Martin Luther King & Friends
Martin Luther King himself 1
I have a dream 8/28/63 1
I’ve been to the mountaintop 4/3/68 3
Social Justice 3
Let America Be America Again 3
From Civil Disobedience 6
Lift every voice and sing 8
Defense for Leopold and Loeb 9
Ain’t I a woman? 11
Addressing misfortune 12
“I have faced a great many difficulties…” 12
Gettysburg Address 14
Letter After the Diagnosis 15
If one should bring me this report 15
Corsons Inlet 16
Closure 19
Martin Luther King himself
I have a dream 8/28/63
MLK
Five score years ago, a great American, in whose symbolic shadow we stand signed the Emancipation Proclamation. This momentous decree came as a great beacon light of hope to millions of Negro slaves who had been seared in the flames of withering injustice. It came as a joyous daybreak to end the long night of captivity.
But one hundred years later, we must face the tragic fact that the Negro is still not free. One hundred years later, the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination. One hundred years later, the Negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity. One hundred years later, the Negro is still languishing in the corners of American society and finds himself an exile in his own land. So we have come here today to dramatize an appalling condition.
……
Go back to Mississippi, go back to Alabama, go back to Georgia, go back to Louisiana, go back to the slums and ghettos of our northern cities, knowing that somehow this situation can and will be changed. Let us not wallow in the valley of despair.
…….
I say to you today, my friends, that in spite of the difficulties and frustrations of the moment, I still have a dream. It is a dream deeply rooted in the American dream.
I have a dream that one day this nation will rise up and live out the true meaning of its creed: "We hold these truths to be self-evident: that all men are created equal."
I have a dream that one day on the red hills of Georgia the sons of former slaves and the sons of former slaveowners will be able to sit down together at a table of brotherhood.
I have a dream that one day even the state of Mississippi, a desert state, sweltering with the heat of injustice and oppression, will be transformed into an oasis of freedom and justice.
I have a dream that my four children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character.
I have a dream today.
I have a dream that one day the state of Alabama, whose governor's lips are presently dripping with the words of interposition and nullification, will be transformed into a situation where little black boys and black girls will be able to join hands with little white boys and white girls and walk together as sisters and brothers.
I have a dream today.
I have a dream that one day every valley shall be exalted, every hill and mountain shall be made low, the rough places will be made plain, and the crooked places will be made straight, and the glory of the Lord shall be revealed, and all flesh shall see it together.
This is our hope. This is the faith with which I return to the South. With this faith we will be able to hew out of the mountain of despair a stone of hope. With this faith we will be able to transform the jangling discords of our nation into a beautiful symphony of brotherhood. With this faith we will be able to work together, to pray together, to struggle together, to go to jail together, to stand up for freedom together, knowing that we will be free one day.
This will be the day when all of God's children will be able to sing with a new meaning, "My country, 'tis of thee, sweet land of liberty, of thee I sing. Land where my fathers died, land of the pilgrim's pride, from every mountainside, let freedom ring."
And if America is to be a great nation this must become true. So let freedom ring from the prodigious hilltops of New Hampshire. Let freedom ring from the mighty mountains of New York. Let freedom ring from the heightening Alleghenies of Pennsylvania!
Let freedom ring from the snowcapped Rockies of Colorado!
Let freedom ring from the curvaceous peaks of California!
But not only that; let freedom ring from Stone Mountain of Georgia!
Let freedom ring from Lookout Mountain of Tennessee!
Let freedom ring from every hill and every molehill of Mississippi. From every mountainside, let freedom ring.
When we let freedom ring, when we let it ring from every village and every hamlet, from every state and every city, we will be able to speed up that day when all of God's children, black men and white men, Jews and Gentiles, Protestants and Catholics, will be able to join hands and sing in the words of the old Negro spiritual, "Free at last! free at last! thank God Almighty, we are free at last!"
I’ve been to the mountaintop 4/3/68
MLK
And they were telling me, now it doesn't matter now. It really doesn't matter what happens now. I left Atlanta this morning, and as we got started on the plane, there were six of us, the pilot said over the public address system, "We are sorry for the delay, but we have Dr. Martin Luther King on the plane. And to be sure that all of the bags were checked, and to be sure that nothing would be wrong with the plane, we had to check out everything carefully. And we've had the plane protected and guarded all night."
And then I got into Memphis. And some began to say that threats, or talk about the threats that were out. What would happen to me from some of our sick white brothers?
Well, I don't know what will happen now. We've got some difficult days ahead. But it doesn't matter with me now. Because I've been to the mountaintop. And I don't mind. Like anybody, I would like to live a long life. Longevity has its place. But I'm not concerned about that now. I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over. And I've seen the promised land. I may not get there with you. But I want you to know tonight, that we, as a people will get to the promised land. And I'm happy, tonight. I'm not worried about anything. I'm not fearing any man. Mine eyes have seen the glory of the coming of the Lord.
Social Justice
Let America Be America Again
by Langston Hughes
Let America be America again.
Let it be the dream it used to be.
Let it be the pioneer on the plain
Seeking a home where he himself is free.
(America never was America to me.)
Let America be the dream the dreamers dreamed--
Let it be that great strong land of love
Where never kings connive nor tyrants scheme
That any man be crushed by one above.
(It never was America to me.)
O, let my land be a land where Liberty
Is crowned with no false patriotic wreath,
But opportunity is real, and life is free,
Equality is in the air we breathe.
(There's never been equality for me,
Nor freedom in this "homeland of the free.")
Say, who are you that mumbles in the dark?
And who are you that draws your veil across the stars?
I am the poor white, fooled and pushed apart,
I am the Negro bearing slavery's scars.
I am the red man driven from the land,
I am the immigrant clutching the hope I seek--
And finding only the same old stupid plan
Of dog eat dog, of mighty crush the weak.
I am the young man, full of strength and hope,
Tangled in that ancient endless chain
Of profit, power, gain, of grab the land!
Of grab the gold! Of grab the ways of satisfying need!
Of work the men! Of take the pay!
Of owning everything for one's own greed!
I am the farmer, bondsman to the soil.
I am the worker sold to the machine.
I am the Negro, servant to you all.
I am the people, humble, hungry, mean--
Hungry yet today despite the dream.
Beaten yet today--O, Pioneers!
I am the man who never got ahead,
The poorest worker bartered through the years.
Yet I'm the one who dreamt our basic dream
In the Old World while still a serf of kings,
Who dreamt a dream so strong, so brave, so true,
That even yet its mighty daring sings
In every brick and stone, in every furrow turned
That's made America the land it has become.
O, I'm the man who sailed those early seas
In search of what I meant to be my home--
For I'm the one who left dark Ireland's shore,
And Poland's plain, and England's grassy lea,
And torn from Black Africa's strand I came
To build a "homeland of the free."
The free?
Who said the free? Not me?
Surely not me? The millions on relief today?
The millions shot down when we strike?
The millions who have nothing for our pay?
For all the dreams we've dreamed
And all the songs we've sung
And all the hopes we've held
And all the flags we've hung,
The millions who have nothing for our pay--
Except the dream that's almost dead today.
O, let America be America again--
The land that never has been yet--
And yet must be--the land where every man is free.
The land that's mine--the poor man's, Indian's, Negro's, ME--
Who made America,
Whose sweat and blood, whose faith and pain,
Whose hand at the foundry, whose plow in the rain,
Must bring back our mighty dream again.
Sure, call me any ugly name you choose--
The steel of freedom does not stain.
From those who live like leeches on the people's lives,
We must take back our land again,
America!
O, yes,
I say it plain,
America never was America to me,
And yet I swear this oath--
America will be!
Out of the rack and ruin of our gangster death,
The rape and rot of graft, and stealth, and lies,
We, the people, must redeem
The land, the mines, the plants, the rivers.
The mountains and the endless plain--
All, all the stretch of these great green states--
And make America again!
From Civil Disobedience
Henry Thoreau
I heartily accept the motto, "That government is best which governs least"; and I should like to see it acted up to more rapidly and systematically. Carried out, it finally amounts to this, which also I believe--"That government is best which governs not at all"; and when men are prepared for it, that will be the kind of government which they will have. Government is at best but an expedient; but most governments are usually, and all governments are sometimes, inexpedient.
The objections which have been brought against a standing army, and they are many and weighty, and deserve to prevail, may also at last be brought against a standing government. The standing army is only an arm of the standing government. The government itself, which is only the mode which the people have chosen to execute their will, is equally liable to be abused and perverted before the people can act through it. Witness the present Mexican war, the work of comparatively a few individuals using the standing government as their tool; for in the outset, the people would not have consented to this measure.
This American government--what is it but a tradition, though a recent one, endeavoring to transmit itself unimpaired to posterity, but each instant losing some of its integrity? It has not the vitality and force of a single living man; for a single man can bend it to his will. It is a sort of wooden gun to the people themselves. But it is not the less necessary for this; for the people must have some complicated machinery or other, and hear its din, to satisfy that idea of government which they have.
Governments show thus how successfully men can be imposed upon, even impose on themselves, for their own advantage. It is excellent, we must all allow. Yet this government never of itself furthered any enterprise, but by the alacrity with which it got out of its way. It does not keep the country free. It does not settle the West. It does not educate. The character inherent in the American people has done all that has been accomplished; and it would have done somewhat more, if the government had not sometimes got in its way.
For government is an expedient, by which men would fain succeed in letting one another alone; and, as has been said, when it is most expedient, the governed are most let alone by it. Trade and commerce, if they were not made of india-rubber, would never manage to bounce over obstacles which legislators are continually putting in their way; and if one were to judge these men wholly by the effects of their actions and not partly by their intentions, they would deserve to be classed and punished with those mischievious persons who put obstructions on the railroads.
But, to speak practically and as a citizen, unlike those who call themselves no-government men, I ask for, not at once no government, but at once a better government. Let every man make known what kind of government would command his respect, and that will be one step toward obtaining it.
After all, the practical reason why, when the power is once in the hands of the people, a majority are permitted, and for a long period continue, to rule is not because they are most likely to be in the right, nor because this seems fairest to the minority, but because they are physically the strongest. But a government in which the majority rule in all cases can not be based on justice, even as far as men understand it.
Can there not be a government in which the majorities do not virtually decide right and wrong, but conscience?--in which majorities decide only those questions to which the rule of expediency is applicable? Must the citizen ever for a moment, or in the least degree, resign his conscience to the legislator? Why has every man a conscience then? I think that we should be men first, and subjects afterward. It is not desirable to cultivate a respect for the law, so much as for the right. The only obligation which I have a right to assume is to do at any time what I think right.
It is truly enough said that a corporation has no conscience; but a corporation of conscientious men is a corporation with a conscience. Law never made men a whit more just; and, by means of their respect for it, even the well-disposed are daily made the agents of injustice. A common and natural result of an undue respect for the law is, that you may see a file of soldiers, colonel, captain, corporal, privates, powder-monkeys, and all, marching in admirable order over hill and dale to the wars, against their wills, ay, against their common sense and consciences, which makes it very steep marching indeed, and produces a palpitation of the heart.
They have no doubt that it is a damnable business in which they are concerned; they are all peaceably inclined. Now, what are they? Men at all? or small movable forts and magazines, at the service of some unscrupulous man in power? Visit the Navy Yard, and behold a marine, such a man as an American government can make, or such as it can make a man with its black arts--a mere shadow and reminiscence of humanity, a man laid out alive and standing, and already, as one may say, buried under arms with funeral accompaniment, though it may be,
"Not a drum was heard, not a funeral note,
As his corse to the rampart we hurried;
Not a soldier discharged his farewell shot
O'er the grave where our hero was buried."
The mass of men serve the state thus, not as men mainly, but as machines, with their bodies. They are the standing army, and the militia, jailers, constables, posse comitatus, etc. In most cases there is no free exercise whatever of the judgement or of the moral sense; but they put themselves on a level with wood and earth and stones; and wooden men can perhaps be manufactured that will serve the purpose as well. Such command no more respect than men of straw or a lump of dirt.
They have the same sort of worth only as horses and dogs. Yet such as these even are commonly esteemed good citizens. Others--as most legislators, politicians, lawyers, ministers, and office-holders--serve the state chiefly with their heads; and, as they rarely make any moral distinctions, they are as likely to serve the devil, without intending it, as God.
Lift every voice and sing
James Johnson
Lift every voice and sing
Till earth and heaven ring,
Ring with the harmonies of Liberty;
Let our rejoicing rise
High as the listening skies,
Let it resound loud as the rolling sea.
Sing a song full of the faith that the dark past has taught us,
Sing a song full of the hope that the present has brought us,
Facing the rising sun of our new day begun
Let us march on till victory is won.
Stony the road we trod,
Bitter the chastening rod,
Felt in the days when hope unborn had died;
Yet with a steady beat,
Have not our weary feet
Come to the place for which our fathers sighed?
We have come over a way that with tears have been watered,
We have come, treading our path through the blood of the slaughtered,
Out from the gloomy past,
Till now we stand at last
Where the white gleam of our bright star is cast.
God of our weary years,
God of our silent tears,
Thou who has brought us thus far on the way;
Thou who has by Thy might
Led us into the light,
Keep us forever in the path, we pray.
Lest our feet stray from the places, Our God, where we met Thee;
Lest, our hearts drunk with the wine of the world, we forget Thee;
Shadowed beneath Thy hand,
May we forever stand.
True to our GOD,
True to our native land
Defense for Leopold and Loeb
Clarence Darrow
Background to the 12 hour summation to the “trial of the century”
Franks was simply in the wrong place at the wrong time. On May 21, 1924 at about five o'clock in the afternoon, Bobby Franks was walking home from school when a gray Winton automobile pulled up near him. Loeb asked Franks to come over to the car, asked him to get in the car to discuss a tennis racquet, then killed him with a chisel as the two drove off. (Though most evidence points to Loeb as the actual killer, there is some dispute about this, as there is over the time of the killing. Some have suggested that Franks was sexually molested, then killed later.) Leopold and Loeb drove their rented car to a marshland near the Indiana line, where they stripped Franks naked, poured hydrochloric acid over his body to make identification more difficult, then stuffed the body in a concrete drainage culvert.
Your Honor, it has been almost three months since the great responsibility of this case was assumed by my associates and myself. I am willing to confess that it has been three months of great anxiety. A burden which I gladly would have been spared excepting for my feelings of affection toward some of the members of one of these unfortunate families. This responsibility is almost too great for any one to assume; but we lawyers can no more choose than the court can choose.
…..
I know, Your Honor, that every atom of life in all this universe is bound up together. I know that a pebble cannot be thrown into the ocean without disturbing every drop of water in the sea. I know that every life is inextricably mixed and woven with every other life. I know that every influence, conscious and unconscious, acts and reacts on every living organism, and that no one can fix the blame. I know that all life is a series of infinite chances, which sometimes result one way and sometimes another. I have not the infinite wisdom that can fathom it, neither has any other human brain. But I do know that in back of it is a power that made it, that power alone can tell, and if there is no power, then it is an infinite chance, which man cannot solve.
…..
If there is such a thing as justice it could only be administered by one who knew the inmost thoughts of the man to whom they were meting it out. Aye, who knew the father and mother and the grandparents and the infinite number of people back of him. Who knew the origin of every cell that went into the body, who could understand the structure, and how it acted. Who could tell how the emotions that sway the human being affected that particular frail piece of clay. It means more than that. It means that you must appraise every influence that moves them, the civilization where they live, and all society which enters into the making of the child or the man! If your Honor can do it--if you can do it you are wise and with wisdom goes mercy.
No one with wisdom and with understanding, no one who is honest with himself and with his own life whoever he may be, no one who has seen himself the prey and the sport and the plaything of the infinite forces that move man, no one who has tried and who has failed,--and we have all tried, and we have all failed,--no one can tell what justice is for someone else or for himself--and the more he tries and the more responsibility he takes the more he clings to mercy as being the one thing which he is sure should control his judgement of men.
It is not so much mercy either, your Honor. I can hardly understand myself pleading to a court to visit mercy on two boys by shutting them into a prison for life.
…..
If these two boys die on the scaffold, which I can never bring myself to imagine,--if they do die on the scaffold, the details of this will be spread over the world. Every newspaper in the United States will carry a full account. Every newspaper of Chicago will be filled with the gruesome details. It will enter every home and every family .
Will it make men better or make men worse? I would like to put that to the intelligence of man, at least such intelligence as they have. I would like to appeal to the feelings of human beings so far as they have feelings,--would it make the human heart softer or would it make hearts harder? How many men would be colder and crueler for it? How many men would enjoy the details, and you cannot enjoy human suffering with out being affected for better or for worse; those who enjoyed it would be affected for the worse.
.
……
I know your Honor stands between he future and the past. I know the future is with me, and what I stand for here; not merely for the lives of these two unfortunate lads, but for all boys and all girls; for all of the young, and as far as possible, for all of the old. I am pleading for life, understanding, charity, kindness, and the infinite mercy that considers all. I am pleading that we overcome cruelty with kindness and hatred with love. I know the future is on my side. Your Honor stands between the past and the future. You may hang these boys; you may hang them by the neck until they are dead. But in doing it you will turn your face toward the past. In doing it you are making it harder for every other boy who in ignorance and darkness must grope his way through the mazes which only childhood knows. In doing it you will make it harder for unborn children. You may save them and make it easier for every child that some time may stand where these boys stand. You will make it easier for every human being with an aspiration and a vision and a hope and a fate. I am pleading for the future; I am pleading for a time when hatred and cruelty will not control the hearts of men. When we can learn by reason and judgement and understanding and faith that all life is worth saving, and that mercy is the highest attribute of man.
Ain’t I a woman?
Sojourner Truth
"Wall, chilern, whar dar is so much racket dar must be somethin' out o' kilter. I tink dat 'twixt de niggers of de Souf and de womin at de Nork, all talkin' 'bout rights, de white men will be in a fix pretty soon. But what's all dis here talkin''bout?
"Dat man ober dar say dat womin needs to be helped into carriages, and lifted ober ditches, and to hab de best place everywhar. Nobody eber helps me into carriages, or ober mud-puddles, or gibs me any best place!" And raising herself to her full height, and her voice to a pitch like rolling thunders, she asked "And a'n't I a woman? Look at me! Look at me! Look at my arm! (and she bared her right arm to the shoulder, showing her tremendous muscular power). I have ploughed, and planted, and gathered into barns, and no man could head me! And a'n't I a woman? I could work as much and eat as much as a man—when I could get it—and bear de lash a well! And a'n't I a woman? I have borne thirteen chilern, and seen 'em mos' all sold off to slavery, and when I cried out with my mother's grief, none but Jesus heard me! And a'n't I a woman?
"Den dey talks 'bout dis ting in de head; what dis dey call it?" ("Intellect," whispered some one near.) "Dat's it, honey. What's dat got to do wid womin's rights or nigger's rights? If my cup won't hold but a pint, and yourn holds a quart, wouldn't ye be mean not to let me have my little half-measure full?" And she pointed her significant finger, and sent a keen glance at the minister who had made the argument. The cheering was long and loud.
"Den dat little man in black dar, he say women can't have as much rights as men, 'cause Christ wan't a woman! Whar did your Christ come from?" Rolling thunder couldn't have stilled that crowd, as did those deep, wonderful tones, as she stood there with outstretched arms and eyes of fire. Raising her voice still louder, she repeated, "Whar did your Christ come from? From God and a woman! Man had nothin' to do wid Him." Oh, what a rebuke that was to that little man.
Turning again to another objector, she took up the defense of Mother Eve. I can not follow her through it all. It was pointed, and witty, and solemn; eliciting at almost every sentence deafening applause; and she ended by asserting: "If de fust woman God ever made was strong enough to turn de world upside down all alone, dese women togedder (and she glanced her eye over the platform) ought to be able to turn it back, and get it right side up again! And now dey is asking to do it, de men better let 'em." Long-continued cheering greeted this. "Bleeged to ye for hearin' on me, and now old Sojourner han't got nothin' more to say."
Amid roars of applause, she returned to her corner, leaving more than one of us with streaming eyes, and hearts beating with gratitude. She had taken us up in her strong arms and carried us safely over the slough of difficulty turning the whole tide in our favor. I have never in my life seen anything like the magical influence that subdued the mobbish spirit of the day, and turned the sneers and jeers of an excited crowd into notes of respect and admiration. Hundreds rushed up to shake hands with her, and congratulate the glorious old mother, and bid her God-speed on her mission of "testifyin' agin concerning the wickedness of this 'ere people."
Addressing misfortune
“I have faced a great many difficulties…”
the Dalai Lama
I have faced a great many difficulties during the course of my life. I see that a lot of them were insurmountable. Not only were they unavoidable, they were incapable of favorable resolution. Nonetheless, in terms of my own peace of mind and physical health, I can claim to have coped reasonably well. As a result, I have been able to meet adversity with all my resources-mental, physical and spiritual. I could not have done so otherwise. Had I been overwhelmed by anxiety and despaired, my health would have been harmed. I would also have been constrained in my actions. I see that, in general, those individuals whose conduct is ethically positive are happier and more satisfied than those who neglect ethics.
Arkansan Football tailgate
I've had a lot of problems in my life. Some of them just got the better of me. They couldn't be helped and there wasn't any good way to solve them. That's a fact. But personally, I've been able to cope fairly well. God has helped me deal with bad luck in positive ways. If I didn't have a solid mentality and strong body, I might not be able to handle these problems. If I'd give up, I woulda gotten sick, and wouldn't had the gumption to fix things. Mostly, people who do right by others are happier than those who don't care about doin' right.
From Jean Cockcroft, Little Rock AR
Arkansan Ozark
They's been a lots o' hardships in my life. Considerin' them all in all, they's some of 'em I jist couldn' do a'thing about. I couldn't do a'thing about 'em and I couldn't git outta the way. I've tried t' git along anyways, an' I c'n say that I done pretty well, considerin'. It took all I had and sometimes more to manage, but I think that I have managed - what else could I hev done? If I'd'a let maself be overcome with dispair and frettin', it would likely a' worn me to a nubbin and maybe kilt me. I couldn't a' done as much as I have done, fer sure. Generally speakin', people that follow the Golden Rule and treat others as they want themselves to be treated, they're the ones who're actually better off, even if the bad people seem to prosper.
From Sam Buchanan, Goshen, AR
Preacher Talk, Arkansas
My dear brothers and sisters, we read in Psalms 88:3, "My soul is full of troubles", and Genesis 4:13 says: "My punishment is greater than I can bear!" There was "No voice, nor any to answer." But, I have "The peace of God", and "A sound mind." (2Tim1:7). Dear friends, I "Press towards the mark" like St. Paul says, and I see in 2Cor 12:9, "His grace is sufficient for me." Surely, I would not have made it without my faith! Had I doubted, my soul would have been "sore vexed within". So, I realized, God said that "He will keep them in perfect peace, whose minds are kept on Him." (Isaiah 26:3) But, the people who do not know Him, have no hope. Amen!
