ie
id
at sixes and sevens – in a state of confusion

ev
br
glass – hourglass (an early device to measure time, using sand running through a glass)
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
66
ity
C
rs
w
ie
ve
Careless Content
y
ev
op
ni
John Byrom
R
C
ge
w
ie
id
ev
br
I am content, I do not care,

am
Wag as it will the world for me;
-R
When fuss and fret was all my fare,
-C
It got no ground, as I could see:
s
es
So when away my caring went,
y
I counted cost, and was content.

Pr
op
ity
C
With more of thanks, and less of thought,

I strive to make my matters meet;
rs
w
To seek what ancient sages sought,

ie
ve
y
Physic and food, in sour and sweet:
ev
op
ni
To take what passes in good part,

R
C
And keep the hiccups from the heart.
ge
w
With good and gentle-humoured hearts,
ie
id
I choose to chat where’er I come,

ev
br
Whate’er the subject be that starts;

am
-R
But if I get among the glum,

I hold my tongue to tell the troth,
-C
And keep my breath to cool my broth.

es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
wag – carry on its way

op
ni
fare – provision, food, means of living

R
got no ground – made no profit

ge
meet – suitable, sufficient

w
sages – wise people

ie
id
physic – medicine
ev
br
troth – promise, pledge of faith

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
For chance or change, of peace or pain,
y For Fortune’s favour or her frown;
Pr
op
For lack or glut, for loss or gain,
ity
I never dodge, nor up nor down:
C
But swing what way the ship shall swim,
rs
w
Or tack about with equal trim.

ie
ve
y
ev
op
ni
I suit not where I shall not speed,
R
U
Nor trace the turn of every tide;
C
ge
If simple sense will not succeed,
w
I make no bustling, but abide:
ie
id
For shining wealth, or scaring woe,
ev
br
I force no friend, I fear no foe.

am
-R
Of ups and downs, of ins and outs,
-C
s
Of ‘they’re in the wrong’ and ‘we’re in the right’,
es
I shun the rancours and the routs,
y
Pr
And, wishing well to every wight,
op
Whatever turn the matter takes,

ity
C
I deem it all but ducks and drakes.

rs
w
ie
ve
With whom I feast I do not fawn,
y
ev
Nor, if the folks should flout me, faint;
op
ni
If wonted welcome be withdrawn,

R
C
I cook no kind of a complaint:
ge
w
With none disposed to disagree,
ie
id
But like them best, who best like me.

ev
br
am
-R
glut – superfluity
-C
tack – navigate (a ship)

es
trim – balance (of a ship)

y
Pr
suit not – don’t fit in

op
speed – succeed, thrive

ity
C
bustling – fuss
rs
w
abide – stay
ie
ve
wight – person
y
ev
deem – consider
op
ni
ducks and drakes – game of skimming stones

R
fawn – grovel to
ge
flout – abuse, mock

ie
id
wonted – usual, customary

ev
br
hank – restraining hold

business – commotion
am
-R
hap – event, chance

-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Not that I rate myself the rule
y How all my betters should behave;
Pr
op
But fame shall find me no man’s fool,
ity
Nor to a set of men a slave:
C
I love a friendship free and frank,
rs
w
And hate to hang upon a hank.

ie
ve
y
ev
op
ni
Fond of a true and trusty tie,
R
U
I never lose where’er I link,
C
ge Though if a business budges by,
w
I talk thereon just as I think:
ie
id
My word, my work, my heart, my hand,
ev
br
Still on a side together stand.

am
-R
If names or notions make a noise,
-C
s
Whatever hap the question hath,
es
The point impartially I poise,
y
Pr
And read or write, but without
op
wrath;
ity
C
For, should I burn or break my brains,

rs
w
Pray, who will pay me for my pains?

ie
ve
y
ev
I love my neighbour as myself,
op
ni
Myself like him, too, by his leave;

R
C
Nor to his pleasure, power or pelf,
ge
w
Came I to crouch, as I conceive:
ie
id
Dame Nature doubtless has designed

ev
br
A man the monarch of his mind.

am
-R
Now taste, and try this temper, sirs,

-C
Mood it and brood it in your

s
es
breast;
y
Or if ye ween, for worldly stirs,

Pr
op
That man does right to mar his rest,

ity
C
Let me be deft and debonair,

I am content, I do not care.
rs
w
ie
ve
y
ev
by his leave – if he will allow me

op
ni
pelf – money, riches

R
crouch – kneel in servile flattery

ge
mood . . . brood – reflect upon . . . consider

ie
id
ween – believe
ev
br
stirs – commotion, fuss

deft – gentle, skilful
am
-R
debonair – airy, blithe, carefree

-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
67
ity
C
rs
w
ie
ve
Sonnet 16: On His Blindness
y
ev
op
ni
John Milton
R
C
ge
w
ie
id
ev
br
When I consider how my light is spent,

Ere half my days, in this dark world and wide,
am
-R
And that one talent which is death to hide,
-C
Lodged with me useless, though my soul more bent
s
es
To serve therewith my maker, and present
y
My true account, lest he, returning, chide;

Pr
op
‘Doth God exact day-labour, light denied?’

ity
C
I fondly ask: but Patience, to prevent

That murmur, soon replies, ‘God doth not need
rs
w
Either man’s work or his own gifts; who best

ie
ve
y
Bear his mild yoke, they serve him best; his state
ev
op
ni
Is kingly – thousands at his bidding speed

R
And post o’er land and ocean without rest:

C
ge
They also serve who only stand and wait.’

w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
spent – extinguished
op
ni
ere – before
R
talent – artistic disposition

ge
exact day-labour – commission work by the day

w
prevent – forestall
ie
id
murmur – grumble
ev
br
post – hasten
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
68
ity
C
rs
w
ie
ve
The Collar
y
ev
op
ni
George Herbert
R
C
ge
w
ie
id
ev
br
I struck the board, and cried, ‘No more,

I will abroad!
am
-R
What? shall I ever sigh and pine?
-C
My lines and life are free, free as the road,
s
es
Loose as the wind, as large as store.
y
Shall I be still in suit?

Pr
op
Have I no harvest but a thorn

ity
To let me blood, and not restore

C
What I have lost with cordial fruit?

rs
w
Sure there was wine

ie
ve
Before my sighs did dry it; there was corn
y
ev
op
ni
Before my tears did drown it.

R
Is the year only lost to me?

C
ge
Have I no bays to crown it?

w
No flowers, no garlands gay? All blasted?
ie
id
All wasted?
ev
br
Not so, my heart: but there is fruit,

am
-R
And thou hast hands.

-C
s
es
y
Pr
op
ity
C
collar – (1) an emblem of disciplined restraint (like both a dog’s collar and a vicar’s
rs
w
‘dog-collar’); (2) a pun on ‘Choler’ = anger

ie
ve
board – dining table or communion table (at both of which the speaker serves)
y
ev
lines – (1) routes, courses; (2) lines of poetry

op
ni
suit – service
R
cordial – restorative
ge
sure – certainly
ie
id
only – wholly
ev
br
bays – garland of laurels, symbolising poetic excellence

blasted – blighted, withered
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Recover all thy sigh-blown age
y On double pleasures: leave thy cold dispute
Pr
op
Of what is fit, and not. Forsake thy cage,
ity
Thy rope of sands,
C
Which petty thoughts have made, and made to thee
rs
w
Good cable, to enforce and draw

ie
ve
And be thy law,
y
ev
op
ni
While thou didst wink and wouldst not see.
R
U
Away; take heed,
C
ge I will abroad,
w
Call in thy death’s head there: tie up thy fears.
ie
id
He that forbears
ev
br
To suit and serve his need

am
-R
Deserves his load.’
But as I raved and grew more fierce and wild
-C
s
At every word,
es
Me thoughts I heard one calling, ‘Child!’
y
Pr
And I replied, ‘My Lord.’
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
rope of sands – fragile connection

ie
id
wink – close one’s eyes, be inattentive

ev
br
death’s head – the skull as an object of meditation about mortality

am
me thoughts – it seemed to me that

-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
69
ity
C
rs
w
ie
ve
Quickness
y
ev
op
ni
Henry Vaughan
R
C
ge
w
ie
id
ev
br
False life! a foil and no more, when

Wilt thou be gone?
am
-R
Thou foul deception of all men
-C
That would not have the true come on.
s
es
Thou art a moon-like toil; a blind
y
Pr
Self-posing state;
op
A dark contest of waves and wind;

ity
C
A mere tempestuous debate.

rs
w
Life is a fixed, discerning light,

ie
ve
A knowing joy;
y
ev
op
ni
No chance, or fit: but ever bright

R
And calm and full, yet doth not cloy.
C
ge
’Tis such a blissful thing that still

w
ie
Doth vivify
id
ev
And shine and smile, and hath the skill

br
To please without eternity.

am
-R
Thou art a toilsome mole, or less,

-C
A moving mist;
es
But life is, what none can express,

y
Pr
A quickness, which my God hath kissed.

op
ity
C
rs
w
foil – (1) shiny reflective surface; (2) dull background that sets off a jewel’s brightness
ie
ve
moon-like – i.e. changeable, inconstant

y
ev
self-posing – self-destructive
op
ni
fit – passing convulsion

R
cloy – over-satisfy, sicken

ge
still – always
ie
id
vivify – come into life, render vivid, brighten

ev
br
toilsome – hard-working, labouring

am
quickness – fleeting spirit

-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
70
ity
C
rs
w
ie
ve
Death the Leveller
y
ev
op
ni
James Shirley
R
C
ge
w
ie
id
ev
br
The glories of our blood and state

Are shadows, not substantial things;
am
-R
There is no armour against fate;
-C
Death lays his icy hand on kings;
s
es
Sceptre and crown
y
Must tumble down,

Pr
op
And in the dust be equal made

ity
With the poor crooked scythe and spade.

C
rs
w
Some men with swords may reap the field,

ie
ve
And plant fresh laurels where they kill,
y
ev
op
ni
But their strong nerves at last must yield;

R
They tame but one another still;

C
ge
Early or late
w
They stoop to fate,
ie
id
And must give up the murmuring breath

ev
br
When they, pale captives, creep to death.

am
-R
The garlands wither on your brow;

-C
Then boast no more your mighty deeds;

es
Upon Death’s purple altar now

y
Pr
See where the victor-victim bleeds.

op
Your heads must come

ity
C
To the cold tomb;

rs
w
Only the actions of the just

ie
ve
Smell sweet, and blossom in their dust.

y
ev
op
ni
R
C
ge
w
ie
id
ev
sceptre and crown – symbols of royalty and power

br
scythe and spade – symbols of manual labour

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
71
ity
C
rs
w
ie
ve
Sonnet: Death, Be Not Proud
y
ev
op
ni
John Donne
R
C
ge
w
ie
id
ev
br
Death, be not proud, though some have called thee

Mighty and dreadful, for thou art not so;
am
-R
For those whom thou think’st thou dost overthrow
-C
Die not, poor Death, nor yet canst thou kill me.
s
es
From rest and sleep, which but thy pictures be,
y
Much pleasure – then from thee much more must flow,

Pr
op
And soonest our best men with thee do go:

ity
Rest of their bones, and souls’ delivery.

C
Thou art slave to fate, chance, kings, and desperate men,

rs
w
And dost with poison, war, and sickness dwell,

ie
ve
And poppy or charms can make us sleep as well,
y
ev
op
ni
And better than thy stroke. Why swell’st thou then?

R
One short sleep past, we wake eternally,

C
ge
And death shall be no more; Death, thou shalt die.

w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
pictures – resemblances, images

R
then – it follows that

ge
soonest – most readily

w
ie
poppy – narcotics
id
ev
charms – spells
br
swell’st – puff up with pride

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
72
ity
C
rs
w
ie
ve
Elegy Written in a Country Churchyard
y
ev
op
ni
Thomas Gray
R
C
ge
w
ie
id
ev
br
The curfew tolls the knell of parting day,

The lowing herd wind slowly o’er the lea,
am
-R
The ploughman homeward plods his weary way,
-C
And leaves the world to darkness and to me.
s
es
y
Now fades the glimmering landscape on the sight,

Pr
op
And all the air a solemn stillness holds,

ity
Save where the beetle wheels his droning flight,

C
And drowsy tinklings lull the distant folds;

rs
w
ie
ve
y
Save that from yonder ivy-mantled tower
ev
op
ni
The moping owl does to the moon complain

R
Of such as, wandering near her secret bower,

C
ge
Molest her ancient solitary reign.

w
ie
id
Beneath those rugged elms, that yew-tree’s shade,

ev
br
Where heaves the turf in many a mouldering heap,

am
-R
Each in his narrow cell for ever laid,

The rude forefathers of the hamlet sleep.
-C
s
es
The breezy call of incense-breathing morn,

y
Pr
The swallow twittering from the straw-built shed,

op
The cock’s shrill clarion or the echoing horn,

ity
C
No more shall rouse them from their lowly bed.

rs
w
ie
ve
y
ev
curfew – the evening bell

op
ni
R
knell – the funeral bell

U
lea – meadow
ge
save – except
ie
id
folds – enclosures for sheep

ev
br
bower – arbour, leafy glade

am
hamlet – small village

-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
For them no more the blazing hearth shall burn,
y Or busy housewife ply her evening care:
Pr
op
No children run to lisp their sire’s return,
ity
Or climb his knees the envied kiss to share.
C
rs
w
Oft did the harvest to their sickle yield,

ie
ve
Their furrow oft the stubborn glebe has broke;
y
ev
op
ni
How jocund did they drive their team afield!
R
U
How bowed the woods beneath their sturdy stroke!
C
ge
w
Let not Ambition mock their useful toil,
ie
id
Their homely joys and destiny obscure;
ev
br
Nor Grandeur hear, with a disdainful smile,

am
-R
The short and simple annals of the poor.
-C
s
The boast of heraldry, the pomp of power,
es
And all that beauty, all that wealth, e’er gave,
y
Pr
Awaits alike the inevitable hour.
op
The paths of glory lead but to the grave.

ity
C
rs
w
Nor you, ye Proud, impute to these the fault,

ie
ve
If Memory o’er the tomb no trophies raise,
y
ev
Where through the long-drawn aisle and fretted vault
op
ni
The pealing anthem swells the note of praise.

R
C
ge
w
Can storied urn or animated bust
ie
id
Back to its mansion call the fleeting breath?

ev
br
Can Honour’s voice provoke the silent dust,

am
Or Flattery soothe the dull cold ear of Death?

-R
-C
s
es
y
Pr
op
ity
C
rs
w
sire – father
ie
ve
stubborn glebe – clotted earth

y
ev
jocund – cheerfully
op
ni
R
team – i.e. of livestock, used for ploughing

U
annals – chronicles, history

ge
trophies – memorial sculptures

ie
id
fretted – intricately built

ev
br
storied – tiered, raised on plinths

am
animated bust – lifelike sculpture

-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Perhaps in this neglected spot is laid
y Some heart once pregnant with celestial fire;
Pr
op
Hands that the rod of empire might have swayed,
ity
Or waked to ecstasy the living lyre.
C
rs
w
But Knowledge to their eyes her ample page,

ie
ve
Rich with the spoils of time, did ne’er unroll;
y
ev
op
ni
Chill Penury repressed their noble rage,
R
U
And froze the genial current of the soul.
C
ge
w
Full many a gem of purest ray serene
ie
id
The dark unfathomed caves of ocean bear:
ev
br
Full many a flower is born to blush unseen

am
-R
And waste its sweetness on the desert air.
-C
s
Some village-Hampden that with dauntless breast
es
The little tyrant of his fields withstood;
y
Pr
Some mute inglorious Milton here may rest,
op
Some Cromwell guiltless of his country’s blood.

ity
C
rs
w
Th’applause of listening senates to command,

ie
ve
The threats of pain and ruin to despise,
y
ev
To scatter plenty o’er a smiling land,
op
ni
And read their history in a nation’s eyes,

R
C
ge
w
Their lot forbade: nor circumscribed alone
ie
id
Their growing virtues, but their crimes confined;

ev
br
Forbade to wade through slaughter to a throne,

am
And shut the gates of mercy on mankind,

-R
-C
The struggling pangs of conscious truth to hide,

s
es
To quench the blushes of ingenuous shame,

y
Or heap the shrine of Luxury and Pride

Pr
op
With incense kindled at the Muse’s flame.

ity
C
rs
w
pregnant with – full of, inspired by

ie
ve
rod – sceptre
y
ev
waked – brought into life

op
ni
desert – deserted
R
Hampden . . . Milton . . . .Cromwell – notable anti-Royalist figures in the English Civil

ge
War: the statesman John Hampden; the poet John Milton; and the Lord Protector
ie
id
Oliver Cromwell
ev
br
dauntless – fearless
circumscribed . . . confined – denied, restricted
am
-R
ingenuous – guiltless, innocent

-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Far from the madding crowd’s ignoble strife
y Their sober wishes never learned to stray;
Pr
op
Along the cool sequestered vale of life
ity
They kept the noiseless tenor of their way.
C
rs
w
Yet even these bones, from insult to protect,

ie
ve
Some frail memorial still erected nigh,
y
ev
op
ni
With uncouth rhymes and shapeless sculpture decked,
R
U
Implores the passing tribute of a sigh.
C
ge
w
Their name, their years, spelt by th’unlettered muse,
ie
id
The place of fame and elegy supply:
ev
br
And many a holy text around she strews,

am
-R
That teach the rustic moralist to die.
-C
s
For who, to dumb Forgetfulness a prey,
es
This pleasing anxious being e’er resigned,
y
Pr
Left the warm precincts of the cheerful day,
op
Nor cast one longing lingering look behind?

ity
C
rs
w
On some fond breast the parting soul relies,

ie
ve
Some pious drops the closing eye requires;
y
ev
Even from the tomb the voice of Nature cries,
op
ni
Even in our ashes live their wonted fires.

R
C
ge
w
For thee who, mindful of th’unhonoured dead,
ie
id
Dost in these lines their artless tale relate;

ev
br
If chance, by lonely Contemplation led,

am
Some kindred spirit shall inquire thy fate,

-R
-C
Haply some hoary-headed swain may say,

s
es
‘Oft have we seen him at the peep of dawn

y
Brushing with hasty steps the dews away

Pr
op
To meet the sun upon the upland lawn.

ity
C
rs
w
ie
ve
y
ev
sequestered vale – secluded valley

op
ni
R
tenor – routine
U
unlettered – illiterate
ge
ie
id
haply – perhaps
ev
br
hoary-headed – white-haired
am
swain – countryman
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
‘There at the foot of yonder nodding beech
y That wreathes its old fantastic roots so high,
Pr
op
His listless length at noontide would he stretch,
ity
And pore upon the brook that babbles by.
C
rs
w
‘Hard by yon wood, now smiling as in scorn,

ie
ve
Muttering his wayward fancies he would rove,
y
ev
op
ni
Now drooping, woeful wan, like one forlorn,
R
U
Or crazed with care, or crossed in hopeless love.
C
ge
w
‘One morn I missed him on the customed hill,
ie
id
Along the heath, and near his favourite tree;
ev
br
Another came; nor yet beside the rill,

am
-R
Nor up the lawn, nor at the wood was he;
-C
s
‘The next with dirges due in sad array
es
Slow through the church-way path we saw him borne.
y
Pr
Approach and read (for thou canst read) the lay,
op
Graved on the stone beneath yon agèd thorn.’

ity
C
rs
w
The Epitaph
ie
ve
y
ev
Here rests his head upon the lap of earth
op
ni
A youth to fortune and to fame unknown.

