ENGL 121 final

'This affair removed entirely the disguise with which I had hitherto guarded my heart;—my brother—my generous brother! learned the true state of its affections. He saw the grief which prayed upon my health; he observed it to my father, and he nobly—oh how nobly! to restore my happiness, desired to resign apart of the estate which had already descended to him in right of his mother. Alas! Hippolitus,' continued Cornelia, deeply sighing, 'thy virtues deserved a better fate.' 'Hippolitus!' said Julia, in a tremulous accent, 'Hippolitus, Count de Vereza!'—'The same,' replied the nun, in a tone of surprize. Julia was speechless; tears, however, came to her relief. The astonishment of Cornelia for some moment surpassed expression; at length a gleam of recollection crossed her mind, and she too well understood the scene before her. Julia, after some time revived, when Cornelia tenderly approaching her, 'Do I then embrace my sister!' said she. 'United in sentiment, are we also united in misfortune?' Julia answered with her sighs, and their tears flowed in mournful sympathy together. At length Cornelia resumed her narrative. 'My father, struck with the conduct of Hippolitus, paused upon the offer. The alteration in my health was too obvious to escape his notice; the conflict between pride and parental tenderness, held him for some time in indecision, but the latter finally subdued every opposing feeling, and he yielded his consent to my marriage with Angelo. The sudden transition from grief to joy was almost too much for my feeble frame; judge then what must have been the effect of the dreadful reverse, when the news arrived that Angelo had fallen in a foreign engagement! Let me obliterate, if possible, the impression of sensations so dreadful. The sufferings of my brother, whose generous heart could so finely feel for another's woe, were on this occasion inferior only to my own. 'After the first excess of my grief was subsided, I desired to retire from a world which had tempted me only with illusive visions of happiness, and to remove from those scenes which prompted recollection, and perpetuated my distress. My father applauded my resolution, and I immediately was admited a noviciate into this monastery, with the Superior of which my father had in his youth been acquainted.

A Sicilian Romance - Ann Radcliffe

He passed over loose stones through a sort of court till he came to the archway; here he stopped, for fear returned upon him. Resuming his courage, however, he went on, still endeavouring to follow the way the figure had passed, and suddenly found himself in an enclosed part of the ruin, whose appearance was more wild and desolate than any he had yet seen. Seized with unconquerable apprehension, he was retiring, when the low voice of a distressed person struck his ear. His heart sunk at the sound, his limbs trembled, and he was utterly unable to move. The sound which appeared to be the last groan of a dying person, was repeated. Hippolitus made a strong effort, and sprang forward, when a light burst upon him from a shattered casement of the building, and at the same instant he heard the voices of men! He advanced softly to the window, and beheld in a small room, which was less decayed than the rest of the edifice, a group of men, who, from the savageness of their looks, and from their dress, appeared to be banditti. They surrounded a man who lay on the ground wounded, and bathed in blood, and who it was very evident had uttered the groans heard by the count.

A Sicilian Romance - Ann Radcliffe

She arose, and renewed her search for an outlet. The light, imperfect as it was, now assisted her, and she found a door, which she perceived was not the one by which she had entered. It was firmly fastened; she discovered, however, the bolts and the lock that held it, and at length unclosed the door. It opened upon a dark passage, which she entered. She groped along the winding walls for some time, when she perceived the way was obstructed. She now discovered that another door interrupted her progress, and sought for the bolts which might fasten it. These she found; and strengthened by desparation forced them back. The door opened, and she beheld in a small room, which received its feeble light from a window above, the pale and emaciated figure of a woman, seated, with half-closed eyes, in a kind of elbow-chair. On perceiving Julia, she started from her seat, and her countenance expressed a wild surprise. Her features, which were worn by sorrow, still retained the traces of beauty, and in her air was a mild dignity that excited in Julia an involuntary veneration. She seemed as if about to speak, when fixing her eyes earnestly and steadily upon Julia, she stood for a moment in eager gaze, and suddenly exclaiming, 'My daughter!' fainted away. The astonishment of Julia would scarcely suffer her to assist the lady who lay senseless on the floor. A multitude of strange imperfect ideas rushed upon her mind, and she was lost in perplexity; but as she examined the features of the stranger; which were now rekindling into life, she thought she discovered the resemblance of Emilia! The lady breathing a deep sigh, unclosed her eyes; she raised them to Julia, who hung over her in speechless astonishment, and fixing them upon her with a tender earnest expression—they filled with tears. She pressed Julia to her heart, and a few moments of exquisite, unutterable emotion followed. When the lady became more composed, 'Thank heaven!' said she, 'my prayer is granted. I am permitted to embrace one of my children before I die. Tell me what brought you hither. Has the marquis at last relented, and allowed me once more to behold you, or has his death dissolved my wretched bondage?'

A Sicilian Romance - Ann Radcliffe

She loved to indulge the melancholy of her heart in the solitude of the woods. One evening she took her lute to a favorite spot on the seashore, and resigning herself to a pleasing sadness, touched some sweet and plaintive airs. The purple flush of evening was diffused over the heavens. The sun, involved in clouds of splendid and innumerable hues, was setting o'er the distant waters, whose clear bosom flowed with rich reflection. The beauty of the scene, the soothing murmur of the high trees, waved by the light air which overshadowed her, and the soft shelling of the waves that flowed gently in upon the shores, insensibly sunk her mind into a state of repose. She touched the chords of her lute in sweet and wild melody, and sung the following ode: Evening veil'd in dewy shades, Slowly sinks upon the main; See th'empurpled glory fades, Beneath her sober chasten'd reign. Around her car the pensive Hours, In sweet ill apses meet the sight, Crown'd their brows with closing flow'rs Rich with chrystal dews of night. Her hands, the dusky hues arrange O'er the fine tints of parting day; Insensibly the colors change, And languish into soft decay. Wide o'er the waves her shadowy veil she draws. As faint they dies along the distant shores; Through the still air I mark each solemn pause, Each rising murmur which the wild wave pours. A browner shadow spreads upon the air, And o'er the scene a pensive grandeur throws; The rocks--the woods a wilder beauty wear, And the deep wave in softer music flows; And now the distant view where vision fails, Twilight and grey obscurity pervade; Tint following tint each darkening object veils, Till all the landscape sinks into the shade. Oft from the airy steep of some lone hill, While sleeps the scene beneath the purple glow; And evening lives o'er all serene and still Wrapt let me view the magic world below! And catch the dying gale that swells remote, That steals the sweetness from the shepherd's flute; The distant torrent's melancholy note And the soft warbling of the lover's lute. Still through the deep'ning gloom of bow'ry shades To Fancy's eye fantastic forms appear; Low whisp'ring echoes steal along the glades and thrill the ear with wildly-pleasing fear. Parent of shades!--of silence!--dewy airs! Of solemn musing, and of vision wild! To thee my soul her pensive tribute bears, And hails thy gradual step, thy influence mild.

