Seventeen years ago you said Something that sounded like Good-bye; And everybody thinks that you are dead, But I.
So I, as I grow stiff and cold To this and that say Good-bye too; And everybody sees that I am old But you.
And one fine morning in a sunny lane Some boy and girl will meet and kiss and swear That nobody can love their way again While over there You will have smiled, I shall have tossed your hair.
A touch of cold in the Autumn night -- I walked abroad, And saw the ruddy moon lean over a hedge Like a red-faced farmer. I did not stop to speak, but nodded, And round about were the wistful stars With white faces like town children.
My mistress' eyes are nothing like the sun; Coral is far more red than her lips' red; If snow be white, why then her breasts are dun; If hairs be wires, black wires grow on her head. I have seen roses damasked, red and white, But no such roses see I in her cheeks; And in some perfumes there is more delight Than in the breath that from my mistress reeks. I love to hear her speak, yet well I know That music hath a far more pleasing sound; I grant I never saw a goddess go; My mistress, when she walks, treads on the ground. And yet, by heaven, I think my love as rare As any she belied with false compare.
This darksome burn, horseback brown, His rollback highroad roaring down, In coop and in comb the fleece of his foam Flutes and low to the lake falls home.
A windpuff-bonnet of fawn-froth Turns and twindles over the broth Of a pool so pitchblack, fell frowning, It rounds and rounds Despair and drowning.
Degged with dew, dappled with dew Are the groins of the braes that the brook threads through. Wiry heathpacks, flitches of fern, And the beadbonny ash that sits over the burn.
What would the world be, once bereft Of wet and of wildness? Let them be left, O let them be left, wildness and wet; Long live the weeds and the wilderness yet.
Be not afeard: the isle is full of noises, Sound and sweet airs, that give delight, and hurt not. Sometimes a thousand twangling instruments Will hum about mine ears; and sometimes voices, That, if I then had wak'd after long sleep, Will make me sleep again: and then, in dreaming, The clouds methought would open and show riches Ready to drop upon me; that, when I wak'd I cried to dream again.
NOTE: In The Tempest, Act III: Scene 2, Caliban speaks these words to Stephano and Trinculo.
Bent double, like old beggars under sacks, Knock-kneed, coughing like hags, we cursed through sludge, Till on the haunting flares we turned our backs, And towards our distant rest began to trudge. Men marched asleep. Many had lost their boots, But limped on, blood-shod. All went lame; all blind; Drunk with fatigue; deaf even to the hoots Of gas-shells dropping softly behind.
Gas! GAS! Quick, boys! -- An ecstasy of fumbling Fitting the clumsy helmets just in time, But someone still was yelling out and stumbling And flound'ring like a man in fire or lime. -- Dim through the misty panes and thick green light, As under a green sea, I saw him drowning.
In all my dreams before my helpless sight, He plunges at me, guttering, choking, drowning.
If in some smothering dreams, you too could pace Behind the wagon that we flung him in, And watch the white eyes writhing in his face, His hanging face, like a devil's sick of sin; If you could hear, at every jolt, the blood Come gargling from the froth-corrupted lungs, Obscene as cancer, bitter as the cud Of vile, incurable sores on innocent tongues, -- My friend, you would not tell with such high zest To children ardent for some desperate glory, The old Lie: Dulce et decorum est Pro patria mori.
NOTE: Dulce et decorum est pro patria mori is a line written by Horace in Latin that translates to: “It is sweet and fitting to die for one’s country.”
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Until recently, I was only acquainted with Stevenson as a novelist, but I had a powerful experience with his poem “The Hayloft” (included in this collection.) I was intrigued by how a poem written by a nineteenth century Scot could prove so nostalgia-inducing for me, having been a 20th century American farm-boy. So, I read the collection, and found that “The Hayloft” was only one of many examples that had such an effect. Others include: “Land of Counterpane,” “Block City,” and “Land of Nod.” The nostalgic power of the poems derives from the fact that Stevenson does a phenomenal job of capturing a child’s enthusiasm for play, and in that regard I’m sure the collection will resonate more broadly than just I, or even than just farm kids.
Afterall, there’s a lot of Stevenson’s experience that is dissimilar to mine. Besides his era and his nationality, his mentions of nurses, gardeners, and cooks is surely much different from my own upbringing, being devoid of household staff. But the book only needs to draw upon that love of play and imagination to take one back.
For a work from the nineteenth century, this collection of 50+ lyric poems has aged well. There is the occasional word like “gabies” or “whin” to send one to a dictionary, but those archaic or obsolete terms are rarities. Furthermore, the lyricism of the poems makes them easily read or sung.
I’d highly recommend this collection for poetry readers, particularly children or those looking to reexperience childhood.