Chapter I: FOUND me in a great surging space,

At either end a door,
And I said: “What is this giddying place,
With no firm-fixéd floor,
That I knew not of before?”
“It is Life,” said a mask-clad face.

I asked: “But how do I come here,
Who never wished to come;
Can the light and air be made more clear,
The floor more quietsome,
And the doors set wide? They numb
Fast-locked, and fill with fear.”

The mask put on a bleak smile then,
And said, “O vassal-wight,
There once complained a goosequill pen
To the scribe of the Infinite
Of the words it had to write
Because they were past its ken.”

IN A WHISPERING GALLERY

THAT whisper takes the voice
Of a Spirit’s compassionings
Close, but invisible,
And throws me under a spell
At the kindling vision it brings;
And for a moment I rejoice,
And believe in transcendent things
That would mould from this muddy earth
A spot for the splendid birth
Of everlasting lives,
Whereto no night arrives;
And this gaunt gray gallery
A tabernacle of worth
On this drab-aired afternoon,
When you can barely see
Across its hazed lacune
If opposite aught there be
Of fleshed humanity
Wherewith I may commune;
Or if the voice so near
Be a soul’s voice floating here.

THE SOMETHING THAT SAVED HIM

IT was when
Whirls of thick waters laved me
Again and again,
That something arose and saved me;
Yea, it was then.

In that day
Unseeing the azure went I
On my way,
And to white winter bent I,
Knowing no May.

Reft of renown,
Under the night clouds beating
Up and down,
In my needfulness greeting
Cit and clown.

Long there had been
Much of a murky colour
In the scene,
Dull prospects meeting duller;
Nought between.

Last, there loomed
A closing-in blind alley,
Though there boomed
A feeble summons to rally
Where it gloomed.

The clock rang;
The hour brought a hand to deliver;
I upsprang,
And looked back at den, ditch and river,
And sang.

THE ENEMY’S PORTRAIT

HE saw the portrait of his enemy, offered
At auction in a street he journeyed nigh,
That enemy, now late dead, who in his life-time
Had injured deeply him the passer-by.
“To get that picture, pleased be God, I’ll try,
And utterly destroy it; and no more
Shall be inflicted on man’s mortal eye
A countenance so sinister and sore!”

And so he bought the painting. Driving homeward,
“The frame will come in useful,” he declared,
“The rest is fuel.” On his arrival, weary,
Asked what he bore with him, and how he fared,
He said he had bid for a picture, though he cared
For the frame only: on the morrow he
Would burn the canvas, which could well be spared,
Seeing that it portrayed his enemy.

Next day some other duty found him busy;
The foe was laid his face against the wall;
But on the next he set himself to loosen
The straining-strips. And then a casual call
Prevented his proceeding therewithal;
And thus the picture waited, day by day,
Its owner’s pleasure, like a wretched thrall,
Until a month and more had slipped away.

And then upon a morn he found it shifted,
Hung in a corner by a servitor.
“Why did you take on you to hang that picture?
You know it was the frame I bought it for.”
“It stood in the way of every visitor,
And I just hitched it there.”—“Well, it must go:
I don’t commemorate men whom I abhor.
Remind me ’tis to do. The frame I’ll stow.”

But things become forgotten. In the shadow
Of the dark corner hung it by its string,
And there it stayed—once noticed by its owner,
Who said, “Ah me—I must destroy that thing!”
But when he died, there, none remembering,
It hung, till moved to prominence, as one sees;
And comers pause and say, examining,
“I thought they were the bitterest enemies?”

IMAGININGS

SHE saw herself a lady
With fifty frocks in wear,
And rolling wheels, and rooms the best,
And faithful maidens’ care,
And open lawns and shady
For weathers warm or drear.

She found herself a striver,
All liberal gifts debarred,
With days of gloom, and movements stressed,
And early visions marred,
And got no man to wive her
But one whose lot was hard.

Yet in the moony night-time
She steals to stile and lea
During his heavy slumberous rest
When homecome wearily,
And dreams of some blest bright-time
She knows can never be.

ON THE DOORSTEP

THE rain imprinted the step’s wet shine
With target-circles that quivered and crossed
As I was leaving this porch of mine;
When from within there swelled and paused
A song’s sweet note;
And back I turned, and thought,
“Here I’ll abide.”

The step shines wet beneath the rain,
Which prints its circles as heretofore;
I watch them from the porch again,
But no song-notes within the door
Now call to me
To shun the dripping lea
And forth I stride.

_Jan._ 1914.

SIGNS AND TOKENS

SAID the red-cloaked crone
In a whispered moan:

“The dead man was limp
When laid in his chest;
Yea, limp; and why
But to signify
That the grave will crimp
Ere next year’s sun
Yet another one
Of those in that house—
It may be the best—
For its endless drowse!”

Said the brown-shawled dame
To confirm the same:

“And the slothful flies
On the rotting fruit
Have been seen to wear
While crawling there
Crape scarves, by eyes
That were quick and acute;
As did those that had pitched
On the cows by the pails,
And with flaps of their tails
Were far away switched.”

Said the third in plaid,
Each word being weighed:

“And trotting does
In the park, in the lane,
And just outside
The shuttered pane,
Have also been heard—
Quick feet as light
As the feet of a sprite—
And the wise mind knows
What things may betide
When such has occurred.”

Cried the black-craped fourth,
Cold faced as the north:

“O, though giving such
Some head-room, I smile
At your falterings
When noting those things
Round your domicile!
For what, what can touch
One whom, riven of all
That makes life gay,
No hints can appal
Of more takings away!”

PATHS OF FORMER TIME

NO; no;
It must not be so:
They are the ways we do not go.

Still chew
The kine, and moo
In the meadows we used to wander through;

Still purl
The rivulets and curl
Towards the weirs with a musical swirl;

Haymakers
As in former years
Rake rolls into heaps that the pitchfork rears;

Wheels crack
On the turfy track
The waggon pursues with its toppling pack.

“Why then shun—
Since summer’s not done—
All this because of the lack of one?”

Had you been
Sharer of that scene
You would not ask while it bites in keen

Why it is so
We can no more go
By the summer paths we used to know!

1913.

THE CLOCK OF THE YEARS

“A spirit passed before my face; the hair of my flesh stood up.”

AND the Spirit said,
“I can make the clock of the years go backward,
But am loth to stop it where you will.”
And I cried, “Agreed
To that. Proceed:
It’s better than dead!”

He answered, “Peace”;
And called her up—as last before me;
Then younger, younger she freshed, to the year
I first had known
Her woman-grown,
And I cried, “Cease!—

“Thus far is good—
It is enough—let her stay thus always!”
But alas for me. He shook his head:
No stop was there;
And she waned child-fair,
And to babyhood.

Still less in mien
To my great sorrow became she slowly,
And smalled till she was nought at all
In his checkless griff;
And it was as if
She had never been.

“Better,” I plained,
“She were dead as before! The memory of her
Had lived in me; but it cannot now!”
And coldly his voice:
“It was your choice
To mar the ordained.”

1916.

AT THE PIANO

A WOMAN was playing,
A man looking on;
And the mould of her face,
And her neck, and her hair,
Which the rays fell upon
Of the two candles there,
Sent him mentally straying
In some fancy-place
Where pain had no trace.

A cowled Apparition
Came pushing between;
And her notes seemed to sigh,
And the lights to burn pale,
As a spell numbed the scene.
But the maid saw no bale,
And the man no monition;
And Time laughed awry,
And the Phantom hid nigh.

THE SHADOW ON THE STONE