A Sicilian Romance - Ann Radcliffe

She would escape the dreadful destiny awaiting her, but must, perhaps, sully the purity of that reputation, which was dearer to her than existence. In a mind like hers, exquisitely susceptible of the pride of honor, this fear was able to counteract every other consideration, and to keep her intentions in a state of painful suspense. She sighed deeply, and continued silent. Hippolitus was alarmed by the calm distress which her countenance exhibited. 'O! Julia,' said he, 'relieve me from this dreadful suspense!—speak to me—explain this silence.' She looked mournfully upon him—her lips moved, but no sounds were uttered. As he repeated his question, she waved her hand, and sunk back in her chair. She had not fainted, but continued some time in a state of stupor not less alarming. The importance of the present question, operating upon her mind, already harassed by distress, had produced a temporary suspension of reason. Hippolitus hung over her in an agony not to be described, and Ferdinand vainly repeated her name. At length uttering a deep sigh, she raised herself, and, like one awakened from a dream, gazed around her. Hippolitus thanked God fervently in his heart. 'Tell me but that you are well,' said he, 'and that I may dare to hope, and we will leave you to repose.'—'My sister,' said Ferdinand, 'consult only your own wishes, and leave the rest to me. Suffer a confidence in me to dissipate the doubts with which you are agitated.'—'Ferdinand,' said Julia, emphatically, 'how shall I express the gratitude your kindness has excited?'—'Your gratitude,' said he, 'will be best shown in consulting your own wishes; for be assured, that whatever procures your happiness, will most effectually establish mine. Do not suffer the prejudices of education to render you miserable. Believe me, that a choice which involves the happiness or misery of your whole life, ought to be decided only by yourself.' 'Let us forbear for the present,' said Hippolitus, 'to urge the subject. Repose is necessary for you,' addressing Julia, 'and I will not suffer a selfish consideration any longer to with-hold you from it.—Grant me but this request—that at this hour to-morrow night, I may return hither to receive my doom.' Julia having consented to receive Hippolitus and Ferdinand, they quitted the closet. In turning into the grand gallery, they were surprised by the appearance of a light, which gleamed upon the wall that terminated their view. It seemed to proceed from a door which opened upon a back stair-case. They pushed on, but it almost instantly disappeared, and upon the stair-case all was still. They then separated, and retired to their apartments, somewhat alarmed by this circumstance, which induced them to suspect that their visit to Julia had been observed.

A Sicilian Romance - Ann Radcliffe

The count could scarcely support the fainting spirits of Julia; he ran to the door, which he endeavoured to open, but the lock was so constructed that it could be moved only on the other side, and all his efforts were useless. He was constrained, therefore, to seek for another door, but could find none. Their situation was the most deplorable that can be imagined; for they were now inclosed in a vault strewn with the dead bodies of the murdered, and must there become the victims of famine, or of the sword. The earth was in several places thrown up, and marked the boundaries of new-made graves. The bodies which remained unburied were probably left either from hurry or negligence, and exhibited a spectacle too shocking for humanity. The sufferings of Hippolitus were increased by those of Julia, who was sinking with horror, and who he endeavoured to support to apart of the vault which fell into a recess—where stood a bench. They had not been long in this situation, when they heard a noise which approached gradually, and which did not appear to come from the avenue they had passed. The noise increased, and they could distinguish voices. Hippolitus believed the murderers were returned; that they had traced his retreat, and were coming towards the vault by some way unknown to him. He prepared for the worst—and drawing his sword, resolved to defend Julia to the last. Their apprehension, however, was soon dissipated by a trampling of horses, which sound had occasioned his alarm, and which now seemed to come from a courtyard above, extremely near the vault. He distinctly heard the voices of the banditti, together with the moans and supplications of some person, whom it was evident they were about to plunder. The sound appeared so very near, that Hippolitus was both shocked and surprised; and looking round the vault, he perceived a small grated window placed very high in the wall, which he concluded overlooked the place where the robbers were assembled. He recollected that his light might betray him; and horrible as was the alternative, he was compelled to extinguish it. He now attempted to climb to the grate, through which he might obtain a view of what was passing without. This at length he effected, for the ruggedness of the wall afforded him a footing. He beheld in a ruinous court, which was partially illuminated by the glare of torches, a group of banditti surrounding two persons who were bound on horseback, and who were supplicating for mercy.

A Sicilian Romance - Ann Radcliffe

The tempest came on, and the captain vainly sounded for anchorage: it was deep sea, and the vessel drove furiously before the wind. The darkness was interrupted only at intervals, by the broad expanse of vivid lightnings, which quivered upon the waters, and disclosing the horrible gaspings of the waves, served to render the succeeding darkness more awful. The thunder, which burst in tremendous crashes above, the loud roar of the waves below, the noise of the sailors, and the sudden cracks and groanings of the vessel conspired to heighten the tremendous sublimity of the scene. Far on the rocky shores the surges sound, The lashing whirlwinds cleave the vast profound; While high in air, amid the rising storm, Driving the blast, sits Danger's black'ning form.

A Sicilian Romance - Ann Radcliffe

They arose, when Julia, who with difficulty had supported herself, now impelled by an irresistible fear of instant discovery, rose also, and moved softly towards the gallery. The sound of her step alarmed the count, who, apprehensive lest his conversation had been overheard, was anxious to be satisfied whether any person was in the closet. He rushed in, and discovered Julia! She caught at a chair to support her trembling frame; and overwhelmed with mortifying sensations, sunk into it, and hid her face in her robe. Hippolitus threw himself at her feet, and seizing her hand, pressed it to his lips in expressive silence. Some moments passed before the confusion of either would suffer them to speak. At length recovering his voice, 'Can you, madam,' said he, 'forgive this intrusion, so unintentional? or will it deprive me of that esteem which I have but lately ventured to believe I possessed, and which I value more than existence itself. O! speak my pardon! Let me not believe that a single accident has destroyed my peace for ever.'--'If your peace, sir, depends upon a knowledge of my esteem,' said Julia, in a tremulous voice, 'that peace is already secure. If I wished even to deny the partiality I feel, it would now be useless; and since I no longer wish this, it would also be painful.' Hippolitus could only weep his thanks over the hand he still held. 'Be sensible, however, of the delicacy of my situation,' continued she, rising, 'and suffer me to withdraw.' Saying this she quitted the closet, leaving Hippolitus overcome with this sweet confirmation of his wished, and Ferdinand not yet recovered from the painful surprize which the discovery of Julia had excited. He was deeply sensible of the confusion he had occasioned her, and knew that apologies would not restore the composure he had so cruelly yet unwarily disturbed.

A Sicilian Romance - Ann Radcliffe

This day, like the preceding one, was devoted to joy. In the evening there was a concert, which was chiefly performed by the nobility. Ferdinand played the violoncello, Vereza the German flute, and Julia the piana-forte, which she touched with a delicacy and execution that engaged every auditor. The confusion of Julia may be easily imagined, when Ferdinand, selecting a beautiful duet, desired Vereza would accompany his sister. The pride of conscious excellence, however, quickly overcame her timidity, and enabled her to exert all her powers. The air was simple and pathetic and she gave it those charms of expression so peculiarly her own. She struck the chords of her piana-forte in beautiful accompaniment, and towards the close of the second stanza, her voice resting on one note, swelled into a tone so exquisite, and from thence descended to a few simple notes, which she touched with such impassioned tenderness that every eye wept to the sounds. The breath of the flute trembled, and Hippolitus entranced, forgot to play. A pause of silence ensued at the conclusion of the piece, and continued till a general sigh seemed to awaken the audience from their enchantment. Amid the general applause, Hippolitus was silent. Julia observed his behaviour, and gently raising her eyes to his, there read the sentiments which she had inspired. An exquisite emotion thrilled her heart, and she experienced one of those rare moments which illuminate life with a ray of bliss, by which the darkness of its general shade is contrasted. Care, doubt, every disagreeable sensation vanished, and for the remainder of the evening she was conscious only of delight. A timid respect marked the manner of Hippolitus, more flattering to Julia than the most ardent professions. The evening concluded with a ball, and Julia was again the partner of the count.

