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.
Half a league, half a league, Half a league onward, All in the valley of Death Rode the six hundred. "Forward the Light Brigade! Charge for the guns!" he said: Into the valley of Death Rode the six hundred.
"Forward the Light Brigade!" Was there a man dismay'd? Not tho' the soldier knew Some one had blunder'd: Their's not to make reply, Their's not to reason why, Their's but to do and die: Into the valley of Death Rode the six hundred.
Cannon to right of them, Cannon to left of them, Cannon in front of them Volley'd and thunder'd; Storm'd at with shot and shell, Boldly they rode and well, Into the jaws of Death, Into the mouth of Hell, Rode the six hundred.
Flash'd all their sabres bare, Flash'd as they turn'd in air Sabring the gunners there, Charging an army, while All the world wonder'd: Plunged in the battery-smoke Right thro' the line they broke; Cossack and Russian Reel'd from the sabre-stroke Shatter'd and sunder'd. Then they rode back, but not, Not the six hundred.
Cannon to right of them, Cannon to left of them, Cannon behind them Volley'd and thunder'd; Storm'd at with shot and shell, While horse and hero fell, They that had fought so well Came thro' the jaws of Death Back from the mouth of Hell, All that was left of them, Left of six hundred.
When can their glory fade? O the wild charge they made! All the world wonder'd. Honour the charge they made! Honour the Light Brigade, Noble six hundred!
Now winter nights enlarge The number of their hours; And clouds their storms discharge Upon the air towers. Let now the chimneys blaze And cups o'erflow with wine, Let well-turned words amaze With harmony divine. Now yellow waxen lights Shall wait on honey love While youthful revels, masques, and courtly sights Sleep's leaden spells remove.
This time doth well dispense With lovers' long discourse; Much speech hath some defense, Though beauty no remorse. All do not all things well; Some measures comely tread, Some knotted riddles tell, Some poems smoothly read. The summer hath his joys, And winter his delights; Though love and all his pleasures are but toys, They shorten tedious nights.
That is no country for old men. The young In one another's arms, birds in the trees, -- Those dying generations - at their song, The salmon-falls, the mackerel-crowded seas, Fish, flesh, or fowl, commend all summer long Whatever is begotten, born, and dies. Caught in that sensual music all neglect Monuments of unageing intellect.
II
An aged man is but a paltry thing, A tattered coat upon a stick, unless Soul clap its hands and sing, and louder sing For every tatter in its mortal dress, Nor is there singing school but studying Monuments of its own magnificence; And therefore I have sailed the seas and come To the holy city of Byzantium.
III
O sages standing in God's holy fire As in the gold mosaic of a wall, Come from the holy fire, perne a gyre, And be the singing-masters of my soul. Consume my heart away; sick with desire And fastened to a dying animal It knows not what it is; and gather me Into the artifice of eternity.
IV
Once out of nature I shall never take My bodily form from any natural thing, But such a form as Grecian goldsmiths make Of hammered gold and gold enamelling To keep a drowsy Emperor awake; Or set upon a golden bough to sing To lords and ladies of Byzantium Of what is past, or passing, or to come.
To be, or not to be, that is the question: Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles And by opposing end them. To die -- to sleep, No more; and by a sleep to say we end The heart-ache and the thousand natural shocks That flesh is heir to: 'tis a consummation Devoutly to be wish'd. To die, to sleep; To sleep, perchance to dream -- ay, there's the rub: For in that sleep of death what dreams may come, When we have shuffled off this mortal coil, Must give us pause - there's the respect That makes calamity of so long life. For who would bear the whips and scorns of time, Th' oppressor's wrong, the proud man contumely, The pangs of dispriz'd love, the law's delay, The insolence of office, and the spurns That patient merit of th' unworthy takes, When he himself might his quietus make With a bare bodkin? Who would fardels bare, To grunt and sweat under a weary life, But that the dread of something after death, The undiscover'd country, from whose bourn No traveller returns, puzzles the will, And makes us rather bear those ills we have Than fly to others that we know not of? Thus conscience doth make cowards of us all, And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, And enterprises of great pith and moment With this regard their currents turn awry And lose the name of action.