R
C
Fair Science frowned not on his humble birth,
ge
w
And Melancholy marked him for her own.
ie
id
ev
br
Large was his bounty and his soul sincere,

Heaven did a recompense as largely send:
am
-R
He gave to Misery all he had, a tear;

-C
He gained from heaven (’twas all he wished) a friend.

s
es
y
No farther seek his merits to disclose,

Pr
op
Or draw his frailties from their dread abode

ity
(There they alike in trembling hope repose),

C
The bosom of his Father and his God.

rs
w
ie
ve
y
ev
op
ni
R
yon – yonder, that one (over there)

U
rill – stream, brook

ge
dirges due – appropriate laments

ie
id
lay – song
ev
br
science – learning, wisdom

am
bounty – generosity
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
73
ity
C
rs
w
ie
ve
Kubla Khan
y
ev
op
ni
Samuel Taylor Coleridge
R
C
ge
w
ie
id
ev
br
In Xanadu did Kubla Khan

A stately pleasure-dome decree:
am
-R
Where Alph, the sacred river, ran
-C
Through caverns measureless to man
s
es
Down to a sunless sea.
y
So twice five miles of fertile ground

Pr
op
With walls and towers were girdled round:

ity
And there were gardens bright with sinuous rills

C
Where blossomed many an incense-bearing tree;

rs
w
And here were forests ancient as the hills,

ie
ve
Enfolding sunny spots of greenery.
y
ev
op
ni
R
But oh! that deep romantic chasm which slanted

C
ge
Down the green hill athwart a cedarn cover!

w
A savage place! as holy and enchanted
ie
id
As e’er beneath a waning moon was haunted

ev
br
By woman wailing for her demon-lover!

am
-R
And from this chasm, with ceaseless turmoil seething,

As if this earth in fast thick pants were breathing,
-C
A mighty fountain momently was forced:

es
Amid whose swift half-intermitted burst

y
Pr
Huge fragments vaulted like rebounding hail,

op
Or chaffy grain beneath the thresher’s flail:

ity
C
And mid these dancing rocks at once and ever

rs
w
It flung up momently the sacred river.

ie
ve
y
ev
op
ni
R
C
ge
rills – streams, brooks

ie
id
athwart – across from side to side

ev
br
cedarn cover – thicket of cedar-trees

am
chaffy – like corn husks

-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Five miles meandering with a mazy motion
y Through wood and dale the sacred river ran,
Pr
op
Then reached the caverns measureless to man,
ity
And sank in tumult to a lifeless ocean:
C
And ’mid this tumult Kubla heard from far
rs
w
Ancestral voices prophesying war!

ie
ve
y
ev
op
ni
The shadow of the dome of pleasure
R
U
Floated midway on the waves;
C
ge Where was heard the mingled measure
w
From the fountain and the caves.
ie
id
It was a miracle of rare device,
ev
br
A sunny pleasure-dome with caves of ice!

am
-R
A damsel with a dulcimer
-C
s
In a vision once I saw:
es
It was an Abyssinian maid,
y
Pr
And on her dulcimer she played,
op
Singing of Mount Abora.

ity
C
Could I revive within me

rs
w
Her symphony and song,

ie
ve
To such a deep delight ’twould win me
y
ev
That with music loud and long,
op
ni
I would build that dome in air,

R
C
That sunny dome! those caves of ice!
ge
w
And all who heard should see them there,
ie
id
And all should cry, Beware! Beware!

ev
br
His flashing eyes, his floating hair!

am
Weave a circle round him thrice,

-R
And close your eyes with holy dread,

-C
For he on honey-dew hath fed,

s
es
And drunk the milk of Paradise.

y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
dulcimer – stringed instrument

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
74
ity
C
rs
w
ie
ve
From An Essay on Man
y
ev
op
ni
Alexander Pope
R
C
ge
w
ie
id
ev
br
Know then thyself, presume not God to scan;

The proper study of mankind is man.
am
-R
Placed on this isthmus of a middle state,
-C
A being darkly wise, and rudely great:
s
es
With too much knowledge for the sceptic side,
y
With too much weakness for the stoic’s pride,

Pr
op
He hangs between; in doubt to act or rest,

ity
C
In doubt to deem himself a god or beast,

In doubt his mind or body to prefer,
rs
w
Born but to die, and reasoning but to err;

ie
ve
y
Alike in ignorance, his reason such,
ev
op
ni
Whether he thinks too little or too much:

R
Chaos of thought and passion, all confused;

C
ge
Still by himself abused or disabused;

w
Created half to rise and half to fall,
ie
id
Great lord of all things, yet a prey to all;

ev
br
Sole judge of truth, in endless error hurled:

am
-R
The glory, jest, and riddle of the world!

-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
scan – measure, contemplate

ie
id
isthmus – a strip of land connecting two land-masses over the sea

ev
br
sceptic – doubtful of the validity of human knowledge

am
stoic – one who suppresses emotion at life’s disappointments

-R
-C
s
es

R R R
ev ev ev
ie ie ie
w w w
C C C
op op op
y y y
-C -C -C -C
am am am am
br br br br
id id id id
ge ge ge
U U U
ni ni ni
ve ve ve
rs rs rs
ity ity ity
Part 3
Pr Pr Pr
es es es es
s s s s
-R -R -R -R
ev ev ev ev
Poems from the Nineteenth
ie ie and Twentieth Centuries (I) ie ie
w w w

C C C
op op op
y y y
R R R
ev ev ev
ie ie ie
w w w
C C C
op op op
y y y
-C -C -C -C
am am am am
br br br br
id id id id
ge ge ge
U U U
ni ni ni
ve ve ve
rs rs rs
ity ity ity
Pr Pr Pr
es es es es
s s s s
-R -R -R -R
ev ev ev ev
ie ie ie ie
w w w

C C C
op op op
y y y
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
75
ity
C
rs
w
ie
ve
Caged Bird
y
ev
op
ni
Maya Angelou
R
C
ge
w
ie
id
ev
br
A free bird leaps

on the back of the wind
am
-R
and floats downstream
-C
till the current ends
s
es
and dips his wing
y
in the orange sun’s rays

Pr
op
and dares to claim the sky.

ity
C
But a bird that stalks

rs
w
down his narrow cage

ie
ve
y
can seldom see through
ev
op
ni
his bars of rage

R
his wings are clipped and

C
ge
his feet are tied

w
so he opens his throat to sing.
ie
id
ev
br
The caged bird sings

am
-R
with a fearful trill

of things unknown
-C
but longed for still

es
and his tune is heard

y
Pr
op
on the distant hill

for the caged bird
ity
C
sings of freedom.
rs
w
ie
ve
The free bird thinks of another breeze

y
ev
and the trade winds soft through the sighing trees

op
ni
R
and the fat worms waiting on a dawn-bright lawn

U
and he names the sky his own.

ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
But a caged bird stands on the grave of dreams
y his shadow shouts on a nightmare scream
Pr
op
his wings are clipped and his feet are tied
ity
so he opens his throat to sing.
C
rs
w
The caged bird sings

ie
ve
with a fearful trill
y
ev
op
ni
of things unknown
R
U
but longed for still
C
ge
and his tune is heard
w
on the distant hill
ie
id
for the caged bird
ev
br
sings of freedom.
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
76
ity
C
rs
w
ie
ve
Rising Five
y
ev
op
ni
Norman Nicholson
R
C
ge
w
ie
id
ev
br
‘I’m rising five’, he said,

‘Not four’, and little coils of hair
am
-R
Un-clicked themselves upon his head.
-C
His spectacles, brimful of eyes to stare
s
es
At me and the meadow, reflected cones of light
y
Above his toffee-buckled cheeks. He’d been alive

Pr
op
Fifty-six months or perhaps a week more:

ity
not four,
C
But rising five.

rs
w
ie
ve
Around him in the field the cells of spring
y
ev
op
ni
Bubbled and doubled; buds unbuttoned; shoot

R
And stem shook out the creases from their frills,

C
ge
And every tree was swilled with green.

w
It was the season after blossoming,
ie
id
Before the forming of the fruit:

ev
br
not May,
am
-R
But rising June.

-C
And in the sky

es
The dust dissected tangential light:

y
Pr
not day,
op
But rising night;

ity
C
not now,
rs
w
But rising soon.

ie
ve
y
ev
op
ni
R
C
ge
rising five – nearly five years old

ie
id
toffee-buckled – i.e. distorted by chewing toffee

ev
br
swilled – rinsed
tangential – issuing at an angle
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
The new buds push the old leaves from the bough.
y We drop our youth behind us like a boy
Pr
op
Throwing away his toffee-wrappers. We never see the flower,
ity
But only the fruit in the flower; never the fruit,
C
But only the rot in the fruit. We look for the marriage bed
rs
w
In the baby’s cradle, we look for the grave in the bed:

ie
ve
not living,
y
ev
op
ni
But rising dead.
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
77
ity
C
rs
w
ie
ve
Little Boy Crying
y
ev
op
ni
Mervyn Morris
R
C
ge
w
ie
id
ev
br
Your mouth contorting in brief spite and hurt,

your laughter metamorphosed into howls,
am
-R
your frame so recently relaxed now tight
-C
with three-year-old frustration, your bright eyes
s
es
swimming tears, splashing your bare feet,
y
you stand there angling for a moment’s hint

Pr
op
of guilt or sorrow for the quick slap struck.

ity
C
The ogre towers above you, that grim giant,

rs
w
empty of feeling, a colossal cruel,

ie
ve
y
soon victim of the tale’s conclusion, dead
ev
op
ni
at last. You hate him, you imagine

R
chopping clean the tree he’s scrambling down

C
ge
or plotting deeper pits to trap him in.

w
ie
id
You cannot understand, not yet,

ev
br
the hurt your easy tears can scald him with,

am
-R
nor guess the wavering hidden behind that mask.

this fierce man longs to lift you, curb your sadness
-C
with piggy-back or bull-fight, anything,

es
but dare not ruin the lessons you should learn.

y
Pr
op
You must not make a plaything of the rain.

ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
78
ity
C
rs
w
ie
ve
Carpet-weavers, Morocco
y
ev
op
ni
Carol Rumens
R
C
ge
w
ie
id
ev
br
The children are at the loom of another world.

Their braids are oiled and black, their dresses bright.
am
-R
Their assorted heights would make a melodious chime.
-C
s
es
They watch their flickering knots like television.
y
As the garden of Islam grows, the bench will be raised.

Pr
op
Then they will lace the dark-rose veins of the tree-tops.

ity
C
The carpet will travel in the merchant’s truck.

rs
w
It will be spread by the servants of the mosque.

ie
ve
y
Deep and soft, it will give when heaped with prayer.
ev
op
ni
R
The children are hard at work in the school of days.

C
ge
From their fingers the colours of all-that-will-be fly

w
and freeze into the frame of all-that-was.
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
garden of Islam – i.e. the carpet’s abstract pattern

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
79
ity
C
rs
w
ie
ve
Song to the Men of England
y
ev
op
ni
Percy Bysshe Shelley
R
C
ge
w
ie
id
ev
br
Men of England, wherefore plough

am
For the lords who lay ye low?
-R
Wherefore weave with toil and care
-C
The rich robes your tyrants wear?
s
es
y
Pr
op
Wherefore feed, and clothe, and save,

From the cradle to the grave,
ity
C
Those ungrateful drones who would

rs
w
Drain your sweat–nay, drink your blood?

ie
ve
y
ev
op
ni
Wherefore, Bees of England, forge

R
Many a weapon, chain, and scourge,

C
ge
That these stingless drones may spoil

w
The forced produce of your toil?
ie
id
ev
br
Have ye leisure, comfort, calm,

am
-R
Shelter, food, love’s gentle balm?

-C
Or what is it ye buy so dear

s
es
With your pain and with your fear?

y
Pr
op
The seed ye sow, another reaps;

ity
C
The wealth ye find, another keeps;

rs
w
The robes ye weave, another wears;

ie
ve
The arms ye forge, another bears.

y
ev
op
ni
R
C
ge
wherefore – why
ie
id
drones – idlers (literally non-working, male honey-bees)

ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Sow seed–but let no tyrant reap;
y Find wealth–let no impostor heap;
Pr
op
Weave robes–let not the idle wear;
ity
Forge arms–in your defence to bear.
C
rs
w
ie
ve
Shrink to your cellars, holes, and cells;
y
ev
In halls ye deck another dwells.
op
ni
Why shake the chains ye wrought? Ye see
R
C
The steel ye tempered glance on ye.
ge
w
ie
id
With plough and spade, and hoe and loom,
ev
br
Trace your grave, and build your tomb,

am
-R
And weave your winding-sheet–till fair
England be your sepulchre.
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
heap – pile up, hoard (money)

ge
deck – decorate
ie
id
tempered – rendered hard (of metal)

ev
br
glance – strike at an angle

am
winding-sheet – shroud
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
80
ity
C
rs
w
ie
ve
From Spectator Ab Extra
y
ev
op
ni
Arthur Hugh Clough
R
C
ge
w
ie
id
ev
br
As I sat at the Café I said to myself,

They may talk as they please about what they call pelf,
am
-R
They may sneer as they like about eating and drinking,
-C
But help it I cannot, I cannot help thinking
s
es
How pleasant it is to have money, heigh-ho!
y
How pleasant it is to have money.

Pr
op
I sit at my table en grand seigneur,

ity
C
And when I have done, throw a crust to the poor;

rs
w
Not only the pleasure itself of good living,

ie
ve
y
But also the pleasure of now and then giving:
ev
op
ni
So pleasant it is to have money, heigh-ho!

R
So pleasant it is to have money.

C
ge
w
They may talk as they please about what they call pelf,
ie
id
And how one ought never to think of one’s self,

ev
br
How pleasures of thought surpass eating and drinking,–

am
-R
My pleasure of thought is the pleasure of thinking

How pleasant it is to have money, heigh-ho!
-C
How pleasant it is to have money.

es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
Spectator ab extra – (Latin) the watcher from outside

ev
br
pelf – money
en grand seigneur – (French) in the manner of a gentleman
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
81
ity
C
rs
w
ie
ve
Monologue
y
ev
op
ni
Hone Tuwhare
R
C
ge
w
ie
id
ev
br
I like working near a door. I like to have my work-bench

close by, with a locker handy.
am
-R
-C
Here, the cold creeps in under the big doors, and in the
s
es
summer hot dust swirls, clogging the nose. When the
y
big doors open to admit a lorry-load of steel, conditions

Pr
op
do not improve. Even so, I put up with it, and wouldn’t

ity
C
care to shift to another bench, away from the big doors.

rs
w
As one may imagine this is a noisy place with smoke rising,

ie
ve
y
machines thumping and thrusting, people kneading, shaping,
ev
op
ni
and putting things together. Because I am nearest to

R
the big doors I am the farthest away

C
ge
from those who have to come down to shout instructions

w
in my ear.
ie
id
ev
br
I am the first to greet strangers who drift in through the

am
-R
open doors looking for work. I give them as much information

as they require, direct them to the offices, and
-C
acknowledge the casual recognition that one worker

es
signs to another.
y
Pr
op
I can always tell the look on the faces of the successful

ity
C
ones as they hurry away. The look on the faces of the

rs
w
unlucky I know also, but cannot easily forget.

ie
ve
y
ev
I have worked here for fifteen months.

op
ni
R
It’s too good to last.

U
Orders will fall off

ge
and there will be a reduction in staff.

ie
id
More people than we can cope with

ev
br
will be brought in from other lands:

am
people who are also looking

-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
for something more real, more lasting,
y more permanent maybe, than dying. . . .
Pr
op
I really ought to be looking for another job
ity
before the axe falls.
C
rs
w
These thoughts I push away, I think that I am lucky

ie
ve
to have a position by the big doors which open out
y
ev
op
ni
to a short alley leading to the main street; console
R
U
myself that if the worst happened I at least would
C
ge
have no great distance to carry my gear and tool-box
w
off the premises.
ie
id
ev
br
I always like working near a door. I always look for a

am
-R
work-bench hard by – in case an earthquake
occurs and fire breaks out, you know?
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
82
ity
C
rs
w
ie
ve
The Justice of the Peace
y
ev
op
ni
Hilaire Belloc
R
C
ge
w
ie
id
ev
br
Distinguish carefully between these two,

This thing is yours, that other thing is mine.
am
-R
You have a shirt, a brimless hat, a shoe
-C
And half a coat. I am the Lord benign
s
es
Of fifty hundred acres of fat land
y
To which I have a right. You understand?

Pr
op
ity
C
I have a right because I have, because,

Because I have – because I have right.
rs
w
Now be quite calm and good, obey the laws,

ie
ve
y
Remember your low station, do not fight
ev
op
ni
Against the good, because, you know, it pricks

R
Whenever the uncleanly demos kicks.

C
ge
w
I do not envy you your hat, your shoe.
ie
id
Why should you envy me my small estate?

ev
br
It’s fearfully illogical in you

am
-R
To fight with economic force and fate.

Moreover, I have got the upper hand,
-C
And mean to keep it. Do you understand?

es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
Justice of the Peace – magistrate

br
demos – populace, common people

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
83
ity
C
rs
w
ie
ve
Before the Sun
y
ev
op
ni
Charles Mungoshi
R
C
ge
w
ie
id
ev
br
Intense blue morning

promising early heat
am
-R
and later in the afternoon,
-C
heavy rain.
s
es
y
The bright chips Pr

op
fly from the sharp axe

ity
for some distance through the air,

C
arc,
rs
w
and eternities later,

ie
ve
settle down in showers
y
ev
op
ni
on the dewy grass.

R
C
ge
It is a big log:
w
but when you are fourteen
ie
id
big logs
ev
br
are what you want.

am
-R
The wood gives off

-C
a sweet nose-cleansing odour

es
which (unlike sawdust)

y
Pr
doesn’t make one sneeze.

op
ity
C
It sends up a thin spiral

rs
w
of smoke which later straightens

ie
ve
and flutes out

y
ev
to the distant sky: a signal

op
ni
of some sort,
R
or a sacrificial prayer.
ge
w
ie
id
The wood hisses,

ev
br
The sparks fly.

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
And when the sun
y finally shows up
Pr
op
in the East like some
ity
latecomer to a feast
C
I have got two cobs of maize
rs
w
ready for it.

ie
ve
y
ev
op
ni
I tell the sun to come share
R
U
with me the roasted maize
C
ge and the sun just winks
w
like a grown-up.
ie
id
ev
br
So I go ahead, taking big

am
-R
alternate bites:
one for the sun,
-C
s
one for me.
es
This one for the sun,
y
Pr
this one for me:
op
till the cobs

ity
C
are just two little skeletons

rs
w
in the sun.
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
84
ity
C
rs
w
ie
ve
Muliebrity
y
ev
op
ni
Sujata Bhatt
R
C
ge
w
ie
id
ev
br
I have thought so much about the girl

who gathered cow-dung in a wide, round basket
am
-R
along the main road passing by our house
-C
and the Radhavallabh temple in Maninagar.
s
es
I have thought so much about the way she
y
moved her hands and her waist Pr

op
and the smell of cow-dung and road-dust and wet canna lilies,
ity
the smell of monkey breath and freshly washed clothes

C
and the dust from crows’ wings which smells different –

rs
w
and again the smell of cow-dung as the girl scoops

ie
ve
y
it up, all these smells surrounding me separately
ev
op
ni
and simultaneously – I have thought so much

R
but have been unwilling to use her for a metaphor,

C
ge
for a nice image – but most of all unwilling

w
to forget her or to explain to anyone the greatness
ie
id
and the power glistening through her cheekbones

ev
br
each time she found a particularly promising

am
-R
mound of dung –
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
muliebrity – womanhood; female characteristics

br
canna lilies – large, leafy plants with bright flowers

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
85
ity
C
rs
w
ie
ve
She Dwelt Among the Untrodden Ways
y
ev
op
ni
William Wordsworth
R
C
ge
w
ie
id
ev
br
She dwelt among the untrodden ways

Beside the springs of Dove,
am
-R
A Maid whom there were none to praise
-C
And very few to love:
s
es
y
A violet by a mossy stone

Pr
op
Half hidden from the eye!

ity
C
– Fair as a star, when only one

Is shining in the sky.
rs
w
ie
ve
y
She lived unknown, and few could know
ev
op
ni
When Lucy ceased to be;

R
But she is in her grave, and, oh,

C
ge
The difference to me!

w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
Dove – name of a river

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
86
ity
C
rs
w
ie
ve
Farmhand
y
ev
op
ni
James K. Baxter
R
C
ge
w
ie
id
ev
br
You will see him light a cigarette

At the hall door careless, leaning his back
am
-R
Against the wall, or telling some new joke
-C
To a friend, or looking out into the secret night.
s
es
y
But always his eyes turn

Pr
op
To the dance floor and the girls drifting like flowers

ity
C
Before the music that tears

Slowly in his mind an old wound open.
rs
w
ie
ve
y
His red sunburnt face and hairy hands
ev
op
ni
Were not made for dancing or love-making

R
But rather the earth wave breaking

C
ge
To the plough, and crops slow-growing as his mind.

w
ie
id
He has no girl to run her fingers through

ev
br
His sandy hair, and giggle at his side

am
-R
When Sunday couples walk. Instead

He has his awkward hopes, his envious dreams to yarn to.
-C
s
es
But ah in harvest watch him

y
Pr
op
Forking stooks, effortless and strong –

Or listening like a lover to the song
ity
C
Clear, without fault, of a new tractor engine.

rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
yarn – spin thread (or a story)

br
stooks – bundles of hay

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
87
ity
C
rs
w
ie
ve
Plenty
y
ev
op
ni
Isobel Dixon
R
C
ge
w
ie
id
ev
br
When I was young and there were five of us,

all running riot to my mother’s quiet despair,
am
-R
our old enamel tub, age-stained and pocked
-C
upon its griffin claws, was never full.
s
es
y
Such plenty was too dear in our expanse of drought

Pr
op
where dams dried up and windmills stalled.

ity
C
Like Mommy’s smile. Her lips stretched back

and anchored down, in anger at some fault –
rs
w
ie
ve
y
of mine, I thought – not knowing then
ev
op
ni
it was a clasp to keep us all from chaos.

R
She saw it always, snapping locks and straps,

C
ge
the spilling: sums and worries, shopping lists

w
ie
id
for aspirin, porridge, petrol, bread.

ev
br
Even the toilet paper counted,

am
-R
and each month was weeks too long.

Her mouth a lid clamped hard on this.
-C
s
es
We thought her mean. Skipped chores,

y
Pr
op
swiped biscuits – best of all

when she was out of earshot
ity
C
stole another precious inch

rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
griffin – a mythical creature: a lion with an eagle’s head and wings

br
clasp – fastening clip

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
up to our chests, such lovely sin,
y lolling luxuriant in secret warmth
Pr
op
disgorged from fat brass taps,
ity
our old compliant co-conspirators.
C
rs
w
Now bubbles lap my chin. I am a sybarite.

ie
ve
The shower’s a hot cascade
y
ev
op
ni
and water’s plentiful, to excess, almost, here.
R
U
I leave the heating on.
C
ge
w
And miss my scattered sisters,
ie
id
all those bathroom squabbles and, at last,
ev
br
my mother’s smile, loosed from the bonds

am
-R
of lean, dry times and our long childhood.
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
sybarite – one devoted to luxury

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
88
ity
C
rs
w
ie
ve
Storyteller
y
ev
op
ni
Liz Lochhead
R
C
ge
w
ie
id
ev
br
she sat down

at the scoured table
am
-R
in the swept kitchen
-C
beside the dresser with its cracked delft.
s
es
And every last crumb of daylight was salted away.
y
Pr
op
No one could say the stories were useless

ity
C
for as the tongue clacked

five or forty fingers stitched
rs
w
corn was grated from the husk

ie
ve
y
patchwork was pieced
ev
op
ni
or the darning done.