A Sicilian Romance - Ann Radcliffe

Vanity often produces unreasonable alarm; but the marchioness had in this instance just grounds for apprehension; the beauty of her lord's daughters has seldom been exceeded. The person of Emilia was finely proportioned. Her complexion was fair, her hair flaxen, and her dark blue eyes were full of sweet expression. Her manners were dignified and elegant, and in her air was a feminine softness, a tender timidity which irresistibly attracted the heart of the beholder. The figure of Julia was light and graceful--her step was airy--her mien animated, and her smile enchanting. Her eyes were dark, and full of fire, but tempered with modest sweetness. Her features were finely turned--every laughing grace played round her mouth, and her countenance quickly discovered all the various emotions of her soul. The dark auburn hair, which curled in beautiful profusion in her neck, gave a finishing charm to her appearance. Thus lovely, and thus veiled in obscurity, were the daughters of the noble Mazzini. But they were happy, for they knew not enough of the world seriously to regret the want of its enjoyments, though Julia would sometimes sigh for the airy image which her fancies painted, and a painful curiosity would arise concerning the busy scenes from which she was excluded. A return to her customary amusements, however, would chase the ideal image from her and, and restore her usual happy complacency. Books, music, and painting, divided the hours of her leisure, and many beautiful summer - evenings were spent in the pavilion, where the refined conversation of madame, the poetry of Tasso, the lute of Julia, and the friendship of Emilia, combined to form a species of happiness, such as elevated and highly susceptible minds are alone capable of receiving or communicating. Madame understood and practised all the graces of conversation, and her young pupils perceived its value, and caught the spirit of its character.

A Sicilian Romance - Ann Radcliffe

When they reached the high altar, the bier was rested, and in a few moments the anthem ceased. 'The Abate now approached to perform the unction; the veil of the dying nun was lifted—and Julia discovered her beloved Cornelia! Her countenance was already impressed with the image of death, but her eyes brightened with a faint gleam of recollection, when they fixed upon Julia, who felt a cold thrill run through her frame, and leaned for support on madame. Julia now for the first time distinguished the unhappy lover of Cornelia, on whose features was depictured the anguish of his heart, and who hung pale and silent over the bier. The ceremony being finished, the anthem struck up; the bier was lifted, when Cornelia faintly moved her hand, and it was again rested upon the steps of the altar. In a few minutes the music ceased, when lifting her heavy eyes to her lover, with an expression of ineffable tenderness and grief, she attempted to speak, but the sounds died on her closing lips. A faint smile passed over her countenance, and was succeeded by a fine devotional glow; she folded her hands upon her bosom, and with a look of meek resignation, raising towards heaven her eyes, in which now sunk the last sparkles of expiring life—her soul departed in a short deep sigh. Her lover sinking back, endeavoured to conceal his emotions, but the deep sobs which agitated his breast betrayed his anguish, and the tears of every spectator bedewed the sacred spot where beauty, sense, and innocence expired. The organ now swelled in mournful harmony; and the voices of the assembly chanted in choral strain, a low and solemn requiem to the spirit of the departed. Madame hurried Julia, who was almost as lifeless as her departed friend, from the church. A death so sudden heightened the grief which separation would otherwise have occasioned. It was the nature of Cornelia's disorder to wear a changeful but flattering aspect. Though she had long been declining, her decay was so gradual and imperceptible as to lull the apprehensions of her friends into security. It was otherwise with herself; she was conscious of the change, but forbore to afflict them with the knowledge of the truth. The hour of her dissolution was sudden, even to herself; but it was composed, and even happy. In the death of Cornelia, Julia seemed to mourn again that of Hippolitus. Her decease appeared to dissolve the last tie which connected her with his memory.

A Sicilian Romance - Ann Radcliffe

A slumber did my spirit seal; I had no human fears: She seemed a thing that could not feel The touch of earthly years. No motion has she now, no force; She neither hears nor sees; Rolled round in earth's diurnal course, With rocks, and stones, and trees.

A Slumber Did My Spirit Seal - William Wordsworth

We sat together at one summer's end, That beautiful mild woman, your close friend, And you and I, and talked of poetry. I said, 'A line will take us hours maybe; Yet if it does not seem a moment's thought, Our stitching and unstitching has been naught. Better go down upon your marrow-bones And scrub a kitchen pavement, or break stones Like an old pauper, in all kinds of weather; For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, schoolmasters, and clergymen The martyrs call the world.' And thereupon That beautiful mild woman for whose sake There's many a one shall find out all heartache On finding that her voice is sweet and low Replied, 'To be born woman is to know— Although they do not talk of it at school— That we must labour to be beautiful.' I said, 'It's certain there is no fine thing Since Adam's fall but needs much labouring. There have been lovers who thought love should be So much compounded of high courtesy That they would sigh and quote with learned looks Precedents out of beautiful old books; Yet now it seems an idle trade enough.' We sat grown quiet at the name of love; We saw the last embers of daylight die, And in the trembling blue-green of the sky A moon, worn as if it had been a shell Washed by time's waters as they rose and fell About the stars and broke in days and years. I had a thought for no one's but your ears: That you were beautiful, and that I strove To love you in the old high way of love; That it had all seemed happy, and yet we'd grown As weary-hearted as that hollow moon.

Adam's Curse - W.B. Yeats

Ah! why, because the dazzling sun Restored my earth to joy Have you departed, every one, And left a desert sky? All through the night, your glorious eyes Were gazing down in mine, And with a full heart's thankful sighs I blessed that watch divine! I was at peace, and drank your beams As they were life to me And revelled in my changeful dreams Like petrel on the sea. Thought followed thought—star followed star Through boundless regions on, While one sweet influence, near and far, Thrilled through and proved us one. Why did the morning rise to break So great, so pure a spell, And scorch with fire the tranquil cheek Where your cool radiance fell? Blood-red he rose, and arrow-straight, His fierce beams struck my brow; The soul of Nature sprang elate, But mine sank sad and low! My lids closed down—yet through their veil I saw him blazing still; And bathe in gold the misty dale, And flash upon the hill. I turned me to the pillow then To call back Night, and see Your worlds of solemn light, again Throb with my heart and me! It would not do—the pillow glowed And glowed both roof and floor, And birds sang loudly in the wood, And fresh winds shook the door. The curtains waved, the wakened flies Were murmuring round my room, Imprisoned there, till I should rise And give them leave to roam. O Stars and Dreams and Gentle Night; O Night and Stars return! And hide me from the hostile light That does not warm, but burn— That drains the blood of suffering men; Drinks tears, instead of dew: Let me sleep through his blinding reign, And only wake with you!

Ah! Why, Because the Dazzling Sun (aka Stars) - Emily Brontë

Ah, are you digging on my grave My loved one?--planting rue?" --"No: yesterday he went to wed One of the brightest wealth has bred. 'It cannot hurt her now,' he said, That I 'should not be true.'" Then who is digging on my grave? My nearest dearest kin?" --"Ah, no; they sit and think, 'What use! What good will planting flowers produce? No tendance of her mound can loose Her spirit from Death's gin.'" But someone digs upon my grave? My enemy?--prodding sly?" --"Nay; when she heard you had passed the Gate That shuts on all flesh soon or late, She thought you no more worth her hate, And cares not where you lie." Then, who is digging on my grave? Say--since I have not guessed!" --"0 it is I, my mistress dear, Your little dog, who still lives near, And much I hope my movements here Have not disturbed your rest?" Ah, yes! You dig upon my grave . . . Why flashed it not on me That one true heart was left behind! What feeling do we ever find To equal among humankind A dog's fidelity!" Mistress, I dug upon your grave To bury a bone, in case I should be hungry near this spot When passing on my daily trot. I am sorry, but I quite forgot It was your resting-place."