From Dan Foley, Little Rock (son and son in law of preachers)
Mississippi Delta Black
I did not like livin. People killing peoples, and robbin, and drinkin, they been doin it for a long time. And that's a sad thing. I don't know why it so bad, but it's been more than I can live with an ev'thing. You jus can't do notin bout most of what hits you in this life; But I've been helped, I've got help from the Lord knows why, and here I am. I go down, an I come back up, so here I am don't you see. Maybe better days coming, maybe not, but do I fear no I don't. I learned some time 'go you jus let things go, no ma'er how bad you been hurt. I bear no hates, well I try 't bear no hates, blessings flow to a man of good will, and that accounts for my peace of min' an that I'm still here.
Melbourne, Australia 40 year old working class man
Geez, life's been crook. Fair dinkum, yer got no idea what I've hadta put up with. Not my fault, always some other bugger stuffin' up. Still, yer just havta get on with it, don'cha. Anyway, I've got me mates; yer gotta have mates in this world. Yer mates, they talk the same langwidge as yer. As long as yer mates stick tegether, she'll be right.
From Elizabeth McDowall, Melbourne
Maori in New Zealand
I’ve had a lotta difficulties in my life ay, lotsa of stuff that I couldn’t figga out. Some of that stuff I didn’t know where it came from and ‘I didn’t know what to do with it. But because I didn’t want to sick ay I just chilled out about it. ‘Cos of this I’ve been able to handle bad things and my tribe and my coussie-bro’s has help me ay. Whenever I worried the elders jus said,”Don’t sweat it ay. Some fellas are having a hungi at the pah so youse should come along and join in the party ay. We’ll have some beers and poha and sing “Ten guitars.” That way you’ll feel better ay surrounded by your coussie-bros.
Ruth jethostess@yahoo.co.uk brought up in NZ
Gullah as spoken on South Carolina Coast
Uh done ha nuffu trubble een me time. En’ fuh true Uh ent able fuh figguh w’ymekso .. Sometime Uh had summuchuh misrey een me jint, Uh haaa’dly kin moodbe ‘bout. Stiilyet Uh yent** augguhnize ‘bout’um, em’ Uh yent mek hebby cumplain. Uh jus’ tie up me mou’t, done de bes’ Uh kin en’ gone ‘bout me bidness. En’ Uh alltime t’engk me Jedus fuh de good t’ing wuh ‘E gib me, an’ fuh life en’ he’lth fuh sing ‘E praise.
*what make it so **did not
Dr. Virginia Geraty, Gullah scholar, Charleston SC drv@ aol.com see Kenyon College Great Migration Project
Gettysburg Address
Abraham Lincoln, Nov 19, 1863
Four score and seven years ago our fathers brought forth on this continent, a new nation, conceived in Liberty, and dedicated to the proposition that all men are created equal.
Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure. We are met on a great battle-field of that war. We have come to dedicate a portion of that field, as a final resting place for those who here gave their lives that that nation might live. It is altogether fitting and proper that we should do this.
But, in a larger sense, we can not dedicate -- we can not consecrate -- we can not hallow -- this ground. The brave men, living and dead, who struggled here, have consecrated it, far above our poor power to add or detract. The world will little note, nor long remember what we say here, but it can never forget what they did here. It is for us the living, rather, to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced.
It is rather for us to be here dedicated to the great task remaining before us -- that from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion -- that we here highly resolve that these dead shall not have died in vain -- that this nation, under God, shall have a new birth of freedom -- and that government of the people, by the people, for the people, shall not perish from the earth.
Letter After the Diagnosis
Lynne Knight
This is the window I love best. It looks down
on roses, ferns, ivy the deer come to eat
once the rains have gone. Earlier I watched
a deer take a Peace rose in one nip. He held it
in his mouth, his head dipping and lifting, the flutter
of petals like foam at his white lips. Just when
I thought the sweet smell made him drunk,
he swallowed. Then he nipped another. The same
intoxicated dance, head and forelegs lifting,
falling, in slow syncopation. After the fifth rose,
the bushtop stripped, I opened the wind0w
to yell Hey! Enough! The deer looked up,
then strolled off through high grass. I tell you this
because I need some deer insouciance
to offer you against your fear. I did not
think of you at all while I watched the deer
eat the roses. But now I know if you had been
beside me, you would have put out your hand
to stop me from raising the window, you would have
done all you could to grant him abundance.
If one should bring me this report
Alfred, Lord Tennyson
If one should bring me this report,
That thou hadst touched the land today,
And I went down unto the quay,
And found thee lying in the port;
And standing, muffled round with woe,
Should see thy passenger in rank
Come stepping lightly down the plank,
And beckoning unto those they know;
And if along with these should come
The man I held as half-divine;
Should strike a sudden hand in mine,
And ask a thousand things of home;
And I should tell him all my pain,
And how my life had droop’d of late,
And how he should sorrow o’er my state
And marvel what possess’d my brain;
And I perceived no touch of change,
Not hint of death in all his frame,
But found him all in all the same,
I should not feel it to be strange.
Corsons Inlet
A.R. Ammons
I went for a walk over the dunes again this morning
to the sea,
then turned right along
the surf
rounded a naked headland
and returned
along the inlet shore:
it was muggy sunny, the wind from the sea steady and high,
crisp in the running sand,
some breakthroughs of sun
but after a bit
**
continuous overcast:
the walk liberating, I was released from forms,
from the perpendiculars,
straight lines, blocks, boxes, binds
of thought
into the hues, shadings, rises, flowing bends and blends
of sight:
I allow myself eddies of meaning:
yield to a direction of significance
running
like a stream through the geography of my work:
you can find
in my sayings
swerves of action
like the inlet's cutting edge:
there are dunes of motion,
organizations of grass, white sandy paths of remembrance
in the overall wandering of mirroring mind:
**
but Overall is beyond me: is the sum of these events
I cannot draw, the ledger I cannot keep, the accounting
beyond the account:
in nature there are few sharp lines: there are areas of
primrose
more or less dispersed;
disorderly orders of bayberry; between the rows
of dunes
irregular swamps of reeds
though not reeds alone, but grass bayberry, yarrow, all . . .
predominantly reeds:
**
I have reached no conclusions, have erected no boundaries,
shutting out and shutting in, separating inside
from outside: I have
drawn no lines:
as
manifold events of sand
change the dune's shape that will not be the same shape
tomorrow,
so I am willing to go along, to accept
the becoming
thought, to stake off no beginnings or ends establish
no walls:
by transitions the land falls from grassy dunes to creek
to undercreek: but there are no lines though
change in that transition is clear
as any sharpness: but "sharpness" spread out,
allowed to occur over a wider range
than mental lines can keep:
**
the moon was full last night: today, low tide was low:
black shoals of mussels exposed to the risk
of air
and, earlier, of sun,
waved in and out with the waterline, waterline inexact,
caught always in the event of change:
a young mottled gull stood free on the shoals
and ate
to vomiting: another gull, squawking possession, cracked a crab,
picked out the entrails, swallowed the soft-shelled legs, a ruddy
turnstone running in to snatch leftover bits:
risk is full: every living thing in
siege: the demand is life, to keep life: the small
white blacklegged egret, how beautiful, quietly stalks and spears
the shallows, darts to shore
to stab —- what? I couldn't
see against the black mudflats—a frightened
fiddler crab?
**
the news to my left over the dunes and
reeds and bayberry clumps was
fall: thousands of tree swallows
gathering for flight:
an order held
in constant change: a congregation
rich with entropy: nevertheless, separable, noticeable
as one event,
not chaos: preparations for
flight from winter,
cheet, cheet, cheet, cheet, wings rifling the green clumps
beaks
at the bayberries
a perception full of wind, flight, curve,
sound:
the possibility of rule as the sum of rulelessness:
the "field" of action
with moving, incalculable center:
**
in the smaller view, order tight with shape:
blue tiny flowers on a leafless weed: carapace of crab:
snail shell:
pulsations of order
in the bellies of minnows: orders swallowed,
broken down, transferred through membranes
to strengthen larger orders: but in the large view, no
lines or changeless shapes: the working in and out, together
and against, of millions of events: this,
so that I make
no form of
formlessness:
**
orders as summaries, as outcomes of actions override
or in some way result, not predictably (seeing me gain
the top of a dune,
the swallows
could take flight—some other fields of bayberry
could enter fall
berryless) and there is serenity:
no arranged terror: no forcing of image, plan,
or thought:
no propaganda, no humbling of reality to precept:
terror pervades but is not arranged, all possibilities
of escape open: no route shut, except in
the sudden loss of all routes:
I see narrow orders, limited tightness, but will
not run to that easy victory:
still around the looser, wider forces work:
I will try
to fasten into order enlarging grasps of disorder, widening
**
scope, but enjoying the freedom that
Scope eludes my grasp, that there is no finality of vision,
that I have perceived nothing completely,
that tomorrow a new
Closure
May the blessings of love
May the blessings of love rest up on you.
Nay peace abide with you
May God’s presence illuminate your beart
Now and forevermore.
Monday, February 12, 2007
Sunday, February 4, 2007
Robert Frost & Friends
Robert Frost and Friends
6/21/06
Mowing
There was never a sound beside the wood but one,
And that was my long scythe whispering to the ground.
What was it it whispered? I knew not well myself;
Perhaps it was something about the heat of the sun,
Something, perhaps, about the lack of sound--
And that was why it whispered and did not speak.
It was no dream of the gift of idle hours,
Or easy gold at the hand of fay or elf:
Anything more than the truth would have seemed too weak
To the earnest love that laid the swale in rows,
Not without feeble-pointed spikes of flowers
(Pale orchises), and scared a bright green snake.
The fact is the sweetest dream that labor knows.
My long scythe whispered and left the hay to make.
Ghost House
I dwell in a lonely house I know
That vanished many a summer ago,
And left no trace but the cellar walls,
And a cellar in which the daylight falls,
And the purple-stemmed wild raspberries grow.
O’er ruined fences the grape-vines shield
The woods come back to the mowing field;
The orchard tree has grown one copse
Of new wood and old where the woodpecker chops;
The footpath down to the well is healed.
I dwell with a strangely aching heart
In that vanished abode there far apart
On that disused and forgotten road
That has no dust-bath now for the toad.
Night comes; the black bats tumble and dart;
The whippoorwill is coming to shout
And hush and cluck and flutter about:
I hear him begin far enough away
Full many a time to say his say
Before he arrives to say it out.
It is under the small, dim, summer star.
I know not who these mute folk are
Who share the unlit place with me—
Those stones out under the low-limbed tree
Doubtless bear names that the mosses mar.
They are tireless folk, but slow and sad,
Though two, close-keeping, are lass and lad,—
With none among them that ever sings,
And yet, in view of how many things,
As sweet companions as might be had.
The Road Not Taken
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that, the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I-
I took the one less traveled by,
And that has made all the difference.
Spring Pools
These pools that, though in forests, still reflect
The total sky almost without defect,
And like the flowers beside them, chill and shiver,
Will like the flowers beside them, soon be gone,
And yet not out by any brook or river,
But up by roots to bring dark foliage on.
The trees that have it in their pent-up buds
To darken nature and be summer woods—
Let them think twice before they use their powers
To blot out and drink up and sweep away
These flowery waters and these watery flowers
From snow that melted only yesterday.
"Out, Out--"
The buzz-saw snarled and rattled in the yard
And made dust and dropped stove-length sticks of wood,
Sweet-scented stuff when the breeze drew across it.
And from there those that lifted eyes could count
Five mountain ranges one behind the other
Under the sunset far into Vermont.
And the saw snarled and rattled, snarled and rattled,
As it ran light, or had to bear a load.
And nothing happened: day was all but done.
Call it a day, I wish they might have said
To please the boy by giving him the half hour
That a boy counts so much when saved from work.
His sister stood beside them in her apron
To tell them 'Supper'. At the word, the saw,
As if to prove saws knew what supper meant,
Leaped out at the boy's hand, or seemed to leap--
He must have given the hand. However it was,
Neither refused the meeting. But the hand!
The boy's first outcry was a rueful laugh.
As he swung toward them holding up the hand
Half in appeal, but half as if to keep
The life from spilling. Then the boy saw all--
Since he was old enough to know, big boy
Doing a man's work, though a child at heart--
He saw all spoiled. 'Don't let him cut my hand off
The doctor, when he comes. Don't let him, sister!'
So. But the hand was gone already.
The doctor put him in the dark of ether.
He lay and puffed his lips out with his breath.
And then -- the watcher at his pulse took fright.
No one believed. They listened at his heart.
Little -- less -- nothing! -- and that ended it.
No more to build on there. And they, since they
Were not the one dead, turned to their affairs.
Stopping by Woods on a Snowy Evening
Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.
My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.
He gives his harness bells a shake
To ask if there is some mistake.
The only other sound's the sweep
Of easy wind and downy flake.
The woods are lovely, dark and deep.
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.
The Wood-Pile
Out walking in the frozen swamp one grey day
I paused and said, "I will turn back from here.
No, I will go on farther--and we shall see."
The hard snow held me, save where now and then
One foot went down. The view was all in Straight up and down of tall slim trees
Too much alike to mark or name a place by
So as to say for certain I was here
Or somewhere else: I was just far from home.
A small bird flew before me. He was careful
To put a tree between us when he lighted,
And say no word to tell me who he was
Who was so foolish as to think what he thought.
He thought that I was after him for a feather--
The white one in his tail; like one who takes
Everything said as personal to himself.
One flight out sideways would have undeceived him.
And then there was a pile of wood for which
I forgot him and let his little fear
Carry him off the way I might have gone,
Without so much as wishing him good-night.
He went behind it to make his last stand.
It was a cord of maple, cut and split
And piled--and measured, four by four by eight.
And not another like it could I see.
No runner tracks in this year's snow looped near it.
And it was older sure than this year's cutting,
Or even last year's or the year's before.
The wood was grey and the bark warping off it
And the pile somewhat sunken. Clematis
Had wound strings round and round it like a bundle.
What held it though on one side was a tree
Still growing, and on one a stake and prop,
These latter about to fall. I thought that only
Someone who lived in turning to fresh tasks
Could so forget his handiwork on which
He spent himself, the labour of his axe,
And leave it there far from a useful fireplace
To warm the frozen swamp as best it could
With the slow smokeless burning of decay.
After Apple-Picking
My long two-pointed ladder's sticking through a tree
Toward heaven still,
And there's a barrel that I didn't fill
Beside it, and there may be two or three
Apples I didn't pick upon some bough.
But I am done with apple-picking now.
Essence of winter sleep is on the night,
The scent of apples: I am drowsing off.
I cannot rub the strangeness from my sight
I got from looking through a pane of glass
I skimmed this morning from the drinking trough
And held against the world of hoary grass.
It melted, and I let it fall and break.
But I was well
Upon my way to sleep before it fell,
And I could tell
What form my dreaming was about to take.
Magnified apples appear and disappear,
Stem end and blossom end,
And every fleck of russet showing clear.
My instep arch not only keeps the ache,
It keeps the pressure of a ladder-round.
I feel the ladder sway as the boughs bend.
And I keep hearing from the cellar bin
The rumbling sound
Of load on load of apples coming in.
For I have had too much
Of apple-picking: I am overtired
Of the great harvest I myself desired.
There were ten thousand thousand fruit to touch,
Cherish in hand, lift down, and not let fall.
For all
That struck the earth,
No matter if not bruised or spiked with stubble,
Went surely to the cider-apple heap
As of no worth.
One can see what will trouble
This sleep of mine, whatever sleep it is.
Were he not gone,
The woodchuck could say whether it's like his
Long sleep, as I describe its coming on,
Or just some human sleep.
Nothing gold can stay
Nature's first green is gold,
Her hardest hue to hold.
Her early leafs a flower;
But only so an hour.
Then leaf subsides to leaf.
So Eden sank to grief,
So dawn goes down to day.
Nothing gold can stay.
Home Burial
He saw her from the bottom of the stairs
Before she saw him. She was starting down,
Looking back over her shoulder at some fear.
She took a doubtful step and then undid it
To raise herself and look again. He spoke
Advancing toward her: “What is it you see
From up there always—for I want to know.”
She turned and sank upon her skirts at that,
And her face changed from terrified to dull.
He said to gain time: “What is it you see,”
Mounting until she cowered under him.
“I will find out now—you must tell me, dear.”
She, in her place, refused him any help
With the least stiffening of her neck and silence.
She let him look, sure that he wouldn’t see,
Blind creature; and a while he didn’t see.
But at last he murmured, “Oh,” and again, “Oh.”
“What is it—what?” she said.
“Just that I see.”
“You don’t,” she challenged. “Tell me what it is.”
“The wonder is I didn’t see at once.
I never noticed it from here before.
I must be wonted to it—that’s the reason.
The little graveyard where my people are!
So small the window frames the whole of it.
Not so much larger than a bedroom, is it?
There are three stones of slate and one of marble,
Broad-shouldered little slabs there in the sunlight
On the sidehill. We haven’t to mind those.
But I understand: it is not the stones,
But the child’s mound——”
“Don’t, don’t, don’t, don’t,” she cried.
She withdrew shrinking from beneath his arm
That rested on the banister, and slid downstairs;
And turned on him with such a daunting look,
He said twice over before he knew himself:
“Can’t a man speak of his own child he’s lost?”
“Not you! Oh, where’s my hat? Oh, I don’t need it!
I must get out of here. I must get air.
I don’t know rightly whether any man can.”
“Amy! Don’t go to someone else this time.
Listen to me. I won’t come down the stairs.”
He sat and fixed his chin between his fists.
“There’s something I should like to ask you, dear.”
“You don’t know how to ask it.”
“Help me, then.”
Her fingers moved the latch for all reply.
“My words are nearly always an offence.
I don’t know how to speak of anything
So as to please you. But I might be taught
I should suppose. I can’t say I see how.
A man must partly give up being a man
With women-folk. We could have some arrangement
By which I’d bind myself to keep hands off
Anything special you’re a-mind to name.
Though I don’t like such things ’twixt those that love.
Two that don’t love can’t live together without them.
But two that do can’t live together with them.”
She moved the latch a little. “Don’t—don’t go.
Don’t carry it to someone else this time.
Tell me about it if it’s something human.
Let me into your grief. I’m not so much
Unlike other folks as your standing there
Apart would make me out. Give me my chance.
I do think, though, you overdo it a little.
What was it brought you up to think it the thing
To take your mother-loss of a first child
So inconsolably—in the face of love.
You’d think his memory might be satisfied——”
“There you go sneering now!”
“I’m not, I’m not!
You make me angry. I’ll come down to you.
God, what a woman! And it’s come to this,
A man can’t speak of his own child that’s dead.”
“You can’t because you don’t know how.
If you had any feelings, you that dug
With your own hand—how could you?—his little grave;
I saw you from that very window there,
Making the gravel leap and leap in air,
Leap up, like that, like that, and land so lightly
And roll back down the mound beside the hole.
I thought, Who is that man? I didn’t know you.
And I crept down the stairs and up the stairs
To look again, and still your spade kept lifting.
Then you came in. I heard your rumbling voice
Out in the kitchen, and I don’t know why,
But I went near to see with my own eyes.
You could sit there with the stains on your shoes
Of the fresh earth from your own baby’s grave
And talk about your everyday concerns.
You had stood the spade up against the wall
Outside there in the entry, for I saw it.”
“I shall laugh the worst laugh I ever laughed.
I’m cursed. God, if I don’t believe I’m cursed.”
“I can repeat the very words you were saying.
‘Three foggy mornings and one rainy day
Will rot the best birch fence a man can build.’
Think of it, talk like that at such a time!
What had how long it takes a birch to rot
To do with what was in the darkened parlour.
You couldn’t care! The nearest friends can go
With anyone to death, comes so far short
They might as well not try to go at all.
No, from the time when one is sick to death,
One is alone, and he dies more alone.
Friends make pretence of following to the grave,
But before one is in it, their minds are turned
And making the best of their way back to life
And living people, and things they understand.
But the world’s evil. I won’t have grief so
If I can change it. Oh, I won’t, I won’t!”
“There, you have said it all and you feel better.
You won’t go now. You’re crying. Close the door.
The heart’s gone out of it: why keep it up.
Amy! There’s someone coming down the road!”
“You—oh, you think the talk is all. I must go—
Somewhere out of this house. How can I make you——”
“If—you—do!” She was opening the door wider.
Where do you mean to go? First tell me that.
I’ll follow and bring you back by force. I will!—”
The Hill Wife
LONELINESS
(Her Word)
ONE ought not to have to care
So much as you and I
Care when the birds come round the house
To seem to say good-bye;
Or care so much when they come back
With whatever it is they sing;
The truth being we are as much
Too glad for the one thing
As we are too sad for the other here—
With birds that fill their breasts
But with each other and themselves
And their built or driven nests.
HOUSE FEAR
ALWAYS—I tell you this they learned—
Always at night when they returned
To the lonely house from far away,
To lamps unlighted and fire gone gray,
They learned to rattle the lock and key
To give whatever might chance to be
Warning and time to be off in flight:
And preferring the out- to the in-door night,
They learned to leave the house-door wide
Until they had lit the lamp inside.
THE OFT-REPEATED DREAM
SHE had no saying dark enough
For the dark pine that kept
Forever trying the window-latch
Of the room where they slept.
The tireless but ineffectual hands
That with every futile pass
Made the great tree seem as a little bird
Before the mystery of glass!
It never had been inside the room,
And only one of the two
Was afraid in an oft-repeated dream
Of what the tree might do.
THE IMPULSE
IT was too lonely for her there,
And too wild,
And since there were but two of them,
And no child,
And work was little in the house,
She was free,
And followed where he furrowed field,
Or felled tree.
She rested on a log and tossed
The fresh chips,
With a song only to herself
On her lips.
And once she went to break a bough
Of black alder.
She strayed so far she scarcely heard
When he called her—
And didn’t answer—didn’t speak—
Or return.
She stood, and then she ran and hid
In the fern.
He never found her, though he looked
Everywhere,
And he asked at her mother’s house
Was she there.
Sudden and swift and light as that
The ties gave,
And he learned of finalities
Besides the grave.