R
C
ge
Never the one to slander her shiftless.

w
Daily sloven or spotless no matter whether
ie
id
dishwater or tasty was her soup.

ev
br
To tell the stories was her work.

am
-R
It was like spinning,

gathering thin air to the singlest strongest
-C
thread. Night in
es
she’d have us waiting, held

y
Pr
op
breath, for the ending we knew by heart.

ity
C
And at first light

rs
w
as the women stirred themselves to build the fire

ie
ve
as the peasant’s feet felt for clogs

y
ev
op
ni
R
C
ge
w
ie
id
dresser – kitchen shelves displaying dishes

ev
br
delft – old earthenware

salted away – scrupulously stored
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
as thin grey washed over flat fields
y the stories dissolved in the whorl of the ear
Pr
op
but they
ity
hung themselves upside down
C
in the sleeping heads of the children
rs
w
till they flew again

ie
ve
in the storytellers night.
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
whorl – coiled form

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
89
ity
C
rs
w
ie
ve
Those Winter Sundays
y
ev
op
ni
Robert Hayden
R
C
ge
w
ie
id
ev
br
Sundays too my father got up early

and put his clothes on in the blueblack cold,
am
-R
then with cracked hands that ached
-C
from labor in the weekday weather made
s
es
banked fires blaze. No one ever thanked him.
y
Pr
op
I’d wake and hear the cold splintering, breaking.

ity
C
When the rooms were warm, he’d call,

and slowly I would rise and dress,
rs
w
fearing the chronic angers of that house,

ie
ve
y
ev
op
ni
Speaking indifferently to him,

R
who had driven out the cold

C
ge
and polished my good shoes as well.

w
What did I know, what did I know
ie
id
of love’s austere and lonely offices?

ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
banked – heaped with dust to ensure a slow burn; smouldering

br
offices – practical duties

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
90
ity
C
rs
w
ie
ve
The Old Familiar Faces
y
ev
op
ni
Charles Lamb
R
C
ge
w
ie
id
ev
br
I have had playmates, I have had companions,

In my days of childhood, in my joyful school-days;
am
-R
All, all are gone, the old familiar faces.
-C
s
es
I have been laughing, I have been carousing,
y
Drinking late, sitting late, with my bosom cronies;

Pr
op

ity
C
I loved a love once, fairest among women:

rs
w
Closed are her doors on me, I must not see her –

ie
ve
y
ev
op
ni
R
I have a friend, a kinder friend has no man:

C
ge
Like an ingrate, I left my friend abruptly;

w
Left him, to muse on the old familiar faces.
ie
id
ev
br
Ghost-like I paced round the haunts of my childhood,

am
-R
Earth seemed a desert I was bound to traverse,

Seeking to find the old familiar faces.
-C
s
es
Friend of my bosom, thou more than a brother,

y
Pr
op
Why wert not thou born in my father’s dwelling?

So might we talk of the old familiar faces.
ity
C
rs
w
How some they have died, and some they have left me,
ie
ve
And some are taken from me; all are departed;

y
ev

op
ni
R
C
ge
carousing – making merry

ie
id
bosom cronies – close friends

ev
br
ingrate – ungrateful person

am
-R
wert – were
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
91
ity
C
rs
w
ie
ve
Mid-Term Break
y
ev
op
ni
Seamus Heaney
R
C
ge
w
ie
id
ev
br
I sat all morning in the college sick bay,

Counting bells knelling classes to a close.
am
-R
At two o’clock our neighbours drove me home.
-C
s
In the porch I met my father crying –
es
He had always taken funerals in his stride –
y
Pr
op
And Big Jim Evans saying it was a hard blow.

ity
C
The baby cooed and laughed and rocked the pram

rs
When I came in, and I was embarrassed

w
ie
By old men standing up to shake my hand

ve
y
ev
op
ni
And tell me they were ‘sorry for my trouble’.

R
Whispers informed strangers I was the eldest,

Away at school, as my mother held my hand
C
ge
w
ie
id
In hers and coughed out angry tearless sighs.

ev
br
At ten o’clock the ambulance arrived

am
With the corpse, stanched and bandaged by the nurses.

-R
Next morning I went up into the room. Snowdrops

-C
And candles soothed the bedside; I saw him

es
For the first time in six weeks. Paler now,

y
Pr
op
Wearing a poppy bruise on his left temple,

ity
C
He lay in the four foot box as in his cot.

rs
w
No gaudy scars, the bumper knocked him clear.

ie
ve
A four foot box, a foot for every year.

ev
op
ni
R
C
ge
w
ie
id
knelling – tolling (as for a funeral)

ev
br
cot – child’s bed

bumper – protective bar on a car
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
92
ity
C
rs
w
ie
ve
The Listeners
y
ev
op
ni
Walter De La Mare
R
C
ge
w
ie
id
ev
br
‘Is there anybody there?’ said the Traveller,

Knocking on the moonlit door;
am
-R
And his horse in the silence champed the grasses
-C
Of the forest’s ferny floor.
s
es
And a bird flew up out of the turret,
y
Above the Traveller’s head:

Pr
op
And he smote upon the door again a second time;

ity
C
‘Is there anybody there?’ he said.

But no one descended to the Traveller;
rs
w
No head from the leaf-fringed sill

ie
ve
y
Leaned over and looked into his grey eyes,
ev
op
ni
Where he stood perplexed and still.

R
But only a host of phantom listeners

C
ge
That dwelt in the lone house then

w
Stood listening in the quiet of the moonlight
ie
id
To that voice from the world of men:

ev
br
Stood thronging the faint moonbeams on the dark stair,

am
-R
That goes down to the empty hall,

Hearkening in an air stirred and shaken
-C
By the lonely Traveller’s call.

es
And he felt in his heart their strangeness,

y
Pr
op
Their stillness answering his cry,

While his horse moved, cropping the dark turf,
ity
C
’Neath the starred and leafy sky;

rs
w
For he suddenly smote on the door, even

ie
ve
Louder, and lifted his head: –

y
ev
‘Tell them I came, and no one answered,

op
ni
R
That I kept my word,’ he said.

U
C
ge
w
ie
id
champed – chewed
ev
br
ferny – covered with ferns

am
-R
hearkening – listening
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Never the least stir made the listeners,
y Though every word he spake
Pr
op
Fell echoing through the shadowiness of the still house
ity
From the one man left awake:
C
Ay, they heard his foot upon the stirrup,
rs
w
And the sound of iron on stone,

ie
ve
And how silence surged softly backward,
y
ev
op
ni
When the plunging hoofs were gone.
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
93
ity
C
rs
w
ie
ve
Not Waving But Drowning
y
ev
op
ni
Stevie Smith
R
C
ge
w
ie
id
ev
br
Nobody heard him, the dead man,

But still he lay moaning:
am
-R
I was much further out than you thought
-C
And not waving but drowning.
s
es
y
Poor chap, he’d always loved larking

Pr
op
And now he’s dead

ity
C
It must have been too cold for him his heart gave way,
They said.
rs
w
ie
ve
y
Oh, no no no, it was too cold always
ev
op
ni
(Still the dead one lay moaning)

R
I was much too far out all my life

C
ge
And not waving but drowning.

w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
larking – larking about, indulging in playful behaviour

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
94
ity
C
rs
w
ie
ve
The Three Fates
y
ev
op
ni
Rosemary Dobson
R
C
ge
w
ie
id
ev
br
At the instant of drowning he invoked the three sisters.

It was a mistake, an aberration, to cry out for
am
-R
Life everlasting.
-C
s
es
He came up like a cork and back to the river-bank,
y
Put on his clothes in reverse order,

Pr
op
Returned to the house.

ity
C
He suffered the enormous agonies of passion

rs
w
Writing poems from the end backwards,

ie
ve
y
Brushing away tears that had not yet fallen.
ev
op
ni
R
Loving her wildly as the day regressed towards morning

C
ge
He watched her swinging in the garden, growing younger,

w
Bare-foot, straw-hatted.
ie
id
ev
br
And when she was gone and the house and the swing and daylight
am
-R
There was an instant’s pause before it began all over,

The reel unrolling towards the river.
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
The Three Fates – in Greek myth, the three sisters who drew, spun, and cut the threads
ev
br
of our birth, life, and death

reel – spindle of thread
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
95
ity
C
rs
w
ie
ve
Elegy for Drowned Children
y
ev
op
ni
Bruce Dawe
R
C
ge
w
ie
id
ev
br
What does he do with them all, the old king:

Having such a shining haul of boys in his sure net,
am
-R
How does he keep them happy, lead them to forget
-C
The world above, the aching air, birds, spring?
s
es
y
Tender and solicitous must be his care

Pr
op
For these whom he takes down into his kingdom one by one
ity
C
– Why else would they be taken out of the sweet sun,

Drowning towards him, water plaiting their hair?
rs
w
ie
ve
y
Unless he loved them deeply how could he withstand
ev
op
ni
The voices of parents calling, calling like birds by the water’s edge,
R
By swimming-pool, sand-bar, river-bank, rocky ledge,

C
ge
The little heaps of clothes, the futures carefully planned?

w
ie
id
Yet even an old acquisitive king must feel

ev
br
Remorse poisoning his joy, since he allows

am
-R
Particular boys each evening to arouse

From leaden-lidded sleep, softly to steal
-C
s
es
Away to the whispering shore, there to plunge in,

y
Pr
op
And fluid as porpoises swim upward, upward through the dividing

Waters until, soon, each back home is striding
ity
C
Over thresholds of welcome dream with wet and moonlit skin.

rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
sand-bar – sand bank

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
96
ity
C
rs
w
ie
ve
The Voice
y
ev
op
ni
Thomas Hardy
R
C
ge
w
ie
id
ev
br
Woman much missed, how you call to me, call to me,

Saying that now you are not as you were
am
-R
When you had changed from the one who was all to me,
-C
But as at first, when our day was fair.
s
es
y
Can it be you that I hear? Let me view you, then,

Pr
op
Standing as when I drew near to the town

ity
C
Where you would wait for me: yes, as I knew you then,
Even to the original air-blue gown!
rs
w
ie
ve
y
Or is it only the breeze, in its listlessness
ev
op
ni
Travelling across the wet mead to me here,

R
You being ever dissolved to wan wistlessness,

C
ge
Heard no more again far or near?

w
ie
id
Thus I; faltering forward,

ev
br
Leaves around me falling,

am
-R
Wind oozing thin through the thorn from norward,

And the woman calling.
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
mead – field, meadow

ev
br
wistlessness – inattentiveness
norward – northern parts
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
97
ity
C
rs
w
ie
ve
Time
y
ev
op
ni
Allen Curnow
R
C
ge
w
ie
id
ev
br
I am the nor’west air nosing among the pines

I am the water-race and the rust on railway lines
am
-R
I am the mileage recorded on the yellow signs.
-C
s
es
I am dust, I am distance, I am lupins back of the beach
y
I am the sums the sole-charge teachers teach

Pr
op
I am cows called to milking and the magpie’s screech.

ity
C
I am nine o’clock in the morning when the office is clean

rs
w
I am the slap of the belting and the smell of the machine

ie
ve
y
I am the place in the park where the lovers were seen.
ev
op
ni
R
I am recurrent music the children hear

C
ge
I am level noises in the remembering ear

w
I am the sawmill and the passionate second gear.
ie
id
ev
br
I, Time, am all these, yet these exist

am
-R
Among my mountainous fabrics like a mist,

So do they the measurable world resist.
-C
s
es
I, Time, call down, condense, confer

y
Pr
op
On the willing memory the shapes these were:

I, more than your conscious carrier,
ity
C
rs
w
Am island, am sea, am father, farm, and friend,

ie
ve
Though I am here all things my coming attend;

y
ev
I am, you have heard it, the Beginning and the End.
op
ni
R
C
ge
w
ie
id
ev
br
lupins – type of garden flower

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
98
ity
C
rs
w
ie
ve
Dover Beach
y
ev
op
ni
Matthew Arnold
R
C
ge
w
ie
id
ev
br
The sea is calm to-night.

The tide is full, the moon lies fair
am
-R
Upon the straits; – on the French coast the light
-C
Gleams and is gone; the cliffs of England stand,
s
es
Glimmering and vast, out in the tranquil bay.
y
Come to the window, sweet is the night-air!

Pr
op
Only, from the long line of spray

ity
Where the sea meets the moon-blanched land,

C
Listen! you hear the grating roar

rs
w
Of pebbles which the waves draw back, and fling,

ie
ve
y
At their return, up the high strand,
ev
op
ni
Begin, and cease, and then again begin,

R
With tremulous cadence slow, and bring

C
ge
The eternal note of sadness in.

w
ie
id
Sophocles long ago

ev
br
Heard it on the Aegean, and it brought

am
-R
Into his mind the turbid ebb and flow

Of human misery: we
-C
Find also in the sound a thought,

es
Hearing it by this distant northern sea.

y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
strand – beach
R
tremulous – quivering
ge
cadence – rhythm
ie
id
Sophocles – Ancient Greek tragedian

ev
br
Aegean – i.e. the Aegean Sea (east of Greece)

am
turbid – muddy, unclear, confused

-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
The Sea of Faith
y Was once, too, at the full, and round earth’s shore
Pr
op
Lay like folds of a bright girdle furled.
ity
But now I only hear
C
Its melancholy, long, withdrawing roar,
rs
w
Retreating, to the breath

ie
ve
Of the night-wind, down the vast edges drear
y
ev
op
ni
And naked shingles of the world.
R
C
ge
Ah, love, let us be true
w
To one another! for the world, which seems
ie
id
To lie before us like a land of dreams,
ev
br
So various, so beautiful, so new,

am
-R
Hath really neither joy, nor love, nor light,
Nor certitude, nor peace, nor help for pain;
-C
s
And we are here as on a darkling plain
es
Swept with confused alarms of struggle and flight,
y
Pr
Where ignorant armies clash by night.
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
darkling – shadowy, obscure, dark

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
99
ity
C
rs
w
ie
ve
Amends
y
ev
op
ni
Adrienne Rich
R
C
ge
w
ie
id
ev
br
Nights like this: on the cold apple-bough

a white star, then another
am
-R
exploding out of the bark:
-C
on the ground, moonlight picking at small stones
s
es
y
as it picks at greater stones, as it rises with the surf

Pr
op
laying its cheek for moments on the sand

ity
C
as it licks the broken ledge, as it flows up the cliffs,

as it flicks across the tracks
rs
w
ie
ve
y
as it unavailing pours into the gash
ev
op
ni
of the sand-and-gravel quarry

R
as it leans across the hangared fuselage

C
ge
of the crop-dusting plane

w
ie
id
as it soaks through cracks into the trailers

ev
br
tremulous with sleep

am
-R
as it dwells upon the eyelids of the sleepers

as if to make amends
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
hangared – inside a hangar

ev
br
fuselage – the body of an aeroplane

tremulous – quivering
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
100
ity
C
rs
w
ie
ve
Full Moon and Little Frieda
y
ev
op
ni
Ted Hughes
R
C
ge
w
ie
id
ev
br
A cool small evening shrunk to a dog bark and the clank

of a bucket –
am
-R
-C
And you listening.
s
es
A spider’s web, tense for the dew’s touch.
y
A pail lifted, still and brimming – mirror

Pr
op
To tempt a first star to a tremor.

ity
C
Cows are going home in the lane there, looping the

rs
w
hedges with their warm wreaths of breath –

ie
ve
y
A dark river of blood, many boulders,
ev
op
ni
Balancing unspilled milk.

R
C
ge
‘Moon!’ you cry suddenly, ‘Moon! Moon!’

w
ie
id
The moon has stepped back like an artist gazing amazed

ev
br
at a work
am
-R
That points at him amazed.

-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
101
ity
C
rs
w
ie
ve
Lament
y
ev
op
ni
Gillian Clarke
R
C
ge
w
ie
id
ev
br
For the green turtle with her pulsing burden,

in search of the breeding-ground.
am
-R
For her eggs laid in their nest of sickness.
-C
s
es
For the cormorant in his funeral silk,
y
the veil of iridescence on the sand,

Pr
op
the shadow on the sea.

ity
C
For the ocean’s lap with its mortal stain.

rs
w
For Ahmed at the closed border.

ie
ve
For the soldier in his uniform of fire.
y
ev
op
ni
R
For the gunsmith and the armourer,

C
ge
the boy fusilier who joined for the company,

w
the farmer’s sons, in it for the music.
ie
id
ev
br
For the hook-beaked turtles,

am
-R
the dugong and the dolphin,

the whale struck dumb by the missile’s thunder.
-C
s
es
For the tern, the gull and the restless wader,

y
Pr
the long migrations and the slow dying,

op
the veiled sun and the stink of anger.

ity
C
rs
w
For the burnt earth and the sun put out,

ie
ve
the scalded ocean and the blazing well.

y
ev
For vengeance, and the ashes of language.

op
ni
R
C
ge
cormorant . . . tern . . . gull . . . wader – types of seabirds

ie
id
iridescence – a surface of shimmering colours

ev
br
fusilier – rifleman
am
dugong – large aquatic mammal

-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
102
ity
C
rs
w
ie
ve
On The Grasshopper and The Cricket
y
ev
op
ni
John Keats
R
C
ge
w
ie
id
ev
br
The poetry of earth is never dead:

When all the birds are faint with the hot sun,
am
-R
And hide in cooling trees, a voice will run
-C
From hedge to hedge about the new-mown mead;
s
es
That is the grasshopper’s – he takes the lead
y
In summer luxury, – he has never done

Pr
op
With his delights; for when tired out with fun

ity
C
He rests at ease beneath some pleasant weed.

The poetry of earth is ceasing never:
rs
w
On a lone winter evening, when the frost

ie
ve
y
Has wrought a silence, from the stove there shrills
ev
op
ni
The cricket’s song, in warmth increasing ever,

R
And seems to one in drowsiness half lost,

C
ge
The grasshopper’s among some grassy hills.

w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
mead – meadow
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
103
ity
C
rs
w
ie
ve
The Flower-Fed Buffaloes
y
ev
op
ni
Vachel Lindsay
R
C
ge
w
ie
id
ev
br
The flower-fed buffaloes of the spring

In the days of long ago,
am
-R
Ranged where the locomotives sing
-C
And the prairie flowers lie low:–
s
es
The tossing, blooming, perfumed grass
y
Is swept away by the wheat,

Pr
op
Wheels and wheels and wheels spin by

ity
In the spring that still is sweet.

C
But the flower-fed buffaloes of the spring

rs
w
Left us, long ago.

ie
ve
They gore no more, they bellow no more,
y
ev
op
ni
They trundle around the hills no more:–

R
With the Blackfeet, lying low,

C
ge
With the Pawnees, lying low,

w
Lying low.
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
Blackfeet . . . Pawnees – Native American tribes

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
104
ity
C
rs
w
ie
ve
Report To Wordsworth
y
ev
op
ni
Boey Kim Cheng
R
C
ge
w
ie
id
ev
br
You should be here, Nature has need of you.

She has been laid waste. Smothered by the smog,
am
-R
the flowers are mute, and the birds are few
-C
in a sky slowing like a dying clock.
s
es
All hopes of Proteus rising from the sea
y
have sunk; he is entombed in the waste

Pr
op
we dump. Triton’s notes struggle to be free,

ity
his famous horns are choked, his eyes are dazed,

C
and Neptune lies helpless as a beached whale,

rs
w
while insatiate man moves in for the kill.

ie
ve
Poetry and piety have begun to fail,
y
ev
op
ni
as Nature’s mighty heart is lying still.

R
O see the wound widening in the sky,

C
ge
God is labouring to utter his last cry.

w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
Wordsworth – i.e. the English nature-poet William Wordsworth (1770–1850)

ge
Proteus – (Greek mythology) a shape-changing sea-god

w
Triton – (Greek mythology) a sea-god that used shells as wind instruments

ie
id
Neptune – the Roman god of the sea

ev
br
insatiate – never satisfied

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
105
ity
C
rs
w
ie
ve
First Love
y
ev
op
ni
John Clare
R
C
ge
w
ie
id
ev
br
I ne’er was struck before that hour

With love so sudden and so sweet
am
-R
Her face it bloomed like a sweet flower
-C
And stole my heart away complete
s
es
My face turned pale a deadly pale
y
My legs refused to walk away

Pr
op
And when she looked what could I ail

ity
My life and all seemed turned to clay

C
rs
w
And then my blood rushed to my face

ie
ve
And took my eyesight quite away
y
ev
op
ni
The trees and bushes round the place

R
Seemed midnight at noon day

C
ge
I could not see a single thing

w
Words from my eyes did start
ie
id
They spoke as chords do from the string

ev
br
And blood burnt round my heart

am
-R
Are flowers the winters choice

-C
Is love’s bed always snow

es
She seemed to hear my silent voice

y
Pr
Not loves appeals to know

op
I never saw so sweet a face

ity
C
As that I stood before

rs
w
My heart has left its dwelling place

ie
ve
And can return no more –

y
ev
op
ni
R
C
ge
w
ie
id
ev
br
what could I ail – what could be wrong

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
106
ity
C
rs
w
ie
ve
Marrysong
y
ev
op
ni
Dennis Scott
R
C
ge
w
ie
id
ev
br
He never learned her, quite. Year after year

that territory, without seasons, shifted
am
-R
under his eye. An hour he could be lost
-C
in the walled anger of her quarried hurt
s
es
on turning, see cool water laughing where
y
the day before there were stones in her voice.

Pr
op
He charted. She made wilderness again.

ity
C
Roads disappeared. The map was never true.