Ah, Are You Digging on My Grave? - Thomas Hardy

I I walk through the long schoolroom questioning; A kind old nun in a white hood replies; The children learn to cipher and to sing, To study reading-books and history, To cut and sew, be neat in everything In the best modern way—the children's eyes In momentary wonder stare upon A sixty-year-old smiling public man. II I dream of a Ledaean body, bent Above a sinking fire, a tale that she Told of a harsh reproof, or trivial event That changed some childish day to tragedy— Told, and it seemed that our two natures blent Into a sphere from youthful sympathy, Or else, to alter Plato's parable, Into the yolk and white of the one shell. III And thinking of that fit of grief or rage I look upon one child or t'other there And wonder if she stood so at that age— For even daughters of the swan can share Something of every paddler's heritage— And had that colour upon cheek or hair, And thereupon my heart is driven wild: She stands before me as a living child. IV Her present image floats into the mind— Did Quattrocento finger fashion it Hollow of cheek as though it drank the wind And took a mess of shadows for its meat? And I though never of Ledaean kind Had pretty plumage once—enough of that, Better to smile on all that smile, and show There is a comfortable kind of old scarecrow. V What youthful mother, a shape upon her lap Honey of generation had betrayed, And that must sleep, shriek, struggle to escape As recollection or the drug decide, Would think her son, did she but see that shape With sixty or more winters on its head, A compensation for the pang of his birth, Or the uncertainty of his setting forth? VI Plato thought nature but a spume that plays Upon a ghostly paradigm of things; Solider Aristotle played the taws Upon the bottom of a king of kings; World-famous golden-thighed Pythagoras Fingered upon a fiddle-stick or strings What a star sang and careless Muses heard: Old clothes upon old sticks to scare a bird. VII Both nuns and mothers worship images, But those the candles light are not as those That animate a mother's reveries, But keep a marble or a bronze repose. And yet they too break hearts—O Presences That passion, piety or affection knows, And that all heavenly glory symbolise— O self-born mockers of man's enterprise; VIII Labour is blossoming or dancing where The body is not bruised to pleasure soul, Nor beauty born out of its own despair, Nor blear-eyed wisdom out of midnight oil. O chestnut tree, great rooted blossomer, Are you the leaf, the blossom or the bole? O body swayed to music, O brightening glance, How can we know the dancer from the dance?

Among School Children - W.B. Yeats

I plucked pink blossoms from mine apple tree And wore them all that evening in my hair: Then in due season when I went to see I found no apples there. With dangling basket all along the grass As I had come I went the selfsame track: My neighbours mocked me while they saw me pass So empty-handed back. Lilian and Lilias smiled in trudging by, Their heaped-up basket teazed me like a jeer; Sweet-voiced they sang beneath the sunset sky, Their mother's home was near. Plump Gertrude passed me with her basket full, A stronger hand than hers helped it along; A voice talked with her thro' the shadows cool More sweet to me than song. Ah Willie, Willie, was my love less worth Than apples with their green leaves piled above? I counted rosiest apples on the earth Of far less worth than love. So once it was with me you stooped to talk Laughing and listening in this very lane: To think that by this way we used to walk We shall not walk again! I let my neighbours pass me, ones and twos And groups; the latest said the night grew chill, And hastened: but I loitered, while the dews Fell fast I loitered still.

An Apple-Gathering - Christina Rossetti

Remembering with difficulty why I had come I went over to one of the stalls and examined porcelain vases and flowered tea-sets. At the door of the stall a young lady was talking and laughing with two young gentlemen. I remarked their English accents and listened vaguely to their conversation. O, I never said such a thing! O, but you did! O, but I didn't! Didn't she say that? Yes. I heard her. O, there's a ... fib! Observing me the young lady came over and asked me did I wish to buy anything. The tone of her voice was not encouraging; she seemed to have spoken to me out of a sense of duty. I looked humbly at the great jars that stood like eastern guards at either side of the dark entrance to the stall and murmured: No, thank you. The young lady changed the position of one of the vases and went back to the two young men. They began to talk of the same subject. Once or twice the young lady glanced at me over her shoulder. I lingered before her stall, though I knew my stay was useless, to make my interest in her wares seem the more real. Then I turned away slowly and walked down the middle of the bazaar. I allowed the two pennies to fall against the sixpence in my pocket. I heard a voice call from one end of the gallery that the light was out. The upper part of the hall was now completely dark. Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger.

Araby - James Joyce

When the short days of winter came dusk fell before we had well eaten our dinners. When we met in the street the houses had grown sombre. The space of sky above us was the colour of ever-changing violet and towards it the lamps of the street lifted their feeble lanterns. The cold air stung us and we played till our bodies glowed. Our shouts echoed in the silent street. The career of our play brought us through the dark muddy lanes behind the houses where we ran the gantlet of the rough tribes from the cottages, to the back doors of the dark dripping gardens where odors arose from the ashpits, to the dark odorous stables where a coachman smoothed and combed the horse or shook music from the buckled harness. When we returned to the street light from the kitchen windows had filled the areas. If my uncle was seen turning the corner we hid in the shadow until we had seen him safely housed. Or if Mangan's sister came out on the doorstep to call her brother in to his tea we watched her from our shadow peer up and down the street. We waited to see whether she would remain or go in and, if she remained, we left our shadow and walked up to Mangan's steps resignedly. She was waiting for us, her figure defined by the light from the half-opened door. Her brother always teased her before he obeyed and I stood by the railings looking at her. Her dress swung as she moved her body and the soft rope of her hair tossed from side to side.

Araby - James Joyce

She paused for some demonstration on our part. I saw Miss Matty could not speak, she was trembling so nervously; so I said what I really felt; and after a call of some duration—all the time of which I have no doubt Miss Pole thought Miss Matty received the news very calmly—our visitor took her leave. Miss Matty made a strong effort to conceal her feelings—a concealment she practised even with me, for she has never alluded to Mr Holbrook again, although the book he gave her lies with her Bible on the little table by her bedside. She did not think I heard her when she asked the little milliner of Cranford to make her caps something like the Honourable Mrs Jamieson's, or that I noticed the reply— "But she wears widows' caps, ma'am?" "Oh! I only meant something in that style; not widows', of course, but rather like Mrs Jamieson's." This effort at concealment was the beginning of the tremulous motion of head and hands which I have seen ever since in Miss Matty. The evening of the day on which we heard of Mr Holbrook's death, Miss Matilda was very silent and thoughtful; after prayers she called Martha back and then she stood uncertain what to say. "Martha!" she said, at last, "you are young"—and then she made so long a pause that Martha, to remind her of her half-finished sentence, dropped a curtsey, and said— "Yes, please, ma'am; two-and-twenty last third of October, please, ma'am." "And, perhaps, Martha, you may some time meet with a young man you like, and who likes you. I did say you were not to have followers; but if you meet with such a young man, and tell me, and I find he is respectable, I have no objection to his coming to see you once a week. God forbid!" said she in a low voice, "that I should grieve any young hearts." She spoke as if she were providing for some distant contingency, and was rather startled when Martha made her ready eager answer— "Please, ma'am, there's Jem Hearn, and he's a joiner making three-and-sixpence a-day, and six foot one in his stocking-feet, please, ma'am; and if you'll ask about him to-morrow morning, every one will give him a character for steadiness; and he'll be glad enough to come to-morrow night, I'll be bound." Though Miss Matty was startled, she submitted to Fate and Love.