The Silken Tent
She is as in a field a silken tent
At midday when a sunny summer breeze
Has dried the dew and all its ropes relent
So that in guys it gently sways at ease
And its supporting central cedar pole,
That is its pinnacle to heavenward
And signifies the sureness of the soul,
Seems to owe naught to any single cord,
But strictly held by none, is loosely bound
By countless silken ties of love and thought
To everyone on earth the compass round,
And only by one's going slightly taut
In the capriciousness of summer air
Is of the slightest bondage made aware.
Directive
Back out of all this now too much for us,
Back in a time made simple by the loss
Of detail, burned, dissolved, and broken off
Like graveyard marble sculpture in the weather,
There is a house that is no more a house
Upon a farm that is no more a farm
And in a town that is no more a town.
The road there, if you’ll let a guide direct you
Who only has at heart your getting lost,
May seem as if it should have been a quarry—
Great monolithic knees the former town
Long since gave up pretense of keeping covered.
And there’s a story in a book about it:
Besides the wear of iron wagon wheels
The ledges show lines ruled southeast-northwest,
The chisel work of an enormous Glacier
That braced his feet against the Arctic Pole.
You must not mind a certain coolness from him
Still said to haunt this side of Panther Mountain.
Nor need you mind the serial ordeal
Of being watched from forty cellar holes
As if by eye pairs out of forty firkins.
As for the woods’ excitement over you
That sends light rustle rushes to their leaves,
Charge that to upstart inexperience.
Where were they all not twenty years ago?
They think too much of having shaded out
A few old pecker-fretted apple trees.
Make yourself up a cheering song of how
Someone’s road home from work this once was,
Who may be just ahead of you on foot
Or creaking with a buggy load of grain.
The height of the adventure is the height
Of country where two village cultures faded
Into each other. Both of them are lost.
And if you’re lost enough to find yourself
By now, pull in your ladder road behind you
And put a sign up CLOSED to all but me.
Then make yourself at home. The only field
Now left’s no bigger than a harness gall.
First there’s the children’s house of make-believe,
Some shattered dishes underneath a pine,
The playthings in the playhouse of the children.
Weep for what little things could make them glad.
Then for the house that is no more a house,
But only a belilaced cellar hole,
Now slowly closing like a dent in dough.
This was no playhouse but a house in earnest.
Your destination and your destiny’s
A brook that was the water of the house,
Cold as a spring as yet so near its source,
Too lofty and original to rage.
(We know the valley streams that when aroused
Will leave their tatters hung on barb and thorn.)
I have kept hidden in the instep arch
Of an old cedar at the waterside
A broken drinking goblet like the Grail
Under a spell so the wrong ones can’t find it,
So can’t get saved, as Saint Mark says they mustn’t.
(I stole the goblet from the children’s playhouse.)
Here are your waters and your watering place.
Drink and be whole again beyond confusion.
Friends of Frost
Gospel of St. Mark (Directive)
Mark 8:35 For whosoever will save his life shall lose it; but whosoever shall lose his life for my sake and the gospel's, the same shall save it.
Mark 4:11-12 11And he said unto them, Unto you it is given to know the mystery of the kingdom of God: but unto them that are without, all these things are done in parables: 12That seeing they may see, and not perceive; and hearing they may hear, and not understand; lest at any time they should be converted, and their sins should be forgiven them.
Shakespeare (Ghost House)
Macbeth, Act 3 Sc 2
ere the bat hath flown
His cloister'd flight, ere to black Hecate's summons
The shard-borne beetle with his drowsy hums
Hath rung night's yawning peal, there shall be done
A deed of dreadful note.
LADY MACBETH
What's to be done?
MACBETH
Light thickens; and the crow
Makes wing to the rooky wood:
Good things of day begin to droop and drowse;
While night's black agents to their preys do rouse.
Thou marvell'st at my words: but hold thee still;
Things bad begun make strong themselves by ill.
So, prithee, go with me.
Keats (cottage references)
“I mean Negative Capability, that is, when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason…”
from Ode to Autumn
Season of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eaves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease;
For Summer has o'erbrimm'd their clammy cells.
Edward Thomas (The road not taken)
Adelstrop
Yes. I remember Adlestrop -
The name, because one afternoon
Of heat the express-train drew up there
Unwontedly. It was late June.
The steam hissed. Someone cleared his throat.
No one left and no one came
On the bare platform. What I saw
Was Adelstrop - only the name
And willows, willow-herb, and grass,
And meadowsweat, and haycocks dry,
No whit less still and lonely fair
Than the high cloudlets in the sky.
And for that minute a blackbird sang
Close by, and round him, mistier,
Farther and farther, all the birds
Of Oxfordshire and Gloucestershire.
Tall Nettles
Tall nettles cover up, as they have done
These many springs, the rusty harrow, the plough
Long worn out, and the roller made of stone:
Only the elm butt tops the nettles now.
This corner of the farmyard I like most:
As well as any bloom upon a flower
I like the dust on the nettles, never lost
Except to prove the sweetness of a shower.
6/21/06
Mowing
There was never a sound beside the wood but one,
And that was my long scythe whispering to the ground.
What was it it whispered? I knew not well myself;
Perhaps it was something about the heat of the sun,
Something, perhaps, about the lack of sound--
And that was why it whispered and did not speak.
It was no dream of the gift of idle hours,
Or easy gold at the hand of fay or elf:
Anything more than the truth would have seemed too weak
To the earnest love that laid the swale in rows,
Not without feeble-pointed spikes of flowers
(Pale orchises), and scared a bright green snake.
The fact is the sweetest dream that labor knows.
My long scythe whispered and left the hay to make.
Ghost House
I dwell in a lonely house I know
That vanished many a summer ago,
And left no trace but the cellar walls,
And a cellar in which the daylight falls,
And the purple-stemmed wild raspberries grow.
O’er ruined fences the grape-vines shield
The woods come back to the mowing field;
The orchard tree has grown one copse
Of new wood and old where the woodpecker chops;
The footpath down to the well is healed.
I dwell with a strangely aching heart
In that vanished abode there far apart
On that disused and forgotten road
That has no dust-bath now for the toad.
Night comes; the black bats tumble and dart;
The whippoorwill is coming to shout
And hush and cluck and flutter about:
I hear him begin far enough away
Full many a time to say his say
Before he arrives to say it out.
It is under the small, dim, summer star.
I know not who these mute folk are
Who share the unlit place with me—
Those stones out under the low-limbed tree
Doubtless bear names that the mosses mar.
They are tireless folk, but slow and sad,
Though two, close-keeping, are lass and lad,—
With none among them that ever sings,
And yet, in view of how many things,
As sweet companions as might be had.
The Road Not Taken
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that, the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I-
I took the one less traveled by,
And that has made all the difference.
Spring Pools
These pools that, though in forests, still reflect
The total sky almost without defect,
And like the flowers beside them, chill and shiver,
Will like the flowers beside them, soon be gone,
And yet not out by any brook or river,
But up by roots to bring dark foliage on.
The trees that have it in their pent-up buds
To darken nature and be summer woods—
Let them think twice before they use their powers
To blot out and drink up and sweep away
These flowery waters and these watery flowers
From snow that melted only yesterday.
"Out, Out--"
The buzz-saw snarled and rattled in the yard
And made dust and dropped stove-length sticks of wood,
Sweet-scented stuff when the breeze drew across it.
And from there those that lifted eyes could count
Five mountain ranges one behind the other
Under the sunset far into Vermont.
And the saw snarled and rattled, snarled and rattled,
As it ran light, or had to bear a load.
And nothing happened: day was all but done.
Call it a day, I wish they might have said
To please the boy by giving him the half hour
That a boy counts so much when saved from work.
His sister stood beside them in her apron
To tell them 'Supper'. At the word, the saw,
As if to prove saws knew what supper meant,
Leaped out at the boy's hand, or seemed to leap--
He must have given the hand. However it was,
Neither refused the meeting. But the hand!
The boy's first outcry was a rueful laugh.
As he swung toward them holding up the hand
Half in appeal, but half as if to keep
The life from spilling. Then the boy saw all--
Since he was old enough to know, big boy
Doing a man's work, though a child at heart--
He saw all spoiled. 'Don't let him cut my hand off
The doctor, when he comes. Don't let him, sister!'
So. But the hand was gone already.
The doctor put him in the dark of ether.
He lay and puffed his lips out with his breath.
And then -- the watcher at his pulse took fright.
No one believed. They listened at his heart.
Little -- less -- nothing! -- and that ended it.
No more to build on there. And they, since they
Were not the one dead, turned to their affairs.
Stopping by Woods on a Snowy Evening
Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.
My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.
He gives his harness bells a shake
To ask if there is some mistake.
The only other sound's the sweep
Of easy wind and downy flake.
The woods are lovely, dark and deep.
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.
The Wood-Pile
Out walking in the frozen swamp one grey day
I paused and said, "I will turn back from here.
No, I will go on farther--and we shall see."
The hard snow held me, save where now and then
One foot went down. The view was all in Straight up and down of tall slim trees
Too much alike to mark or name a place by
So as to say for certain I was here
Or somewhere else: I was just far from home.
A small bird flew before me. He was careful
To put a tree between us when he lighted,
And say no word to tell me who he was
Who was so foolish as to think what he thought.
He thought that I was after him for a feather--
The white one in his tail; like one who takes
Everything said as personal to himself.
One flight out sideways would have undeceived him.
And then there was a pile of wood for which
I forgot him and let his little fear
Carry him off the way I might have gone,
Without so much as wishing him good-night.
He went behind it to make his last stand.
It was a cord of maple, cut and split
And piled--and measured, four by four by eight.
And not another like it could I see.
No runner tracks in this year's snow looped near it.
And it was older sure than this year's cutting,
Or even last year's or the year's before.
The wood was grey and the bark warping off it
And the pile somewhat sunken. Clematis
Had wound strings round and round it like a bundle.
What held it though on one side was a tree
Still growing, and on one a stake and prop,
These latter about to fall. I thought that only
Someone who lived in turning to fresh tasks
Could so forget his handiwork on which
He spent himself, the labour of his axe,
And leave it there far from a useful fireplace
To warm the frozen swamp as best it could
With the slow smokeless burning of decay.
After Apple-Picking
My long two-pointed ladder's sticking through a tree
Toward heaven still,
And there's a barrel that I didn't fill
Beside it, and there may be two or three
Apples I didn't pick upon some bough.
But I am done with apple-picking now.
Essence of winter sleep is on the night,
The scent of apples: I am drowsing off.
I cannot rub the strangeness from my sight
I got from looking through a pane of glass
I skimmed this morning from the drinking trough
And held against the world of hoary grass.
It melted, and I let it fall and break.
But I was well
Upon my way to sleep before it fell,
And I could tell
What form my dreaming was about to take.
Magnified apples appear and disappear,
Stem end and blossom end,
And every fleck of russet showing clear.
My instep arch not only keeps the ache,
It keeps the pressure of a ladder-round.
I feel the ladder sway as the boughs bend.
And I keep hearing from the cellar bin
The rumbling sound
Of load on load of apples coming in.
For I have had too much
Of apple-picking: I am overtired
Of the great harvest I myself desired.
There were ten thousand thousand fruit to touch,
Cherish in hand, lift down, and not let fall.
For all
That struck the earth,
No matter if not bruised or spiked with stubble,
Went surely to the cider-apple heap
As of no worth.
One can see what will trouble
This sleep of mine, whatever sleep it is.
Were he not gone,
The woodchuck could say whether it's like his
Long sleep, as I describe its coming on,
Or just some human sleep.
Nothing gold can stay
Nature's first green is gold,
Her hardest hue to hold.
Her early leafs a flower;
But only so an hour.
Then leaf subsides to leaf.
So Eden sank to grief,
So dawn goes down to day.
Nothing gold can stay.
Home Burial
He saw her from the bottom of the stairs
Before she saw him. She was starting down,
Looking back over her shoulder at some fear.
She took a doubtful step and then undid it
To raise herself and look again. He spoke
Advancing toward her: “What is it you see
From up there always—for I want to know.”
She turned and sank upon her skirts at that,
And her face changed from terrified to dull.
He said to gain time: “What is it you see,”
Mounting until she cowered under him.
“I will find out now—you must tell me, dear.”
She, in her place, refused him any help
With the least stiffening of her neck and silence.
She let him look, sure that he wouldn’t see,
Blind creature; and a while he didn’t see.
But at last he murmured, “Oh,” and again, “Oh.”
“What is it—what?” she said.
“Just that I see.”
“You don’t,” she challenged. “Tell me what it is.”
“The wonder is I didn’t see at once.
I never noticed it from here before.
I must be wonted to it—that’s the reason.
The little graveyard where my people are!
So small the window frames the whole of it.
Not so much larger than a bedroom, is it?
There are three stones of slate and one of marble,
Broad-shouldered little slabs there in the sunlight
On the sidehill. We haven’t to mind those.
But I understand: it is not the stones,
But the child’s mound——”
“Don’t, don’t, don’t, don’t,” she cried.
She withdrew shrinking from beneath his arm
That rested on the banister, and slid downstairs;
And turned on him with such a daunting look,
He said twice over before he knew himself:
“Can’t a man speak of his own child he’s lost?”
“Not you! Oh, where’s my hat? Oh, I don’t need it!
I must get out of here. I must get air.
I don’t know rightly whether any man can.”
“Amy! Don’t go to someone else this time.
Listen to me. I won’t come down the stairs.”
He sat and fixed his chin between his fists.
“There’s something I should like to ask you, dear.”
“You don’t know how to ask it.”
“Help me, then.”
Her fingers moved the latch for all reply.
“My words are nearly always an offence.
I don’t know how to speak of anything
So as to please you. But I might be taught
I should suppose. I can’t say I see how.
A man must partly give up being a man
With women-folk. We could have some arrangement
By which I’d bind myself to keep hands off
Anything special you’re a-mind to name.
Though I don’t like such things ’twixt those that love.
Two that don’t love can’t live together without them.
But two that do can’t live together with them.”
She moved the latch a little. “Don’t—don’t go.
Don’t carry it to someone else this time.
Tell me about it if it’s something human.
Let me into your grief. I’m not so much
Unlike other folks as your standing there
Apart would make me out. Give me my chance.
I do think, though, you overdo it a little.
What was it brought you up to think it the thing
To take your mother-loss of a first child
So inconsolably—in the face of love.
You’d think his memory might be satisfied——”
“There you go sneering now!”
“I’m not, I’m not!
You make me angry. I’ll come down to you.
God, what a woman! And it’s come to this,
A man can’t speak of his own child that’s dead.”
“You can’t because you don’t know how.
If you had any feelings, you that dug
With your own hand—how could you?—his little grave;
I saw you from that very window there,
Making the gravel leap and leap in air,
Leap up, like that, like that, and land so lightly
And roll back down the mound beside the hole.
I thought, Who is that man? I didn’t know you.
And I crept down the stairs and up the stairs
To look again, and still your spade kept lifting.
Then you came in. I heard your rumbling voice
Out in the kitchen, and I don’t know why,
But I went near to see with my own eyes.
You could sit there with the stains on your shoes
Of the fresh earth from your own baby’s grave
And talk about your everyday concerns.
You had stood the spade up against the wall
Outside there in the entry, for I saw it.”
“I shall laugh the worst laugh I ever laughed.
I’m cursed. God, if I don’t believe I’m cursed.”
“I can repeat the very words you were saying.
‘Three foggy mornings and one rainy day
Will rot the best birch fence a man can build.’
Think of it, talk like that at such a time!
What had how long it takes a birch to rot
To do with what was in the darkened parlour.
You couldn’t care! The nearest friends can go
With anyone to death, comes so far short
They might as well not try to go at all.
No, from the time when one is sick to death,
One is alone, and he dies more alone.
Friends make pretence of following to the grave,
But before one is in it, their minds are turned
And making the best of their way back to life
And living people, and things they understand.
But the world’s evil. I won’t have grief so
If I can change it. Oh, I won’t, I won’t!”
“There, you have said it all and you feel better.
You won’t go now. You’re crying. Close the door.
The heart’s gone out of it: why keep it up.
Amy! There’s someone coming down the road!”
“You—oh, you think the talk is all. I must go—
Somewhere out of this house. How can I make you——”
“If—you—do!” She was opening the door wider.
Where do you mean to go? First tell me that.
I’ll follow and bring you back by force. I will!—”
The Hill Wife
LONELINESS
(Her Word)
ONE ought not to have to care
So much as you and I
Care when the birds come round the house
To seem to say good-bye;
Or care so much when they come back
With whatever it is they sing;
The truth being we are as much
Too glad for the one thing
As we are too sad for the other here—
With birds that fill their breasts
But with each other and themselves
And their built or driven nests.
HOUSE FEAR
ALWAYS—I tell you this they learned—
Always at night when they returned
To the lonely house from far away,
To lamps unlighted and fire gone gray,
They learned to rattle the lock and key
To give whatever might chance to be
Warning and time to be off in flight:
And preferring the out- to the in-door night,
They learned to leave the house-door wide
Until they had lit the lamp inside.
THE OFT-REPEATED DREAM
SHE had no saying dark enough
For the dark pine that kept
Forever trying the window-latch
Of the room where they slept.
The tireless but ineffectual hands
That with every futile pass
Made the great tree seem as a little bird
Before the mystery of glass!
It never had been inside the room,
And only one of the two
Was afraid in an oft-repeated dream
Of what the tree might do.
THE IMPULSE
IT was too lonely for her there,
And too wild,
And since there were but two of them,
And no child,
And work was little in the house,
She was free,
And followed where he furrowed field,
Or felled tree.
She rested on a log and tossed
The fresh chips,
With a song only to herself
On her lips.
And once she went to break a bough
Of black alder.
She strayed so far she scarcely heard
When he called her—
And didn’t answer—didn’t speak—
Or return.
She stood, and then she ran and hid
In the fern.
He never found her, though he looked
Everywhere,
And he asked at her mother’s house
Was she there.
Sudden and swift and light as that
The ties gave,
And he learned of finalities
Besides the grave.
The Silken Tent
She is as in a field a silken tent
At midday when a sunny summer breeze
Has dried the dew and all its ropes relent
So that in guys it gently sways at ease
And its supporting central cedar pole,
That is its pinnacle to heavenward
And signifies the sureness of the soul,
Seems to owe naught to any single cord,
But strictly held by none, is loosely bound
By countless silken ties of love and thought
To everyone on earth the compass round,
And only by one's going slightly taut
In the capriciousness of summer air
Is of the slightest bondage made aware.
Directive
Back out of all this now too much for us,
Back in a time made simple by the loss
Of detail, burned, dissolved, and broken off
Like graveyard marble sculpture in the weather,
There is a house that is no more a house
Upon a farm that is no more a farm
And in a town that is no more a town.
The road there, if you’ll let a guide direct you
Who only has at heart your getting lost,
May seem as if it should have been a quarry—
Great monolithic knees the former town
Long since gave up pretense of keeping covered.
And there’s a story in a book about it:
Besides the wear of iron wagon wheels
The ledges show lines ruled southeast-northwest,
The chisel work of an enormous Glacier
That braced his feet against the Arctic Pole.
You must not mind a certain coolness from him
Still said to haunt this side of Panther Mountain.
Nor need you mind the serial ordeal
Of being watched from forty cellar holes
As if by eye pairs out of forty firkins.
As for the woods’ excitement over you
That sends light rustle rushes to their leaves,
Charge that to upstart inexperience.
Where were they all not twenty years ago?
They think too much of having shaded out
A few old pecker-fretted apple trees.
Make yourself up a cheering song of how
Someone’s road home from work this once was,
Who may be just ahead of you on foot
Or creaking with a buggy load of grain.
The height of the adventure is the height
Of country where two village cultures faded
Into each other. Both of them are lost.
And if you’re lost enough to find yourself
By now, pull in your ladder road behind you
And put a sign up CLOSED to all but me.
Then make yourself at home. The only field
Now left’s no bigger than a harness gall.
First there’s the children’s house of make-believe,
Some shattered dishes underneath a pine,
The playthings in the playhouse of the children.
Weep for what little things could make them glad.
Then for the house that is no more a house,
But only a belilaced cellar hole,
Now slowly closing like a dent in dough.
This was no playhouse but a house in earnest.
Your destination and your destiny’s
A brook that was the water of the house,
Cold as a spring as yet so near its source,
Too lofty and original to rage.
(We know the valley streams that when aroused
Will leave their tatters hung on barb and thorn.)
I have kept hidden in the instep arch
Of an old cedar at the waterside
A broken drinking goblet like the Grail
Under a spell so the wrong ones can’t find it,
So can’t get saved, as Saint Mark says they mustn’t.
(I stole the goblet from the children’s playhouse.)
Here are your waters and your watering place.
Drink and be whole again beyond confusion.
Friends of Frost
Gospel of St. Mark (Directive)
Mark 8:35 For whosoever will save his life shall lose it; but whosoever shall lose his life for my sake and the gospel's, the same shall save it.
Mark 4:11-12 11And he said unto them, Unto you it is given to know the mystery of the kingdom of God: but unto them that are without, all these things are done in parables: 12That seeing they may see, and not perceive; and hearing they may hear, and not understand; lest at any time they should be converted, and their sins should be forgiven them.
Shakespeare (Ghost House)
Macbeth, Act 3 Sc 2
ere the bat hath flown
His cloister'd flight, ere to black Hecate's summons
The shard-borne beetle with his drowsy hums
Hath rung night's yawning peal, there shall be done
A deed of dreadful note.
LADY MACBETH
What's to be done?
MACBETH
Light thickens; and the crow
Makes wing to the rooky wood:
Good things of day begin to droop and drowse;
While night's black agents to their preys do rouse.
Thou marvell'st at my words: but hold thee still;
Things bad begun make strong themselves by ill.
So, prithee, go with me.
Keats (cottage references)
“I mean Negative Capability, that is, when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason…”
from Ode to Autumn
Season of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eaves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease;
For Summer has o'erbrimm'd their clammy cells.
Edward Thomas (The road not taken)
Adelstrop
Yes. I remember Adlestrop -
The name, because one afternoon
Of heat the express-train drew up there
Unwontedly. It was late June.
The steam hissed. Someone cleared his throat.
No one left and no one came
On the bare platform. What I saw
Was Adelstrop - only the name
And willows, willow-herb, and grass,
And meadowsweat, and haycocks dry,
No whit less still and lonely fair
Than the high cloudlets in the sky.
And for that minute a blackbird sang
Close by, and round him, mistier,
Farther and farther, all the birds
Of Oxfordshire and Gloucestershire.
Tall Nettles
Tall nettles cover up, as they have done
These many springs, the rusty harrow, the plough
Long worn out, and the roller made of stone:
Only the elm butt tops the nettles now.