Wind brought him rain sometimes, tasting of sea –
rs
w
and suddenly she would change the shape of shores

ie
ve
y
faultlessly calm. All, all was each day new:
ev
op
ni
the shadows of her love shortened or grew

R
like trees seen from an unexpected hill,

C
ge
new country at each jaunty helpless journey.

w
So he accepted that geography, constantly strange.
ie
id
Wondered. Stayed home increasingly to find

ev
br
his way among the landscapes of her mind.

am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
charted – mapped
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
107
ity
C
rs
w
ie
ve
So, We’ll Go No More A-Roving
y
ev
op
ni
George Gordon, Lord Byron
R
C
ge
w
ie
id
ev
br
So, we’ll go no more a-roving

So late into the night,
am
-R
Though the heart be still as loving,
-C
And the moon be still as bright.
s
es
y
For the sword outwears its sheath,

Pr
op
And the soul wears out the breast,

ity
C
And the heart must pause to breathe,

And love itself have rest.
rs
w
ie
ve
y
Though the night was made for loving,
ev
op
ni
And the day returns too soon,

R
Yet we’ll go no more a-roving

C
ge
By the light of the moon.

w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
108
ity
C
rs
w
ie
ve
Sonnet 43
y
ev
op
ni
Elizabeth Barrett Browning
R
C
ge
w
ie
id
ev
br
How do I love thee? Let me count the ways! –

I love thee to the depth & breadth & height
am
-R
My soul can reach, when feeling out of sight
-C
For the ends of Being and Ideal Grace.
s
es
I love thee to the level of everyday’s
y
Most quiet need, by sun & candlelight –

Pr
op
I love thee freely, as men strive for Right, –

ity
C
I love thee purely, as they turn from Praise;

I love thee with the passion, put to use
rs
w
In my old griefs, . . and with my childhood’s faith:

ie
ve
y
I love thee with the love I seemed to lose
ev
op
ni
With my lost Saints, – I love thee with the breath,

R
Smiles, tears, of all my life! – and, if God choose,

C
ge
I shall but love thee better after death.

w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
109
ity
C
rs
w
ie
ve
Sonnet 29
y
ev
op
ni
Edna St Vincent Millay
R
C
ge
w
ie
id
ev
br
Pity me not because the light of day

At close of day no longer walks the sky;
am
-R
Pity me not for beauties passed away
-C
From field to thicket as the year goes by;
s
es
Pity me not the waning of the moon,
y
Nor that the ebbing tide goes out to sea,

Pr
op
Nor that a man’s desire is hushed so soon,

ity
C
And you no longer look with love on me.

This have I known always: Love is no more
rs
w
Than the wide blossom which the wind assails,

ie
ve
y
Than the great tide that treads the shifting shore,
ev
op
ni
Strewing fresh wreckage gathered in the gales:

R
Pity me that the heart is slow to learn

C
ge
What the swift mind beholds at every turn.

w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

R R R
ev ev ev
ie ie ie
w w w
C C C
op op op
y y y
-C -C -C -C
am am am am
br br br br
id id id id
ge ge ge
U U U
ni ni ni
ve ve ve
rs rs rs
ity ity ity
Part 4
Pr Pr Pr
es es es es
s s s s
-R -R -R -R
ev ev ev ev
ie ie and Twentieth Centuries (II) ie ie
w w w

C C C
op op op
y y y
R R R
ev ev ev
ie ie ie
w w w
C C C
op op op
y y y
-C -C -C -C
am am am am
br br br br
id id id id
ge ge ge
U U U
ni ni ni
ve ve ve
rs rs rs
ity ity ity
Pr Pr Pr
es es es es
s s s s
-R -R -R -R
ev ev ev ev
ie ie ie ie
w w w

C C C
op op op
y y y
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
110
ity
C
rs
w
ie
ve
A Different History
y
ev
op
ni
Sujata Bhatt
R
C
ge
w
ie
id
ev
br
Great Pan is not dead;

he simply emigrated
am
-R
to India.
-C
Here, the gods roam freely,
s
es
disguised as snakes or monkeys;
y
every tree is sacred

Pr
op
and it is a sin
ity
C
to be rude to a book.
It is a sin to shove a book aside
rs
w
with your foot,

ie
ve
y
a sin to slam books down
ev
op
ni
hard on a table,
R
a sin to toss one carelessly

C
ge
across a room.
w
You must learn how to turn the pages gently
ie
id
without disturbing Sarasvati,

ev
br
without offending the tree

am
-R
from whose wood the paper was made.

-C
Which language
s
es
has not been the oppressor’s tongue?

y
Which language
Pr
op
truly meant to murder someone?

ity
C
And how does it happen

that after the torture,
rs
w
after the soul has been cropped

ie
ve
with a long scythe swooping out

ev
op
ni
of the conqueror’s face –

R
the unborn grandchildren

C
ge
grow to love that strange language.

w
ie
id
ev
br
Pan – the Ancient Greek god of nature, part-man, part-goat

am
-R
Sarasvati – the Hindu goddess of the arts

-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
111
ity
C
rs
w
ie
ve
Pied Beauty
y
ev
op
ni
Gerard Manley Hopkins
R
C
ge
w
ie
id
ev
br
Glory be to God for dappled things –

For skies of couple-colour as a brinded cow;
am
-R
For rose-moles all in stipple upon trout that swim;
-C
Fresh-firecoal chestnut-falls; finches’ wings;
s
es
Landscape plotted and pieced – fold, fallow, and plough;
y
And all trades, their gear and tackle and trim.

Pr
op
All things counter, original, spare, strange;

ity
Whatever is fickle, freckled (who knows how?)

C
With swift, slow; sweet, sour; adazzle, dim;

rs
w
He fathers-forth whose beauty is past change:

ie
ve
Praise him.
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
pied . . . dappled . . . couple-colour – of different shades of colour; two-tone

ge
brinded – streaked with different colours

ie
id
fresh-firecoal chestnut-falls – falling chestnuts as bright as glowing coals

ev
br
counter – opposite, duplicate

fathers-forth – creates, engenders
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
112
ity
C
rs
w
ie
ve
Continuum
y
ev
op
ni
Allen Curnow
R
C
ge
w
ie
id
ev
br
The moon rolls over the roof and falls behind

my house, and the moon does neither of these things,
am
-R
I am talking about myself.
-C
s
es
It’s not possible to get off to sleep or
y
the subject or the planet, nor to think thoughts.

Pr
op
Better barefoot it out the front

ity
C
door and lean from the porch across the privets

rs
w
and the palms into the washed-out creation,

ie
ve
a dark place with two particular
y
ev
op
ni
R
bright clouds dusted (query) by the moon, one’s mine

C
ge
the other’s an adversary, which may depend

w
on the wind, or something.
ie
id
ev
br
A long moment stretches, the next one is not

am
-R
on time. Not unaccountably the chill of

the planking underfoot rises
-C
s
es
in the throat, for its part the night sky empties

y
Pr
the whole of its contents down. Turn on a bare

op
heel, close the door behind

ity
C
rs
w
on the author, cringing demiurge, who picks up

ie
ve
his litter and his tools and paces me back

y
ev
to bed, stealthily in step.

op
ni
R
C
ge
w
ie
id
continuum – that which extends continuously

ev
privets – hedges
br
demiurge – creator
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
113
ity
C
rs
w
ie
ve
Horses
y
ev
op
ni
Edwin Muir
R
C
ge
w
ie
id
ev
br
Those lumbering horses in the steady plough,

On the bare field – I wonder why, just now,
am
-R
They seemed terrible, so wild and strange,
-C
Like magic power on the stony grange.
s
es
y
Perhaps some childish hour has come again,

Pr
op
When I watched fearful, through the blackening rain,

ity
C
Their hooves like pistons in an ancient mill

Move up and down, yet seem as standing still.
rs
w
ie
ve
y
Their conquering hooves which trod the stubble down
ev
op
ni
Were ritual that turned the field to brown,

R
And their great hulks were seraphim of gold,

C
ge
Or mute ecstatic monsters on the mould.

w
ie
id
And oh the rapture, when, one furrow done,

ev
br
They marched broad-breasted to the sinking sun!

am
-R
The light flowed off their bossy sides in flakes;

The furrows rolled behind like struggling snakes.
-C
s
es
But when at dusk with steaming nostrils home

y
Pr
op
They came, they seemed gigantic in the gloam,

And warm and glowing with mysterious fire
ity
C
That lit their smouldering bodies in the mire.

rs
w
ie
ve
y
ev
op
ni
R
grange – farmhouse
C
seraphim – angels
ge
mould – ground
ie
id
bossy – swelling
ev
br
gloam – dusk
mire – mud
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Their eyes as brilliant and as wide as night
y Gleamed with a cruel apocalyptic light.
Pr
op
Their manes the leaping ire of the wind
ity
Lifted with rage invisible and blind.
C
rs
w
Ah, now it fades! It fades! and I must pine

ie
ve
Again for that dread country crystalline,
y
ev
op
ni
Where the black field and the still-standing tree
R
U
Were bright and fearful presences to me.
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
crystalline – as if made of crystal

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
114
ity
C
rs
w
ie
ve
Hunting Snake
y
ev
op
ni
Judith Wright
R
C
ge
w
ie
id
ev
br
Sun-warmed in this late season’s grace

under the autumn’s gentlest sky
am
-R
we walked, and froze half-through a pace.
-C
The great black snake went reeling by.
s
es
y
Head-down, tongue flickering on the trail

Pr
op
he quested through the parting grass;

ity
sun glazed his curves of diamond scale,

C
and we lost breath to watch him pass.

rs
w
ie
ve
What track he followed, what small food
y
ev
op
ni
fled living from his fierce intent,

R
we scarcely thought; still as we stood

C
ge
our eyes went with him as he went.

w
ie
id
Cold, dark and splendid he was gone

ev
br
into the grass that hid his prey.

am
-R
We took a deeper breath of day,

looked at each other, and went on.
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
115
ity
C
rs
w
ie
ve
Pike
y
ev
op
ni
Ted Hughes
R
C
ge
w
ie
id
ev
br
Pike, three inches long, perfect

Pike in all parts, green tigering the gold.
am
-R
Killers from the egg: the malevolent aged grin.
-C
They dance on the surface among the flies.
s
es
y
Or move, stunned by their own grandeur

Pr
op
Over a bed of emerald, silhouette

ity
C
Of submarine delicacy and horror.

A hundred feet long in their world.
rs
w
ie
ve
y
In ponds, under the heat-struck lily pads –
ev
op
ni
Gloom of their stillness:

R
Logged on last year’s black leaves, watching upwards.

C
ge
Or hung in an amber cavern of weeds

w
ie
id
The jaws’ hooked clamp and fangs

ev
br
Not to be changed at this date;

am
-R
A life subdued to its instrument;

The gills kneading quietly, and the pectorals.
-C
s
es
Three we kept behind glass,

y
Pr
op
Jungled in weed: three inches, four,

And four and a half: fed fry to them –
ity
C
Suddenly there were two. Finally one.

rs
w
ie
ve
y
ev
op
ni
R
C
ge
pike – large, predatory freshwater fish

ie
tigering – i.e. making stripes like a tiger’s skin

id
pectorals – lateral fins

ev
br
fry – newly hatched fish

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
With a sag belly and the grin it was born with.
y And indeed they spare nobody.
Pr
op
Two, six pounds each, over two feet long,
ity
High and dry and dead in the willow-herb –
C
rs
w
One jammed past its gills down the other’s gullet:

ie
ve
The outside eye stared: as a vice locks –
y
ev
op
ni
The same iron in this eye
R
U
Though its film shrank in death.
C
ge
w
A pond I fished, fifty yards across,
ie
id
Whose lilies and muscular tench
ev
br
Had outlasted every visible stone

am
-R
Of the monastery that planted them –
-C
s
Stilled legendary depth:
es
It was as deep as England. It held
y
Pr
Pike too immense to stir, so immense and old
op
That past nightfall I dared not cast

ity
C
rs
w
But silently cast and fished

ie
ve
With the hair frozen on my head
y
ev
For what might move, for what eye might move.
op
ni
The still splashes on the dark pond,

R
C
ge
w
Owls hushing the floating woods
ie
id
Frail on my ear against the dream

ev
br
Darkness beneath night’s darkness had freed,

am
That rose slowly towards me, watching.

-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
willow-herb – yellow loosestrife, a wild plant

ie
film – the eye’s surface

id
tench – freshwater fish

ev
br
cast – flick the line of a fishing-rod

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
116
ity
C
rs
w
ie
ve
A Birthday
y
ev
op
ni
Christina Rossetti
R
C
ge
w
ie
id
ev
br
My heart is like a singing bird

Whose nest is in a watered shoot;
am
-R
My heart is like an apple-tree
-C
Whose boughs are bent with thickset fruit;
s
es
My heart is like a rainbow shell
y
That paddles in a halcyon sea;

Pr
op
My heart is gladder than all these

ity
C
Because my love is come to me.

rs
w
Raise me a dais of silk and down;

ie
ve
y
Hang it with vair and purple dyes;
ev
op
ni
Carve it in doves and pomegranates,

R
And peacocks with a hundred eyes;

C
ge
Work it in gold and silver grapes,

w
In leaves and silver fleurs-de-lys;
ie
id
Because the birthday of my life

ev
br
Is come, my love is come to me.

am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
halcyon – idyllic, calm

C
dais – platform
ge
down – soft feathers

ie
id
vair – squirrel fur

ev
br
eyes – i.e. the circles in a peacock’s tail

fleurs-de-lys – three-petalled flowers
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
117
ity
C
rs
w
ie
ve
The Woodspurge
y
ev
op
ni
Dante Gabriel Rossetti
R
C
ge
w
ie
id
ev
br
The wind flapped loose, the wind was still,

Shaken out dead from tree and hill:
am
-R
I had walked on at the wind’s will, –
-C
I sat now, for the wind was still.
s
es
y
Between my knees my forehead was, –

Pr
op
My lips, drawn in, said not Alas!

ity
C
My hair was over in the grass,

My naked ears heard the day pass.
rs
w
ie
ve
y
My eyes, wide open, had the run
ev
op
ni
Of some ten weeds to fix upon;

R
Among those few, out of the sun,

C
ge
The woodspurge flowered, three cups in one.

w
ie
id
From perfect grief there need not be

ev
br
Wisdom or even memory:

am
-R
One thing then learnt remains to me, –

The woodspurge has a cup of three.
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
at the wind’s will – wherever the wind blew me

br
woodspurge – a wild plant, whose flowers form in groups of three from a cup-like stem
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
118
ity
C
rs
w
ie
ve
The Cockroach
y
ev
op
ni
Kevin Halligan
R
C
ge
w
ie
id
ev
br
I watched a giant cockroach start to pace,

Skirting a ball of dust that rode the floor.
am
-R
At first he seemed quite satisfied to trace
-C
A path between the wainscot and the door,
s
es
But soon he turned to jog in crooked rings,
y
Circling the rusty table leg and back,

Pr
op
And flipping right over to scratch his wings –

ity
C
As if the victim of a mild attack

Of restlessness that worsened over time.
rs
w
After a while, he climbed an open shelf

ie
ve
y
And stopped. He looked uncertain where to go.
ev
op
ni
Was this due payment for some vicious crime

R
A former life had led to? I don’t know,

C
ge
Except I thought I recognised myself.

w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
skirting – avoiding by a detour

wainscot – panelling
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
119
ity
C
rs
w
ie
ve
The City Planners
y
ev
op
ni
Margaret Atwood
R
C
ge
w
ie
id
ev
br
Cruising these residential Sunday

streets in dry August sunlight:
am
-R
what offends us is
-C
the sanities:
s
es
the houses in pedantic rows, the planted
y
sanitary trees, assert Pr

op
levelness of surface like a rebuke

ity
to the dent in our car door.

C
No shouting here, or
rs
w
shatter of glass; nothing more abrupt

ie
ve
than the rational whine of a power mower
y
ev
op
ni
cutting a straight swath in the discouraged grass.

R
C
ge
But though the driveways neatly

w
sidestep hysteria
ie
id
by being even, the roofs all display

ev
br
the same slant of avoidance to the hot sky,

am
-R
certain things:
the smell of spilt oil a faint
-C
sickness lingering in the garages,

es
a splash of paint on brick surprising as a bruise,

y
Pr
a plastic hose poised in a vicious

op
coil; even the too-fixed stare of the wide windows

ity
C
rs
w
give momentary access to

ie
ve
the landscape behind or under

y
ev
the future cracks in the plaster

op
ni
R
C
ge
w
ie
id
ev
br
sanities – sanity = the condition of mental health

swath – track, row
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
when the houses, capsized, will slide
y obliquely into the clay seas, gradual as glaciers
Pr
op
that right now nobody notices.
ity
C
That is where the City Planners
rs
w
with the insane faces of political conspirators

ie
ve
are scattered over unsurveyed
y
ev
op
ni
territories, concealed from each other,
R
U
each in his own private blizzard;
C
ge
w
guessing directions, they sketch
ie
id
transitory lines rigid as wooden borders
ev
br
on a wall in the white vanishing air

am
-R
tracing the panic of suburb
-C
s
order in a bland madness of snows.
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
120
ity
C
rs
w
ie
ve
The Planners
y
ev
op
ni
Boey Kim Cheng
R
C
ge
w
ie
id
ev
br
They plan. They build. All spaces are gridded,

filled with permutations of possibilities.
am
-R
The buildings are in alignment with the roads
-C
which meet at desired points
s
es
linked by bridges all hang
y
in the grace of mathematics.

Pr
op
They build and will not stop.

ity
C
Even the sea draws back

and the skies surrender.
rs
w
ie
ve
y
They erase the flaws,
ev
op
ni
the blemishes of the past, knock off

R
useless blocks with dental dexterity.

C
ge
All gaps are plugged

w
with gleaming gold.
ie
id
The country wears perfect rows

ev
br
of shining teeth.
am
-R
Anaesthesia, amnesia, hypnosis.

They have the means.
-C
They have it all so it will not hurt,

es
so history is new again.

y
Pr
op
The piling will not stop.

The drilling goes right through
ity
C
the fossils of last century.

rs
w
ie
ve
But my heart would not bleed

y
ev
poetry. Not a single drop

op
ni
R
to stain the blueprint

U
of our past’s tomorrow.

ge
w
ie
id
ev
br
piling – building foundations

am
blueprint – architectural plan

-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
121
ity
C
rs
w
ie
ve
Summer Farm
y
ev
op
ni
Norman Maccaig
R
C
ge
w
ie
id
ev
br
Straws like tame lightnings lie about the grass

And hang zigzag on hedges. Green as glass
am
-R
The water in the horse-trough shines.
-C
Nine ducks go wobbling by in two straight lines.
s
es
y
A hen stares at nothing with one eye,

Pr
op
Then picks it up. Out of an empty sky

ity
A swallow falls and, flickering through

C
The barn, dives up again into the dizzy blue.

rs
w
ie
ve
y
I lie, not thinking, in the cool, soft grass,
ev
op
ni
Afraid of where a thought might take me – as

R
This grasshopper with plated face

C
ge
Unfolds his legs and finds himself in space.

w
ie
id
Self under self, a pile of selves I stand

ev
br
Threaded on time, and with metaphysic hand

am
-R
Lift the farm like a lid and see

Farm within farm, and in the centre, me.
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
plated – i.e. as if comprising sections of metal plate

metaphysic – concerned with the nature of abstract or transcendent truth
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
122
ity
C
rs
w
ie
ve
Where I Come From
y
ev
op
ni
Elizabeth Brewster
R
C
ge
w
ie
id
ev
br
People are made of places. They carry with them

hints of jungles or mountains, a tropic grace
am
-R
or the cool eyes of sea-gazers. Atmosphere of cities
-C
how different drops from them, like the smell of smog
s
es
or the almost-not-smell of tulips in the spring,
y
nature tidily plotted in little squares

Pr
op
with a fountain in the centre; museum smell,

ity
C
art also tidily plotted with a guidebook;

or the smell of work, glue factories maybe,
rs
w
chromium-plated offices; smell of subways

ie
ve
y
crowded at rush hours.
ev
op
ni
R
Where I come from, people

C
ge
carry woods in their minds, acres of pine woods;

w
blueberry patches in the burned-out bush;
ie
id
wooden farmhouses, old, in need of paint,

ev
br
with yards where hens and chickens circle about,

am
-R
clucking aimlessly; battered schoolhouses

behind which violets grow. Spring and winter
-C
are the mind’s chief seasons: ice and the breaking of ice.
es
y
Pr
op
A door in the mind blows open, and there blows

a frosty wind from fields of snow.
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
123
ity
C
rs
w
ie
ve
Sonnet: Composed Upon Westminster Bridge
y
ev
op
ni
William Wordsworth
R
C
ge
w
ie
id
ev
br
Earth has not anything to show more fair:

Dull would he be of soul who could pass by
am
-R
A sight so touching in its majesty:
-C
This City now doth like a garment wear
s
es
The beauty of the morning; silent, bare,
y
Ships, towers, domes, theatres, and temples lie

Pr
op
Open unto the fields, and to the sky;

ity
All bright and glittering in the smokeless air.

C
Never did sun more beautifully steep

rs
w
In his first splendour, valley, rock, or hill;

ie
ve
y
Ne’er saw I, never felt, a calm so deep!
ev
op
ni
The river glideth at his own sweet will:

R
Dear God! the very houses seem asleep;

C
ge
And all that mighty heart is lying still!

w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
Westminster Bridge – i.e. across the River Thames in London

ev
steep – bathe (in light)

br
glideth – glides
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
124
ity
C
rs
w
ie
ve
The Bay
y
ev
op
ni
James K. Baxter
R
C
ge
w
ie
id
ev
br
On the road to the bay was a lake of rushes

Where we bathed at times and changed in the bamboos.
am
-R
Now it is rather to stand and say:
-C
How many roads we take that lead to Nowhere,
s
es
The alley overgrown, no meaning now but loss:
y
Not that veritable garden where everything comes easy.

Pr
op
ity
C
And by the bay itself were cliffs with carved names

And a hut on the shore beside the Maori ovens.
rs
w
We raced boats from the banks of the pumice creek

ie
ve
y
Or swam in those autumnal shallows
ev
op
ni
Growing cold in amber water, riding the logs

R
Upstream, and waiting for the taniwha.