Cranford - Elizabeth Gaskell

Very soon after—at least during my long visit to Miss Matilda—I had the opportunity of seeing Mr Holbrook; seeing, too, his first encounter with his former love, after thirty or forty years' separation. I was helping to decide whether any of the new assortment of coloured silks which they had just received at the shop would do to match a grey and black mousseline-delaine that wanted a new breadth, when a tall, thin, Don Quixote-looking old man came into the shop for some woollen gloves. I had never seen the person (who was rather striking) before, and I watched him rather attentively while Miss Matty listened to the shopman. The stranger wore a blue coat with brass buttons, drab breeches, and gaiters, and drummed with his fingers on the counter until he was attended to. When he answered the shop-boy's question, "What can I have the pleasure of showing you to-day, sir?" I saw Miss Matilda start, and then suddenly sit down; and instantly I guessed who it was. She had made some inquiry which had to be carried round to the other shopman. "Miss Jenkyns wants the black sarsenet two-and-twopence the yard"; and Mr Holbrook had caught the name, and was across the shop in two strides. "Matty—Miss Matilda—Miss Jenkyns! God bless my soul! I should not have known you. How are you? how are you?" He kept shaking her hand in a way which proved the warmth of his friendship; but he repeated so often, as if to himself, "I should not have known you!" that any sentimental romance which I might be inclined to build was quite done away with by his manner. However, he kept talking to us all the time we were in the shop; and then waving the shopman with the unpurchased gloves on one side, with "Another time, sir! another time!" he walked home with us. I am happy to say my client, Miss Matilda, also left the shop in an equally bewildered state, not having purchased either green or red silk. Mr Holbrook was evidently full with honest loud-spoken joy at meeting his old love again; he touched on the changes that had taken place; he even spoke of Miss Jenkyns as "Your poor sister! Well, well! we have all our faults"; and bade us good-bye with many a hope that he should soon see Miss Matty again. She went straight to her room, and never came back till our early tea-time, when I thought she looked as if she had been crying.

Cranford - Elizabeth Gaskell

When the ducks and green peas came, we looked at each other in dismay; we had only two-pronged, black-handled forks. It is true the steel was as bright as silver; but what were we to do? Miss Matty picked up her peas, one by one, on the point of the prongs, much as Aminé ate her grains of rice after her previous feast with the Ghoul. Miss Pole sighed over her delicate young peas as she left them on one side of her plate untasted, for they would drop between the prongs. I looked at my host: the peas were going wholesale into his capacious mouth, shovelled up by his large round-ended knife. I saw, I imitated, I survived! My friends, in spite of my precedent, could not muster up courage enough to do an ungenteel thing; and, if Mr Holbrook had not been so heartily hungry, he would probably have seen that the good peas went away almost untouched. After dinner, a clay pipe was brought in, and a spittoon; and, asking us to retire to another room, where he would soon join us, if we disliked tobacco-smoke, he presented his pipe to Miss Matty, and requested her to fill the bowl. This was a compliment to a lady in his youth; but it was rather inappropriate to propose it as an honour to Miss Matty, who had been trained by her sister to hold smoking of every kind in utter abhorrence. But if it was a shock to her refinement, it was also a gratification to her feelings to be thus selected; so she daintily stuffed the strong tobacco into the pipe, and then we withdrew. "It is very pleasant dining with a bachelor," said Miss Matty softly, as we settled ourselves in the counting-house. "I only hope it is not improper; so many pleasant things are!" "What a number of books he has!" said Miss Pole, looking round the room. "And how dusty they are!" "I think it must be like one of the great Dr Johnson's rooms," said Miss Matty. "What a superior man your cousin must be!" "Yes!" said Miss Pole, "he's a great reader; but I am afraid he has got into very uncouth habits with living alone." "Oh! uncouth is too hard a word. I should call him eccentric; very clever people always are!" replied Miss Matty. Now, what colour are ash-buds in March When Mr Holbrook returned, he proposed a walk in the fields; but the two elder ladies were afraid of damp, and dirt, and had only very unbecoming calashes to put on over their caps; so they declined, and I was again his companion in a turn which he said he was obliged to take to see after his men. He strode along, either wholly forgetting my existence, or soothed into silence by his pipe—and yet it was not silence exactly. He walked before me with a stooping gait, his hands clasped behind him; and, as some tree or cloud, or glimpse of distant upland pastures, struck him, he quoted poetry to himself, saying it out loud in a grand sonorous voice, with just the emphasis that true feeling and appreciation give. We came upon an old cedar tree, which stood at one end of the house— "The cedar spreads his dark-green layers of shade." "Capital term—'layers!' Wonderful man!" I did not know whether he was speaking to me or not; but I put in an assenting "wonderful," although I knew nothing about it, just because I was tired of being forgotten, and of being consequently silent. He turned sharp round. "Ay! you may say 'wonderful.' Why, when I saw the review of his poems in Blackwood, I set off within an hour, and walked seven miles to Misselton (for the horses were not in the way) and ordered them. Now, what colour are ash-buds in March?" Is the man going mad? thought I. He is very like Don Quixote. "What colour are they, I say?" repeated he vehemently. "I am sure I don't know, sir," said I, with the meekness of ignorance. "I knew you didn't. No more did I—an old fool that I am!—till this young man comes and tells me. Black as ash-buds in March. And I've lived all my life in the country; more shame for me not to know. Black: they are jet-black, madam." And he went off again, swinging along to the music of some rhyme he had got hold of. When we came back, nothing would serve him but he must read us the poems he had been speaking of; and Miss Pole encouraged him in his proposal, I thought, because she wished me to hear his beautiful reading, of which she had boasted; but she afterwards said it was because she had got to a difficult part of her crochet, and wanted to count her stitches without having to talk. Whatever he had proposed would have been right to Miss Matty; although she did fall sound asleep within five minutes after he had begun a long poem, called "Locksley Hall," and had a comfortable nap, unobserved, till he ended; when the cessation of his voice wakened her up, and she said, feeling that something was expected, and that Miss Pole was counting— "What a pretty book!" "Pretty, madam! it's beautiful! Pretty, indeed!" "Oh yes! I meant beautiful!" said she, fluttered at his disapproval of her word. "It is so like that beautiful poem of Dr Johnson's my sister used to read—I forget the name of it; what was it, my dear?" turning to me. "Which do you mean, ma'am? What was it about?" "I don't remember what it was about, and I've quite forgotten what the name of it was; but it was written by Dr Johnson, and was very beautiful, and very like what Mr Holbrook has just been reading." "I don't remember it," said he reflectively. "But I don't know Dr Johnson's poems well. I must read them."