This corner of the farmyard I like most:
As well as any bloom upon a flower
I like the dust on the nettles, never lost
Except to prove the sweetness of a shower.
Spoken Word Class One
Spoken Word Class One
Blow the wind southerly (one voice) 1
Adelstrop (one voice) 2
A Review in Hyde Park, 1910 (one voice) 2
To Celia (two voices, man and woman) 2
Ox Cart Man (two voices) 3
O Whistle, an' I'll come to ye, my lad (two voices) 4
I Hear America Singing (chorus, responsively) 4
Personals from London Review of Books 5
Sonnet 73 (One voice) 6
The Jabberwocky (three voices) 6
Rain on The Down (one voice) 7
Romeo and Juliet Ball room scene (two voices) 7
The Negro Speaks of Rivers (one voice) 8
Sleeping in the Forest (one voice) 8
A clear midnight (one voice) 9
From September Song (one voice) 9
The trouble with Geraniums (three voices) 9
Out beyond ideas of wrongdoing and rightdoing (one voice) 10
The Seven Sevens (eight voices) 10
Blow the wind southerly (one voice)
Northumbrian folk song
Blow the wind Southerly,
Southerly, Southerly,
Blow the wind
South o'er the bonnie blue sea.
Blow the wind Southerly,
Southerly, Southerly
Blow bonnie breeze,
My true lover to me.
They told me last night
There were ships in the offing
And I hurried down
To the deep rolling sea.
But my eye could not see it
Wherever might be it,
The bark that is bearing
My lover to me.
Adelstrop (one voice)
Yes. I remember Adlestrop -
The name, because one afternoon
Of heat the express-train drew up there
Unwontedly. It was late June.
The steam hissed. Someone cleared his throat.
No one left and no one came
On the bare platform. What I saw
Was Adelstrop - only the name
And willows, willow-herb, and grass,
And meadowsweat, and haycocks dry,
No whit less still and lonely fair
Than the high cloudlets in the sky.
And for that minute a blackbird sang
Close by, and round him, mistier,
Farther and farther, all the birds
Of Oxfordshire and Gloucestershire.
A Review in Hyde Park, 1910 (one voice)
Where the trees rise like cliffs, proud and blue-tinted in the distance,
Between the cliffs of the tress, on the grey-green park
Rests a still line of soldiers, red, motionless range of guards
Smouldering with darkened busbies beneath the bayonets’ slant rain.
Colossal in nearness a blue police sits still on his horse
Guarding the path; his hand relaxed at his thigh,
And skywards his face is immobile, eyelids aslant
In tedium, and mouth relaxed as if smiling –ineffable tedium!
So! So! Gaily a general canters across the space,
With white plumes blinking under the evening grey sky.
And suddenly, as if the ground moved,
The red range heaves in slow, magnetic reply
To Celia (two voices, man and woman)
Ben Jonson
Drink to me only with thine eyes,
And I will pledge with mine;
Or leave a kiss but in the cup,
And I' ll not look for wine.
The thirst that from the soul doth rise
Doth ask a drink divine:
But might I of Jove' s nectar sup,
I would not change for thine.
I sent thee late a rosy wreath,
Not so much honouring thee,
As giving it a hope that there
It could not withered be.
But thou thereon didst only breathe,
And sent' st it back to me:
Since when it grows, and smells, I swear,
Not of itself, but thee.
Ox Cart Man (two voices)
by Donald Hall
In October of the year,
he counts potatoes dug from the brown field,
counting the seed, counting
the cellar's portion out,
and bags the rest on the cart's floor.
He packs wool sheared in April, honey
in combs, linen, leather
tanned from deerhide,
and vinegar in a barrel
hoped by hand at the forge's fire.
He walks by his ox's head, ten days
to Portsmouth Market, and sells potatoes,
and the bag that carried potatoes,
flaxseed, birch brooms, maple sugar, goose
feathers, yarn.
When the cart is empty he sells the cart.
When the cart is sold he sells the ox,
harness and yoke, and walks
home, his pockets heavy
with the year's coin for salt and taxes
and at home by fire's light in November cold
stitches new harness
for next year's ox in the barn,
and carves the yoke, and saws planks
building the cart again.
O Whistle, an' I'll come to ye, my lad (two voices)
Robert Burns
O Whistle, an' I'll come to ye, my lad,
O whistle, an' I'll come to ye, my lad,
Tho' father an' mother an' a' should gae mad,
O whistle, an' I'll come to ye, my lad.
But warily tent when ye come to court me,
And come nae unless the back-yett be a-jee;
Syne up the back-stile, and let naebody see,
And come as ye were na comin' to me,
And come as ye were na comin' to me.
At kirk, or at market, whene'er ye meet me,
Gang by me as tho' that ye car'd na a flie;
But steal me a blink o' your bonie black e'e,
Yet look as ye were na lookin' to me,
Yet look as ye were na lookin' to me.
Aye vow and protest that ye care na for me,
And whiles ye may lightly my beauty a-wee;
But court na anither, tho' jokin' ye be,
For fear that she wile your fancy frae me,
For fear that she wile your fancy frae me.
O Whistle, an' I'll come to ye, my lad,
O whistle, an' I'll come to ye, my lad,
Tho' father an' mother an' a' should gae mad,
O whistle, an' I'll come to ye, my lad.
I Hear America Singing (chorus, responsively)
by Walt Whitman
I hear America singing, the varied carols I hear,
Those of mechanics, each one singing his as it should be blithe and strong,
The carpenter singing his as he measures his plank or beam,
The mason singing his as he makes ready for work, or leaves off work,
The boatman singing what belongs to him in his boat, the deckhand
singing on the steamboat deck,
The shoemaker singing as he sits on his bench, the hatter singing as he stands,
The wood-cutter's song, the ploughboy's on his way in the morning, or
at noon intermission or at sundown,
The delicious singing of the mother, or of the young wife at work, or of
the girl sewing or washing,
Each singing what belongs to him or her and to none else,
The day what belongs to the day--at night the party of young fellows,
robust, friendly,
[ALL]
Singing with open mouths their strong melodious songs.
Personals from London Review of Books
"Romance is dead. So is my mother. Man, 42, inherited wealth."
I'm just a girl who can't say 'no' (or 'anaesthetist'). Lisping Rodgers and Hammerstein fan, female lecturer in politics (37) WLTM man to 40 for thome enthanted eveningth. Box no. 2498.
You were reading the BBC in-house magazine on the Jubilee Line (12 November), I was coughing hot tea through my nostrils. Surely you can't have forgotten? Write now to smitten, weak-kneed, severely burned, bumbling F (32, but normally I look younger). I'll be quite a catch when my top lip has healed. And this brace isn't for ever. Box no. 7432.
Mature gentleman (62), aged well, noble grey looks, fit and active, sound mind and unfazed by the fickle demands of modern society seeks ... damn it, I have to pee again. Box no. 4143.
These ads try too hard to be funny. Not me, I'm a natural. Juggling, monkey-faced idiot (M, 36). Box no. 5312
Either I'm desperately unattractive, or you are all lesbians. Bald, pasty man (61) with nervous tick and unclassifiable skin complaint believes it to be the latter but holds out hope for dominant (yet straight) fems at box no. 1075.
You'll regret replying to this ad - its owner smells of peas. But if you too live in a care home where the quality of the shower water is poor and access to the bath hoist is determined by an inadequate monthly rotation schedule, then write to flaky 72-year-old man with no recollection of where any of these stains have come from, box no. 4220.
Sonnet 73 (One voice)
William Shakespeare
That time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruined choirs, where late the sweet birds sang.
In me thou see'st the twilight of such day
As after sunset fadeth in the west;
Which by and by black night doth take away,
Death's second self, that seals up all in rest.
In me thou see'st the glowing of such fire,
That on the ashes of his youth doth lie,
As the death-bed, whereon it must expire,
Consum'd with that which it was nourish'd by.
This thou perceiv'st, which makes thy love more strong,
To love that well, which thou must leave ere long.
The Jabberwocky (three voices)
Lewis Carroll
`Twas brillig, and the slithy toves
Did gyre and gimble in the wabe:
All mimsy were the borogoves,
And the mome raths outgrabe.
"Beware the Jabberwock, my son!
The jaws that bite, the claws that catch!
Beware the Jubjub bird, and shun
The frumious Bandersnatch!"
He took his vorpal sword in hand:
Long time the manxome foe he sought --
So rested he by the Tumtum tree,
And stood awhile in thought.
And, as in uffish thought he stood,
The Jabberwock, with eyes of flame,
Came whiffling through the tulgey wood,
And burbled as it came!
One, two! One, two! And through and through
The vorpal blade went snicker-snack!
He left it dead, and with its head
He went galumphing back.
"And, has thou slain the Jabberwock?
Come to my arms, my beamish boy!
O frabjous day! Callooh! Callay!'
He chortled in his joy.
`Twas brillig, and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.
Rain on The Down (one voice)
Arthur Symonds
Night, and the down by the sea,
And the veil of rain on the down;
And she came through the mist and the rain to me
From the safe arm lights of the town.
The rain shone in her hair,
And her face gleam’d in the rain,
And only the night and the rain where there
As she came to me out of the rain.
Romeo and Juliet Ball room scene (two voices)
(The hidden sonnet)
William Shakespeare
ROMEO
If I profane with my unworthiest hand
This holy shrine, the gentle fine is this:
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.
JULIET
Good pilgrim, you do wrong your hand too much,
Which mannerly devotion shows in this;
For saints have hands that pilgrims' hands do touch,
And palm to palm is holy palmers' kiss.
ROMEO
Have not saints lips, and holy palmers too?
JULIET
Ay, pilgrim, lips that they must use in prayer.
ROMEO
O, then, dear saint, let lips do what hands do;
They pray, grant thou, lest faith turn to despair.
JULIET
Saints do not move, though grant for prayers' sake.
ROMEO
Then move not, while my prayer's effect I take.
The Negro Speaks of Rivers (one voice)
Langston Hughes
I've known rivers:
I've known rivers ancient as the world
and older than the flow of human blood in human veins.
My soul has grown deep like the rivers.
I bathe in the Euphrates when dawns were young.
I built my hut near the Congo and it lulled me to sleep.
I looked upon the Nile and raised the pyramids above it.
I heard the singing of the Mississippi when Abe Lincoln
went down to New Orleans, and I've seen its muddy
bosom turn all golden in the sunset.
I've known rivers:
Ancient, dusky rivers.
My soul has grown deep like the rivers.
Sleeping in the Forest (one voice)
Mary Oliver
I thought the earth remembered me,
she took me back so tenderly,
arranging her dark skirts, her pockets
full of lichens and seeds.
I slept as never before, a stone on the river bed,
nothing between me and the white fire of the stars
but my thoughts, and they floated light as moths
among the branches of the perfect trees.
All night I heard the small kingdoms
breathing around me, the insects,
and the birds who do their work in the darkness.
All night I rose and fell, as if in water,
grappling with a luminous doom. By morning
I had vanished at least a dozen times
into something better.
What We Need Is Here (one voice)
Wendell Barry
Geese appear high over us,
pass, and the sky closes. Abandon,
as in love or sleep, holds
them to their way, clear
in the ancient faith: what we need
is here. And we pray, not
for new earth or heaven, but to be
quiet in heart, and in eye,
clear. What we need is here.
A clear midnight (one voice)
Walt Whitman
This is thy hour O Soul, thy free flight into the wordless,
Away from books, away from art, the day erased, the lesson
done,
Thee fully forth emerging, silent, gazing, pondering the
themes thou lovest best,
Night, sleep, death and the stars.
From September Song (one voice)
Geoffrey Hill
September fattens on vines. Roses
flake from the wall. The smoke
of harmless fires drifts to my eyes.
This is plenty. This is more than enough.
The trouble with Geraniums (three voices)
Mervyn Peake
The trouble with geraniums
is that they’re much too red!
The trouble with my toast is that
it’s far too full of bread.
The trouble with a diamond
is that it’s much too bright.
The same applies to fish and stars
and the electric light.
The troubles with the stars I see
lies in the way they fly.
The trouble with myself is all
self-centred in the eye.
The trouble with my looking-glass
is that it shows me, me;
there’s trouble in all sorts of things
where it should never be.
Out beyond ideas of wrongdoing and rightdoing (one voice)
Rumi 1207 -- 1273
Out beyond ideas of wrongdoing and rightdoing,
There is a field. I’ll meet you there.
When the soul lies down in that grass,
The world is too full to talk about.
Ideas, language, even the phrase each other
Doesn’t make any sense.
The Seven Sevens (eight voices)
Hilaire Belloc
The seven hateful things
Scorn from a woman (or man) loved
Acute pain of the body
The memory of shame
Insult accepted from the rich
Defeat of one’s country
Seasickness
Despair
The seven rare things
Vision
Recovery of things past
Good cooking
Being loved satisfaction
Remarkable wine
Justice
The seven common things
The mother;s love
Embarrassment
Quarrel
Ambition
Disappointment
Misunderstanding
Appetite
The seven delightful things
Deep sleep
Conscious vigour
Reunion
The landfall
Unexpected praise from a loved woman (man)
Resurrection
Final beatitude
The seven medicines of the soul
Remorse
Repentence
Submission to the devine will
A wide landscape
A sublime air of music
A firm determination to combat evil within
Believing by an act of the will
The seven medicines of the body
Work
Bed
Combat
Riding
Bread
Wine
Sleep
The seven stenches
The traitor
The pervert
The cruel man (woman)
The sly man (woman)
The false teascher
The deserter
The politician
Blow the wind southerly (one voice) 1
Adelstrop (one voice) 2
A Review in Hyde Park, 1910 (one voice) 2
To Celia (two voices, man and woman) 2
Ox Cart Man (two voices) 3
O Whistle, an' I'll come to ye, my lad (two voices) 4
I Hear America Singing (chorus, responsively) 4
Personals from London Review of Books 5
Sonnet 73 (One voice) 6
The Jabberwocky (three voices) 6
Rain on The Down (one voice) 7
Romeo and Juliet Ball room scene (two voices) 7
The Negro Speaks of Rivers (one voice) 8
Sleeping in the Forest (one voice) 8
A clear midnight (one voice) 9
From September Song (one voice) 9
The trouble with Geraniums (three voices) 9
Out beyond ideas of wrongdoing and rightdoing (one voice) 10
The Seven Sevens (eight voices) 10
Blow the wind southerly (one voice)
Northumbrian folk song
Blow the wind Southerly,
Southerly, Southerly,
Blow the wind
South o'er the bonnie blue sea.
Blow the wind Southerly,
Southerly, Southerly
Blow bonnie breeze,
My true lover to me.
They told me last night
There were ships in the offing
And I hurried down
To the deep rolling sea.
But my eye could not see it
Wherever might be it,
The bark that is bearing
My lover to me.
Adelstrop (one voice)
Yes. I remember Adlestrop -
The name, because one afternoon
Of heat the express-train drew up there
Unwontedly. It was late June.
The steam hissed. Someone cleared his throat.
No one left and no one came
On the bare platform. What I saw
Was Adelstrop - only the name
And willows, willow-herb, and grass,
And meadowsweat, and haycocks dry,
No whit less still and lonely fair
Than the high cloudlets in the sky.
And for that minute a blackbird sang
Close by, and round him, mistier,
Farther and farther, all the birds
Of Oxfordshire and Gloucestershire.
A Review in Hyde Park, 1910 (one voice)
Where the trees rise like cliffs, proud and blue-tinted in the distance,
Between the cliffs of the tress, on the grey-green park
Rests a still line of soldiers, red, motionless range of guards
Smouldering with darkened busbies beneath the bayonets’ slant rain.
Colossal in nearness a blue police sits still on his horse
Guarding the path; his hand relaxed at his thigh,
And skywards his face is immobile, eyelids aslant
In tedium, and mouth relaxed as if smiling –ineffable tedium!
So! So! Gaily a general canters across the space,
With white plumes blinking under the evening grey sky.
And suddenly, as if the ground moved,
The red range heaves in slow, magnetic reply
To Celia (two voices, man and woman)
Ben Jonson
Drink to me only with thine eyes,
And I will pledge with mine;
Or leave a kiss but in the cup,
And I' ll not look for wine.
The thirst that from the soul doth rise
Doth ask a drink divine:
But might I of Jove' s nectar sup,
I would not change for thine.
I sent thee late a rosy wreath,
Not so much honouring thee,
As giving it a hope that there
It could not withered be.
But thou thereon didst only breathe,
And sent' st it back to me:
Since when it grows, and smells, I swear,
Not of itself, but thee.
Ox Cart Man (two voices)
by Donald Hall
In October of the year,
he counts potatoes dug from the brown field,
counting the seed, counting
the cellar's portion out,
and bags the rest on the cart's floor.
He packs wool sheared in April, honey
in combs, linen, leather
tanned from deerhide,
and vinegar in a barrel
hoped by hand at the forge's fire.
He walks by his ox's head, ten days
to Portsmouth Market, and sells potatoes,
and the bag that carried potatoes,
flaxseed, birch brooms, maple sugar, goose
feathers, yarn.
When the cart is empty he sells the cart.
When the cart is sold he sells the ox,
harness and yoke, and walks
home, his pockets heavy
with the year's coin for salt and taxes
and at home by fire's light in November cold
stitches new harness
for next year's ox in the barn,
and carves the yoke, and saws planks
building the cart again.
O Whistle, an' I'll come to ye, my lad (two voices)
Robert Burns
O Whistle, an' I'll come to ye, my lad,
O whistle, an' I'll come to ye, my lad,
Tho' father an' mother an' a' should gae mad,
O whistle, an' I'll come to ye, my lad.
But warily tent when ye come to court me,
And come nae unless the back-yett be a-jee;
Syne up the back-stile, and let naebody see,
And come as ye were na comin' to me,
And come as ye were na comin' to me.
At kirk, or at market, whene'er ye meet me,
Gang by me as tho' that ye car'd na a flie;
But steal me a blink o' your bonie black e'e,
Yet look as ye were na lookin' to me,
Yet look as ye were na lookin' to me.
Aye vow and protest that ye care na for me,
And whiles ye may lightly my beauty a-wee;
But court na anither, tho' jokin' ye be,
For fear that she wile your fancy frae me,
For fear that she wile your fancy frae me.
O Whistle, an' I'll come to ye, my lad,
O whistle, an' I'll come to ye, my lad,
Tho' father an' mother an' a' should gae mad,
O whistle, an' I'll come to ye, my lad.
I Hear America Singing (chorus, responsively)
by Walt Whitman
I hear America singing, the varied carols I hear,
Those of mechanics, each one singing his as it should be blithe and strong,
The carpenter singing his as he measures his plank or beam,
The mason singing his as he makes ready for work, or leaves off work,
The boatman singing what belongs to him in his boat, the deckhand
singing on the steamboat deck,
The shoemaker singing as he sits on his bench, the hatter singing as he stands,
The wood-cutter's song, the ploughboy's on his way in the morning, or
at noon intermission or at sundown,
The delicious singing of the mother, or of the young wife at work, or of
the girl sewing or washing,
Each singing what belongs to him or her and to none else,
The day what belongs to the day--at night the party of young fellows,
robust, friendly,
[ALL]
Singing with open mouths their strong melodious songs.
Personals from London Review of Books
"Romance is dead. So is my mother. Man, 42, inherited wealth."
I'm just a girl who can't say 'no' (or 'anaesthetist'). Lisping Rodgers and Hammerstein fan, female lecturer in politics (37) WLTM man to 40 for thome enthanted eveningth. Box no. 2498.
You were reading the BBC in-house magazine on the Jubilee Line (12 November), I was coughing hot tea through my nostrils. Surely you can't have forgotten? Write now to smitten, weak-kneed, severely burned, bumbling F (32, but normally I look younger). I'll be quite a catch when my top lip has healed. And this brace isn't for ever. Box no. 7432.
Mature gentleman (62), aged well, noble grey looks, fit and active, sound mind and unfazed by the fickle demands of modern society seeks ... damn it, I have to pee again. Box no. 4143.
These ads try too hard to be funny. Not me, I'm a natural. Juggling, monkey-faced idiot (M, 36). Box no. 5312
Either I'm desperately unattractive, or you are all lesbians. Bald, pasty man (61) with nervous tick and unclassifiable skin complaint believes it to be the latter but holds out hope for dominant (yet straight) fems at box no. 1075.
You'll regret replying to this ad - its owner smells of peas. But if you too live in a care home where the quality of the shower water is poor and access to the bath hoist is determined by an inadequate monthly rotation schedule, then write to flaky 72-year-old man with no recollection of where any of these stains have come from, box no. 4220.
Sonnet 73 (One voice)
William Shakespeare
That time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruined choirs, where late the sweet birds sang.
In me thou see'st the twilight of such day
As after sunset fadeth in the west;
Which by and by black night doth take away,
Death's second self, that seals up all in rest.
In me thou see'st the glowing of such fire,
That on the ashes of his youth doth lie,
As the death-bed, whereon it must expire,
Consum'd with that which it was nourish'd by.
This thou perceiv'st, which makes thy love more strong,
To love that well, which thou must leave ere long.
The Jabberwocky (three voices)
Lewis Carroll
`Twas brillig, and the slithy toves
Did gyre and gimble in the wabe:
All mimsy were the borogoves,
And the mome raths outgrabe.
"Beware the Jabberwock, my son!
The jaws that bite, the claws that catch!
Beware the Jubjub bird, and shun
The frumious Bandersnatch!"
He took his vorpal sword in hand:
Long time the manxome foe he sought --
So rested he by the Tumtum tree,
And stood awhile in thought.
And, as in uffish thought he stood,
The Jabberwock, with eyes of flame,
Came whiffling through the tulgey wood,
And burbled as it came!
One, two! One, two! And through and through
The vorpal blade went snicker-snack!
He left it dead, and with its head
He went galumphing back.
"And, has thou slain the Jabberwock?
Come to my arms, my beamish boy!
O frabjous day! Callooh! Callay!'
He chortled in his joy.
`Twas brillig, and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.
Rain on The Down (one voice)
Arthur Symonds
Night, and the down by the sea,
And the veil of rain on the down;
And she came through the mist and the rain to me
From the safe arm lights of the town.
The rain shone in her hair,
And her face gleam’d in the rain,
And only the night and the rain where there
As she came to me out of the rain.
Romeo and Juliet Ball room scene (two voices)
(The hidden sonnet)
William Shakespeare
ROMEO
If I profane with my unworthiest hand
This holy shrine, the gentle fine is this:
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.
JULIET
Good pilgrim, you do wrong your hand too much,
Which mannerly devotion shows in this;
For saints have hands that pilgrims' hands do touch,
And palm to palm is holy palmers' kiss.