C
ge
w
So now I remember the bay and the little spiders
ie
id
On driftwood, so poisonous and quick.

ev
br
The carved cliffs and the great outcrying surf

am
-R
With currents round the rocks and the birds rising.

A thousand times an hour is torn across
-C
And burned for the sake of going on living.

es
But I remember the bay that never was

y
Pr
op
And stand like stone and cannot turn away.

ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
taniwha – a sea monster in Maori mythology

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
125
ity
C
rs
w
ie
ve
Where Lies the Land?
y
ev
op
ni
Arthur Hugh Clough
R
C
ge
w
ie
id
ev
br
Where lies the land to which the ship would go?

Far, far ahead, is all her seamen know.
am
-R
And where the land she travels from? Away,
-C
Far, far behind, is all that they can say.
s
es
y
On sunny noons upon the deck’s smooth face,

Pr
op
Linked arm in arm, how pleasant here to pace!

ity
Or, o’er the stern reclining, watch below

C
The foaming wake far widening as we go.

rs
w
ie
ve
On stormy nights when wild north-westers rave,
y
ev
op
ni
How proud a thing to fight with wind and wave!

R
The dripping sailor on the reeling mast

C
ge
Exults to bear and scorns to wish it past.

w
ie
id
Where lies the land to which the ship would go?

ev
br
Far, far ahead, is all her seamen know.

am
-R
And where the land she travels from? Away,

Far, far behind, is all that they can say.
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
stern – the rear part of a ship

ie
id
wake – the trace left in the sea by a ship’s passage

ev
br
north-westers – violent gales

exults to – relishes the opportunity to
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
126
ity
C
rs
w
ie
ve
Morse
y
ev
op
ni
Les Murray
R
C
ge
w
ie
id
ev
br
Tuckett. Bill Tuckett. Telegraph operator, Hall’s Creek,

which is way out back of the Outback, but he stuck it,
am
-R
quite likely liked it, despite heat, glare, dust and the lack
-C
of diversion or doctors. Come disaster you trusted to luck,
s
es
ingenuity and pluck. This was back when nice people said pluck,
y
the sleevelink and green eyeshade epoch.Pr

op
Faced, though, like Bill Tuckett

ity
with a man needing surgery right on the spot, a lot

C
would have done their dashes. It looked hopeless (dot dot dot)
rs
w
Lift him up on the table, said Tuckett, running the key hot
ie
ve
till Head Office turned up a doctor who coolly instructed
y
ev
op
ni
up a thousand miles of wire, as Tuckett advanced slit by slit

R
with a safety razor blade, pioneering on into the wet,

C
ge
copper-wiring the rivers off, in the first operation conducted

w
along dotted lines, with rum drinkers gripping the patient:
ie
id
d-d-dash it, take care, Tuck!

ev
br
And the vital spark stayed unshorted.

am
-R
Yallah! Breathed the camelmen. Tuckett, you did it, you did it!
cried the spattered la-de-dah jodhpur-wearing Inspector of Stock.
-C
We imagine, some weeks later, a properly laconic

es
convalescent averring Without you, I’d have kicked the bucket . . .

y
Pr
op
From Chungking to Burrenjuck, morse keys have mostly gone silent

ity
C
and only old men meet now to chit-chat in their electric

rs
w
bygone dialect. The last letter many will forget

ie
ve
is dit-dit-dit-dah, V for Victory. The coders’ hero had speed,

y
ev
resource and a touch. So ditditdit daah for Bill Tuckett.

op
ni
R
C
ge
Morse – the system of electric communication, invented by Samuel Morse, by which the letters of the
ie
id
alphabet were rendered as a series of short (‘dots’ or ‘dit’) or long (‘dashes’ or ‘dah’) transmissions
ev
Outback – the Australian interior

br
unshorted – with no short-circuits

am
-R
la-de-dah – using affectedly upper-class speech and manners

-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
127
ity
C
rs
w
ie
ve
The Man with Night Sweats
y
ev
op
ni
Thom Gunn
R
C
ge
w
ie
id
ev
br
I wake up cold, I who

Prospered through dreams of heat
am
-R
Wake to their residue,
-C
Sweat, and a clinging sheet.
s
es
y
My flesh was its own shield:

Pr
op
Where it was gashed, it healed.

ity
C
I grew as I explored
rs
w
The body I could trust

ie
ve
y
Even while I adored
ev
op
ni
The risk that made robust,

R
C
ge
A world of wonders in
w
Each challenge to the skin.
ie
id
ev
br
I cannot but be sorry

am
-R
The given shield was cracked

My mind reduced to hurry,
-C
My flesh reduced and wrecked.

es
y
Pr
op
I have to change the bed,

But catch myself instead
ity
C
rs
w
Stopped upright where I am

ie
ve
Hugging my body to me
y
ev
As if to shield it from
op
ni
R
The pains that will go through me,

U
C
ge
As if hands were enough

ie
id
To hold an avalanche off.

ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
128
ity
C
rs
w
ie
ve
Night Sweat
y
ev
op
ni
Robert Lowell
R
C
ge
w
ie
id
ev
br
Work-table, litter, books and standing lamp,

plain things, my stalled equipment, the old broom –
am
-R
but I am living in a tidied room,
-C
for ten nights now I’ve felt the creeping damp
s
es
float over my pajamas’ wilted white . . .
y
Sweet salt embalms me and my head is wet,

Pr
op
everything streams and tells me this is right;

ity
C
my life’s fever is soaking in night sweat –

one life, one writing! But the downward glide
rs
w
and bias of existing wrings us dry –

ie
ve
y
always inside me is the child who died,
ev
op
ni
always inside me is his will to die –

R
one universe, one body . . . in this urn

C
ge
the animal night sweats of the spirit burn.

w
Behind me! You! Again I feel the light
ie
id
lighten my leaded eyelids, while the gray

ev
br
skulled horses whinny for the soot of night.

am
-R
I dabble in the dapple of the day,

a heap of wet clothes, seamy, shivering,
-C
I see my flesh and bedding washed with light,

es
my child exploding into dynamite,

y
Pr
op
my wife . . . your lightness alters everything,

and tears the black web from the spider’s sack,
ity
C
as your heart hops and flutters like a hare.

rs
w
Poor turtle, tortoise, if I cannot clear

ie
ve
the surface of these troubled waters here,

y
ev
absolve me, help me, Dear Heart, as you bear

op
ni
R
this world’s dead weight and cycle on your back.

U
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
129
ity
C
rs
w
ie
ve
Rain
y
ev
op
ni
Edward Thomas
R
C
ge
w
ie
id
ev
br
Rain, midnight rain, nothing but the wild rain

On this bleak hut, and solitude, and me
am
-R
Remembering again that I shall die
-C
And neither hear the rain nor give it thanks
s
es
For washing me cleaner than I have been
y
Since I was born into this solitude.

Pr
op
Blessed are the dead that the rain rains upon:

ity
C
But here I pray that none whom once I loved

Is dying to-night or lying still awake
rs
w
Solitary, listening to the rain,

ie
ve
y
Either in pain or thus in sympathy
ev
op
ni
Helpless among the living and the dead,

R
Like a cold water among broken reeds,

C
ge
Myriads of broken reeds all still and stiff,

w
Like me who have no love which this wild rain
ie
id
Has not dissolved except the love of death,

ev
br
If love it be for what is perfect and

am
-R
Cannot, the tempest tells me, disappoint.

-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
130
ity
C
rs
w
ie
ve
Any Soul to Any Body
y
ev
op
ni
Cosmo Monkhouse
R
C
ge
w
ie
id
ev
br
So we must part, my body, you and I

Who’ve spent so many pleasant years together.
am
-R
’Tis sorry work to lose your company
-C
Who clove to me so close, whate’er the weather,
s
es
From winter unto winter, wet or dry;
y
But you have reached the limit of your tether,

Pr
op
And I must journey on my way alone,

ity
C
And leave you quietly beneath a stone.

rs
w
They say that you are altogether bad

ie
ve
y
(Forgive me, ’tis not my experience),
ev
op
ni
And think me very wicked to be sad

R
At leaving you, a clod, a prison, whence

C
ge
To get quite free I should be very glad.

w
Perhaps I may be so, some few days hence,
ie
id
But now, methinks, ’twere graceless not to spend

ev
br
A tear or two on my departing friend.

am
-R
Now our long partnership is near completed,

-C
And I look back upon its history;

es
I greatly fear I have not always treated

y
Pr
op
You with the honesty you showed to me.

And I must own that you have oft defeated
ity
C
Unworthy schemes by your sincerity,

rs
w
And by a blush or stammering tongue have tried

ie
ve
To make me think again before I lied.

y
ev
op
ni
R
C
ge
w
ie
sorry work – a sad business

id
clove to – cleaved to, hugged

ev
br
clod – shapeless lump of earth (from which the body is fashioned)

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
’Tis true you’re not so handsome as you were,
y But that’s not your fault and is partly mine.
Pr
op
You might have lasted longer with more care,
ity
And still looked something like your first design;
C
And even now, with all your wear and tear,
rs
w
’Tis pitiful to think I must resign

ie
ve
You to the friendless grave, the patient prey
y
ev
op
ni
Of all the hungry legions of Decay.
R
C
ge
But you must stay, dear body, and I go.
w
And I was once so very proud of you:
ie
id
You made my mother’s eyes to overflow
ev
br
When first she saw you, wonderful and new.

am
-R
And now, with all your faults, ’twere hard to find
A slave more willing or a friend more true.
-C
s
Ay – even they who say the worst about you
es
Can scarcely tell what I shall do without you.
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
legions – armies
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
131
ity
C
rs
w
ie
ve
The Spirit is too Blunt an Instrument
y
ev
op
ni
Anne Stevenson
R
C
ge
w
ie
id
ev
br
The spirit is too blunt an instrument

to have made this baby.
am
-R
Nothing so unskilful as human passions
-C
could have managed the intricate
s
es
exacting particulars: the tiny
y
blind bones with their manipulating tendons,

Pr
op
the knee and the knucklebones, the resilient

ity
fine meshings of ganglia and vertebrae,

C
the chain of the difficult spine.

rs
w
ie
ve
Observe the distinct eyelashes and sharp crescent
y
ev
op
ni
fingernails, the shell-like complexity

R
of the ear, with its firm involutions

C
ge
concentric in miniature to minute

w
ossicles. Imagine the
ie
id
infinitesimal capillaries, the flawless connections

ev
br
of the lungs, the invisible neural filaments

am
-R
through which the completed body

already answers to the brain.
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
ganglia – bunches of nerve-endings

R
involutions – curled structures

U
ossicles – small bones

ge
infinitesimal – most tiny

ie
capillaries – fine blood-vessels

id
neural – of nerves
ev
br
filaments – threads
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Then name any passion or sentiment
y possessed of the simplest accuracy.
Pr
op
No, no desire or affection could have done
ity
with practice what habit
C
has done perfectly, indifferently,
rs
w
through the body’s ignorant precision.

ie
ve
It is left to the vagaries of the mind to invent
y
ev
op
ni
love and despair and anxiety
R
U
and their pain.
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
vagaries – capricious fluctuations

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
132
ity
C
rs
w
ie
ve
From Long Distance
y
ev
op
ni
Tony Harrison
R
C
ge
w
ie
id
ev
br
Though my mother was already two years dead

Dad kept her slippers warming by the gas,
am
-R
put hot water bottles her side of the bed
-C
and still went to renew her transport pass.
s
es
y
You couldn’t just drop in. You had to phone.

Pr
op
He’d put you off an hour to give him time

ity
C
to clear away her things and look alone

as though his still raw love were such a crime.
rs
w
ie
ve
y
He couldn’t risk my blight of disbelief
ev
op
ni
though sure that very soon he’d hear her key

R
scrape in the rusted lock and end his grief.

He knew she’d just popped out to get the tea.
C
ge
w
ie
id
I believe life ends with death, and that is all.

ev
br
You haven’t both gone shopping; just the same,

am
-R
in my new black leather phone book there’s your name

and the disconnected number I still call.
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
the gas – i.e. the gas-fire

transport pass – (old-person’s) travel permit
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
133
ity
C
rs
w
ie
ve
From Modern Love
y
ev
op
ni
George Meredith
R
C
ge
w
ie
id
ev
br
By this he knew she wept with waking eyes:

That, at his hand’s light quiver by her head,
am
-R
The strange low sobs that shook their common bed
-C
Were called into her with a sharp surprise,
s
es
And strangled mute, like little gasping snakes,
y
Dreadfully venomous to him. She lay

Pr
op
Stone-still, and the long darkness flowed away

ity
C
With muffled pulses. Then, as midnight makes

Her giant heart of Memory and Tears
rs
w
Drink the pale drug of silence, and so beat

ie
ve
y
Sleep’s heavy measure, they from head to feet
ev
op
ni
Were moveless, looking through their dead black years,

R
By vain regret scrawled over the blank wall.

C
ge
Like sculptured effigies they might be seen

w
Upon their marriage-tomb, the sword between;
ie
id
Each wishing for the sword that severs all.

ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
heavy measure – solemn rhythm

ev
br
moveless – motionless
effigies – sculpted models
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
134
ity
C
rs
w
ie
ve
Funeral Blues
y
ev
op
ni
W.H. Auden
R
C
ge
w
ie
id
ev
br
Stop all the clocks, cut off the telephone,

Prevent the dog from barking with a juicy bone,
am
-R
Silence the pianos and with muffled drum
-C
Bring out the coffin, let the mourners come.
s
es
y
Let aeroplanes circle moaning overhead

Pr
op
Scribbling on the sky the message He Is Dead,

ity
C
Put crêpe bows round the white necks of the public doves,
Let the traffic policemen wear black cotton gloves.
rs
w
ie
ve
y
He was my North, my South, my East and West,
ev
op
ni
My working week and my Sunday rest,

R
My noon, my midnight, my talk, my song;

C
ge
I thought that love would last for ever: I was wrong.

w
ie
id
The stars are not wanted now: put out every one,
ev
br
Pack up the moon and dismantle the sun,

am
-R
Pour away the ocean and sweep up the wood;

For nothing now can ever come to any good.
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
crêpe – thin crinkled fabric

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
135
ity
C
rs
w
ie
ve
La Figlia Che Piange
y
ev
op
ni
T.S. Eliot
R
C
ge
w
ie
id
ev
br
O quam te memorem virgo . . .

am
-R
Stand on the highest pavement of the stair –
Lean on a garden urn –
-C
s
Weave, weave the sunlight in your hair –
es
Clasp your flowers to you with a pained surprise –
y
Pr
Fling them to the ground and turn
op
With a fugitive resentment in your eyes:

ity
C
But weave, weave the sunlight in your hair.

rs
w
So I would have had him leave,

ie
ve
So I would have had her stand and grieve,
y
ev
op
ni
So he would have left

R
As the soul leaves the body torn and bruised,

As the mind deserts the body it has used.
C
ge
w
I should find
ie
id
Some way incomparably light and deft,

ev
br
Some way we both should understand,

am
-R
Simple and faithless as a smile and shake of the hand.

-C
She turned away, but with the autumn weather

s
Compelled my imagination many days,

es
Many days and many hours:

y
Pr
op
Her hair over her arms and her arms full of flowers.
And I wonder how they should have been together!
ity
C
I should have lost a gesture and a pose.

rs
w
Sometimes these cogitations still amaze

ie
ve
The troubled midnight and the noon’s repose.

y
ev
op
ni
R
C
ge
La Figlia Che Piange – (Italian) the weeping girl

ie
id
O quam te memorem virgo . . . – ‘But by what name should I call thee, O maiden?’ (Latin; from
ev
br
Virgil’s Aeneid, addressed by Aeneas to his mother Venus, the goddess of love: the quotation
continues, ‘. . . for thy face is not mortal’)
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
136
ity
C
rs
w
ie
ve
From Song of Myself
y
ev
op
ni
Walt Whitman
R
C
ge
w
ie
id
ev
br
I am the poet of the Body and I am the poet of the Soul,

The pleasures of heaven are with me and the pains of hell are with me,
am
-R
The first I graft and increase upon myself, the latter I translate into a new tongue.
-C
s
es
I am the poet of the woman the same as the man,
y
And I say it is as great to be a woman as to be a man,

Pr
op
And I say there is nothing greater than the mother of men.

ity
C
I chant the chant of dilation or pride,

rs
w
We have had ducking and deprecating about enough,

ie
ve
y
I show that size is only development.
ev
op
ni
R
Have you outstript the rest? are you the President?

C
ge
It is a trifle, they will more than arrive there every one, and still pass on.
w
I am he that walks with the tender and growing night,
ie
id
I call to the earth and sea half-held by the night.

ev
br
am
-R
Press close bare-bosom’d night – press close magnetic nourishing night!

Night of south winds – night of the large few stars
-C
Still nodding night – mad naked summer night.

es
y
Pr
op
Smile O voluptuous cool-breath’d earth!

Earth of the slumbering and liquid trees!
ity
C
Earth of departed sunset – earth of the mountains misty-topped!

rs
w
Earth of the vitreous pour of the full moon just tinged with blue!
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
graft – transplant
ev
dilation – expansion
br
vitreous – glassy
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Earth of shine and dark mottling the tide of the river!
y Earth of the limpid grey of clouds brighter and clearer for my sake!
Pr
op
Far-swooping elbowed earth – rich apple-blossom’d earth!
ity
Smile, for your lover comes.
C
Prodigal, you have given me love – therefore I to you give love!
rs
w
O unspeakable passionate love.

ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
prodigal – wastrel, reckless spendthrift

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
137
ity
C
rs
w
ie
ve
He Never Expected Much
y
ev
op
ni
Thomas Hardy
R
C
ge
w
ie
id
ev
br
Well, World, you have kept faith with me,

Kept faith with me;
am
-R
Upon the whole you have proved to be
-C
Much as you said you were.
s
es
Since as a child I used to lie
y
Upon the leaze and watch the sky,

Pr
op
Never, I own, expected I

ity
C
That life would all be fair.

rs
w
’Twas then you said, and since have said,

ie
ve
Times since have said,
y
ev
In that mysterious voice you shed
op
ni
From clouds and hills around:

R
C
‘Many have loved me desperately,
ge
w
Many with smooth serenity,
ie
id
While some have shown contempt of me

ev
br
Till they dropped underground.

am
-R
‘I do not promise overmuch,

Child; overmuch;
-C
Just neutral-tinted haps and such,’

es
You said to minds like mine.

y
Pr
Wise warning for your credit’s sake!

op
Which I for one failed not to take,

ity
C
And hence could stem such strain and ache

rs
w
As each year might assign.

ie
ve
y
ev
op
ni
R
C
ge
leaze – meadow-land
w
own – admit
ie
id
haps – occurrences, chances

ev
br
credit – belief
am
stem – curb, restrain

-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
138
ity
C
rs
w
ie
ve
The Telephone Call
y
ev
op
ni
Fleur Adcock
R
C
ge
w
ie
id
ev
br
They asked me ‘Are you sitting down?

Right? This is Universal Lotteries’,
am
-R
they said. ‘You’ve won the top prize,
-C
the Ultra-super Global Special.
s
es
What would you do with a million pounds?
y
Or, actually, with more than a million –

Pr
op
not that it makes a lot of difference

ity
C
once you’re a millionaire.’ And they laughed.

rs
w
‘Are you OK?’ they asked – ‘Still there?

ie
ve
y
Come on, now, tell us, how does it feel?’
ev
op
ni
I said ‘I just . . . I can’t believe it!’

R
They said ‘That’s what they all say.

C
ge
What else? Go on, tell us about it.’

w
I said ‘I feel the top of my head
ie
id
has floated off, out through the window,

ev
br
revolving like a flying saucer.’

am
-R
‘That’s unusual’ they said. ‘Go on.’

-C
I said ‘I’m finding it hard to talk.

es
My throat’s gone dry, my nose is tingling.

y
Pr
op
I think I’m going to sneeze – or cry.’

‘That’s right’ they said, ‘don’t be ashamed
ity
C
of giving way to your emotions.

rs
w
It isn’t every day you hear

ie
ve
you’re going to get a million pounds.

y
ev
op
ni
R
Relax, now, have a little cry;

U
we’ll give you a moment . . .’ ‘Hang on!’ I said.

ge
‘I haven’t bought a lottery ticket

ie
id
for years and years. And what did you say

ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
the company’s called?’ They laughed again.
y ‘Not to worry about a ticket.
Pr
op
We’re Universal. We operate
ity
A retrospective Chances Module.
C
rs
w
Nearly everyone’s bought a ticket

ie
ve
in some lottery or another,
y
ev
op
ni
once at least. We buy up the files,
R
U
feed the names into our computer,
C
ge
and see who the lucky person is.’
w
‘Well, that’s incredible’ I said.
ie
id
‘It’s marvellous. I still can’t quite . . .
ev
br
I’ll believe it when I see the cheque.’

am
-R
‘Oh,’ they said, ‘there’s no cheque.’
-C
s
‘But the money?’ ‘We don’t deal in money.
es
Experiences are what we deal in.
y
Pr
You’ve had a great experience, right?
op
Exciting? Something you’ll remember?

ity
C
That’s your prize. So congratulations

rs
w
from all of us at Universal.

ie
ve
Have a nice day!’ And the line went dead.
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
139
ity
C
rs
w
ie
ve
A Consumer’s Report
y
ev
op
ni
Peter Porter
R
C
ge
w
ie
id
ev
The name of the product I tested is Life,
br
am
I have completed the form you sent me
-R
and understand that my answers are confidential.
-C
s
es
I had it as a gift,
y
I didn’t feel much while using it,

Pr
op
in fact I think I’d have liked to be more excited.

ity
C
It seemed gentle on the hands

but left an embarrassing deposit behind.
rs
w
It was not economical

ie
ve
y
and I have used much more than I thought
ev
op
ni
(I suppose I have about half left

R
C
but it’s difficult to tell) –
ge
although the instructions are fairly large

w
there are so many of them
ie
id
I don’t know which to follow, especially

ev
br
as they seem to contradict each other.

am
-R
I’m not sure such a thing

should be put in the way of children –
-C
It’s difficult to think of a purpose

es
Also the price is much too high.

y
Pr
op
Things are piling up so fast,

after all, the world got by
ity
C
for a thousand million years

rs
w
without this, do we need it now?

ie
ve
(Incidentally, please ask your man

y
ev
op
ni
to stop calling me ‘the respondent’,

R
I don’t like the sound of it.)