Cranford - Elizabeth Gaskell

The Frost performs its secret ministry, Unhelped by any wind. The owlet's cry Came loud—and hark, again! loud as before. The inmates of my cottage, all at rest, Have left me to that solitude, which suits Abstruser musings: save that at my side My cradled infant slumbers peacefully. 'Tis calm indeed! so calm, that it disturbs And vexes meditation with its strange And extreme silentness. Sea, hill, and wood, This populous village! Sea, and hill, and wood, With all the numberless goings-on of life, Inaudible as dreams! the thin blue flame Lies on my low-burnt fire, and quivers not; Only that film, which fluttered on the grate, Still flutters there, the sole unquiet thing. Methinks, its motion in this hush of nature Gives it dim sympathies with me who live, Making it a companionable form, Whose puny flaps and freaks the idling Spirit By its own moods interprets, every where Echo or mirror seeking of itself, And makes a toy of Thought. But O! how oft, How oft, at school, with most believing mind, Presageful, have I gazed upon the bars, To watch that fluttering stranger ! and as oft With unclosed lids, already had I dreamt Of my sweet birth-place, and the old church-tower, Whose bells, the poor man's only music, rang From morn to evening, all the hot Fair-day, So sweetly, that they stirred and haunted me With a wild pleasure, falling on mine ear Most like articulate sounds of things to come! So gazed I, till the soothing things, I dreamt, Lulled me to sleep, and sleep prolonged my dreams! And so I brooded all the following morn, Awed by the stern preceptor's face, mine eye Fixed with mock study on my swimming book: Save if the door half opened, and I snatched A hasty glance, and still my heart leaped up, For still I hoped to see the stranger's face, Townsman, or aunt, or sister more beloved, My play-mate when we both were clothed alike! Dear Babe, that sleepest cradled by my side, Whose gentle breathings, heard in this deep calm, Fill up the intersperséd vacancies And momentary pauses of the thought! My babe so beautiful! it thrills my heart With tender gladness, thus to look at thee, And think that thou shalt learn far other lore, And in far other scenes! For I was reared In the great city, pent 'mid cloisters dim, And saw nought lovely but the sky and stars. But thou, my babe! shalt wander like a breeze By lakes and sandy shores, beneath the crags Of ancient mountain, and beneath the clouds, Which image in their bulk both lakes and shores And mountain crags: so shalt thou see and hear The lovely shapes and sounds intelligible Of that eternal language, which thy God Utters, who from eternity doth teach Himself in all, and all things in himself. Great universal Teacher! he shall mould Thy spirit, and by giving make it ask. Therefore all seasons shall be sweet to thee, Whether the summer clothe the general earth With greenness, or the redbreast sit and sing Betwixt the tufts of snow on the bare branch Of mossy apple-tree, while the night-thatch Smokes in the sun-thaw; whether the eave-drops fall Heard only in the trances of the blast, Or if the secret ministry of frost Shall hang them up in silent icicles, Quietly shining to the quiet Moon.

Frost at Midnight - Samuel Taylor Coleridge

No voice from some sublimer world hath ever To sage or poet these responses given: Therefore the names of Demon, Ghost, and Heaven, Remain the records of their vain endeavour: Frail spells whose utter'd charm might not avail to sever, From all we hear and all we see, Doubt, chance and mutability. Thy light alone like mist o'er mountains driven, Or music by the night-wind sent Through strings of some still instrument, Or moonlight on a midnight stream, Gives grace and truth to life's unquiet dream.

Hymn to Intellectual Beauty - Percy Shelley

I He disappeared in the dead of winter: The brooks were frozen, the airports almost deserted, And snow disfigured the public statues; The mercury sank in the mouth of the dying day. What instruments we have agree The day of his death was a dark cold day. Far from his illness The wolves ran on through the evergreen forests, The peasant river was untempted by the fashionable quays; By mourning tongues The death of the poet was kept from his poems. But for him it was his last afternoon as himself, An afternoon of nurses and rumours; The provinces of his body revolted, The squares of his mind were empty, Silence invaded the suburbs, The current of his feeling failed; he became his admirers. Now he is scattered among a hundred cities And wholly given over to unfamiliar affections, To find his happiness in another kind of wood And be punished under a foreign code of conscience. The words of a dead man Are modified in the guts of the living. But in the importance and noise of to-morrow When the brokers are roaring like beasts on the floor of the Bourse, And the poor have the sufferings to which they are fairly accustomed, And each in the cell of himself is almost convinced of his freedom, A few thousand will think of this day As one thinks of a day when one did something slightly unusual. What instruments we have agree The day of his death was a dark cold day. II You were silly like us; your gift survived it all: The parish of rich women, physical decay, Yourself. Mad Ireland hurt you into poetry. Now Ireland has her madness and her weather still, For poetry makes nothing happen: it survives In the valley of its making where executives Would never want to tamper, flows on south From ranches of isolation and the busy griefs, Raw towns that we believe and die in; it survives, A way of happening, a mouth. III Earth, receive an honoured guest: William Yeats is laid to rest. Let the Irish vessel lie Emptied of its poetry. In the nightmare of the dark All the dogs of Europe bark, And the living nations wait, Each sequestered in its hate; Intellectual disgrace Stares from every human face, And the seas of pity lie Locked and frozen in each eye. Follow, poet, follow right To the bottom of the night, With your unconstraining voice Still persuade us to rejoice; With the farming of a verse Make a vineyard of the curse, Sing of human unsuccess In a rapture of distress; In the deserts of the heart Let the healing fountain start, In the prison of his days Teach the free man how to praise.

In Memory of W. B. Yeats - W. H. Auden

Lay your sleeping head, my love, Human on my faithless arm; Time and fevers burn away Individual beauty from Thoughtful children, and the grave Proves the child ephemeral: But in my arms till break of day Let the living creature lie, Mortal, guilty, but to me The entirely beautiful. Soul and body have no bounds: To lovers as they lie upon Her tolerant enchanted slope In their ordinary swoon, Grave the vision Venus sends Of supernatural sympathy, Universal love and hope; While an abstract insight wakes Among the glaciers and the rocks The hermit's carnal ecstasy. Certainty, fidelity On the stroke of midnight pass Like vibrations of a bell, And fashionable madmen raise Their pedantic boring cry: Every farthing of the cost, All the dreaded cards foretell, Shall be paid, but from this night Not a whisper, not a thought, Not a kiss nor look be lost. Beauty, midnight, vision dies: Let the winds of dawn that blow Softly round your dreaming head Such a day of welcome show Eye and knocking heart may bless, Find the mortal world enough; Noons of dryness find you fed By the involuntary powers, Nights of insult let you pass Watched by every human love.

Lullaby - W.H. Auden

But it was impossible to lie there long with that beating heart; and the little white figure was soon out of bed again, seeking relief in the very sense of chill and uncomfort. It was light enough for her to see about her room, for the moon, nearly at full, was riding high in the heavens among scattered hurrying clouds. Caterina drew aside the window-curtain; and, sitting with her forehead pressed against the cold pane, looked out on the wide stretch of park and lawn. How dreary the moonlight is! robbed of all its tenderness and repose by the hard driving wind. The trees are harassed by that tossing motion, when they would like to be at rest; the shivering grass makes her quake with sympathetic cold; and the willows by the pool, bent low and white under that invisible harshness, seem agitated and helpless like herself. But she loves the scene the better for its sadness: there is some pity in it. It is not like that hard unfeeling happiness of lovers, flaunting in the eyes of misery. She set her teeth tight against the window-frame, and the tears fell thick and fast. She was so thankful she could cry, for the mad passion she had felt when her eyes were dry frightened her. If that dreadful feeling were to come on when Lady Cheverel was present, she should never be able to contain herself. Then there was Sir Christopher — so good to her — so happy about Anthony's marriage; and all the while she had these wicked feelings. 'O, I cannot help it, I cannot help it!' she said in a loud whisper between her sobs. 'O God, have pity upon me!' In this way Tina wore out the long hours of the windy moon-light, till at last, with weary aching limbs, she lay down in bed again, and slept from mere exhaustion. While this poor little heart was being bruised with a weight too heavy for it, Nature was holding on her calm inexorable way, in unmoved and terrible beauty. The stars were rushing in their eternal courses; the tides swelled to the level of the last expectant weed; the sun was making brilliant day to busy nations on the other side of the swift earth. The stream of human thought and deed was hurrying and broadening onward. The astronomer was at his telescope; the great ships were labouring over the waves; the toiling eagerness of commerce, the fierce spirit of revolution, were only ebbing in brief rest; and sleepless statesmen were dreading the possible crisis of the morrow. What were our little Tina and her trouble in this mighty torrent, rushing from one awful unknown to another? Lighter than the smallest centre of quivering life in the waterdrop, hidden and uncared for as the pulse of anguish in the breast of the tiniest bird that has fluttered down to its nest with the long-sought food, and has found the nest torn and empty.