ROMEO
Have not saints lips, and holy palmers too?
JULIET
Ay, pilgrim, lips that they must use in prayer.
ROMEO
O, then, dear saint, let lips do what hands do;
They pray, grant thou, lest faith turn to despair.
JULIET
Saints do not move, though grant for prayers' sake.
ROMEO
Then move not, while my prayer's effect I take.
The Negro Speaks of Rivers (one voice)
Langston Hughes
I've known rivers:
I've known rivers ancient as the world
and older than the flow of human blood in human veins.
My soul has grown deep like the rivers.
I bathe in the Euphrates when dawns were young.
I built my hut near the Congo and it lulled me to sleep.
I looked upon the Nile and raised the pyramids above it.
I heard the singing of the Mississippi when Abe Lincoln
went down to New Orleans, and I've seen its muddy
bosom turn all golden in the sunset.
I've known rivers:
Ancient, dusky rivers.
My soul has grown deep like the rivers.
Sleeping in the Forest (one voice)
Mary Oliver
I thought the earth remembered me,
she took me back so tenderly,
arranging her dark skirts, her pockets
full of lichens and seeds.
I slept as never before, a stone on the river bed,
nothing between me and the white fire of the stars
but my thoughts, and they floated light as moths
among the branches of the perfect trees.
All night I heard the small kingdoms
breathing around me, the insects,
and the birds who do their work in the darkness.
All night I rose and fell, as if in water,
grappling with a luminous doom. By morning
I had vanished at least a dozen times
into something better.
What We Need Is Here (one voice)
Wendell Barry
Geese appear high over us,
pass, and the sky closes. Abandon,
as in love or sleep, holds
them to their way, clear
in the ancient faith: what we need
is here. And we pray, not
for new earth or heaven, but to be
quiet in heart, and in eye,
clear. What we need is here.
A clear midnight (one voice)
Walt Whitman
This is thy hour O Soul, thy free flight into the wordless,
Away from books, away from art, the day erased, the lesson
done,
Thee fully forth emerging, silent, gazing, pondering the
themes thou lovest best,
Night, sleep, death and the stars.
From September Song (one voice)
Geoffrey Hill
September fattens on vines. Roses
flake from the wall. The smoke
of harmless fires drifts to my eyes.
This is plenty. This is more than enough.
The trouble with Geraniums (three voices)
Mervyn Peake
The trouble with geraniums
is that they’re much too red!
The trouble with my toast is that
it’s far too full of bread.
The trouble with a diamond
is that it’s much too bright.
The same applies to fish and stars
and the electric light.
The troubles with the stars I see
lies in the way they fly.
The trouble with myself is all
self-centred in the eye.
The trouble with my looking-glass
is that it shows me, me;
there’s trouble in all sorts of things
where it should never be.
Out beyond ideas of wrongdoing and rightdoing (one voice)
Rumi 1207 -- 1273
Out beyond ideas of wrongdoing and rightdoing,
There is a field. I’ll meet you there.
When the soul lies down in that grass,
The world is too full to talk about.
Ideas, language, even the phrase each other
Doesn’t make any sense.
The Seven Sevens (eight voices)
Hilaire Belloc
The seven hateful things
Scorn from a woman (or man) loved
Acute pain of the body
The memory of shame
Insult accepted from the rich
Defeat of one’s country
Seasickness
Despair
The seven rare things
Vision
Recovery of things past
Good cooking
Being loved satisfaction
Remarkable wine
Justice
The seven common things
The mother;s love
Embarrassment
Quarrel
Ambition
Disappointment
Misunderstanding
Appetite
The seven delightful things
Deep sleep
Conscious vigour
Reunion
The landfall
Unexpected praise from a loved woman (man)
Resurrection
Final beatitude
The seven medicines of the soul
Remorse
Repentence
Submission to the devine will
A wide landscape
A sublime air of music
A firm determination to combat evil within
Believing by an act of the will
The seven medicines of the body
Work
Bed
Combat
Riding
Bread
Wine
Sleep
The seven stenches
The traitor
The pervert
The cruel man (woman)
The sly man (woman)
The false teascher
The deserter
The politician
From Shakespeare
From Shakespeare
Midsummer Night’s Dream “I know a bank where the wild thyme blows” 1
Midsummer Night’s Dream “Methought I was enamour'd of an ass” 2
Midsummer Night’s Dream “If we shadows have offended” 5
Henry V “O for a muse of fire” 7
Henry V “He's in Arthur's bosom” 8
Henry V “Comment appelez-vous la main en Anglois?” 8
Henry V “We few, we happy few, we band of brothers” 11
Richard II “This precious stone set in the silver sea” 12
Macbeth “When shall we three meet again?” 14
The Tempest “I have bedimm'd the noontide sun” 20
Hamlet “…To thine own self be true” 21
Hamlet “There is a willow grows aslant a brook” 24
Hamlet “Whose grave’s this, sirrah?” 24
From Venus and Adonis “A breeding jennet, lusty, young and proud” 28
Sonnet 2 “When forty winters shall beseige thy brow” 30
Sonnet 18 “Shall I compare thee to a summer's day?” 30
Sonnet 29 “When, in disgrace with fortune and men's eyes” 31
Sonnet 30 “When to the sessions of sweet silent thought” 31
Sonnet 55 “Not marble, nor the gilded monuments” 31
Sonnet 60 “Like as the waves make towards the pebbled shore” 32
Sonnet 73 “That time of year thou mayst in me behold” 32
Sonnet 106 “When in the chronicle of wasted time” 32
Note to users: The following can be done well in roundtable fashion: MND: Methought, Henry V Comment; Macbeth When shall, Hamlet to thy own, Hamlet Whose grave’s, Venus and Adonis (shift by stanza).
Midsummer Night’s Dream “I know a bank where the wild thyme blows”
Act 2, Sc 1
Hatching a plan to win the Indian boy, Oberon sends Puck in search of a flower called love-in-idleness. When the juice of this magical flower is poured on sleepers’ eyelids, it makes them dote crazily on the first live creature they see upon awakening. In this way, Oberon plans to make Titania fall in love with some wild beast; he won’t release her from this unpleasant spell until she gives him the Indian boy.
OBERON
Fare thee well, nymph: ere he do leave this grove,
Thou shalt fly him and he shall seek thy love.
Re-enter PUCK
Hast thou the flower there? Welcome, wanderer.
PUCK
Ay, there it is.
OBERON
I pray thee, give it me.
I know a bank where the wild thyme blows,
Where oxlips and the nodding violet grows,
Quite over-canopied with luscious woodbine,
With sweet musk-roses and with eglantine:
There sleeps Titania sometime of the night,
Lull'd in these flowers with dances and delight;
And there the snake throws her enamell'd skin,
Weed wide enough to wrap a fairy in:
And with the juice of this I'll streak her eyes,
And make her full of hateful fantasies.
Take thou some of it, and seek through this grove:
A sweet Athenian lady is in love
With a disdainful youth: anoint his eyes;
But do it when the next thing he espies
May be the lady: thou shalt know the man
By the Athenian garments he hath on.
Effect it with some care, that he may prove
More fond on her than she upon her love:
And look thou meet me ere the first cock crow.
PUCK
Fear not, my lord, your servant shall do so.
Exeunt
Midsummer Night’s Dream “Methought I was enamour'd of an ass”
Act 4 Sc I
Bottom is enjoying his sojourn in Titania’s bower: Peaseblossom amiably scratches his head, while Cobweb goes off in search of honey for him. As Bottom sleeps in Titania’s arms, Oberon walks in. Feeling pity for Titania’s pitiful love for this ass, Oberon squeezes an herb on her eyes to release her from the spell. Titania awakens, telling Oberon about her strange dream of being in love with an ass. Oberon has Puck remove the ass’ head from Bottom. Now that Oberon has won the Indian boy from Titania, he is willing to forget their argument, and the two, reunited, dance off together so they can bless Theseus’ marriage.
MUSTARDSEED
What's your Will?
BOTTOM
Nothing, good mounsieur, but to help Cavalery Cobweb
to scratch. I must to the barber's, monsieur; for
methinks I am marvellous hairy about the face; and I
am such a tender ass, if my hair do but tickle me,
I must scratch.
TITANIA
What, wilt thou hear some music,
my sweet love?
BOTTOM
I have a reasonable good ear in music. Let's have
the tongs and the bones.
TITANIA
Or say, sweet love, what thou desirest to eat.
BOTTOM
Truly, a peck of provender: I could munch your good
dry oats. Methinks I have a great desire to a bottle
of hay: good hay, sweet hay, hath no fellow.
TITANIA
I have a venturous fairy that shall seek
The squirrel's hoard, and fetch thee new nuts.
BOTTOM
I had rather have a handful or two of dried peas.
But, I pray you, let none of your people stir me: I
have an exposition of sleep come upon me.
TITANIA
Sleep thou, and I will wind thee in my arms.
Fairies, begone, and be all ways away.
Exeunt fairies
So doth the woodbine the sweet honeysuckle
Gently entwist; the female ivy so
Enrings the barky fingers of the elm.
O, how I love thee! how I dote on thee!
They sleep
Enter PUCK
OBERON
[Advancing] Welcome, good Robin.
See'st thou this sweet sight?
Her dotage now I do begin to pity:
For, meeting her of late behind the wood,
Seeking sweet favours from this hateful fool,
I did upbraid her and fall out with her;
For she his hairy temples then had rounded
With a coronet of fresh and fragrant flowers;
And that same dew, which sometime on the buds
Was wont to swell like round and orient pearls,
Stood now within the pretty flowerets' eyes
Like tears that did their own disgrace bewail.
When I had at my pleasure taunted her
And she in mild terms begg'd my patience,
I then did ask of her her changeling child;
Which straight she gave me, and her fairy sent
To bear him to my bower in fairy land.
And now I have the boy, I will undo
This hateful imperfection of her eyes:
And, gentle Puck, take this transformed scalp
From off the head of this Athenian swain;
That, he awaking when the other do,
May all to Athens back again repair
And think no more of this night's accidents
But as the fierce vexation of a dream.
But first I will release the fairy queen.
Be as thou wast wont to be;
See as thou wast wont to see:
Dian's bud o'er Cupid's flower
Hath such force and blessed power.
Now, my Titania; wake you, my sweet queen.
TITANIA
My Oberon! what visions have I seen!
Methought I was enamour'd of an ass.
OBERON
There lies your love.
TITANIA
How came these things to pass?
O, how mine eyes do loathe his visage now!
OBERON
Silence awhile. Robin, take off this head.
Titania, music call; and strike more dead
Than common sleep of all these five the sense.
TITANIA
Music, ho! music, such as charmeth sleep!
Music, still
PUCK
Now, when thou wakest, with thine
own fool's eyes peep.
OBERON
Sound, music! Come, my queen, take hands with me,
And rock the ground whereon these sleepers be.
Now thou and I are new in amity,
And will to-morrow midnight solemnly
Dance in Duke Theseus' house triumphantly,
And bless it to all fair prosperity:
There shall the pairs of faithful lovers be
Wedded, with Theseus, all in jollity.
PUCK
Fairy king, attend, and mark:
I do hear the morning lark.
OBERON
Then, my queen, in silence sad,
Trip we after the night's shade:
We the globe can compass soon,
Swifter than the wandering moon.
TITANIA
Come, my lord, and in our flight
Tell me how it came this night
That I sleeping here was found
With these mortals on the ground.
Exeunt
Midsummer Night’s Dream “If we shadows have offended”
Act 5 Sc 1
At the end of the play, all to bed…
OBERON
Now, until the break of day,
Through this house each fairy stray.
To the best bride-bed will we,
Which by us shall blessed be;
And the issue there create
Ever shall be fortunate.
So shall all the couples three
Ever true in loving be;
And the blots of Nature's hand
Shall not in their issue stand;
Never mole, hare lip, nor scar,
Nor mark prodigious, such as are
Despised in nativity,
Shall upon their children be.
With this field-dew consecrate,
Every fairy take his gait;
And each several chamber bless,
Through this palace, with sweet peace;
And the owner of it blest
Ever shall in safety rest.
Trip away; make no stay;
Meet me all by break of day.
Exeunt OBERON, TITANIA, and train
PUCK
If we shadows have offended,
Think but this, and all is mended,
That you have but slumber'd here
While these visions did appear.
And this weak and idle theme,
No more yielding but a dream,
Gentles, do not reprehend:
if you pardon, we will mend:
And, as I am an honest Puck,
If we have unearned luck
Now to 'scape the serpent's tongue,
We will make amends ere long;
Else the Puck a liar call;
So, good night unto you all.
Give me your hands, if we be friends,
And Robin shall restore amends.
Henry V “O for a muse of fire”
Act 1 Sc 1
“Chorus” introduces the play, which culminates with the victory of the English over the French at the battle of Agincourt.
Enter Chorus
Chorus
O for a Muse of fire, that would ascend
The brightest heaven of invention,
A kingdom for a stage, princes to act
And monarchs to behold the swelling scene!
Then should the warlike Harry, like himself,
Assume the port of Mars; and at his heels,
Leash'd in like hounds, should famine, sword and fire
Crouch for employment. But pardon, and gentles all,
The flat unraised spirits that have dared
On this unworthy scaffold to bring forth
So great an object: can this cockpit hold
The vasty fields of France? or may we cram
Within this wooden O the very casques*
That did affright the air at Agincourt?
O, pardon! since a crooked figure** may
Attest in little place a million;
And let us, ciphers to this great accompt,
On your imaginary forces work.
Suppose within the girdle of these walls
Are now confined two mighty monarchies,
Whose high upreared and abutting fronts
The perilous narrow ocean parts asunder:
Piece out our imperfections with your thoughts;
Into a thousand parts divide on man,
And make imaginary puissance;
Think when we talk of horses, that you see them
Printing their proud hoofs i' the receiving earth;
For 'tis your thoughts that now must deck our kings,
Carry them here and there; jumping o'er times,
Turning the accomplishment of many years
Into an hour-glass: for the which supply,
Admit me Chorus to this history;
Who prologue-like your humble patience pray,
Gently to hear, kindly to judge, our play.
Exit
*Casques= military helmet
**crooked figure = a zero (to multiply numbers)
Henry V “He's in Arthur's bosom”
Act 2 Sc 3
Hostess Quickly describes for them the death of Sir John Falstaff, whom she attended until the end.
PISTOL
No; for my manly heart doth yearn. Bardolph, be blithe: Nym, rouse thy vaunting veins: Boy, bristle thy courage up; for Falstaff he is dead, and we must yearn therefore.
BARDOLPH
Would I were with him, wheresome'er he is, either in heaven or in hell!
Hostess (Mistress Quickly)
Nay, sure, he's not in hell: he's in Arthur's bosom, if ever man went to Arthur's bosom. A' made a finer end and went away an it had been any christom child; a' parted even just between twelve and one, even at the turning o' the tide: for after I saw him fumble with the sheets and play with flowers and smile upon his fingers' ends, I knew there was but one way; for his nose was as sharp as a pen, and a' babbled of green fields*. 'How now,
sir John!' quoth I 'what, man! be o' good cheer.' So a' cried out 'God, God, God!' three or
four times. Now I, to comfort him, bid him a' should not think of God; I hoped there was no need to trouble himself with any such thoughts yet. So a' bade me lay more clothes on his feet: I put my hand into the bed and felt them, and they were as cold as any stone; then I felt to his knees, and they were as cold as any stone, and so upward and upward, and all was as cold as any stone.
*green fields = as in “He maketh me to lie down in green pastures”
Henry V “Comment appelez-vous la main en Anglois?”
Act 3, Sc 4
In a room of the French palace at Rouen, Katharine, the king's daughter, and Alice, the old gentlewoman, have an English lesson. Alice knows only a little English, and Princess Katharine is trying to learn the language. All of the dialogue is in French except the few words (hand, nails, arm, and elbow, etc.) that she learns from Alice during the lesson. “Foot” is misinterpreted to mean the French word for fornication and “count” (for gown) is mispronounced to suggest French word for woman’s body part.
Enter KATHARINE and ALICE
KATHARINE
Alice, tu as ete en Angleterre, et tu parles bien le langage.
ALICE
Un peu, madame.
KATHARINE
Je te prie, m'enseignez: il faut que j'apprenne a
parler. Comment appelez-vous la main en Anglois?
ALICE
La main? elle est appelee de hand.
KATHARINE
De hand. Et les doigts?
ALICE
Les doigts? ma foi, j'oublie les doigts; mais je me
souviendrai. Les doigts? je pense qu'ils sont
appeles de fingres; oui, de fingres.
KATHARINE
La main, de hand; les doigts, de fingres. Je pense
que je suis le bon ecolier; j'ai gagne deux mots
d'Anglois vitement. Comment appelez-vous les ongles?
ALICE
Les ongles? nous les appelons de nails.
KATHARINE
De nails. Ecoutez; dites-moi, si je parle bien: de
hand, de fingres, et de nails.
ALICE
C'est bien dit, madame; il est fort bon Anglois.
KATHARINE
Dites-moi l'Anglois pour le bras.
ALICE
De arm, madame.
KATHARINE
Et le coude?
ALICE
De elbow.
KATHARINE
De elbow. Je m'en fais la repetition de tous les
mots que vous m'avez appris des a present.
ALICE
Il est trop difficile, madame, comme je pense.
KATHARINE
Excusez-moi, Alice; ecoutez: de hand, de fingres,
de nails, de arma, de bilbow.
ALICE
De elbow, madame.
KATHARINE
O Seigneur Dieu, je m'en oublie! de elbow. Comment
appelez-vous le col?
ALICE
De neck, madame.
KATHARINE
De nick. Et le menton?
ALICE
De chin.
KATHARINE
De sin. Le col, de nick; de menton, de sin.
ALICE
Oui. Sauf votre honneur, en verite, vous prononcez
les mots aussi droit que les natifs d'Angleterre.
KATHARINE
Je ne doute point d'apprendre, par la grace de Dieu,
et en peu de temps.
ALICE
N'avez vous pas deja oublie ce que je vous ai enseigne?
KATHARINE
Non, je reciterai a vous promptement: de hand, de
fingres, de mails—
ALICE
De nails, madame.
KATHARINE
De nails, de arm, de ilbow.
ALICE
Sauf votre honneur, de elbow.
KATHARINE
Ainsi dis-je; de elbow, de nick, et de sin. Comment
appelez-vous le pied et la robe?
ALICE
De foot, madame; et de coun.
KATHARINE
De foot et de coun! O Seigneur Dieu! ce sont mots
de son mauvais, corruptible, gros, et impudique, et
non pour les dames d'honneur d'user: je ne voudrais
prononcer ces mots devant les seigneurs de France
pour tout le monde. Foh! le foot et le coun!
Neanmoins, je reciterai une autre fois ma lecon
ensemble: de hand, de fingres, de nails, de arm, de
elbow, de nick, de sin, de foot, de coun.
ALICE
Excellent, madame!
KATHARINE
C'est assez pour une fois: allons-nous a diner.
Henry V “We few, we happy few, we band of brothers”
Act 4, Sc 2
The king enters and hears Westmoreland wish for ten thousand more English troops. In answer to Westmoreland, Henry says that if God plans for them to win, there will be greater glory with no more troops than these to share the honors with. He urges anyone who does not wish to fight to leave. Today is a day set aside for the celebration of the "Feast of Saint Crispian," and all of those English soldiers who survive the battle will be honored and remembered every Saint Crispian's Day. Henry promises that all of their names shall become household words and their deeds remembered.
WESTMORELAND
O that we now had here
But one ten thousand of those men in England
That do no work to-day!
KING HENRY V
What's he that wishes so?
My cousin Westmoreland? No, my fair cousin:
If we are mark'd to die, we are enow
To do our country loss; and if to live,
The fewer men, the greater share of honour.
God's will! I pray thee, wish not one man more.
By Jove, I am not covetous for gold,
Nor care I who doth feed upon my cost;
It yearns me not if men my garments wear;
Such outward things dwell not in my desires:
But if it be a sin to covet honour,
I am the most offending soul alive.
No, faith, my coz, wish not a man from England:
God's peace! I would not lose so great an honour
As one man more, methinks, would share from me
For the best hope I have. O, do not wish one more!
Rather proclaim it, Westmoreland, through my host,
That he which hath no stomach to this fight,
Let him depart; his passport shall be made
And crowns for convoy put into his purse:
We would not die in that man's company
That fears his fellowship to die with us.
This day is called the feast of Crispian:
He that outlives this day, and comes safe home,
Will stand a tip-toe when the day is named,
And rouse him at the name of Crispian.
He that shall live this day, and see old age,
Will yearly on the vigil feast his neighbours,
And say 'To-morrow is Saint Crispian:'
Then will he strip his sleeve and show his scars.
And say 'These wounds I had on Crispin's day.'
Old men forget: yet all shall be forgot,
But he'll remember with advantages
What feats he did that day: then shall our names.
Familiar in his mouth as household words
Harry the king, Bedford and Exeter,
Warwick and Talbot, Salisbury and Gloucester,
Be in their flowing cups freshly remember'd.
This story shall the good man teach his son;
And Crispin Crispian shall ne'er go by,
From this day to the ending of the world,
But we in it shall be remember'd;
We few, we happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother; be he ne'er so vile,
This day shall gentle his condition:
And gentlemen in England now a-bed
Shall think themselves accursed they were not here,
And hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin's day.
Richard II “This precious stone set in the silver sea”
Act 2, Sc 1
John of Gaunt, the Duke of Lancester and uncle to Richard II, is on his deathbed and laments the deterioration of England under Richard II.
Enter JOHN OF GAUNT sick, with the DUKE OF YORK, & company
JOHN OF GAUNT
Will the king come, that I may breathe my last
In wholesome counsel to his unstaid youth?
DUKE OF YORK
Vex not yourself, nor strive not with your breath;
For all in vain comes counsel to his ear.
JOHN OF GAUNT
O, but they say the tongues of dying men
Enforce attention like deep harmony:
Where words are scarce, they are seldom spent in vain,
For they breathe truth that breathe their words in pain.
He that no more must say is listen'd more
Than they whom youth and ease have taught to glose;
More are men's ends mark'd than their lives before:
The setting sun, and music at the close,
As the last taste of sweets, is sweetest last,
Writ in remembrance more than things long past:
Though Richard my life's counsel would not hear,
My death's sad tale may yet undeaf his ear.
DUKE OF YORK
No; it is stopp'd with other flattering sounds,
As praises, of whose taste the wise are fond,
Lascivious metres, to whose venom sound
The open ear of youth doth always listen;
Report of fashions in proud Italy,
Whose manners still our tardy apish nation
Limps after in base imitation.