C
There seems to be a lot of different labels,

ge
sizes and colours should be uniform,

ie
id
the shape is awkward, it’s waterproof

ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
but not heat resistant, it doesn’t keep
y yet it’s very difficult to get rid of:
Pr
op
whenever they make it cheaper they seem
ity
to put less in – if you say you don’t
C
want it, then it’s delivered anyway.
rs
w
I’d agree it’s a popular product,

ie
ve
it’s got into the language; people
y
ev
op
ni
even say they’re on the side of it.
R
U
Personally I think it’s overdone,
C
ge
a small thing people are ready
w
to behave badly about. I think
ie
id
we should take it for granted. If its
ev
br
experts are called philosophers or market

am
-R
researchers or historians, we shouldn’t
care. We are the consumers and the last
-C
s
law makers. So finally, I’d buy it.
es
But the question of a ‘best buy’
y
Pr
I’d like to leave until I get
op
the competitive product you said you’d send.

ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
140
ity
C
rs
w
ie
ve
Request To A Year
y
ev
op
ni
Judith Wright
R
C
ge
w
ie
id
ev
br
If the year is meditating a suitable gift,

I should like it to be the attitude
am
-R
of my great-great-grandmother,
-C
legendary devotee of the arts,
s
es
y
who, having had eight children

Pr
op
and little opportunity for painting pictures,

ity
C
sat one day on a high rock

beside a river in Switzerland
rs
w
ie
ve
y
and from a difficult distance viewed
ev
op
ni
her second son, balanced on a small ice-floe,

R
drift down the current towards a waterfall

C
ge
that struck rock-bottom eighty feet below,

w
ie
id
while her second daughter, impeded,

ev
br
no doubt, by the petticoats of the day,

am
-R
stretched out a last-hope alpenstock

(which luckily later caught him on his way).
-C
s
es
Nothing, it was evident, could be done;

y
Pr
op
and with the artist’s isolating eye

my great-great-grandmother hastily sketched the scene.
ity
C
The sketch survives to prove the story by.

rs
w
ie
ve
Year, if you have no Mother’s day present planned;

y
ev
reach back and bring me the firmness of her hand.

op
ni
R
C
ge
w
ie
id
ice-floe – sheet of floating ice

ev
br
alpenstock – walking-staff
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
141
ity
C
rs
w
ie
ve
On Finding a Small Fly Crushed in a Book
y
ev
op
ni
Charles Tennyson Turner
R
C
ge
w
ie
id
ev
br
Some hand, that never meant to do thee hurt,

Has crushed thee here between these pages pent;
am
-R
But thou has left thine own fair monument,
-C
Thy wings gleam out and tell me what thou wert:
s
es
Oh! that the memories, which survive us here,
y
Were half as lovely as these wings of thine!

Pr
op
Pure relics of a blameless life, that shine

ity
C
Now thou art gone. Our doom is ever near:

The peril is beside us day by day;
rs
w
The book will close upon us, it may be,

ie
ve
y
Just as we lift ourselves to soar away
ev
op
ni
Upon the summer-airs. But, unlike thee,

R
The closing book may stop our vital breath,

C
ge
Yet leave no lustre on our page of death.

w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
pent – shut up within

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
142
ity
C
rs
w
ie
ve
Ozymandias
y
ev
op
ni
Percy Bysshe Shelley
R
C
ge
w
ie
id
ev
br
I met a traveller from an antique land

Who said: Two vast and trunkless legs of stone
am
-R
Stand in the desert . . . Near them, on the sand,
-C
Half sunk, a shattered visage lies, whose frown,
s
es
And wrinkled lip, and sneer of cold command,
y
Tell that its sculptor well those passions read

Pr
op
Which yet survive, stamped on these lifeless things,

ity
C
The hand that mocked them, and the heart that fed:
And on the pedestal these words appear:
rs
w
‘My name is Ozymandias, king of kings:

ie
ve
y
Look on my works, ye Mighty, and despair!’
ev
op
ni
Nothing beside remains. Round the decay

R
Of that colossal wreck, boundless and bare

C
ge
The lone and level sands stretch far away.

w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
trunkless – lacking the chest or trunk of the body

stamped – inscribed
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
143
ity
C
rs
w
ie
ve
Away, Melancholy
y
ev
op
ni
Stevie Smith
R
C
ge
w
ie
id
ev
br
Away, melancholy,
Away with it, let it go.
am
-R
-C
Are not the trees green,
s
es
The earth as green?
y
Does not the wind blow,

Pr
op
Fire leap and the rivers flow?

ity
C
Away melancholy.
rs
w
The ant is busy

ie
ve
y
He carrieth his meat,
ev
op
ni
All things hurry

R
To be eaten or eat.
C
ge
Away, melancholy.
w
ie
id
Man, too, hurries,

ev
br
Eats, couples, buries,

am
-R
He is an animal also
With a hey ho melancholy,
-C

es
y
Pr
op
Man of all creatures

Is superlative
ity
C
(Away melancholy)
rs
w
He of all creatures alone

ie
ve
Raiseth a stone
y
ev
(Away melancholy)
op
ni
R
Into the stone, the god

U
Pours what he knows of good

ge
Calling, good, God.

ie
id
Away melancholy, let it go.

ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Speak not to me of tears,
y Tyranny, pox, wars,
Pr
op
Saying, Can God
ity
Stone of man’s thought, be good?
C
rs
w
Say rather it is enough

ie
ve
That the stuffed
y
ev
op
ni
Stone of man’s good, growing,
R
U
By man’s called God.
C
ge Away, melancholy, let it go.
w
ie
id
Man aspires
ev
br
To good,
am
-R
To love
Sighs;
-C
s
es
Beaten, corrupted, dying
y
Pr
In his own blood lying
op
Yet heaves up an eye above

ity
C
Cries, Love, love.

rs
w
It is his virtue needs explaining,

ie
ve
Not his failing.
y
ev
op
ni
Away, melancholy,
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

R R R
ev ev ev
ie ie ie
w w w
C C C
op op op
y y y
-C -C -C -C
am am am am
br br br br
id id id id
ge ge ge
U U U
ni ni ni
ve ve ve
rs rs rs
ity ity ity
Pr Pr Pr
es es es es
s s s s
-R -R -R -R
ev ev ev ev
ie ie ie ie
w w w

C C C
op op op
y y y
R R R
ev ev ev
ie ie ie
w w w
C C C
op op op
y y y
-C -C -C -C
am am am am
br br br br
id id id id
ge ge ge
U U U
ni ni ni
ve ve ve
rs rs rs
ity ity ity
Part 5
Pr Pr Pr
es es es es
s s s s
-R -R -R -R
ev ev ev ev
ie ie and Twentieth Centuries (III) ie ie
w w w

C C C
op op op
y y y
R R R
ev ev ev
ie ie ie
w w w
C C C
op op op
y y y
-C -C -C -C
am am am am
br br br br
id id id id
ge ge ge
U U U
ni ni ni
ve ve ve
rs rs rs
ity ity ity
Pr Pr Pr
es es es es
s s s s
-R -R -R -R
ev ev ev ev
ie ie ie ie
w w w

C C C
op op op
y y y
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
144
ity
C
rs
w
ie
ve
Childhood
y
ev
op
ni
Frances Cornford
R
C
ge
w
ie
id
ev
I used to think that grown-up people chose
br
To have stiff backs and wrinkles round their nose,

am
-R
And veins like small fat snakes on either hand,
-C
On purpose to be grand.
s
Till through the bannisters I watched one day
es
My great-aunt Etty’s friend who was going away,
y
Pr
op
And how her onyx beads had come unstrung.

I saw her grope to find them as they rolled;
ity
C
And then I knew that she was helplessly old,

rs
w
As I was helplessly young.

ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
onyx – a semi-precious stone

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
145
ity
C
rs
w
ie
ve
Because I Could Not Stop For Death
y
ev
op
ni
Emily Dickinson
R
C
ge
w
ie
id
ev
Because I could not stop for Death —
br
He kindly stopped for me —

am
-R
The Carriage held but just Ourselves —
-C
And Immortality.
s
es
We slowly drove — He knew no haste
y
Pr
And I had put away
op
My labor and my leisure too,

ity
C
For his Civility —

rs
w
We passed the School, where Children strove

ie
ve
y
At Recess — in the Ring —
ev
op
ni
We passed the Fields of Gazing Grain —

R
C
We passed the Setting Sun —
ge
w
Or rather — He passed Us —
ie
id
The Dews drew quivering and chill —

ev
br
For only Gossamer, my Gown —

am
-R
My Tippet — only Tulle —

-C
We paused before a House that seemed

s
es
A Swelling of the Ground —

y
The Roof was scarcely visible —

Pr
op
The Cornice — in the Ground —

ity
C
Since then — ’tis Centuries — and yet

rs
w
Feels shorter than the Day

ie
ve
I first surmised the Horses’ Heads

y
ev
op
ni
Were toward Eternity —

R
C
ge
w
ie
id
Tippet – narrow scarf

ev
br
Tulle – finely spun silk gauze

Cornice – decorative ceiling ornament
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
146
ity
C
rs
w
ie
ve
One Art
y
ev
op
ni
Elizabeth Bishop
R
C
ge
w
ie
id
ev
The art of losing isn’t hard to master;
br
so many things seem filled with the intent

am
-R
to be lost that their loss is no disaster.
-C
s
Lose something every day. Accept the fluster
es
of lost door keys, the hour badly spent.
y
Pr
op
The art of losing isn’t hard to master.

ity
C
Then practice losing farther, losing faster:

rs
w
places, and names, and where it was you meant

ie
ve
to travel. None of these will bring disaster.
y
ev
op
ni
R
I lost my mother’s watch. And look! my last, or

next-to-last, of three loved houses went.
C
ge
w
The art of losing isn’t hard to master.
ie
id
ev
br
I lost two cities, lovely ones. And, vaster,

am
-R
some realms I owned, two rivers, a continent.

I miss them, but it wasn’t a disaster.
-C
s
es
– Even losing you (the joking voice, a gesture

y
Pr
I love) I shan’t have lied. It’s evident

op
the art of losing’s not too hard to master

ity
C
though it may look like (Write it!) like disaster.

rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
147
ity
C
rs
w
ie
ve
Song: Tears, Idle Tears
y
ev
op
ni
Alfred, Lord Tennyson
R
C
ge
w
ie
id
ev
Tears, idle tears, I know not what they mean,
br
Tears from the depth of some divine despair

am
-R
Rise in the heart, and gather to the eyes,
-C
In looking on the happy Autumn-fields,
s
And thinking of the days that are no more.
es
y
Pr
op
Fresh as the first beam glittering on a sail,

That brings our friends up from the underworld,
ity
C
Sad as the last which reddens over one

rs
w
That sinks with all we love below the verge;

ie
ve
So sad, so fresh, the days that are no more.
y
ev
op
ni
R
Ah, sad and strange as in dark summer dawns

The earliest pipe of half-awakened birds
C
ge
w
To dying ears, when unto dying eyes
ie
id
The casement slowly grows a glimmering square;

ev
br
So sad, so strange, the days that are no more.

am
-R
Dear as remembered kisses after death,

-C
And sweet as those by hopeless fancy feigned

es
On lips that are for others; deep as love,

y
Pr
Deep as first love, and wild with all regret;

op
O Death in Life, the days that are no more.

ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
pipe – song
ev
br
casement – window
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
148
ity
C
rs
w
ie
ve
My Parents
y
ev
op
ni
Stephen Spender
R
C
ge
w
ie
id
ev
My parents kept me from children who were rough
br
Who threw words like stones and wore torn clothes

am
-R
Their thighs showed through rags. They ran in the street
-C
And climbed cliffs and stripped by the country streams.
s
es
I feared more than tigers their muscles like iron
y
Pr
op
Their jerking hands and their knees tight on my arms

I feared the salt coarse pointing of those boys
ity
C
Who copied my lisp behind me on the road.

rs
w
ie
ve
They were lithe they sprang out behind hedges
y
ev
op
ni
Like dogs to bark at my world. They threw mud

R
While I looked the other way, pretending to smile.

I longed to forgive them but they never smiled.
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
149
ity
C
rs
w
ie
ve
For Heidi With Blue Hair
y
ev
op
ni
Fleur Adcock
R
C
ge
w
ie
id
ev
br
When you dyed your hair blue

(or, at least, ultramarine
am
-R
for the clipped sides, with a crest
-C
of jet-black spikes on top)
s
es
you were sent home from school
y
Pr
op
because, as the headmistress put it,

ity
although dyed hair was not

C
specifically forbidden, yours

rs
w
was, apart from anything else,

ie
ve
not done in the school colours.
y
ev
op
ni
R
Tears in the kitchen, telephone-calls

C
ge
to school from your freedom-loving father:

w
‘She’s not a punk in her behaviour;
ie
id
it’s just a style.’ (You wiped your eyes,

ev
br
also not in a school colour.)

am
-R
‘She discussed it with me first –

-C
we checked the rules.’ ‘And anyway, Dad,

es
it cost twenty-five dollars.

y
Pr
Tell them it won’t wash out –

op
not even if I wanted to try.’

ity
C
rs
w
It would have been unfair to mention

ie
ve
your mother’s death, but that

y
ev
shimmered behind the arguments.

op
ni
The school had nothing else against you;

R
the teachers twittered and gave in.

ge
w
ie
id
ev
br
punk – a teenage fashion and music style of the 1970s

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Next day your black friend had hers done
y in grey, white and flaxen yellow –
Pr
op
the school colours precisely:
ity
an act of solidarity, a witty
C
tease. The battle was already won.
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
150
ity
C
rs
w
ie
ve
Praise Song For My Mother
y
ev
op
ni
Grace Nichols
R
C
ge
w
ie
id
ev
br
You were
water to me
am
-R
deep and bold and fathoming
-C
s
es
You were
y
moon’s eye to me Pr
op
pull and grained and mantling

ity
C
You were
rs
w
sunrise to me
ie
ve
rise and warm and streaming
y
ev
op
ni
R
You were
C
ge
the fishes red gill to me

w
the flame tree’s spread to me
ie
id
the crab’s leg/the fried plantain smell replenishing replenishing

ev
br
am
-R
Go to your wide futures, you said

-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
fathoming – (1) measuring a depth; (2) understanding

ev
br
grained – seeded
mantling – enveloping, cushioning, surrounding
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
151
ity
C
rs
w
ie
ve
Follower
y
ev
op
ni
Seamus Heaney
R
C
ge
w
ie
id
ev
My father worked with a horse-plough,
br
His shoulders globed like a full sail strung

am
-R
Between the shafts and the furrow.
-C
The horses strained at his clicking tongue.
s
es
An expert. He would set the wing
y
Pr
op
And fit the bright steel-pointed sock.

The sod rolled over without breaking.
ity
C
At the headrig, with a single pluck

rs
w
ie
ve
Of reins, the sweating team turned round
y
ev
op
ni
And back into the land. His eye

R
Narrowed and angled at the ground,

Mapping the furrow exactly.
C
ge
w
ie
id
I stumbled in his hob-nailed wake,

ev
br
Fell sometimes on the polished sod;

am
-R
Sometimes he rode me on his back

Dipping and rising to his plod.
-C
s
es
I wanted to grow up and plough,

y
Pr
To close one eye, stiffen my arm.

op
All I ever did was follow

ity
C
In his broad shadow round the farm.

rs
w
ie
ve
I was a nuisance, tripping, falling,

y
ev
Yapping always. But today

op
ni
It is my father who keeps stumbling

R
Behind me, and will not go away.

ge
w
ie
id
ev
br
wing . . . sock . . . headrig – parts of the plough

yapping – chattering
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
152
ity
C
rs
w
ie
ve
Elegy For My Father’s Father
y
ev
op
ni
James K. Baxter
R
C
ge
w
ie
id
ev
He knew in the hour he died
br
That his heart had never spoken

am
-R
In eighty years of days.
-C
O for the tall tower broken
s
Memorial is denied:
es
And the unchanging cairn
y
Pr
op
That pipes could set ablaze

An aaronsrod and blossom.
ity
C
They stood by the graveside

rs
w
From his bitter veins born

ie
ve
And mourned him in their fashion.
y
ev
op
ni
A chain of sods in a day

R
He could slice and build

High as the head of a man
C
ge
w
And a flowering cherry tree
ie
id
On his walking shoulder held

ev
br
Under the lion sun.

am
-R
When he was old and blind

He sat in a curved chair
-C
All day by the kitchen fire.

es
Many hours he had seen

y
Pr
The stars in their drunken dancing

op
Through the burning-glass of his mind

ity
C
And sober knew the green

rs
w
Boughs of heaven folding

ie
ve
The winter world in their hand.

y
ev
The pride of his heart was dumb.

op
ni
R
C
ge
w
ie
id
cairn – a pile of stones, raised as a monument

ev
br
aaronsrod – flowering shrub

burning-glass – magnifying-glass
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
He knew in the hour he died
y That his heart had never spoken
Pr
op
In song or bridal bed.
ity
And the naked thought fell back
C
To a house by the waterside
rs
w
And the leaves the wind had shaken

ie
ve
Then for a child’s sake:
y
ev
op
ni
To the waves all night awake
R
U
With the dark mouths of the dead.
C
ge The tongues of water spoke
w
And his heart was unafraid.
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
153
ity
C
rs
w
ie
ve
The Trees Are Down
y
ev
op
ni
Charlotte Mew
R
C
ge
w
ie
id
– and he cried with a loud voice:
ev
br
Hurt not the earth, neither the sea, nor the trees – (Revelation)
am
-R
They are cutting down the great plane-trees at the end of the gardens.
-C
s
For days there has been the grate of the saw, the swish of the branches as they fall,
es
The crash of trunks, the rustle of trodden leaves,
y
Pr
op
With the ‘Whoops’ and the ‘Whoas’, the loud common talk, the loud common laughs
of the men, above it all.
ity
C
rs
w
I remember one evening of a long past Spring

ie
ve
Turning in at a gate, getting out of a cart, and finding a large dead rat in the mud of
y
ev
op
ni
the drive.
R
I remember thinking: alive or dead, a rat was a god-forsaken thing,

But at least, in May, that even a rat should be alive.
C
ge
w
ie
id
The week’s work here is as good as done. There is just one bough
ev
br
On the roped bole, in the fine grey rain,

am
-R
Green and high

And lonely against the sky.
-C
(Down now! –)
es
And but for that,

y
Pr
If an old dead rat

op
Did once, for a moment, unmake the Spring, I might never have thought of him again.
ity
C
rs
w
It is not for a moment the Spring is unmade to-day;

ie
ve
These were great trees, it was in them from root to stem:

y
ev
When the men with the ‘Whoops’ and the ‘Whoas’ have carted the whole of the
op
ni
whispering loveliness away

R
Half the Spring, for me, will have gone with them.
ge
w
ie
id
ev
br
bole – tree-trunk
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
It is going now, and my heart has been struck with the hearts of the planes;
y
Half my life it has beat with these, in the sun, in the rains,
Pr
op
In the March wind, the May breeze,
ity
In the great gales that came over to them across the roofs from the great seas.
C
There was only a quiet rain when they were dying;
rs
w
They must have heard the sparrows flying,

ie
ve
And the small creeping creatures in the earth where they were lying –
y
ev
op
ni
But I, all day, I heard an angel crying:
R
U
‘Hurt not the trees’.
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
154
ity
C
rs
w
ie
ve
The Trees
y
ev
op
ni
Philip Larkin
R
C
ge
w
ie
id
ev
The trees are coming into leaf
br
Like something almost being said;

am
-R
The recent buds relax and spread,
-C
Their greenness is a kind of grief.
s
es
Is it that they are born again
y
Pr
op
And we grow old? No, they die too.

Their yearly trick of looking new
ity
C
Is written down in rings of grain.

rs
w
ie
ve
Yet still the unresting castles thresh
y
ev
op
ni
In fullgrown thickness every May.

R
Last year is dead, they seem to say,

Begin afresh, afresh, afresh.
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
rings of grain – i.e. the yearly patterns within a log’s cross-section

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
155
ity
C
rs
w
ie
ve
Country School
y
ev
op
ni
Allen Curnow
R
C
ge
w
ie
id
ev
You know the school; you call it old –
br
Scrub-worn floors and paint all peeled

am
-R
On barge-board, weatherboard and gibbet belfry.
-C
s
Pinus betrays, with rank tufts topping
es
The roof-ridge, scattering bravely
y
Pr
op
Nor’west gale as a reef its waves

While the small girls squeal at skipping
ity
C
And magpies hoot from the eaves.

rs
w
ie
ve
For scantling Pinus stands mature
y
ev
op
ni
In less than the life of a man;

R
The rusty saplings, the school, and you

Together your lives began.
C
ge
w
ie
id
O sweet antiquity! Look, the stone

ev
br
That skinned your knees. How small

am
-R
Are the terrible doors; how sad the dunny

And the things you drew on the wall.
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
gibbet – gallows
C
belfry – bell-tower
ge
Pinus – (Latin) the botanical name for the pine-tree

ie
id
rank – thickly growing

ev
br
scantling – calibrating, measuring

dunny – (slang) toilet
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
156
ity
C
rs
w
ie
ve
Cambodia
y
ev
op
ni
James Fenton
R
C
ge
w
ie
id
ev
One man shall smile one day and say goodbye.
br
Two shall be left, two shall be left to die.

am
-R
-C
One man shall give his best advice.
s
Three men shall pay the price.
es
y
Pr
op
One man shall live, live to regret.