Mr. Gilfil's Love Story - George Eliot

In such a home as this parsonage, a nest of comfort, without any of the stateliness that would carry a suggestion of Cheverel Manor, Mr. Gilfil was not unreasonable in hoping that Caterina might gradually shake off the haunting vision of the past, and recover from the languor and feebleness which were the physical sign of that vision's blighting presence. The next thing to be done was to arrange an exchange of duties with Mr. Heron's curate, that Maynard might be constantly near Caterina, and watch over her progress. She seemed to like him to be with her, to look uneasily for his return; and though she seldom spoke to him, she was most contented when he sat by her, and held her tiny hand in his large protecting grasp. But Oswald, alias Ozzy, the broad-chested boy, was perhaps her most beneficial companion. With something of his uncle's person, he had inherited also his uncle's early taste for a domestic menagerie, and was very imperative in demanding Tina's sympathy in the welfare of his guinea-pigs, squirrels, and dormice. With him she seemed now and then to have gleams of her childhood coming athwart the leaden clouds, and many hours of winter went by the more easily for being spent in Ozzy's nursery. Mrs. Heron was not musical, and had no instrument; but one of Mr. Gilfil's cares was to procure a harpsichord, and have it placed in the drawing-room, always open, in the hope that some day the spirit of music would be reawakened in Caterina, and she would be attracted towards the instrument. But the winter was almost gone by, and he had waited in vain. The utmost improvement in Tina had not gone beyond passiveness and acquiescence — a quiet grateful smile, compliance with Oswald's whims, and an increasing consciousness of what was being said and done around her. Sometimes she would take up a bit of woman's work, but she seemed too languid to persevere in it; her fingers soon dropped, and she relapsed into motionless reverie. At last — it was one of those bright days in the end of February, when the sun is shining with a promise of approaching spring. Maynard had been walking with her and Oswald round the garden to look at the snowdrops, and she was resting on the sofa after the walk. Ozzy, roaming about the room in quest of a forbidden pleasure, came to the harpsichord, and struck the handle of his whip on a deep bass note. The vibration rushed through Caterina like an electric shock: it seemed as if at that instant a new soul were entering into her, and filling her with a deeper, more significant life. She looked round, rose from the sofa, and walked to the harpsichord. In a moment her fingers were wandering with their old sweet method among the keys, and her soul was floating in its true familiar element of delicious sound, as the water-plant that lies withered and shrunken on the ground expands into freedom and beauty when once more bathed in its native flood. Maynard thanked God. An active power was re-awakened, and must make a new epoch in Caterina's recovery. Presently there were low liquid notes blending themselves with the harder tones of the instrument, and gradually the pure voice swelled into predominance. Little Ozzy stood in the middle of the room, with his mouth open and his legs very wide apart, struck with something like awe at this new power in 'Tin-Tin,' as he called her, whom he had been accustomed to think of as a playfellow not at all clever, and very much in need of his instruction on many subjects. A genie soaring with broad wings out of his milkjug would not have been more astonishing. Caterina was singing the very air from the Orfeo which we heard her singing so many months ago at the beginning of her sorrows. It was 'Ho perduto', Sir Christopher's favourite, and its notes seemed to carry on their wings all the tenderest memories of her life, when Cheverel Manor was still an untroubled home. The long happy days of childhood and girlhood recovered all their rightful predominance over the short interval of sin and sorrow. She paused, and burst into tears — the first tears she had shed since she had been at Foxholm. Maynard could not help hurrying towards her, putting his arm round her, and leaning down to kiss her hair. She nestled to him, and put up her little mouth to be kissed. The delicate-tendrilled plant must have something to cling to. The soul that was born anew to music was born anew to love.

Mr. Gilfil's Love Story - George Eliot

See how she rushes noiselessly, like a pale meteor, along the passages and up the gallery stairs! Those gleaming eyes, those bloodless lips, that swift silent tread, make her look like the incarnation of a fierce purpose, rather than a woman. The mid-day sun is shining on the armour in the gallery, making mimic suns on bossed sword-hilts and the angles of polished breast-plates. Yes, there are sharp weapons in the gallery. There is a dagger in that cabinet; she knows it well. And as a dragon-fly wheels in its flight to alight for an instant on a leaf, she darts to the cabinet, takes out the dagger, and thrusts it into her pocket. In three minutes more she is out, in hat and cloak, on the gravel-walk, hurrying along towards the thick shades of the distant Rookery. She threads the windings of the plantations, not feeling the golden leaves that rain upon her, not feeling the earth beneath her feet. Her hand is in her pocket, clenching the handle of the dagger, which she holds half out of its sheath. She has reached the Rookery, and is under the gloom of the interlacing boughs. Her heart throbs as if it would burst her bosom — as if every next leap must be its last. Wait, wait, O heart! — till she has done this one deed. He will be there — he will be before her in a moment. He will come towards her with that false smile, thinking she does not know his baseness — she will plunge that dagger into his heart. Poor child! poor child! she who used to cry to have the fish put back into the water — who never willingly killed the smallest living thing — dreams now, in the madness of her passion, that she can kill the man whose very voice unnerves her. But what is that lying among the dank leaves on the path three yards before her? Good God! it is he — lying motionless — his hat fallen off. He is ill, then — he has fainted. Her hand lets go the dagger, and she rushes towards him. His eyes are fixed; he does not see her. She sinks down on her knees, takes the dear head in her arms, and kisses the cold forehead. 'Anthony, Anthony! speak to me — it is Tina — speak to me! O God, he is dead!'