Where doth the world thrust forth a vanity--
So it be new, there's no respect how vile--
That is not quickly buzzed into his ears?
Then all too late comes counsel to be heard,
Where will doth mutiny with wit's regard.
Direct not him whose way himself will choose:
'Tis breath thou lack'st, and that breath wilt thou lose.
JOHN OF GAUNT
Methinks I am a prophet new inspired
And thus expiring do foretell of him:
His rash fierce blaze of riot cannot last,
For violent fires soon burn out themselves;
Small showers last long, but sudden storms are short;
He tires betimes that spurs too fast betimes;
With eager feeding food doth choke the feeder:
Light vanity, insatiate cormorant*,
Consuming means, soon preys upon itself.
This royal throne of kings, this scepter'd isle,
This earth of majesty, this seat of Mars,
This other Eden, demi-paradise,
This fortress built by Nature for herself
Against infection and the hand of war,
This happy breed of men, this little world,
This precious stone set in the silver sea,
Which serves it in the office of a wall,
Or as a moat defensive to a house,
Against the envy of less happier lands,
This blessed plot, this earth, this realm, this England,
This nurse, this teeming womb of royal kings,
Fear'd by their breed and famous by their birth,
Renowned for their deeds as far from home,
For Christian service and true chivalry,
As is the sepulchre in stubborn Jewry,
Of the world's ransom, blessed Mary's Son,
This land of such dear souls, this dear dear land,
Dear for her reputation through the world,
Is now leased out, I die pronouncing it,
Like to a tenement or pelting farm:
England, bound in with the triumphant sea
Whose rocky shore beats back the envious siege
Of watery Neptune, is now bound in with shame,
With inky blots and rotten parchment bonds:
That England, that was wont to conquer others,
Hath made a shameful conquest of itself.
Ah, would the scandal vanish with my life,
How happy then were my ensuing death!
*cormorant = glutton
Macbeth “When shall we three meet again?”
Act 1, Sc 1
In a desolate place blasted by thunderstorms, Three Witches meet to predict the future. In Act 1 Sc 3 the confrount Macbeth and his friend Banquo.
ACT 1 SCENE I. A desert place.
Thunder and lightning. Enter three Witches
First Witch
When shall we three meet again
In thunder, lightning, or in rain?
Second Witch
When the hurlyburly's done,
When the battle's lost and won.
Third Witch
That will be ere the set of sun.
First Witch
Where the place?
Second Witch
Upon the heath.
Third Witch
There to meet with Macbeth.
First Witch
I come, Graymalkin!
Second Witch
Paddock calls.
Third Witch
Anon.
ALL
Fair is foul, and foul is fair:
Hover through the fog and filthy air.
Exeunt
ACT 1 SCENE III. A heath near Forres.
Thunder. Enter the three Witches
First Witch
Where hast thou been, sister?
Second Witch
Killing swine.
Third Witch
Sister, where thou?
First Witch
A sailor's wife had chestnuts in her lap,
And munch'd, and munch'd, and munch'd:--
'Give me,' quoth I:
'Aroint thee, witch!' the rump-fed ronyon cries.
Her husband's to Aleppo gone, master o' the Tiger:
But in a sieve I'll thither sail,
And, like a rat without a tail,
I'll do, I'll do, and I'll do.
Second Witch
I'll give thee a wind.
First Witch
Thou'rt kind.
Third Witch
And I another.
First Witch
I myself have all the other,
And the very ports they blow,
All the quarters that they know
I' the shipman's card.
I will drain him dry as hay:
Sleep shall neither night nor day
Hang upon his pent-house lid;
He shall live a man forbid:
Weary se'nnights nine times nine
Shall he dwindle, peak and pine:
Though his bark cannot be lost,
Yet it shall be tempest-tost.
Look what I have.
Second Witch
Show me, show me.
First Witch
Here I have a pilot's thumb,
Wreck'd as homeward he did come.
Drum within
Third Witch
A drum, a drum!
Macbeth doth come.
ALL
The weird sisters, hand in hand,
Posters of the sea and land,
Thus do go about, about:
Thrice to thine and thrice to mine
And thrice again, to make up nine.
Peace! the charm's wound up.
Enter MACBETH and BANQUO
MACBETH
So foul and fair a day I have not seen.
BANQUO
How far is't call'd to Forres? What are these
So wither'd and so wild in their attire,
That look not like the inhabitants o' the earth,
And yet are on't? Live you? or are you aught
That man may question? You seem to understand me,
By each at once her chappy finger laying
Upon her skinny lips: you should be women,
And yet your beards forbid me to interpret
That you are so.
MACBETH
Speak, if you can: what are you?
First Witch
All hail, Macbeth! hail to thee, thane of Glamis!
Second Witch
All hail, Macbeth, hail to thee, thane of Cawdor!
Third Witch
All hail, Macbeth, thou shalt be king hereafter!
BANQUO
Good sir, why do you start; and seem to fear
Things that do sound so fair? I' the name of truth,
Are ye fantastical, or that indeed
Which outwardly ye show? My noble partner
You greet with present grace and great prediction
Of noble having and of royal hope,
That he seems rapt withal: to me you speak not.
If you can look into the seeds of time,
And say which grain will grow and which will not,
Speak then to me, who neither beg nor fear
Your favours nor your hate.
First Witch
Hail!
Second Witch
Hail!
Third Witch
Hail!
First Witch
Lesser than Macbeth, and greater.
Second Witch
Not so happy, yet much happier.
Third Witch
Thou shalt get kings, though thou be none:
So all hail, Macbeth and Banquo!
First Witch
Banquo and Macbeth, all hail!
MACBETH
Stay, you imperfect speakers, tell me more:
By Sinel's death I know I am thane of Glamis;
But how of Cawdor? the thane of Cawdor lives,
A prosperous gentleman; and to be king
Stands not within the prospect of belief,
No more than to be Cawdor. Say from whence
You owe this strange intelligence? or why
Upon this blasted heath you stop our way
With such prophetic greeting? Speak, I charge you.
Witches vanish
BANQUO
The earth hath bubbles, as the water has,
And these are of them. Whither are they vanish'd?
MACBETH
Into the air; and what seem'd corporal melted
As breath into the wind. Would they had stay'd!
BANQUO
Were such things here as we do speak about?
Or have we eaten on the insane root
That takes the reason prisoner?
MACBETH
Your children shall be kings.
BANQUO
You shall be king.
MACBETH
And thane of Cawdor too: went it not so?
BANQUO
To the selfsame tune and words. Who's here?
Enter ROSS and ANGUS
ROSS
The king hath happily received, Macbeth,
The news of thy success; and when he reads
Thy personal venture in the rebels' fight,
His wonders and his praises do contend
Which should be thine or his: silenced with that,
In viewing o'er the rest o' the selfsame day,
He finds thee in the stout Norweyan ranks,
Nothing afeard of what thyself didst make,
Strange images of death. As thick as hail
Came post with post; and every one did bear
Thy praises in his kingdom's great defence,
And pour'd them down before him.
ANGUS
We are sent
To give thee from our royal master thanks;
Only to herald thee into his sight,
Not pay thee.
ROSS
And, for an earnest of a greater honour,
He bade me, from him, call thee thane of Cawdor:
In which addition, hail, most worthy thane!
For it is thine.
BANQUO
What, can the devil speak true?
MACBETH
The thane of Cawdor lives: why do you dress me
In borrow'd robes?
ANGUS
Who was the thane lives yet;
But under heavy judgment bears that life
Which he deserves to lose. Whether he was combined
With those of Norway, or did line the rebel
With hidden help and vantage, or that with both
He labour'd in his country's wreck, I know not;
But treasons capital, confess'd and proved,
Have overthrown him.
MACBETH
[Aside] Glamis, and thane of Cawdor!
The greatest is behind.
The Tempest “I have bedimm'd the noontide sun”
Act 5 Sc 1
Prospero declares he will renounce his magical powers/
PROSPERO
Ye elves of hills, brooks, standing lakes and groves,
And ye that on the sands with printless foot
Do chase the ebbing Neptune and do fly him
When he comes back; you demi-puppets that
By moonshine do the green sour ringlets make,
Whereof the ewe not bites, and you whose pastime
Is to make midnight mushrooms, that rejoice
To hear the solemn curfew; by whose aid,
Weak masters though ye be, I have bedimm'd
The noontide sun, call'd forth the mutinous winds,
And 'twixt the green sea and the azured vault
Set roaring war: to the dread rattling thunder
Have I given fire and rifted Jove's stout oak
With his own bolt; the strong-based promontory
Have I made shake and by the spurs pluck'd up
The pine and cedar: graves at my command
Have waked their sleepers, oped, and let 'em forth
By my so potent art. But this rough magic
I here abjure, and, when I have required
Some heavenly music, which even now I do,
To work mine end upon their senses that
This airy charm is for, I'll break my staff,
Bury it certain fathoms in the earth,
And deeper than did ever plummet sound
I'll drown my book.
Hamlet “…To thine own self be true”
Act 1 Sc 3
Polonius counsels his son Leartes before Leartes’ departure for Paris, then remonstrates his daughter Ophelia for allowing Hamlet to woo her.
LORD POLONIUS
Yet here, Laertes! aboard, aboard, for shame!
The wind sits in the shoulder of your sail,
And you are stay'd for. There; my blessing with thee!
And these few precepts in thy memory
See thou character. Give thy thoughts no tongue,
Nor any unproportioned thought his act.
Be thou familiar, but by no means vulgar.
Those friends thou hast, and their adoption tried,
Grapple them to thy soul with hoops of steel;
But do not dull thy palm with entertainment
Of each new-hatch'd, unfledged comrade. Beware
Of entrance to a quarrel, but being in,
Bear't that the opposed may beware of thee.
Give every man thy ear, but few thy voice;
Take each man's censure, but reserve thy judgment.
Costly thy habit as thy purse can buy,
But not express'd in fancy; rich, not gaudy;
For the apparel oft proclaims the man,
And they in France of the best rank and station
Are of a most select and generous chief in that.
Neither a borrower nor a lender be;
For loan oft loses both itself and friend,
And borrowing dulls the edge of husbandry.
This above all: to thine ownself be true,
And it must follow, as the night the day,
Thou canst not then be false to any man.
Farewell: my blessing season this in thee!
LAERTES
Most humbly do I take my leave, my lord.
LORD POLONIUS
The time invites you; go; your servants tend.
LAERTES
Farewell, Ophelia; and remember well
What I have said to you.
OPHELIA
'Tis in my memory lock'd,
And you yourself shall keep the key of it.
LAERTES
Farewell.
Exit
LORD POLONIUS
What is't, Ophelia, be hath said to you?
OPHELIA
So please you, something touching the Lord Hamlet.
LORD POLONIUS
Marry, well bethought:
'Tis told me, he hath very oft of late
Given private time to you; and you yourself
Have of your audience been most free and bounteous:
If it be so, as so 'tis put on me,
And that in way of caution, I must tell you,
You do not understand yourself so clearly
As it behoves my daughter and your honour.
What is between you? give me up the truth.
OPHELIA
He hath, my lord, of late made many tenders
Of his affection to me.
LORD POLONIUS
Affection! pooh! you speak like a green girl,
Unsifted in such perilous circumstance.
Do you believe his tenders, as you call them?
OPHELIA
I do not know, my lord, what I should think.
LORD POLONIUS
Marry, I'll teach you: think yourself a baby;
That you have ta'en these tenders for true pay,
Which are not sterling. Tender yourself more dearly;
Or--not to crack the wind of the poor phrase,
Running it thus--you'll tender me a fool.
OPHELIA
My lord, he hath importuned me with love
In honourable fashion.
LORD POLONIUS
Ay, fashion you may call it; go to, go to.
OPHELIA
And hath given countenance to his speech, my lord,
With almost all the holy vows of heaven.
LORD POLONIUS
Ay, springes to catch woodcocks. I do know,
When the blood burns, how prodigal the soul
Lends the tongue vows: these blazes, daughter,
Giving more light than heat, extinct in both,
Even in their promise, as it is a-making,
You must not take for fire. From this time
Be somewhat scanter of your maiden presence;
Set your entreatments* at a higher rate
Than a command to parley. For Lord Hamlet,
Believe so much in him, that he is young
And with a larger tether may he walk
Than may be given you: in few, Ophelia,
Do not believe his vows; for they are brokers,
Not of that dye which their investments** show,
But mere implorators of unholy suits,
Breathing like sanctified and pious bawds,
The better to beguile. This is for all:
I would not, in plain terms, from this time forth,
Have you so slander any moment leisure,
As to give words or talk with the Lord Hamlet.
Look to't, I charge you: come your ways.
OPHELIA
I shall obey, my lord.
Exeunt
*entreatments = negotiations before surrender
**investments = clothes
Hamlet “There is a willow grows aslant a brook”
Act 4 Sc 7
Queen Gertrude reports the death of Ophelia
QUEEN GERTRUDE
One woe doth tread upon another's heel,
So fast they follow; your sister's drown'd, Laertes.
LAERTES
Drown'd! O, where?
QUEEN GERTRUDE
There is a willow grows aslant a brook,
That shows his hoar leaves in the glassy stream;
There with fantastic garlands did she come
Of crow-flowers, nettles, daisies, and long purples
That liberal shepherds give a grosser name,
But our cold maids do dead men's fingers call them:
There, on the pendent boughs her coronet weeds
Clambering to hang, an envious sliver broke;
When down her weedy trophies and herself
Fell in the weeping brook. Her clothes spread wide;
And, mermaid-like, awhile they bore her up:
Which time she chanted snatches of old tunes;
As one incapable of her own distress,
Or like a creature native and indued
Unto that element: but long it could not be
Till that her garments, heavy with their drink,
Pull'd the poor wretch from her melodious lay
To muddy death.
LAERTES
Alas, then, she is drown'd?
QUEEN GERTRUDE
Drown'd, drown'd.
Hamlet “Whose grave’s this, sirrah?”
Act 5 Sc 1
Hamlet and Horatio jest with the grave digger.
HAMLET
Whose grave's this, sirrah?
First Clown
Mine, sir.
Sings
O, a pit of clay for to be made
For such a guest is meet.
HAMLET
I think it be thine, indeed; for thou liest in't.
First Clown
You lie out on't, sir, and therefore it is not
yours: for my part, I do not lie in't, and yet it is mine.
HAMLET
'Thou dost lie in't, to be in't and say it is thine:
'tis for the dead, not for the quick; therefore thou liest.
First Clown
'Tis a quick lie, sir; 'twill away gain, from me to
you.
HAMLET
What man dost thou dig it for?
First Clown
For no man, sir.
HAMLET
What woman, then?
First Clown
For none, neither.
HAMLET
Who is to be buried in't?
First Clown
One that was a woman, sir; but, rest her soul, she's dead.
HAMLET
How absolute the knave is! we must speak by the
card, or equivocation will undo us. By the Lord,
Horatio, these three years I have taken a note of
it; the age is grown so picked that the toe of the
peasant comes so near the heel of the courtier, he
gaffs his kibe. How long hast thou been a
grave-maker?
First Clown
Of all the days i' the year, I came to't that day
that our last king Hamlet overcame Fortinbras.
HAMLET
How long is that since?
First Clown
Cannot you tell that? every fool can tell that: it
was the very day that young Hamlet was born; he that
is mad, and sent into England.
HAMLET
Ay, marry, why was he sent into England?
First Clown
Why, because he was mad: he shall recover his wits
there; or, if he do not, it's no great matter there.
HAMLET
Why?
First Clown
'Twill, a not be seen in him there; there the men
are as mad as he.
HAMLET
How came he mad?
First Clown
Very strangely, they say.
HAMLET
How strangely?
First Clown
Faith, e'en with losing his wits.
HAMLET
Upon what ground?
First Clown
Why, here in Denmark: I have been sexton here, man
and boy, thirty years.
HAMLET
How long will a man lie i' the earth ere he rot?
First Clown
I' faith, if he be not rotten before he die--as we
have many pocky corses now-a-days, that will scarce
hold the laying in--he will last you some eight year
or nine year: a tanner will last you nine year.
HAMLET
Why he more than another?
First Clown
Why, sir, his hide is so tanned with his trade, that
he will keep out water a great while; and your water
is a sore decayer of your whoreson dead body.
Here's a skull now; this skull has lain in the earth
three and twenty years.
HAMLET
Whose was it?
First Clown
A whoreson mad fellow's it was: whose do you think it was?
HAMLET
Nay, I know not.
First Clown
A pestilence on him for a mad rogue! a' poured a
flagon of Rhenish on my head once. This same skull,
sir, was Yorick's skull, the king's jester.
HAMLET
This?
First Clown
E'en that.
HAMLET
Let me see.
Takes the skull
Alas, poor Yorick! I knew him, Horatio: a fellow
of infinite jest, of most excellent fancy: he hath
borne me on his back a thousand times; and now, how
abhorred in my imagination it is! my gorge rims at
it. Here hung those lips that I have kissed I know
not how oft. Where be your gibes now? your
gambols? your songs? your flashes of merriment,
that were wont to set the table on a roar? Not one
now, to mock your own grinning? quite chap-fallen?
Now get you to my lady's chamber, and tell her, let
her paint an inch thick, to this favour she must
come; make her laugh at that. Prithee, Horatio, tell
me one thing.
HORATIO
What's that, my lord?
HAMLET
Dost thou think Alexander looked o' this fashion i'
the earth?
HORATIO
E'en so.
HAMLET
And smelt so? pah!
Puts down the skull
HORATIO
E'en so, my lord.
HAMLET
To what base uses we may return, Horatio! Why may
not imagination trace the noble dust of Alexander,
till he find it stopping a bung-hole?
From Venus and Adonis “A breeding jennet, lusty, young and proud”
But, lo, from forth a copse that neighbors by,
A breeding jennet, lusty, young and proud,
Adonis' trampling courser doth espy,
And forth she rushes, snorts and neighs aloud:
The strong-neck'd steed, being tied unto a tree,
Breaketh his rein, and to her straight goes he.
Imperiously he leaps, he neighs, he bounds,
And now his woven girths he breaks asunder;
The bearing earth with his hard hoof he wounds,
Whose hollow womb resounds like heaven's thunder;
The iron bit he crusheth 'tween his teeth,
Controlling what he was controlled with.
His ears up-prick'd; his braided hanging mane
Upon his compass'd crest now stand on end;
His nostrils drink the air, and forth again,
As from a furnace, vapours doth he send:
His eye, which scornfully glisters like fire,
Shows his hot courage and his high desire.
Sometime he trots, as if he told the steps,
With gentle majesty and modest pride;
Anon he rears upright, curvets and leaps,
As who should say 'Lo, thus my strength is tried,
And this I do to captivate the eye
Of the fair breeder that is standing by.'
What recketh he his rider's angry stir,
His flattering 'Holla,' or his 'Stand, I say'?
What cares he now for curb or pricking spur?
For rich caparisons or trapping gay?
He sees his love, and nothing else he sees,
For nothing else with his proud sight agrees.
Look, when a painter would surpass the life,
In limning out a well-proportion'd steed,
His art with nature's workmanship at strife,
As if the dead the living should exceed;
So did this horse excel a common one
In shape, in courage, colour, pace and bone.
Round-hoof'd, short-jointed, fetlocks shag and long,
Broad breast, full eye, small head and nostril wide,
High crest, short ears, straight legs and passing strong,
Thin mane, thick tail, broad buttock, tender hide:
Look, what a horse should have he did not lack,
Save a proud rider on so proud a back.
Sometime he scuds far off and there he stares;
Anon he starts at stirring of a feather;
To bid the wind a base he now prepares,
And whether he run or fly they know not whether;
For through his mane and tail the high wind sings,
Fanning the hairs, who wave like feather'd wings.
He looks upon his love and neighs unto her;
She answers him as if she knew his mind:
Being proud, as females are, to see him woo her,
She puts on outward strangeness, seems unkind,
Spurns at his love and scorns the heat he feels,
Beating his kind embracements with her heels.
Sonnet 2 “When forty winters shall beseige thy brow”
When forty winters shall beseige thy brow,
And dig deep trenches in thy beauty's field,
Thy youth's proud livery, so gazed on now,
Will be a tatter'd weed, of small worth held:
Then being ask'd where all thy beauty lies,
Where all the treasure of thy lusty days,
To say, within thine own deep-sunken eyes,
Were an all-eating shame and thriftless praise.
How much more praise deserved thy beauty's use,
If thou couldst answer 'This fair child of mine
Shall sum my count and make my old excuse,'
Proving his beauty by succession thine!
This were to be new made when thou art old,
And see thy blood warm when thou feel'st it cold.
Sonnet 18 “Shall I compare thee to a summer's day?”
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm'd;
And every fair from fair sometime declines,
By chance or nature's changing course untrimm'd;
But thy eternal summer shall not fade
Nor lose possession of that fair thou owest;
Nor shall Death brag thou wander'st in his shade,
When in eternal lines to time thou growest:
So long as men can breathe or eyes can see,
So long lives this and this gives life to thee.
Sonnet 29 “When, in disgrace with fortune and men's eyes”
When, in disgrace with fortune and men's eyes,
I all alone beweep my outcast state
And trouble deal heaven with my bootless cries
And look upon myself and curse my fate,
Wishing me like to one more rich in hope,
Featured like him, like him with friends possess'd,
Desiring this man's art and that man's scope,
With what I most enjoy contented least;
Yet in these thoughts myself almost despising,
Haply I think on thee, and then my state,
Like to the lark at break of day arising
From sullen earth, sings hymns at heaven's gate;
For thy sweet love remember'd such wealth brings
That then I scorn to change my state with kings.
Sonnet 30 “When to the sessions of sweet silent thought”
When to the sessions of sweet silent thought
I summon up remembrance of things past,
I sigh the lack of many a thing I sought,
And with old woes new wail my dear time's waste:
Then can I drown an eye, unused to flow,
For precious friends hid in death's dateless night,
And weep afresh love's long since cancell'd woe,
And moan the expense of many a vanish'd sight:
Then can I grieve at grievances foregone,
And heavily from woe to woe tell o'er
The sad account of fore-bemoaned moan,
Which I new pay as if not paid before.
But if the while I think on thee, dear friend,
All losses are restored and sorrows end.
Sonnet 55 “Not marble, nor the gilded monuments”
Not marble, nor the gilded monuments
Of princes, shall outlive this powerful rhyme;
But you shall shine more bright in these contents
Than unswept stone besmear'd with sluttish time.