Four men shall meet the debt.
ity
C
rs
w
One man shall wake from terror to his bed.

ie
ve
Five men shall be dead.
y
ev
op
ni
R
One man to five. A million men to one.

And still they die. And still the war goes on.
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
157
ity
C
rs
w
ie
ve
Attack
y
ev
op
ni
Siegfried Sassoon
R
C
ge
w
ie
id
ev
br
At dawn the ridge emerges massed and dun

In the wild purple of the glowering sun
am
-R
Smouldering through spouts of drifting smoke that shroud
-C
The menacing scarred slope; and, one by one,
s
es
Tanks creep and topple forward to the wire.
y
The barrage roars and lifts. Then, clumsily bowed

Pr
op
With bombs and guns and shovels and battle-gear,

ity
Men jostle and climb to meet the bristling fire.

C
Lines of grey, muttering faces, masked with fear,

rs
w
They leave their trenches, going over the top,

ie
ve
While time ticks blank and busy on their wrists,
y
ev
op
ni
And hope, with furtive eyes and grappling fists,

R
Flounders in mud. O Jesus, make it stop!
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
158
ity
C
rs
w
ie
ve
Reservist
y
ev
op
ni
Boey Kim Cheng
R
C
ge
w
ie
id
ev
br
Time again for the annual joust, the regular fanfare,

a call to arms, the imperative letters stern
am
-R
as clarion notes, the king’s command, upon
-C
the pain of court-martial, to tilt
s
es
at the old windmills. With creaking bones
y
and suppressed grunts, we battle-weary knights

Pr
op
creep to attention, ransack the wardrobes

ity
for our rusty armour, tuck the pot bellies

C
with great finesse into the shrinking gear,

rs
w
and with helmets shutting off half our world,

ie
ve
report for service. We are again united
y
ev
op
ni
with sleek weapons we were betrothed to

R
in our active cavalier days.

C
ge
w
We will keep charging up the same hills, plod
ie
id
through the same forests, till we are too old,

ev
br
too ill-fitted for life’s other territories.

am
-R
The same trails will find us time and again,

and we quick to obey, like children placed
-C
on carousels they cannot get off from, borne

es
along through somebody’s expensive fantasyland,

y
Pr
with an oncoming rush of tedious rituals, masked threats

op
and monsters armed with the same roar.

ity
C
rs
w
ie
ve
y
ev
op
ni
R
reservist – a soldier serving within an auxiliary force as an emergency reserve

C
clarion – a war trumpet

ge
tilt – joust with, charge on horseback towards (Cervantes’s Don Quixote deludedly attacked
ie
id
windmills, thinking them enemy knights)

ev
br
cavalier – knightly, breezy, youthful

carousels – merry-go-rounds
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
In the end we will perhaps surprise ourselves
y and emerge unlikely heroes with long years
Pr
op
of braving the same horrors
ity
pinned on our tunic fronts.
C
We will have proven that Sisyphus is not a myth.
rs
w
We will play the game till the monotony

ie
ve
sends his lordship to sleep.
y
ev
op
ni
We will march the same paths till they break
R
U
onto new trails, our lives stumbling
C
ge
onto the open sea, into daybreak.
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
Sisyphus – in Greek myth, the man condemned to push a boulder up a mountain, for ever
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
159
ity
C
rs
w
ie
ve
You Cannot Do This
y
ev
op
ni
Gwendolyn Macewen
R
C
ge
w
ie
id
ev
br
you cannot do this to them, these are my people;

I am not speaking of poetry, I am not speaking of art.
am
-R
you cannot do this to them, these are my people.
-C
you cannot hack away the horizon in front of their eyes.
s
es
y
the tomb, articulate, will record your doing;

Pr
op
I will record it also, this is not art.

ity
this is a kind of science, a kind of hobby,

C
a kind of personal vice like coin collecting.

rs
w
ie
ve
it has something to do with horses
y
ev
op
ni
and signet rings and school trophies;

R
it has something to do with the pride of the loins;
C
ge
it has something to do with good food and music,

w
and something to do with power, and dancing.
ie
id
you cannot do this to them, these are my people.

ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
160
ity
C
rs
w
ie
ve
Anthem For Doomed Youth
y
ev
op
ni
Wilfred Owen
R
C
ge
w
ie
id
ev
What passing-bells for these who die as cattle?
br
Only the monstrous anger of the guns.

am
-R
Only the stuttering rifles’ rapid rattle
-C
Can patter out their hasty orisons.
s
No mockeries now for them; no prayers nor bells,
es
Nor any voice of mourning save the choirs, –
y
Pr
op
The shrill, demented choirs of wailing shells;

And bugles calling for them from sad shires.
ity
C
rs
w
What candles may be held to speed them all?

ie
ve
Not in the hands of boys, but in their eyes
y
ev
op
ni
Shall shine the holy glimmers of good-byes.

R
The pallor of girls’ brows shall be their pall;

Their flowers the tenderness of patient minds,
C
ge
w
And each slow dusk a drawing-down of blinds.
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
passing-bells – funeral bells rung in churches

ie
id
orisons – prayers
ev
br
shires – counties
pall – the cloth draped over a coffin
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
161
ity
C
rs
w
ie
ve
My Dreams Are Of A Field Afar
y
ev
op
ni
A.E. Housman
R
C
ge
w
ie
id
ev
My dreams are of a field afar
br
And blood and smoke and shot.

am
-R
There in their graves my comrades are,
-C
In my grave I am not.
s
es
I too was taught the trade of man
y
Pr
op
And spelt the lesson plain;

But they, when I forgot and ran,
ity
C
Remembered and remain.

rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
162
ity
C
rs
w
ie
ve
Friend
y
ev
op
ni
Hone Tuwhare
R
C
ge
w
ie
id
ev
Do you remember
br
that wild stretch of land

am
-R
with the lone tree guarding the point
-C
from the sharp-tongued sea?
s
es
The fort we built out of branches
y
Pr
op
wrenched from the tree, is dead wood now.

The air that was thick with the whirr of
ity
C
toetoe spears succumbs at last to the

rs
w
grey gull’s wheel.

ie
ve
y
ev
op
ni
Oyster-studded roots
R
of the mangrove yield no finer feast

of silver-bellied eels, and sea-snails
C
ge
w
cooked in a rusty can.
ie
id
ev
br
Allow me
am
-R
to mend the broken ends

of shared days :
-C
but I wanted to say

es
that the tree we climbed

y
Pr
that gave food and drink

op
to youthful dreams, is no more.

ity
C
Pursed to the lips her fine-edged

rs
w
leaves made whistle – now stamp

ie
ve
no silken tracery on the cracked

y
ev
clay floor.
op
ni
R
C
ge
w
ie
id
ev
br
toetoe – tall reed-like grass

tracery – elaborate pattern
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Friend,
y in this drear
Pr
op
dreamless time I clasp
ity
your hand if only to reassure
C
that all our jewelled fantasies were
rs
w
real and wore splendid rags.

ie
ve
y
ev
op
ni
Perhaps the tree
R
U
will strike fresh roots again:
C
ge give soothing shade to a hurt and
w
troubled world.
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
163
ity
C
rs
w
ie
ve
A Man I Am
y
ev
op
ni
Stevie Smith
R
C
ge
w
ie
id
ev
br
I was consumed by so much hate

I did not feel that I could wait,
am
-R
I could not wait for long at anyrate.
-C
I ran into the the forest wild,
s
es
I seized a little new born child,
y
I tore his throat, I licked my fang,

Pr
op
Just like a wolf. A wolf I am.

ity
C
I ran wild for centuries

rs
w
Beneath the immemorial trees,

ie
ve
Sometimes I thought my heart would freeze,
y
ev
op
ni
And never know a moment’s ease,

R
But presently the spring broke in

C
ge
Upon the pastures of my sin,

w
My poor heart bled like anything.
ie
id
The drops fell down, I knew remorse,

ev
br
I tasted that primordial curse,

am
-R
And falling ill, I soon grew worse.

Until at last I cried on Him,
-C
Before whom angel faces dim,

es
To take the burden of my sin

y
Pr
And break my head beneath his wing.

op
ity
C
Upon the silt of death I swam

rs
w
And as I wept my joy began

ie
ve
Just like a man. A man I am.

y
ev
op
ni
R
C
ge
w
ie
id
ev
br
primordial – primeval, original

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
164
ity
C
rs
w
ie
ve
Here
y
ev
op
ni
R.S. Thomas
R
C
ge
w
ie
id
ev
I am a man now.
br
Pass your hand over my brow,

am
-R
You can feel the place where the brains grow.
-C
s
I am like a tree,
es
From my top boughs I can see
y
Pr
op
The footprints that led up to me.

ity
C
There is blood in my veins

rs
w
That has run clear of the stain

ie
ve
Contracted in so many loins.
y
ev
op
ni
R
Why, then, are my hands red

With the blood of so many dead?
C
ge
w
Is this where I was misled?
ie
id
ev
br
Why are my hands this way

am
-R
That they will not do as I say?

Does no God hear when I pray?
-C
s
es
I have nowhere to go.

y
Pr
The swift satellites show

op
The clock of my whole being is slow.

ity
C
rs
w
It is too late to start

ie
ve
For destinations not of the heart.

y
ev
I must stay here with my hurt.

op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
165
ity
C
rs
w
ie
ve
A Dream
y
ev
op
ni
William Allingham
R
C
ge
w
ie
id
ev
I heard the dogs howl in the moonlight night;
br
I went to the window to see the sight;

am
-R
All the Dead that ever I knew
-C
Going one by one and two by two.
s
es
On they passed, and on they passed;
y
Pr
op
Townsfellows all, from first to last;

Born in the moonlight of the lane,
ity
C
Quenched in the heavy shadow again.

rs
w
ie
ve
Schoolmates, marching as when we played
y
ev
op
ni
At soldiers once–but now more staid;

R
Those were the strangest sight to me

Who were drowned, I knew, in the awful sea.
C
ge
w
ie
id
Straight and handsome folk; bent and weak too;

ev
br
Some that I loved, and gasped to speak to;

am
-R
Some but a day in their churchyard bed;

Some that I had not known were dead.
-C
s
es
A long, long crowd–where each seemed lonely,

y
Pr
Yet of them all there was one, one only,

op
Raised a head or looked my way:

ity
C
She lingered a moment,–she might not stay.

rs
w
ie
ve
How long since I saw that fair pale face!

y
ev
Ah! Mother dear! might I only place

op
ni
My head on thy breast, a moment to rest,

R
While thy hand on my tearful cheek were pressed!

ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
On, on, a moving bridge they made
y Across the moon-stream, from shade to shade,
Pr
op
Young and old, women and men;
ity
Many long-forgot, but remembered then.
C
rs
w
And first there came a bitter laughter;

ie
ve
A sound of tears the moment after;
y
ev
op
ni
And then a music so lofty and gay,
R
U
That every morning, day by day,
C
ge
I strive to recall it if I may.
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
166
ity
C
rs
w
ie
ve
Time’s Fool
y
ev
op
ni
Ruth Pitter
R
C
ge
w
ie
id
ev
br
Time’s fool, but not heaven’s: yet hope not for any return.
am
-R
The rabbit-eaten dry branch and the halfpenny candle
Are lost with the other treasure: the sooty kettle
-C
s
Thrown away, become redbreast’s home in the hedge, where the nettle
es
Shoots up, and bad bindweed wreathes rust-fretted handle.
y
Pr
Under that broken thing no more shall the dry branch burn.
op
ity
C
Poor comfort all comfort: once what the mouse had spared
rs
w
Was enough, was delight, there where the heart was at home;
ie
ve
The hard cankered apple holed by the wasp and the bird,
y
ev
The damp bed, with the beetle’s tap in the headboard heard,
op
ni
The dim bit of mirror, three inches of comb:

R
C
Dear enough, when with youth and with fancy shared.
ge
w
ie
I knew that the roots were creeping under the floor,
id
ev
That the toad was safe in his hole, the poor cat by the fire,
br
The starling snug in the roof, each slept in his place:

am
-R
The lily in splendour, the vine in her grace,

-C
The fox in the forest, all had their desire,

s
As then I had mine, in the place that was happy and poor.
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
redbreast – robin (bird)

bindweed – a weed common in hedges and fields
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
167
ity
C
rs
w
ie
ve
Cold In The Earth
y
ev
op
ni
Emily Brontë
R
C
ge
w
ie
id
ev
Cold in the earth, and the deep snow piled above thee!
br
Far, far removed, cold in the dreary grave!

am
-R
Have I forgot, my Only Love, to love thee,
-C
Severed at last by Time’s all-wearing wave?
s
es
Now, when alone, do my thoughts no longer hover
y
Pr
op
Over the mountains on Angora’s shore;

Resting their wings where heath and fern-leaves cover
ity
C
That noble heart for ever, ever more?

rs
w
ie
ve
Cold in the earth, and fifteen wild Decembers
y
ev
op
ni
From those brown hills have melted into spring –

R
Faithful indeed is the spirit that remembers

After such years of change and suffering!
C
ge
w
ie
id
Sweet Love of youth, forgive if I forget thee

ev
br
While the World’s tide is bearing me along:

am
-R
Sterner desires and darker hopes beset me,

Hopes which obscure but cannot do thee wrong.
-C
s
es
No other Sun has lightened up my heaven;

y
Pr
No other Star has ever shone for me:

op
All my life’s bliss from thy dear life was given –

ity
C
All my life’s bliss is in the grave with thee.

rs
w
ie
ve
But when the days of golden dreams had perished

y
ev
And even Despair was powerless to destroy,

op
ni
Then did I learn how existence could be cherished,

R
Strengthened and fed without the aid of joy;

ge
w
ie
id
ev
br
all-wearing – i.e. which wears everything away

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Then did I check the tears of useless passion,
y Weaned my young soul from yearning after thine;
Pr
op
Sternly denied its burning wish to hasten
ity
Down to that tomb already more than mine!
C
rs
w
And even yet, I dare not let it languish,

ie
ve
Dare not indulge in Memory’s rapturous pain;
y
ev
op
ni
Once drinking deep of that divinest anguish,
R
U
How could I seek the empty world again?
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
168
ity
C
rs
w
ie
ve
À Quoi Bon Dire
y
ev
op
ni
Charlotte Mew
R
C
ge
w
ie
id
ev
br
Seventeen years ago you said

Something that sounded like Good-bye;
am
-R
And everybody thinks that you are dead,
-C
But I.
s
es
y
So I, as I grow stiff and cold

Pr
op
To this and that say Good-bye too;

ity
And everybody sees that I am old

C
But you.
rs
w
ie
ve
And one fine morning in a sunny lane
y
ev
op
ni
Some boy and girl will meet and kiss and swear
R
That nobody can love their way again
C
ge
While over there

w
You will have smiled, I shall have tossed your hair.
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
À Quoi Bon Dire – (French) what’s the good / what’s the point
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
169
ity
C
rs
w
ie
ve
From The Triumph of Time
y
ev
op
ni
A.C. Swinburne
R
C
ge
w
ie
id
ev
Before our lives divide for ever,
br
While time is with us and hands are free,

am
-R
(Time, swift to fasten and swift to sever
-C
Hand from hand, as we stand by the sea)
s
I will say no word that a man might say
es
Whose whole life’s love goes down in a day;
y
Pr
op
For this could never have been; and never,

Though the gods and the years relent, shall be.
ity
C
rs
w
Is it worth a tear, is it worth an hour,

ie
ve
To think of things that are well outworn?
y
ev
op
ni
Of fruitless husk and fugitive flower,

R
The dream foregone and the deed forborne?

Though joy be done with and grief be vain,
C
ge
w
Time shall not sever us wholly in twain;
ie
id
Earth is not spoilt for a single shower;

ev
br
But the rain has ruined the ungrown corn.

am
-R
It will grow not again, this fruit of my heart,

-C
Smitten with sunbeams, ruined with rain.

es
The singing seasons divide and depart,

y
Pr
Winter and summer depart in twain.

op
It will grow not again, it is ruined at root,

ity
C
The bloodlike blossom, the dull red fruit;

rs
w
Though the heart yet sickens, the lips yet smart,

ie
ve
With sullen savour of poisonous pain.

y
ev
op
ni
R
C
ge
w
ie
id
twain – two
ev
br
sullen savour – sour taste

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
I have given no man of my fruit to eat;
y I trod the grapes, I have drunken the wine.
Pr
op
Had you eaten and drunken and found it sweet,
ity
This wild new growth of the corn and vine,
C
This wine and bread without lees or leaven,
rs
w
We had grown as gods, as the gods in heaven,

ie
ve
Souls fair to look upon, goodly to greet,
y
ev
op
ni
One splendid spirit, your soul and mine.
R
C
ge
In the change of years, in the coil of things,
w
In the clamour and rumour of life to be,
ie
id
We, drinking love at the furthest springs,
ev
br
Covered with love as a covering tree,

am
-R
We had grown as gods, as the gods above,
Filled from the heart to the lips with love,
-C
s
Held fast in his hands, clothed warm with his wings,
es
O love, my love, had you loved but me!
y
Pr
op
We had stood as the sure stars stand, and moved

ity
C
As the moon moves, loving the world; and seen

rs
w
Grief collapse as a thing disproved,

ie
ve
Death consume as a thing unclean.
y
ev
Twain halves of a perfect heart, made fast
op
ni
Soul to soul while the years fell past;

R
C
Had you loved me once, as you have not loved;
ge
w
Had the chance been with us that has not been.
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
lees – sediment in wine

ev
br
leaven – yeast
coil – turmoil
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
170
ity
C
rs
w
ie
ve
Meeting At Night
y
ev
op
ni
Robert Browning
R
C
ge
w
ie
id
ev
br
The grey sea and the long black land;

And the yellow half-moon large and low;
am
-R
And the startled little waves that leap
-C
In fiery ringlets from their sleep,
s
es
As I gain the cove with pushing prow,
y
And quench its speed i’ the slushy sand.

Pr
op
ity
Then a mile of warm sea-scented beach;

C
Three fields to cross till a farm appears;

rs
w
A tap at the pane, the quick sharp scratch

ie
ve
And blue spurt of a lighted match,
y
ev
op
ni
And a voice less loud, through its joys and fears,

R
Than the two hearts beating each to each!

C
ge
w
ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
ev
br
prow – the front part of a boat

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
171
ity
C
rs
w
ie
ve
Because I Liked You Better
y
ev
op
ni
A.E. Housman
R
C
ge
w
ie
id
ev
Because I liked you better
br
Than suits a man to say,

am
-R
It irked you, and I promised
-C
To throw the thought away.
s
es
To put the world between us
y
Pr
op
We parted, stiff and dry;

‘Good-bye’, said you, ‘forget me.’
ity
C
‘I will, no fear’, said I.

rs
w
ie
ve
If here, where clover whitens
y
ev
op
ni
The dead man’s knoll, you pass,

R
And no tall flower to meet you

Starts in the trefoiled grass,
C
ge
w
ie
id
Halt by the headstone naming

ev
br
The heart no longer stirred,

am
-R
And say the lad that loved you

Was one that kept his word.
-C
s
es
y
Pr
op
ity
C
rs
w
ie
ve
y
ev
op
ni
R
C
ge
w
ie
id
knoll – hillock, mound

ev
br
trefoiled grass – i.e. clover

am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
172
ity
C
rs
w
ie
ve
From The Ballad of Reading Gaol
y
ev
op
ni
Oscar Wilde
R
C
ge
w
ie
id
ev
He did not wear his scarlet coat,
br
For blood and wine are red,

am
-R
And blood and wine were on his hands
-C
When they found him with the dead,
s
The poor dead woman whom he loved,
es
And murdered in her bed.
y
Pr
op
He walked amongst the Trial Men

ity
C
In a suit of shabby grey;

rs
w
A cricket cap was on his head,

ie
ve
And his step seemed light and gay;
y
ev
op
ni
But I never saw a man who looked

R
So wistfully at the day.
C
ge
w
I never saw a man who looked
ie
id
With such a wistful eye

ev
br
Upon that little tent of blue

am
-R
Which prisoners call the sky,

And at every drifting cloud that went
-C
With sails of silver by.

es
y
Pr
I walked, with other souls in pain,

op
Within another ring,

ity
C
And was wondering if the man had done

rs
w
A great or little thing,

ie
ve
When a voice behind me whispered low,

y
ev
‘That fellow’s got to swing.’

op
ni
R
C
ge
w
ie
id
scarlet coat – soldier’s tunic

ev
br
Trial Men – i.e. those in the courtroom

swing – hang
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
Dear Christ! the very prison walls
y Suddenly seemed to reel,
Pr
op
And the sky above my head became
ity
Like a casque of scorching steel;
C
And, though I was a soul in pain,
rs
w
My pain I could not feel.

ie
ve
y
ev
op
ni
I only knew what hunted thought
R
U
Quickened his step, and why
C
geHe looked upon the garish day
w
With such a wistful eye;
ie
id
The man had killed the thing he loved,
ev
br
And so he had to die.

am
-R
.....
-C
s
Yet each man kills the thing he loves,
es
By each let this be heard,
y
Pr
Some do it with a bitter look,
op
Some with a flattering word,

ity
C
The coward does it with a kiss,

rs
The brave man with a sword!

w
ie
ve
y
ev
Some kill their love when they are young,
op
ni
And some when they are old;

R
C
Some strangle with the hands of Lust,
ge
Some with the hands of Gold:

w
ie
The kindest use a knife, because
id
ev
The dead so soon grow cold.

br
am
-R
Some love too little, some too long,

-C
Some sell, and others buy;

s
Some do the deed with many tears,

es
And some without a sigh:

y
Pr
op
For each man kills the thing he loves.