When wasteful war shall statues overturn,
And broils root out the work of masonry,
Nor Mars his sword nor war's quick fire shall burn
The living record of your memory.
'Gainst death and all-oblivious enmity
Shall you pace forth; your praise shall still find room
Even in the eyes of all posterity
That wear this world out to the ending doom.
So, till the judgment that yourself arise,
You live in this, and dwell in lover's eyes.
Sonnet 60 “Like as the waves make towards the pebbled shore”
Like as the waves make towards the pebbled shore,
So do our minutes hasten to their end;
Each changing place with that which goes before,
In sequent toil all forwards do contend.
Nativity, once in the main of light,
Crawls to maturity, wherewith being crown'd,
Crooked elipses 'gainst his glory fight,
And Time that gave doth now his gift confound.
Time doth transfix the flourish set on youth
And delves the parallels in beauty's brow,
Feeds on the rarities of nature's truth,
And nothing stands but for his scythe to mow:
And yet to times in hope my verse shall stand,
Praising thy worth, despite his cruel hand.
Sonnet 73 “That time of year thou mayst in me behold”
That time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruin'd choirs, where late the sweet birds sang.
In me thou seest the twilight of such day
As after sunset fadeth in the west,
Which by and by black night doth take away,
Death's second self, that seals up all in rest.
In me thou see'st the glowing of such fire
That on the ashes of his youth doth lie,
As the death-bed whereon it must expire
Consumed with that which it was nourish'd by.
This thou perceivest, which makes thy love more strong,
To love that well which thou must leave ere long.
Sonnet 106 “When in the chronicle of wasted time”
When in the chronicle of wasted time
I see descriptions of the fairest wights,
And beauty making beautiful old rhyme
In praise of ladies dead and lovely knights,
Then, in the blazon of sweet beauty's best,
Of hand, of foot, of lip, of eye, of brow,
I see their antique pen would have express'd
Even such a beauty as you master now.
So all their praises are but prophecies
Of this our time, all you prefiguring;
And, for they look'd but with divining eyes,
They had not skill enough your worth to sing:
For we, which now behold these present days,
Had eyes to wonder, but lack tongues to praise.
Wights: creature
Midsummer Night’s Dream “I know a bank where the wild thyme blows” 1
Midsummer Night’s Dream “Methought I was enamour'd of an ass” 2
Midsummer Night’s Dream “If we shadows have offended” 5
Henry V “O for a muse of fire” 7
Henry V “He's in Arthur's bosom” 8
Henry V “Comment appelez-vous la main en Anglois?” 8
Henry V “We few, we happy few, we band of brothers” 11
Richard II “This precious stone set in the silver sea” 12
Macbeth “When shall we three meet again?” 14
The Tempest “I have bedimm'd the noontide sun” 20
Hamlet “…To thine own self be true” 21
Hamlet “There is a willow grows aslant a brook” 24
Hamlet “Whose grave’s this, sirrah?” 24
From Venus and Adonis “A breeding jennet, lusty, young and proud” 28
Sonnet 2 “When forty winters shall beseige thy brow” 30
Sonnet 18 “Shall I compare thee to a summer's day?” 30
Sonnet 29 “When, in disgrace with fortune and men's eyes” 31
Sonnet 30 “When to the sessions of sweet silent thought” 31
Sonnet 55 “Not marble, nor the gilded monuments” 31
Sonnet 60 “Like as the waves make towards the pebbled shore” 32
Sonnet 73 “That time of year thou mayst in me behold” 32
Sonnet 106 “When in the chronicle of wasted time” 32
Note to users: The following can be done well in roundtable fashion: MND: Methought, Henry V Comment; Macbeth When shall, Hamlet to thy own, Hamlet Whose grave’s, Venus and Adonis (shift by stanza).
Midsummer Night’s Dream “I know a bank where the wild thyme blows”
Act 2, Sc 1
Hatching a plan to win the Indian boy, Oberon sends Puck in search of a flower called love-in-idleness. When the juice of this magical flower is poured on sleepers’ eyelids, it makes them dote crazily on the first live creature they see upon awakening. In this way, Oberon plans to make Titania fall in love with some wild beast; he won’t release her from this unpleasant spell until she gives him the Indian boy.
OBERON
Fare thee well, nymph: ere he do leave this grove,
Thou shalt fly him and he shall seek thy love.
Re-enter PUCK
Hast thou the flower there? Welcome, wanderer.
PUCK
Ay, there it is.
OBERON
I pray thee, give it me.
I know a bank where the wild thyme blows,
Where oxlips and the nodding violet grows,
Quite over-canopied with luscious woodbine,
With sweet musk-roses and with eglantine:
There sleeps Titania sometime of the night,
Lull'd in these flowers with dances and delight;
And there the snake throws her enamell'd skin,
Weed wide enough to wrap a fairy in:
And with the juice of this I'll streak her eyes,
And make her full of hateful fantasies.
Take thou some of it, and seek through this grove:
A sweet Athenian lady is in love
With a disdainful youth: anoint his eyes;
But do it when the next thing he espies
May be the lady: thou shalt know the man
By the Athenian garments he hath on.
Effect it with some care, that he may prove
More fond on her than she upon her love:
And look thou meet me ere the first cock crow.
PUCK
Fear not, my lord, your servant shall do so.
Exeunt
Midsummer Night’s Dream “Methought I was enamour'd of an ass”
Act 4 Sc I
Bottom is enjoying his sojourn in Titania’s bower: Peaseblossom amiably scratches his head, while Cobweb goes off in search of honey for him. As Bottom sleeps in Titania’s arms, Oberon walks in. Feeling pity for Titania’s pitiful love for this ass, Oberon squeezes an herb on her eyes to release her from the spell. Titania awakens, telling Oberon about her strange dream of being in love with an ass. Oberon has Puck remove the ass’ head from Bottom. Now that Oberon has won the Indian boy from Titania, he is willing to forget their argument, and the two, reunited, dance off together so they can bless Theseus’ marriage.
MUSTARDSEED
What's your Will?
BOTTOM
Nothing, good mounsieur, but to help Cavalery Cobweb
to scratch. I must to the barber's, monsieur; for
methinks I am marvellous hairy about the face; and I
am such a tender ass, if my hair do but tickle me,
I must scratch.
TITANIA
What, wilt thou hear some music,
my sweet love?
BOTTOM
I have a reasonable good ear in music. Let's have
the tongs and the bones.
TITANIA
Or say, sweet love, what thou desirest to eat.
BOTTOM
Truly, a peck of provender: I could munch your good
dry oats. Methinks I have a great desire to a bottle
of hay: good hay, sweet hay, hath no fellow.
TITANIA
I have a venturous fairy that shall seek
The squirrel's hoard, and fetch thee new nuts.
BOTTOM
I had rather have a handful or two of dried peas.
But, I pray you, let none of your people stir me: I
have an exposition of sleep come upon me.
TITANIA
Sleep thou, and I will wind thee in my arms.
Fairies, begone, and be all ways away.
Exeunt fairies
So doth the woodbine the sweet honeysuckle
Gently entwist; the female ivy so
Enrings the barky fingers of the elm.
O, how I love thee! how I dote on thee!
They sleep
Enter PUCK
OBERON
[Advancing] Welcome, good Robin.
See'st thou this sweet sight?
Her dotage now I do begin to pity:
For, meeting her of late behind the wood,
Seeking sweet favours from this hateful fool,
I did upbraid her and fall out with her;
For she his hairy temples then had rounded
With a coronet of fresh and fragrant flowers;
And that same dew, which sometime on the buds
Was wont to swell like round and orient pearls,
Stood now within the pretty flowerets' eyes
Like tears that did their own disgrace bewail.
When I had at my pleasure taunted her
And she in mild terms begg'd my patience,
I then did ask of her her changeling child;
Which straight she gave me, and her fairy sent
To bear him to my bower in fairy land.
And now I have the boy, I will undo
This hateful imperfection of her eyes:
And, gentle Puck, take this transformed scalp
From off the head of this Athenian swain;
That, he awaking when the other do,
May all to Athens back again repair
And think no more of this night's accidents
But as the fierce vexation of a dream.
But first I will release the fairy queen.
Be as thou wast wont to be;
See as thou wast wont to see:
Dian's bud o'er Cupid's flower
Hath such force and blessed power.
Now, my Titania; wake you, my sweet queen.
TITANIA
My Oberon! what visions have I seen!
Methought I was enamour'd of an ass.
OBERON
There lies your love.
TITANIA
How came these things to pass?
O, how mine eyes do loathe his visage now!
OBERON
Silence awhile. Robin, take off this head.
Titania, music call; and strike more dead
Than common sleep of all these five the sense.
TITANIA
Music, ho! music, such as charmeth sleep!
Music, still
PUCK
Now, when thou wakest, with thine
own fool's eyes peep.
OBERON
Sound, music! Come, my queen, take hands with me,
And rock the ground whereon these sleepers be.
Now thou and I are new in amity,
And will to-morrow midnight solemnly
Dance in Duke Theseus' house triumphantly,
And bless it to all fair prosperity:
There shall the pairs of faithful lovers be
Wedded, with Theseus, all in jollity.
PUCK
Fairy king, attend, and mark:
I do hear the morning lark.
OBERON
Then, my queen, in silence sad,
Trip we after the night's shade:
We the globe can compass soon,
Swifter than the wandering moon.
TITANIA
Come, my lord, and in our flight
Tell me how it came this night
That I sleeping here was found
With these mortals on the ground.
Exeunt
Midsummer Night’s Dream “If we shadows have offended”
Act 5 Sc 1
At the end of the play, all to bed…
OBERON
Now, until the break of day,
Through this house each fairy stray.
To the best bride-bed will we,
Which by us shall blessed be;
And the issue there create
Ever shall be fortunate.
So shall all the couples three
Ever true in loving be;
And the blots of Nature's hand
Shall not in their issue stand;
Never mole, hare lip, nor scar,
Nor mark prodigious, such as are
Despised in nativity,
Shall upon their children be.
With this field-dew consecrate,
Every fairy take his gait;
And each several chamber bless,
Through this palace, with sweet peace;
And the owner of it blest
Ever shall in safety rest.
Trip away; make no stay;
Meet me all by break of day.
Exeunt OBERON, TITANIA, and train
PUCK
If we shadows have offended,
Think but this, and all is mended,
That you have but slumber'd here
While these visions did appear.
And this weak and idle theme,
No more yielding but a dream,
Gentles, do not reprehend:
if you pardon, we will mend:
And, as I am an honest Puck,
If we have unearned luck
Now to 'scape the serpent's tongue,
We will make amends ere long;
Else the Puck a liar call;
So, good night unto you all.
Give me your hands, if we be friends,
And Robin shall restore amends.
Henry V “O for a muse of fire”
Act 1 Sc 1
“Chorus” introduces the play, which culminates with the victory of the English over the French at the battle of Agincourt.
Enter Chorus
Chorus
O for a Muse of fire, that would ascend
The brightest heaven of invention,
A kingdom for a stage, princes to act
And monarchs to behold the swelling scene!
Then should the warlike Harry, like himself,
Assume the port of Mars; and at his heels,
Leash'd in like hounds, should famine, sword and fire
Crouch for employment. But pardon, and gentles all,
The flat unraised spirits that have dared
On this unworthy scaffold to bring forth
So great an object: can this cockpit hold
The vasty fields of France? or may we cram
Within this wooden O the very casques*
That did affright the air at Agincourt?
O, pardon! since a crooked figure** may
Attest in little place a million;
And let us, ciphers to this great accompt,
On your imaginary forces work.
Suppose within the girdle of these walls
Are now confined two mighty monarchies,
Whose high upreared and abutting fronts
The perilous narrow ocean parts asunder:
Piece out our imperfections with your thoughts;
Into a thousand parts divide on man,
And make imaginary puissance;
Think when we talk of horses, that you see them
Printing their proud hoofs i' the receiving earth;
For 'tis your thoughts that now must deck our kings,
Carry them here and there; jumping o'er times,
Turning the accomplishment of many years
Into an hour-glass: for the which supply,
Admit me Chorus to this history;
Who prologue-like your humble patience pray,
Gently to hear, kindly to judge, our play.
Exit
*Casques= military helmet
**crooked figure = a zero (to multiply numbers)
Henry V “He's in Arthur's bosom”
Act 2 Sc 3
Hostess Quickly describes for them the death of Sir John Falstaff, whom she attended until the end.
PISTOL
No; for my manly heart doth yearn. Bardolph, be blithe: Nym, rouse thy vaunting veins: Boy, bristle thy courage up; for Falstaff he is dead, and we must yearn therefore.
BARDOLPH
Would I were with him, wheresome'er he is, either in heaven or in hell!
Hostess (Mistress Quickly)
Nay, sure, he's not in hell: he's in Arthur's bosom, if ever man went to Arthur's bosom. A' made a finer end and went away an it had been any christom child; a' parted even just between twelve and one, even at the turning o' the tide: for after I saw him fumble with the sheets and play with flowers and smile upon his fingers' ends, I knew there was but one way; for his nose was as sharp as a pen, and a' babbled of green fields*. 'How now,
sir John!' quoth I 'what, man! be o' good cheer.' So a' cried out 'God, God, God!' three or
four times. Now I, to comfort him, bid him a' should not think of God; I hoped there was no need to trouble himself with any such thoughts yet. So a' bade me lay more clothes on his feet: I put my hand into the bed and felt them, and they were as cold as any stone; then I felt to his knees, and they were as cold as any stone, and so upward and upward, and all was as cold as any stone.
*green fields = as in “He maketh me to lie down in green pastures”
Henry V “Comment appelez-vous la main en Anglois?”
Act 3, Sc 4
In a room of the French palace at Rouen, Katharine, the king's daughter, and Alice, the old gentlewoman, have an English lesson. Alice knows only a little English, and Princess Katharine is trying to learn the language. All of the dialogue is in French except the few words (hand, nails, arm, and elbow, etc.) that she learns from Alice during the lesson. “Foot” is misinterpreted to mean the French word for fornication and “count” (for gown) is mispronounced to suggest French word for woman’s body part.
Enter KATHARINE and ALICE
KATHARINE
Alice, tu as ete en Angleterre, et tu parles bien le langage.
ALICE
Un peu, madame.
KATHARINE
Je te prie, m'enseignez: il faut que j'apprenne a
parler. Comment appelez-vous la main en Anglois?
ALICE
La main? elle est appelee de hand.
KATHARINE
De hand. Et les doigts?
ALICE
Les doigts? ma foi, j'oublie les doigts; mais je me
souviendrai. Les doigts? je pense qu'ils sont
appeles de fingres; oui, de fingres.
KATHARINE
La main, de hand; les doigts, de fingres. Je pense
que je suis le bon ecolier; j'ai gagne deux mots
d'Anglois vitement. Comment appelez-vous les ongles?
ALICE
Les ongles? nous les appelons de nails.
KATHARINE
De nails. Ecoutez; dites-moi, si je parle bien: de
hand, de fingres, et de nails.
ALICE
C'est bien dit, madame; il est fort bon Anglois.
KATHARINE
Dites-moi l'Anglois pour le bras.
ALICE
De arm, madame.
KATHARINE
Et le coude?
ALICE
De elbow.
KATHARINE
De elbow. Je m'en fais la repetition de tous les
mots que vous m'avez appris des a present.
ALICE
Il est trop difficile, madame, comme je pense.
KATHARINE
Excusez-moi, Alice; ecoutez: de hand, de fingres,
de nails, de arma, de bilbow.
ALICE
De elbow, madame.
KATHARINE
O Seigneur Dieu, je m'en oublie! de elbow. Comment
appelez-vous le col?
ALICE
De neck, madame.
KATHARINE
De nick. Et le menton?
ALICE
De chin.
KATHARINE
De sin. Le col, de nick; de menton, de sin.
ALICE
Oui. Sauf votre honneur, en verite, vous prononcez
les mots aussi droit que les natifs d'Angleterre.
KATHARINE
Je ne doute point d'apprendre, par la grace de Dieu,
et en peu de temps.
ALICE
N'avez vous pas deja oublie ce que je vous ai enseigne?
KATHARINE
Non, je reciterai a vous promptement: de hand, de
fingres, de mails—
ALICE
De nails, madame.
KATHARINE
De nails, de arm, de ilbow.
ALICE
Sauf votre honneur, de elbow.
KATHARINE
Ainsi dis-je; de elbow, de nick, et de sin. Comment
appelez-vous le pied et la robe?
ALICE
De foot, madame; et de coun.
KATHARINE
De foot et de coun! O Seigneur Dieu! ce sont mots
de son mauvais, corruptible, gros, et impudique, et
non pour les dames d'honneur d'user: je ne voudrais
prononcer ces mots devant les seigneurs de France
pour tout le monde. Foh! le foot et le coun!
Neanmoins, je reciterai une autre fois ma lecon
ensemble: de hand, de fingres, de nails, de arm, de
elbow, de nick, de sin, de foot, de coun.
ALICE
Excellent, madame!
KATHARINE
C'est assez pour une fois: allons-nous a diner.
Henry V “We few, we happy few, we band of brothers”
Act 4, Sc 2
The king enters and hears Westmoreland wish for ten thousand more English troops. In answer to Westmoreland, Henry says that if God plans for them to win, there will be greater glory with no more troops than these to share the honors with. He urges anyone who does not wish to fight to leave. Today is a day set aside for the celebration of the "Feast of Saint Crispian," and all of those English soldiers who survive the battle will be honored and remembered every Saint Crispian's Day. Henry promises that all of their names shall become household words and their deeds remembered.
WESTMORELAND
O that we now had here
But one ten thousand of those men in England
That do no work to-day!
KING HENRY V
What's he that wishes so?
My cousin Westmoreland? No, my fair cousin:
If we are mark'd to die, we are enow
To do our country loss; and if to live,
The fewer men, the greater share of honour.
God's will! I pray thee, wish not one man more.
By Jove, I am not covetous for gold,
Nor care I who doth feed upon my cost;
It yearns me not if men my garments wear;
Such outward things dwell not in my desires:
But if it be a sin to covet honour,
I am the most offending soul alive.
No, faith, my coz, wish not a man from England:
God's peace! I would not lose so great an honour
As one man more, methinks, would share from me
For the best hope I have. O, do not wish one more!
Rather proclaim it, Westmoreland, through my host,
That he which hath no stomach to this fight,
Let him depart; his passport shall be made
And crowns for convoy put into his purse:
We would not die in that man's company
That fears his fellowship to die with us.
This day is called the feast of Crispian:
He that outlives this day, and comes safe home,
Will stand a tip-toe when the day is named,
And rouse him at the name of Crispian.
He that shall live this day, and see old age,
Will yearly on the vigil feast his neighbours,
And say 'To-morrow is Saint Crispian:'
Then will he strip his sleeve and show his scars.
And say 'These wounds I had on Crispin's day.'
Old men forget: yet all shall be forgot,
But he'll remember with advantages
What feats he did that day: then shall our names.
Familiar in his mouth as household words
Harry the king, Bedford and Exeter,
Warwick and Talbot, Salisbury and Gloucester,
Be in their flowing cups freshly remember'd.
This story shall the good man teach his son;
And Crispin Crispian shall ne'er go by,
From this day to the ending of the world,
But we in it shall be remember'd;
We few, we happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother; be he ne'er so vile,
This day shall gentle his condition:
And gentlemen in England now a-bed
Shall think themselves accursed they were not here,
And hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin's day.
Richard II “This precious stone set in the silver sea”
Act 2, Sc 1
John of Gaunt, the Duke of Lancester and uncle to Richard II, is on his deathbed and laments the deterioration of England under Richard II.
Enter JOHN OF GAUNT sick, with the DUKE OF YORK, & company
JOHN OF GAUNT
Will the king come, that I may breathe my last
In wholesome counsel to his unstaid youth?
DUKE OF YORK
Vex not yourself, nor strive not with your breath;
For all in vain comes counsel to his ear.
JOHN OF GAUNT
O, but they say the tongues of dying men
Enforce attention like deep harmony:
Where words are scarce, they are seldom spent in vain,
For they breathe truth that breathe their words in pain.
He that no more must say is listen'd more
Than they whom youth and ease have taught to glose;
More are men's ends mark'd than their lives before:
The setting sun, and music at the close,
As the last taste of sweets, is sweetest last,
Writ in remembrance more than things long past:
Though Richard my life's counsel would not hear,
My death's sad tale may yet undeaf his ear.
DUKE OF YORK
No; it is stopp'd with other flattering sounds,
As praises, of whose taste the wise are fond,
Lascivious metres, to whose venom sound
The open ear of youth doth always listen;
Report of fashions in proud Italy,
Whose manners still our tardy apish nation
Limps after in base imitation.
Where doth the world thrust forth a vanity--
So it be new, there's no respect how vile--
That is not quickly buzzed into his ears?
Then all too late comes counsel to be heard,
Where will doth mutiny with wit's regard.
Direct not him whose way himself will choose:
'Tis breath thou lack'st, and that breath wilt thou lose.
JOHN OF GAUNT
Methinks I am a prophet new inspired
And thus expiring do foretell of him:
His rash fierce blaze of riot cannot last,
For violent fires soon burn out themselves;
Small showers last long, but sudden storms are short;
He tires betimes that spurs too fast betimes;
With eager feeding food doth choke the feeder:
Light vanity, insatiate cormorant*,
Consuming means, soon preys upon itself.
This royal throne of kings, this scepter'd isle,
This earth of majesty, this seat of Mars,
This other Eden, demi-paradise,
This fortress built by Nature for herself
Against infection and the hand of war,
This happy breed of men, this little world,
This precious stone set in the silver sea,
Which serves it in the office of a wall,
Or as a moat defensive to a house,
Against the envy of less happier lands,
This blessed plot, this earth, this realm, this England,
This nurse, this teeming womb of royal kings,
Fear'd by their breed and famous by their birth,
Renowned for their deeds as far from home,
For Christian service and true chivalry,
As is the sepulchre in stubborn Jewry,
Of the world's ransom, blessed Mary's Son,
This land of such dear souls, this dear dear land,
Dear for her reputation through the world,
Is now leased out, I die pronouncing it,
Like to a tenement or pelting farm:
England, bound in with the triumphant sea
Whose rocky shore beats back the envious siege
Of watery Neptune, is now bound in with shame,
With inky blots and rotten parchment bonds:
That England, that was wont to conquer others,
Hath made a shameful conquest of itself.
Ah, would the scandal vanish with my life,
How happy then were my ensuing death!
*cormorant = glutton
Macbeth “When shall we three meet again?”
Act 1, Sc 1
In a desolate place blasted by thunderstorms, Three Witches meet to predict the future. In Act 1 Sc 3 the confrount Macbeth and his friend Banquo.
ACT 1 SCENE I. A desert place.
Thunder and lightning. Enter three Witches
First Witch
When shall we three meet again
In thunder, lightning, or in rain?
Second Witch
When the hurlyburly's done,
When the battle's lost and won.
Third Witch
That will be ere the set of sun.
First Witch
Where the place?
Second Witch
Upon the heath.
Third Witch
There to meet with Macbeth.
First Witch
I come, Graymalkin!
Second Witch
Paddock calls.
Third Witch
Anon.
ALL
Fair is foul, and foul is fair:
Hover through the fog and filthy air.
Exeunt
ACT 1 SCENE III. A heath near Forres.
Thunder. Enter the three Witches
First Witch
Where hast thou been, sister?
Second Witch
Killing swine.
Third Witch
Sister, where thou?
First Witch
A sailor's wife had chestnuts in her lap,
And munch'd, and munch'd, and munch'd:--
'Give me,' quoth I:
'Aroint thee, witch!' the rump-fed ronyon cries.
Her husband's to Aleppo gone, master o' the Tiger:
But in a sieve I'll thither sail,
And, like a rat without a tail,
I'll do, I'll do, and I'll do.
Second Witch
I'll give thee a wind.
First Witch
Thou'rt kind.
Third Witch
And I another.
First Witch
I myself have all the other,
And the very ports they blow,
All the quarters that they know
I' the shipman's card.
I will drain him dry as hay:
Sleep shall neither night nor day
Hang upon his pent-house lid;
He shall live a man forbid:
Weary se'nnights nine times nine
Shall he dwindle, peak and pine:
Though his bark cannot be lost,
Yet it shall be tempest-tost.
Look what I have.
Second Witch
Show me, show me.
First Witch
Here I have a pilot's thumb,
Wreck'd as homeward he did come.
Drum within
Third Witch
A drum, a drum!
Macbeth doth come.
ALL
The weird sisters, hand in hand,
Posters of the sea and land,
Thus do go about, about:
Thrice to thine and thrice to mine
And thrice again, to make up nine.
Peace! the charm's wound up.
Enter MACBETH and BANQUO
MACBETH
So foul and fair a day I have not seen.
BANQUO
How far is't call'd to Forres? What are these
So wither'd and so wild in their attire,
That look not like the inhabitants o' the earth,
And yet are on't? Live you? or are you aught
That man may question? You seem to understand me,
By each at once her chappy finger laying
Upon her skinny lips: you should be women,
And yet your beards forbid me to interpret
That you are so.
MACBETH
Speak, if you can: what are you?
First Witch
All hail, Macbeth! hail to thee, thane of Glamis!
Second Witch
All hail, Macbeth, hail to thee, thane of Cawdor!
Third Witch
All hail, Macbeth, thou shalt be king hereafter!
BANQUO
Good sir, why do you start; and seem to fear
Things that do sound so fair? I' the name of truth,
Are ye fantastical, or that indeed
Which outwardly ye show? My noble partner
You greet with present grace and great prediction
Of noble having and of royal hope,
That he seems rapt withal: to me you speak not.
If you can look into the seeds of time,
And say which grain will grow and which will not,
Speak then to me, who neither beg nor fear
Your favours nor your hate.
First Witch
Hail!
Second Witch
Hail!
Third Witch
Hail!
First Witch
Lesser than Macbeth, and greater.
Second Witch
Not so happy, yet much happier.
Third Witch
Thou shalt get kings, though thou be none:
So all hail, Macbeth and Banquo!
First Witch
Banquo and Macbeth, all hail!
MACBETH
Stay, you imperfect speakers, tell me more:
By Sinel's death I know I am thane of Glamis;
But how of Cawdor? the thane of Cawdor lives,
A prosperous gentleman; and to be king
Stands not within the prospect of belief,
No more than to be Cawdor. Say from whence
You owe this strange intelligence? or why
Upon this blasted heath you stop our way
With such prophetic greeting? Speak, I charge you.
Witches vanish
BANQUO
The earth hath bubbles, as the water has,
And these are of them. Whither are they vanish'd?
MACBETH
Into the air; and what seem'd corporal melted
As breath into the wind. Would they had stay'd!
BANQUO
Were such things here as we do speak about?
Or have we eaten on the insane root
That takes the reason prisoner?
MACBETH
Your children shall be kings.
BANQUO
You shall be king.
MACBETH
And thane of Cawdor too: went it not so?
BANQUO
To the selfsame tune and words. Who's here?
Enter ROSS and ANGUS
ROSS
The king hath happily received, Macbeth,
The news of thy success; and when he reads
Thy personal venture in the rebels' fight,
His wonders and his praises do contend
Which should be thine or his: silenced with that,
In viewing o'er the rest o' the selfsame day,
He finds thee in the stout Norweyan ranks,
Nothing afeard of what thyself didst make,
Strange images of death. As thick as hail
Came post with post; and every one did bear
Thy praises in his kingdom's great defence,
And pour'd them down before him.
ANGUS
We are sent
To give thee from our royal master thanks;
Only to herald thee into his sight,
Not pay thee.
ROSS
And, for an earnest of a greater honour,
He bade me, from him, call thee thane of Cawdor:
In which addition, hail, most worthy thane!
For it is thine.
BANQUO
What, can the devil speak true?
MACBETH
The thane of Cawdor lives: why do you dress me
In borrow'd robes?
ANGUS
Who was the thane lives yet;
But under heavy judgment bears that life
Which he deserves to lose. Whether he was combined
With those of Norway, or did line the rebel
With hidden help and vantage, or that with both
He labour'd in his country's wreck, I know not;
But treasons capital, confess'd and proved,
Have overthrown him.
MACBETH
[Aside] Glamis, and thane of Cawdor!
The greatest is behind.
The Tempest “I have bedimm'd the noontide sun”
Act 5 Sc 1
Prospero declares he will renounce his magical powers/
PROSPERO
Ye elves of hills, brooks, standing lakes and groves,
And ye that on the sands with printless foot
Do chase the ebbing Neptune and do fly him
When he comes back; you demi-puppets that
By moonshine do the green sour ringlets make,
Whereof the ewe not bites, and you whose pastime
Is to make midnight mushrooms, that rejoice
To hear the solemn curfew; by whose aid,
Weak masters though ye be, I have bedimm'd
The noontide sun, call'd forth the mutinous winds,
And 'twixt the green sea and the azured vault
Set roaring war: to the dread rattling thunder
Have I given fire and rifted Jove's stout oak
With his own bolt; the strong-based promontory
Have I made shake and by the spurs pluck'd up
The pine and cedar: graves at my command
Have waked their sleepers, oped, and let 'em forth
By my so potent art. But this rough magic
I here abjure, and, when I have required
Some heavenly music, which even now I do,
To work mine end upon their senses that
This airy charm is for, I'll break my staff,
Bury it certain fathoms in the earth,
And deeper than did ever plummet sound
I'll drown my book.
Hamlet “…To thine own self be true”
Act 1 Sc 3
Polonius counsels his son Leartes before Leartes’ departure for Paris, then remonstrates his daughter Ophelia for allowing Hamlet to woo her.
LORD POLONIUS
Yet here, Laertes! aboard, aboard, for shame!
The wind sits in the shoulder of your sail,
And you are stay'd for. There; my blessing with thee!
And these few precepts in thy memory
See thou character. Give thy thoughts no tongue,
Nor any unproportioned thought his act.
Be thou familiar, but by no means vulgar.
Those friends thou hast, and their adoption tried,
Grapple them to thy soul with hoops of steel;
But do not dull thy palm with entertainment
Of each new-hatch'd, unfledged comrade. Beware
Of entrance to a quarrel, but being in,
Bear't that the opposed may beware of thee.
Give every man thy ear, but few thy voice;
Take each man's censure, but reserve thy judgment.
Costly thy habit as thy purse can buy,
But not express'd in fancy; rich, not gaudy;
For the apparel oft proclaims the man,
And they in France of the best rank and station
Are of a most select and generous chief in that.
Neither a borrower nor a lender be;
For loan oft loses both itself and friend,
And borrowing dulls the edge of husbandry.
This above all: to thine ownself be true,
And it must follow, as the night the day,
Thou canst not then be false to any man.
Farewell: my blessing season this in thee!
LAERTES
Most humbly do I take my leave, my lord.
LORD POLONIUS
The time invites you; go; your servants tend.
LAERTES
Farewell, Ophelia; and remember well
What I have said to you.
OPHELIA
'Tis in my memory lock'd,
And you yourself shall keep the key of it.
LAERTES
Farewell.
Exit
LORD POLONIUS
What is't, Ophelia, be hath said to you?
OPHELIA
So please you, something touching the Lord Hamlet.
LORD POLONIUS
Marry, well bethought:
'Tis told me, he hath very oft of late
Given private time to you; and you yourself
Have of your audience been most free and bounteous:
If it be so, as so 'tis put on me,
And that in way of caution, I must tell you,
You do not understand yourself so clearly
As it behoves my daughter and your honour.
What is between you? give me up the truth.
OPHELIA
He hath, my lord, of late made many tenders
Of his affection to me.
LORD POLONIUS
Affection! pooh! you speak like a green girl,
Unsifted in such perilous circumstance.
Do you believe his tenders, as you call them?
OPHELIA
I do not know, my lord, what I should think.
LORD POLONIUS
Marry, I'll teach you: think yourself a baby;
That you have ta'en these tenders for true pay,
Which are not sterling. Tender yourself more dearly;
Or--not to crack the wind of the poor phrase,
Running it thus--you'll tender me a fool.
OPHELIA
My lord, he hath importuned me with love
In honourable fashion.
LORD POLONIUS
Ay, fashion you may call it; go to, go to.
OPHELIA
And hath given countenance to his speech, my lord,
With almost all the holy vows of heaven.
LORD POLONIUS
Ay, springes to catch woodcocks. I do know,
When the blood burns, how prodigal the soul
Lends the tongue vows: these blazes, daughter,
Giving more light than heat, extinct in both,
Even in their promise, as it is a-making,
You must not take for fire. From this time
Be somewhat scanter of your maiden presence;
Set your entreatments* at a higher rate
Than a command to parley. For Lord Hamlet,
Believe so much in him, that he is young
And with a larger tether may he walk
Than may be given you: in few, Ophelia,
Do not believe his vows; for they are brokers,
Not of that dye which their investments** show,
But mere implorators of unholy suits,
Breathing like sanctified and pious bawds,
The better to beguile. This is for all:
I would not, in plain terms, from this time forth,
Have you so slander any moment leisure,
As to give words or talk with the Lord Hamlet.
Look to't, I charge you: come your ways.
OPHELIA
I shall obey, my lord.
Exeunt
*entreatments = negotiations before surrender
**investments = clothes
Hamlet “There is a willow grows aslant a brook”
Act 4 Sc 7
Queen Gertrude reports the death of Ophelia
QUEEN GERTRUDE
One woe doth tread upon another's heel,
So fast they follow; your sister's drown'd, Laertes.
LAERTES
Drown'd! O, where?
QUEEN GERTRUDE
There is a willow grows aslant a brook,
That shows his hoar leaves in the glassy stream;
There with fantastic garlands did she come
Of crow-flowers, nettles, daisies, and long purples
That liberal shepherds give a grosser name,
But our cold maids do dead men's fingers call them:
There, on the pendent boughs her coronet weeds
Clambering to hang, an envious sliver broke;
When down her weedy trophies and herself
Fell in the weeping brook. Her clothes spread wide;
And, mermaid-like, awhile they bore her up:
Which time she chanted snatches of old tunes;
As one incapable of her own distress,
Or like a creature native and indued
Unto that element: but long it could not be
Till that her garments, heavy with their drink,
Pull'd the poor wretch from her melodious lay
To muddy death.
LAERTES
Alas, then, she is drown'd?
QUEEN GERTRUDE
Drown'd, drown'd.
Hamlet “Whose grave’s this, sirrah?”
Act 5 Sc 1
Hamlet and Horatio jest with the grave digger.
HAMLET
Whose grave's this, sirrah?
First Clown
Mine, sir.
Sings
O, a pit of clay for to be made
For such a guest is meet.
HAMLET
I think it be thine, indeed; for thou liest in't.
First Clown
You lie out on't, sir, and therefore it is not
yours: for my part, I do not lie in't, and yet it is mine.
HAMLET
'Thou dost lie in't, to be in't and say it is thine:
'tis for the dead, not for the quick; therefore thou liest.
First Clown
'Tis a quick lie, sir; 'twill away gain, from me to
you.
HAMLET
What man dost thou dig it for?
First Clown
For no man, sir.
HAMLET
What woman, then?
First Clown
For none, neither.
HAMLET
Who is to be buried in't?
First Clown
One that was a woman, sir; but, rest her soul, she's dead.
HAMLET
How absolute the knave is! we must speak by the
card, or equivocation will undo us. By the Lord,
Horatio, these three years I have taken a note of
it; the age is grown so picked that the toe of the
peasant comes so near the heel of the courtier, he
gaffs his kibe. How long hast thou been a
grave-maker?
First Clown
Of all the days i' the year, I came to't that day
that our last king Hamlet overcame Fortinbras.
HAMLET
How long is that since?
First Clown
Cannot you tell that? every fool can tell that: it
was the very day that young Hamlet was born; he that
is mad, and sent into England.
HAMLET
Ay, marry, why was he sent into England?
First Clown
Why, because he was mad: he shall recover his wits
there; or, if he do not, it's no great matter there.
HAMLET
Why?
First Clown
'Twill, a not be seen in him there; there the men
are as mad as he.
HAMLET
How came he mad?
First Clown
Very strangely, they say.
HAMLET
How strangely?
First Clown
Faith, e'en with losing his wits.
HAMLET
Upon what ground?
First Clown
Why, here in Denmark: I have been sexton here, man
and boy, thirty years.
HAMLET
How long will a man lie i' the earth ere he rot?
First Clown
I' faith, if he be not rotten before he die--as we
have many pocky corses now-a-days, that will scarce
hold the laying in--he will last you some eight year
or nine year: a tanner will last you nine year.
HAMLET
Why he more than another?
First Clown
Why, sir, his hide is so tanned with his trade, that
he will keep out water a great while; and your water
is a sore decayer of your whoreson dead body.
Here's a skull now; this skull has lain in the earth
three and twenty years.
HAMLET
Whose was it?
First Clown
A whoreson mad fellow's it was: whose do you think it was?
HAMLET
Nay, I know not.
First Clown
A pestilence on him for a mad rogue! a' poured a
flagon of Rhenish on my head once. This same skull,
sir, was Yorick's skull, the king's jester.
HAMLET
This?
First Clown
E'en that.
HAMLET
Let me see.
Takes the skull
Alas, poor Yorick! I knew him, Horatio: a fellow
of infinite jest, of most excellent fancy: he hath
borne me on his back a thousand times; and now, how
abhorred in my imagination it is! my gorge rims at
it. Here hung those lips that I have kissed I know
not how oft. Where be your gibes now? your
gambols? your songs? your flashes of merriment,
that were wont to set the table on a roar? Not one
now, to mock your own grinning? quite chap-fallen?
Now get you to my lady's chamber, and tell her, let
her paint an inch thick, to this favour she must
come; make her laugh at that. Prithee, Horatio, tell
me one thing.
HORATIO
What's that, my lord?
HAMLET
Dost thou think Alexander looked o' this fashion i'
the earth?
HORATIO
E'en so.
HAMLET
And smelt so? pah!
Puts down the skull
HORATIO
E'en so, my lord.
HAMLET
To what base uses we may return, Horatio! Why may
not imagination trace the noble dust of Alexander,
till he find it stopping a bung-hole?
From Venus and Adonis “A breeding jennet, lusty, young and proud”
But, lo, from forth a copse that neighbors by,
A breeding jennet, lusty, young and proud,
Adonis' trampling courser doth espy,
And forth she rushes, snorts and neighs aloud:
The strong-neck'd steed, being tied unto a tree,
Breaketh his rein, and to her straight goes he.
Imperiously he leaps, he neighs, he bounds,
And now his woven girths he breaks asunder;
The bearing earth with his hard hoof he wounds,
Whose hollow womb resounds like heaven's thunder;
The iron bit he crusheth 'tween his teeth,
Controlling what he was controlled with.
His ears up-prick'd; his braided hanging mane
Upon his compass'd crest now stand on end;
His nostrils drink the air, and forth again,
As from a furnace, vapours doth he send:
His eye, which scornfully glisters like fire,
Shows his hot courage and his high desire.
Sometime he trots, as if he told the steps,
With gentle majesty and modest pride;
Anon he rears upright, curvets and leaps,
As who should say 'Lo, thus my strength is tried,
And this I do to captivate the eye
Of the fair breeder that is standing by.'
What recketh he his rider's angry stir,
His flattering 'Holla,' or his 'Stand, I say'?
What cares he now for curb or pricking spur?
For rich caparisons or trapping gay?
He sees his love, and nothing else he sees,
For nothing else with his proud sight agrees.
Look, when a painter would surpass the life,
In limning out a well-proportion'd steed,
His art with nature's workmanship at strife,
As if the dead the living should exceed;
So did this horse excel a common one
In shape, in courage, colour, pace and bone.
Round-hoof'd, short-jointed, fetlocks shag and long,
Broad breast, full eye, small head and nostril wide,
High crest, short ears, straight legs and passing strong,
Thin mane, thick tail, broad buttock, tender hide:
Look, what a horse should have he did not lack,
Save a proud rider on so proud a back.
Sometime he scuds far off and there he stares;
Anon he starts at stirring of a feather;
To bid the wind a base he now prepares,
And whether he run or fly they know not whether;
For through his mane and tail the high wind sings,
Fanning the hairs, who wave like feather'd wings.
He looks upon his love and neighs unto her;
She answers him as if she knew his mind:
Being proud, as females are, to see him woo her,
She puts on outward strangeness, seems unkind,
Spurns at his love and scorns the heat he feels,
Beating his kind embracements with her heels.
Sonnet 2 “When forty winters shall beseige thy brow”
When forty winters shall beseige thy brow,
And dig deep trenches in thy beauty's field,
Thy youth's proud livery, so gazed on now,
Will be a tatter'd weed, of small worth held:
Then being ask'd where all thy beauty lies,
Where all the treasure of thy lusty days,
To say, within thine own deep-sunken eyes,
Were an all-eating shame and thriftless praise.
How much more praise deserved thy beauty's use,
If thou couldst answer 'This fair child of mine
Shall sum my count and make my old excuse,'
Proving his beauty by succession thine!
This were to be new made when thou art old,
And see thy blood warm when thou feel'st it cold.
Sonnet 18 “Shall I compare thee to a summer's day?”
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm'd;
And every fair from fair sometime declines,
By chance or nature's changing course untrimm'd;
But thy eternal summer shall not fade
Nor lose possession of that fair thou owest;
Nor shall Death brag thou wander'st in his shade,
When in eternal lines to time thou growest:
So long as men can breathe or eyes can see,
So long lives this and this gives life to thee.
Sonnet 29 “When, in disgrace with fortune and men's eyes”
When, in disgrace with fortune and men's eyes,
I all alone beweep my outcast state
And trouble deal heaven with my bootless cries
And look upon myself and curse my fate,
Wishing me like to one more rich in hope,
Featured like him, like him with friends possess'd,
Desiring this man's art and that man's scope,
With what I most enjoy contented least;
Yet in these thoughts myself almost despising,
Haply I think on thee, and then my state,
Like to the lark at break of day arising
From sullen earth, sings hymns at heaven's gate;
For thy sweet love remember'd such wealth brings
That then I scorn to change my state with kings.
Sonnet 30 “When to the sessions of sweet silent thought”
When to the sessions of sweet silent thought
I summon up remembrance of things past,
I sigh the lack of many a thing I sought,
And with old woes new wail my dear time's waste:
Then can I drown an eye, unused to flow,
For precious friends hid in death's dateless night,
And weep afresh love's long since cancell'd woe,
And moan the expense of many a vanish'd sight:
Then can I grieve at grievances foregone,
And heavily from woe to woe tell o'er
The sad account of fore-bemoaned moan,
Which I new pay as if not paid before.
But if the while I think on thee, dear friend,
All losses are restored and sorrows end.
Sonnet 55 “Not marble, nor the gilded monuments”
Not marble, nor the gilded monuments
Of princes, shall outlive this powerful rhyme;
But you shall shine more bright in these contents
Than unswept stone besmear'd with sluttish time.
When wasteful war shall statues overturn,
And broils root out the work of masonry,
Nor Mars his sword nor war's quick fire shall burn
The living record of your memory.
'Gainst death and all-oblivious enmity
Shall you pace forth; your praise shall still find room
Even in the eyes of all posterity
That wear this world out to the ending doom.
So, till the judgment that yourself arise,
You live in this, and dwell in lover's eyes.
Sonnet 60 “Like as the waves make towards the pebbled shore”
Like as the waves make towards the pebbled shore,
So do our minutes hasten to their end;
Each changing place with that which goes before,
In sequent toil all forwards do contend.
Nativity, once in the main of light,
Crawls to maturity, wherewith being crown'd,
Crooked elipses 'gainst his glory fight,
And Time that gave doth now his gift confound.
Time doth transfix the flourish set on youth
And delves the parallels in beauty's brow,
Feeds on the rarities of nature's truth,
And nothing stands but for his scythe to mow:
And yet to times in hope my verse shall stand,
Praising thy worth, despite his cruel hand.
Sonnet 73 “That time of year thou mayst in me behold”
That time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruin'd choirs, where late the sweet birds sang.
In me thou seest the twilight of such day
As after sunset fadeth in the west,
Which by and by black night doth take away,
Death's second self, that seals up all in rest.
In me thou see'st the glowing of such fire
That on the ashes of his youth doth lie,
As the death-bed whereon it must expire
Consumed with that which it was nourish'd by.
This thou perceivest, which makes thy love more strong,
To love that well which thou must leave ere long.
Sonnet 106 “When in the chronicle of wasted time”
When in the chronicle of wasted time
I see descriptions of the fairest wights,
And beauty making beautiful old rhyme
In praise of ladies dead and lovely knights,
Then, in the blazon of sweet beauty's best,
Of hand, of foot, of lip, of eye, of brow,
I see their antique pen would have express'd
Even such a beauty as you master now.
So all their praises are but prophecies
Of this our time, all you prefiguring;
And, for they look'd but with divining eyes,
They had not skill enough your worth to sing:
For we, which now behold these present days,
Had eyes to wonder, but lack tongues to praise.
Wights: creature
Subscribe to:
Posts (Atom)