Yet each man does not die.
ity
C
rs
w
He does not die a death of shame

ie
ve
On a day of dark disgrace,

y
ev
op
ni
Nor have a noose about his neck,

R
Nor a cloth upon his face,

C
Nor drop feet foremost through the floor

ge
Into an empty space.

ie
id
ev
br
casque – helmet
am
-R
-C
s
es

ie
id
ev
br
am
-R
-C
s
es
y
Pr
op
Index of First Lines
ity
C
rs
w
ie
ve
A chimney-sweeper’s boy am I 92
y
ev
op
ni
A cool small evening shrunk to a dog bark and the clank 149
R
U
A free bird leaps 115
C
A little black thing among the snow 94
ge
w
A married state affords but little ease 69
ie
id
Adieu, farewell, earth’s bliss 16
ev
br
Ants prudent bite the ends of hoarded wheat 51

am
-R
As I sat at the Café I said to myself 123
As loving hind that, hartless, wants her deer 67
-C
s
As waked from sleep, methought I heard the voice 74
es
‘As you came from the holy land 23
y
Ask me no more where Jove bestows 22

Pr
op
At dawn the ridge emerges massed and dun 223

ity
C
At the instant of drowning he invoked the three sisters 142

rs
w
Away, melancholy 202

ie
ve
y
ev
Be judge yourself, I’ll bring it to the test 90
op
ni
Because I could not stop for Death 208

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Because I liked you better 242
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Before our lives divide for ever 239

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Betwixt two ridges of ploughed land lay Wat 86
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Blow, blow, thou winter wind 34

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By this he knew she wept with waking eyes 189

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Cold in the earth, and the deep snow piled above thee! 236
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Cold was the night wind, drifting fast the snows fell 78
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Come, darkest night, becoming sorrow best 18

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Come live with me, and be my love 27

Cruising these residential Sunday 172
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Death, be not proud, though some have called thee 104

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Distinguish carefully between these two 126

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Do you remember 229

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Drink to me only with thine eyes 40

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Earth has not anything to show more fair 177

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Even such is time, which takes in trust 15

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False life! a foil and no more, when 102
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Fear no more the heat o’ th’ sun 20
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For the green turtle with her pulsing burden 150
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Full fathom five thy father lies 42
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Gather ye rosebuds while ye may 55

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Glory be to God for dappled things 162
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Go, lovely rose! 11
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Golden slumbers kiss your eyes 41
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Good reader, now you tasted have 43
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Great Pan is not dead 161
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Happy insect, what can be 53

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Happy the man whose wish and care 70
He did not wear his scarlet coat 243
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He knew in the hour he died 216
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He never learned her, quite. Year after year 155
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Here first the day does break 63
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How do I love thee? Let me count the ways! 157

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I am a man now 232

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I am content, I do not care 96
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I am the nor’west air nosing among the pines 145
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I am the poet of the Body and I am the poet of the Soul 192
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I feed a flame within which so torments me 61
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I grieve, and dare not show my discontent 39
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I hate that drum’s discordant sound 83

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I have had playmates, I have had companions 137

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I have thought so much about the girl 129

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I heard the dogs howl in the moonlight night 233

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I like working near a door. I like to have my work-bench 124

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I met a traveller from an antique land 201

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I ne’er was struck before that hour 154

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I sat all morning in the college sick bay 138

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I struck the board, and cried, ‘No more 100

I used to think that grown-up people chose 207
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I wake up cold, I who 181

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I was consumed by so much hate 231

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I watched a giant cockroach start to pace 171

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If the year is meditating a suitable gift 199

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‘I’m rising five’, he said 117

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In unexperienced infancy 48
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In Xanadu did Kubla Khan 110

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Intense blue morning 127

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Is the fish ready? You’re a tedious while 71
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‘Is there anybody there?’ said the Traveller 139
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It is not growing like a tree 19
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Know then thyself, presume not God to scan 112
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Little Fly 47
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Love in fantastic triumph sat 60
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Love’s an headstrong wild desire 58
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Men of England, wherefore plough 121
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My dreams are of a field afar 228
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My father worked with a horse-plough 215

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My heart is like a singing bird 169
My parents kept me from children who were rough 211
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My prime of youth is but a frost of cares 14
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Nights like this: on the cold apple-bough 148
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No crookèd leg, no blearèd eye 12

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Nobody heard him, the dead man 141

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Now from each van 84

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Now that the world is all in amaze 95
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Of this world’s theatre in which we stay 28

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On the road to the bay was a lake of rushes 178
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One day I wrote her name upon the strand 30
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One man shall smile one day and say goodbye 222
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O quam te memorem virgo 191

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People are made of places. They carry with them 176

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Pike, three inches long, perfect 167

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Pity me not because the light of day 158

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Rain, midnight rain, nothing but the wild rain 183

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Romira, stay 56
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Seventeen years ago you said 238

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Shall I compare thee to a summer’s day? 32

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She dwelt among the untrodden ways 130

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she sat down 134

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Sigh no more, ladies, sigh no more 6

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Since there’s no help, come let us kiss and part 10

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So forth issued the seasons of the year 35

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So we must part, my body, you and I 184
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So, we’ll go no more a-roving 156
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Some hand, that never meant to do thee hurt 200
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Spring, the sweet spring, is the year’s pleasant king 31
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Stop all the clocks, cut off the telephone 190
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Straws like tame lightnings lie about the grass 175

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Sun-warmed in this late season’s grace 166
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Sundays too my father got up early 136
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Sweet are the thoughts that savour of content 38
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Tears, idle tears, I know not what they mean 210
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Tell me not, sweet, I am unkind 82
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That time of year thou mayst in me behold 33

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The art of losing isn’t hard to master 209
The children are at the loom of another world 120
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The curfew tolls the knell of parting day 105
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The flower-fed buffaloes of the spring 152
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The flowers that on the banks and walks did grow 25
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The glories of our blood and state 103

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The grey sea and the long black land 241

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The man of life upright 37

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The moon rolls over the roof and falls behind 163
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The name of the product I tested is Life 197
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The poetry of earth is never dead 151

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The sea is calm to-night 146
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The spirit is too blunt an instrument 186
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The trees are coming into leaf 220

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The wind flapped loose, the wind was still 170

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These emmets, how little they are in our eyes! 52

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They are cutting down the great plane-trees at the end of the gardens 218
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They asked me ‘Are you sitting down? 195

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They flee from me, that sometime did me seek 9

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They plan. They build. All spaces are gridded 174

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Those lumbering horses in the steady plough 164

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Though my mother was already two years dead 188

Time again for the annual joust, the regular fanfare 224
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Time’s fool, but not heaven’s: yet hope not for any return 235
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Tuckett. Bill Tuckett. Telegraph operator, Hall’s Creek 180

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’Twas at the silent, solemn hour 75

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Weep you no more, sad fountains 7

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Well, World, you have kept faith with me 194

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What does he do with them all, the old king 143

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What is our life? A play of passion 29
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What passing-bells for these who die as cattle? 227
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What thing is love? – for sure love is a thing 4
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When I consider how my light is spent 99
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When I was fair and young, and favour graced me 8
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When I was young and there were five of us 132

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When you dyed your hair blue 212
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Where lies the land to which the ship would go? 179
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Why do I love? Go, ask the glorious sun 65
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Why so pale and wan, fond lover? 3
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With how sad steps, O Moon, thou climb’st the skies! 13
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Woman much missed, how you call to me, call to me 144
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Work-table, litter, books and standing lamp 182

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Ye living lamps, by whose dear light 62
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Yes, injured Woman! rise, assert thy right! 80
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You endless torments that my rest oppress 5
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You know the school; you call it old 221
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You should be here, Nature has need of you 153

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You were 214

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You will see him light a cigarette 131

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you cannot do this to them, these are my people 226
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Your mouth contorting in brief spite and hurt 119
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Acknowledgements
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The authors and publishers acknowledge the following sources of copyright material
and are grateful for the permissions granted. While every effort has been made, it has
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not always been possible to identify the sources of all the material used, or to trace all
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copyright holders. If any omissions are brought to our notice, we will be happy to include
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the appropriate acknowledgements on reprinting.
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‘Caged Bird’ from SHAKER, WHY DON’T YOU SING? by Maya Angelou, copyright
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ie
© 1983 by Maya Angelou. Used by permission of Random House, an imprint and
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ev
division of Penguin Random House LLC All rights reserved, and first published in Great
br
Britain by Virago, an imprint of Little, Brown Book Group.; ‘Rising Five’ by Norman
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Nicholson, from Collected Poems (Faber & Faber), reprinted by permission of David
Higham Associates Limited; ‘Little Boy Crying’ by Mervyn Morris in The Pond: a book
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s
of poems, used with permission from Carcanet Press Limited; ‘Carpet Weavers, Morocco’
es
by Carol Rumens in Selected Poems. Used by permission of Sheep Meadow Press;
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Pr
op
‘Monologue’ by Hone Tuwhare, now available in Small Holes in the Silence: Collected
Works, Godwit Press, Penguin Random House NZ, 2011. Publishing rights for the poem
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C
are held by the Estate of Hone Tuwhare. All inquiries to honetuwharepoetry@gmail.

rs
w
com; ‘The Justice of the Peace’ from Complete Verse by Hilaire Belloc, reprinted by
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ve
permission of Peters Fraser & Dunlop (www.petersfraserdunlop.com) on behalf of the
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ev
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ni
Estate of Hilaire Belloc; ‘Before the sun’ by Charles Mungoshi © 1988, Charles
R
Mungoshi from The Milkman Doesn’t Only Deliver Milk. Used with permission from the
C
author; ‘Muliebrity’ by Sujata Bhatt in Point No Point: Selected Poems, used with
ge
w
permission from Carcanet Press Limited; ‘Farmhand’ by James K Baxter, in Selected
ie
id
Poems, used with permission from Carcanet Press Limited and the James K. Baxter
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br
Trust; ‘Plenty’ from Weather Eye (Carapace, 2001). Copyright © 2001 Isobel Dixon.
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Reprinted by permission of the author; ‘Storyteller’ by Liz Lochhead in Dreaming

Frankenstein, Polygon. Reproduced with permission of the Licensor through PLSclear;
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‘Those Winter Sundays’ Copyright © 1966 by Robert Hayden, from COLLECTED

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POEMS OF ROBERT HAYDEN by Robert Hayden, edited by Frederick Glaysher.

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Pr
Used by permission of Liveright Publishing Corporation; ‘Mid-Term Break’ from

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OPENED GROUND: SELECTED POEMS 1966–1996 by Seamus Heaney. Copyright

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C
© 1998 by Seamus Heaney. Reprinted by permission from Farrar, Straus and Giroux and
rs
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Faber & Faber Ltd; ‘The Listeners’ by Walter de la Mer, used with permission from The
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ve
Literary Trustees of Walter de la Mer and The Society of Authors as their representative;
y
ev
‘Not Waving But Drowning’ by Stevie Smith from ALL THE POEMS copyright © 1937,
op
ni
1938, 1942, 1950, 1957, 1962, 1966, 1971, 1972 by Stevie Smith. Copyright © 2016 by the
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Estate of James MacGibbon. Copyright © 2015 by Will May. Reprinted by permission

ge
of New Directions Publishing Corp. and Faber & Faber Ltd; ‘The Three Fates’ by
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Rosemary Dobson in The Three Fates and Other Poems by arrangement with the
id
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Licensor, Rosemary Dobson, c/o Curtis Brown (Aust) Pty Ltd; ‘Elegy for Drowned
Children’ by Bruce Dawe in Sometimes gladness: collected poems 1954–1978 used with
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permission from the author; ‘Time’ Copyright Tim Curnow, from Allen Curnow:
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Collected Poems, edited by Elizabeth Caffin and Terry Sturm, Auckland University Press,
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Pr
op
2017; ‘Amends’ from DARK FIELDS OF THE REPUBLIC: POEMS 1991–1995 by
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Adrienne Rich. Copyright© 1995 by Adrienne Rich. Used by permission of W.W.
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Norton & Company, Inc.; ‘Full Moon and Little Frieda’ by Ted Hughes from
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COLLECTED POEMS, © the Estate of Ted Hughes, reproduced by permission of

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Farrar, Straus and Giroux and Faber & Faber Ltd.; ‘Lament’ by Gillian Clarke in
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Collected Poems, used with permission from Carcanet Press Limited; ‘Report to
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U
Wordsworth’ by Boey Kim Cheng in Another Place, reproduced with permission from
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the author; ‘Marrysong’ by Dennis Scott in Strategies (Sandberry Press); Edna St.
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Vincent Millay, ‘Pity me not because the light of day’ from Collected Poems. Copyright
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id
1923, 1951 by Edna St. Vincent Millay and Norma Millay Ellis. Used with the
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permission of The Permissions Company, Inc., on behalf of Holly Peppe, Literary

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Executor, The Edna St. Vincent Millay Society, www.millay.org; ‘A Different History’ by
Sujata Bhatt in Brunizem, used with permission from Carcanet Press Limited;
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‘Continuum’ Copyright Tim Curnow from Allen Curnow: Collected Poems, edited by
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Elizabeth Caffin and Terry Sturm, Auckland University Press, 2017; ‘Horses’ by Edwin
y
Pr
Muir from Collected Poems, © the Estate of Edwin Muir, reproduced by permission of
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Faber &Faber Ltd.; ‘Hunting Snake’ by Judith Wright in Collected Poems published and
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used with permission by HarperCollins Publishers and Copyright © The Estate of Judith
rs
w
Wright 1994; ‘Pike’ by Ted Hughes in Collected Poems © the Estate of Ted Hughes,
ie
ve
reproduced by permission of Faber & Faber Ltd and Farrar, Straus and Giroux; ‘The
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Cockroach’ by Kevin Halligan used with permission from Springfield Books; ‘The City
op
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Planners’ by Margaret Atwood in The Circle Game, published and used by permission of
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House of Anansi; ‘The Planners’ by Boey Kim Cheng in Another Place. Reproduced
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with permission from the author; ‘Summer Farm’ by Norman MacCraig in Selected
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id
Poems (Birlinn). Reproduced with permission of the Licensor through PLSclear; ‘Where
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I Come From’ by Elizabeth Brewster is reprinted from Collected Poems of Elizabeth

Brewster by permission of Oberon Press; ‘The Bay’ by James K Baxter in Selected
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Poems, used with permission from Carcanet Press Limited and the James K. Baxter
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Trust; ‘Morse’ by Les Murray in Collected Poems, used with permission from Carcanet
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Press Limited, Margaret Connolly Associates and Farrar, Straus and Giroux; ‘The Man
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with Night Sweats’ from COLLECTED POEMS by Thom Gunn. Copyright © 1994 by
Pr
op
Thom Gunn. Reprinted by permission by Farrar, Straus and Giroux, and Faber & Faber
ity
C
Ltd; ‘Night Sweat’ by Robert Lowell used with permission from Farrar, Straus and
Giroux; ‘The spirit is too blunt an instrument’ by Anne Stevenson in Collected Poems
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1955–1995 (Bloodaxe Books, 2005) www.bloodaxebooks.com; ‘Long Distance’ by Tony

ie
ve
Harrison in Selected Poems, © Tony Harrison, reproduced by permission of Faber &

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ev
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Faber Ltd; ‘Funeral Blues’ copyright © 1940 and renewed 1968 by W.H. Auden; from W.
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H. AUDEN COLLECTED POEMS by W. H. Auden. Used by permission of Random

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House, an imprint and division of Penguin Random House LLC and Curtis Brown Ltd.;
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‘La Figlia che Piange’ by TS Eliot in Collected Poems: 1909–1962, © the Estate of T S
ie
id
Eliot, reproduced by permission of Faber and Faber Ltd; ‘The Telephone Call’ by Fleur
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br
Adcock, Poems 1960–2000 (Bloodaxe Books, 2000) www.bloodaxebooks.com; ‘A

am
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s
es

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id
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am
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s
Consumer’s Report’ from Collected Poems by Peter Porter, published by Oxford
es
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University Press, Copyright© Peter Porter. Reproduced with permission of the estate of
Pr
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the author c/o Rogers, Coleridge & White Ltd., 20 Powis Mews, London W11 1JN;
‘Request to a year’ by Judith Wright in Collected Poems published and used with
ity
C
permission by HarperCollins Publishers and Copyright © The Estate of Judith Wright
rs
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1994; ‘Away Melancholy’ by Stevie Smith from ALL THE POEMS, copyright © 1937,
ie
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1938, 1942, 1950, 1957, 1962, 1966, 1971, 1972 by Stevie Smith. Copyright © 2016 by the
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ni
Estate of James MacGibbon. Copyright © 2015 by Will May. Reprinted by permission
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of New Directions Publishing Corp, and Faber & Faber Ltd; ‘Childhood’ by Frances
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Cornford is reproduced from her Selected Poems (Enitharmon Press, 1996); ‘One Art’
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from The Complete Poems by Elizabeth Bishop 1927–1979. Used by permission of
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id
Random House, an imprint and division of Penguin Random House LLC. Copyright ©
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br
2011 by The Alice H. Methfessel Trust. Publisher’s Note and compilation copyright ©
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2011 by Farrar, Straus and Giroux.; ‘My Parents’ by Stephen Spender in New Collected
Poems (Faber) used by permission of Curtis Brown; ‘For Heidi with Blue Hair’ by Fleur
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s
Adcock, Poems 1960–2000 (Bloodaxe Books, 2000) www.bloodaxebooks.com; ‘Praise
es
song for my mother’ by Grace Nichols, used with permission from Curtis Brown;
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Pr
‘Follower’ from OPENED GROUND: SELECTED POEMS 1966–1996 by Seamus
op
Heaney. Copyright © 1998 by Seamus Heaney. Reprinted with permission by Farrar,

ity
C
Straus and Giroux and Faber & Faber Ltd.; ‘Elegy for my Father’s Father’ by James K
rs
w
Baxter, used with permission from Carcanet Press Limited and the James K. Baxter
ie
ve
Trust; ‘The Trees’ by Philip Larkin in Complete Poems, © the Estate of Philip Larkin,
y
ev
reproduced by permission of Faber & Faber Ltd and Farrar, Straus and Giroux;
op
ni
‘Country School’ Copyright Tim Curnow from Allen Curnow: Collected Poems, edited by
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C
Elizabeth Caffin and Terry Sturm, Auckland University Press, 2017; ‘Cambodia’ by
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James Fenton in Yellow Tulips, © James Fenton, reproduced by permission of Faber
ie
id
&Faber Ltd.; ‘Attack’ by Siegfried Sassoon in Collected Poems used with permission
ev
br
from Barbara Levy Agency; ‘Reservist’ by Boey Kim Cheng, reproduced with permission
am
from the author; ‘You Cannot Do This’ by Gwedolyn MacEwen, used by permission of
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the Author’s Family; ‘My dreams are of a field afar’ by A.E. Housman from the book
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THE COLLECTED POEMS OF A.E. HOUSMAN. Copyright© 1936 by Barclays

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Bank, Ltd. Copyright© 1964, 1967 by Robert E. Symons. Copyright© 1939, 1940, 1965
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by Henry Holt and Company. Reprinted by permission of Henry Holt and Company.
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All rights reserved; ‘Friend’ by Hone Tuwhare, now available in Small Holes in the
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Silence: Collected Works, Godwit Press, Penguin Random House NZ, 2011. Publishing
C
rights for the poem are held by the Estate of Hone Tuwhare. All inquiries to
rs
w
honetuwharepoetry@gmail.com; ‘A Man I Am’ by Stevie Smith from ALL THE

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POEMS, copyright © 1937, 1938, 1942, 1950, 1957, 1962, 1966, 1971, 1972 by Stevie
y
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op
ni
Smith. Copyright © 2016 by the Estate of James MacGibbon. Copyright © 2015 by Will
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May. Reprinted by permission of New Directions Publishing Corp. and Faber & Faber
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Ltd.; ‘Here’ from COLLECTED POEMS 1945–1990 by RS Thomas. Used with

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permission from Orion Publishing Group; ‘Time’s Fool’ by Ruth Pitter from Collected
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Poems (Enitharmon Press, 1996) reproduced with permission from Enitharmon Editions.
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Songs of Ourselves

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permission of Cambridge University Press.

First published 2005

This edition 2018

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sir john suckling

What Thing Is Love?

lady mary wroth

4 Song: Sigh No More, Ladies 6

5 Song: Weep You No More, Sad Fountains 7

7 They Flee From Me, That Sometime Did Me Seek 9

sir thomas wyatt

Song: Go, Lovely Rose!

No Crooked Leg, No Bleared Eye

11 With how sad steps, O Moon, thou climb’st the skies

(Sonnet 31 from Astrophil and Stella) 13

sir philip sidney

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sir walter raleigh

sir walter raleigh

The Flowers That on The Banks and Walks Did Grow

21 Come Live with me, and be my Love 27

23 What is Our Life? 29

sir walter raleigh

Song: Spring, The Sweet Spring

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35 Song: Full Fathom Five 42

Poems from the Seventeenth and Eighteenth Centuries

38 Shadows In The Water 48

39 Ants (From Dryades) 51

The Ant or Emmet

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45 Song: Love Armed 60

47 The Mower To The Glow-Worms

49 To One That Asked Me Why I Loved J.G. 65

From A Dialogue Between a Squeamish Cotting Mechanic and His

Sluttish Wife, In a Kitchen 71

55 William and Margaret 75

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anna laetitia barbauld

62 From A Satyr Against Mankind

john wilmot, earl of rochester

The Chimney-Sweeper’s Complaint

67 Sonnet 16: On His Blindness 99

70 Death the Leveller 103

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