Mr. Gilfil's Love Story - George Eliot

Seen from the great Gothic windows of the dining-room, they had much more definiteness of outline, and were distinctly visible to the three gentlemen sipping their claret there, as two fair women in whom all three had a personal interest. These gentlemen were a group worth considering attentively; but any one entering that dining-room for the first time, would perhaps have had his attention even more strongly arrested by the room itself, which was so bare of furniture that it impressed one with its architectural beauty like a cathedral. A piece of matting stretched from door to door, a bit of worn carpet under the dining-table, and a sideboard in a deep recess, did not detain the eye for a moment from the lofty groined ceiling, with its richly-carved pendants, all of creamy white, relieved here and there by touches of gold. On one side, this lofty ceiling was supported by pillars and arches, beyond which a lower ceiling, a miniature copy of the higher one, covered the square projection which, with its three large pointed windows, formed the central feature of the building. The room looked less like a place to dine in than a piece of space enclosed simply for the sake of beautiful outline; and the small dining-table, with the party round it, seemed an odd and insignificant accident, rather than anything connected with the original purpose of the apartment. But, examined closely, that group was far from insignificant; for the eldest, who was reading in the newspaper the last portentous proceedings of the French parliaments, and turning with occasional comments to his young companions, was as fine a specimen of the old English gentleman as could well have been found in those venerable days of cocked-hats and pigtails. His dark eyes sparkled under projecting brows, made more prominent by bushy grizzled eyebrows; but any apprehension of severity excited by these penetrating eyes, and by a somewhat aquiline nose, was allayed by the good-natured lines about the mouth, which retained all its teeth and its vigour of expression in spite of sixty winters. The forehead sloped a little from the projecting brows, and its peaked outline was made conspicuous by the arrangement of the profusely-powdered hair, drawn backward and gathered into a pigtail. He sat in a small hard chair, which did not admit the slightest approach to a lounge, and which showed to advantage the flatness of his back and the breadth of his chest. In fact, Sir Christopher Cheverel was a splendid old gentleman, as any one may see who enters the saloon at Cheverel Manor, where his full-length portrait, taken when he was fifty, hangs side by side with that of his wife, the stately lady seated on the lawn.

Mr. Gilfil's Love Story - George Eliot

To find one's self adored by a little, graceful, dark-eyed, sweet-singing woman, whom no one need despise, is an agreeable sensation, comparable to smoking the finest Latakia, and also imposes some return of tenderness as a duty. Perhaps you think that Captain Wybrow, who knew that it would be ridiculous to dream of his marrying Caterina, must have been a reckless libertine to win her affections in this manner! Not at all. He was a young man of calm passions, who was rarely led into any conduct of which he could not give a plausible account to himself; and the tiny fragile Caterina was a woman who touched the imagination and the affections rather than the senses. He really felt very kindly towards her, and would very likely have loved her — if he had been able to love any one. But nature had not endowed him with that capability. She had given him an admirable figure, the whitest of hands, the most delicate of nostrils, and a large amount of serene self-satisfaction; but, as if to save such a delicate piece of work from any risk of being shattered, she had guarded him from the liability to a strong emotion. There was no list of youthful misdemeanours on record against him, and Sir Christopher and Lady Cheverel thought him the best of nephews, the most satisfactory of heirs, full of grateful deference to themselves, and, above all things, guided by a sense of duty. Captain Wybrow always did the thing easiest and most agreeable to him from a sense of duty: he dressed expensively, because it was a duty he owed to his position; from a sense of duty he adapted himself to Sir Christopher's inflexible will, which it would have been troublesome as well as useless to resist; and, being of a delicate constitution, he took care of his health from a sense of duty. His health was the only point on which he gave anxiety to his friends; and it was owing to this that Sir Christopher wished to see his nephew early married, the more so as a match after the Baronet's own heart appeared immediately attainable. Anthony had seen and admired Miss Assher, the only child of a lady who had been Sir Christopher's earliest love, but who, as things will happen in this world, had married another baronet instead of him. Miss Assher's father was now dead, and she was in possession of a pretty estate. If, as was probable, she should prove susceptible to the merits of Anthony's person and character, nothing could make Sir Christopher so happy as to see a marriage which might be expected to secure the inheritance of Cheverel Manor from getting into the wrong hands. Anthony had already been kindly received by Lady Assher as the nephew of her early friend; why should he not go to Bath, where she and her daughter were then residing, follow up the acquaintance, and win a handsome, well-born, and sufficiently wealthy bride?

Mr. Gilfil's Love Story - George Eliot

About suffering they were never wrong, The old Masters: how well they understood Its human position: how it takes place While someone else is eating or opening a window or just walking dully along; How, when the aged are reverently, passionately waiting For the miraculous birth, there always must be Children who did not specially want it to happen, skating On a pond at the edge of the wood: They never forgot That even the dreadful martyrdom must run its course Anyhow in a corner, some untidy spot Where the dogs go on with their doggy life and the torturer's horse Scratches its innocent behind on a tree. In Breughel's Icarus, for instance: how everything turns away Quite leisurely from the disaster; the ploughman may Have heard the splash, the forsaken cry, But for him it was not an important failure; the sun shone As it had to on the white legs disappearing into the green Water, and the expensive delicate ship that must have seen Something amazing, a boy falling out of the sky, Had somewhere to get to and sailed calmly on.

Musée des Beaux Arts - W.H. Auden

That's my last Duchess painted on the wall, Looking as if she were alive. I call That piece a wonder, now; Fra Pandolf's hands Worked busily a day, and there she stands. Will't please you sit and look at her? I said "Fra Pandolf" by design, for never read Strangers like you that pictured countenance, The depth and passion of its earnest glance, But to myself they turned (since none puts by The curtain I have drawn for you, but I) And seemed as they would ask me, if they durst, How such a glance came there; so, not the first Are you to turn and ask thus. Sir, 'twas not Her husband's presence only, called that spot Of joy into the Duchess' cheek; perhaps Fra Pandolf chanced to say, "Her mantle laps Over my lady's wrist too much," or "Paint Must never hope to reproduce the faint Half-flush that dies along her throat." Such stuff Was courtesy, she thought, and cause enough For calling up that spot of joy. She had A heart—how shall I say?— too soon made glad, Too easily impressed; she liked whate'er She looked on, and her looks went everywhere. Sir, 'twas all one! My favour at her breast, The dropping of the daylight in the West, The bough of cherries some officious fool Broke in the orchard for her, the white mule She rode with round the terrace—all and each Would draw from her alike the approving speech, Or blush, at least. She thanked men—good! but thanked Somehow—I know not how—as if she ranked My gift of a nine-hundred-years-old name With anybody's gift. Who'd stoop to blame This sort of trifling? Even had you skill In speech—which I have not—to make your will Quite clear to such an one, and say, "Just this Or that in you disgusts me; here you miss, Or there exceed the mark"—and if she let Herself be lessoned so, nor plainly set Her wits to yours, forsooth, and made excuse— E'en then would be some stooping; and I choose Never to stoop. Oh, sir, she smiled, no doubt, Whene'er I passed her; but who passed without Much the same smile? This grew; I gave commands; Then all smiles stopped together. There she stands As if alive. Will't please you rise? We'll meet The company below, then. I repeat, The Count your master's known munificence Is ample warrant that no just pretense Of mine for dowry will be disallowed; Though his fair daughter's self, as I avowed At starting, is my object. Nay, we'll go Together down, sir. Notice Neptune, though, Taming a sea-horse, thought a rarity, Which Claus of Innsbruck cast in bronze for me!

My Last Duchess - Robert Browning

No coward soul is mine No trembler in the world's storm-troubled sphere I see Heaven's glories shine And Faith shines equal arming me from Fear O God within my breast Almighty ever-present Deity Life, that in me hast rest, As I Undying Life, have power in Thee Vain are the thousand creeds That move men's hearts, unutterably vain, Worthless as withered weeds Or idlest froth amid the boundless main To waken doubt in one Holding so fast by thy infinity, So surely anchored on The steadfast rock of Immortality. With wide-embracing love Thy spirit animates eternal years Pervades and broods above, Changes, sustains, dissolves, creates and rears Though earth and moon were gone And suns and universes ceased to be And Thou wert left alone Every Existence would exist in thee There is not room for Death Nor atom that his might could render void Since thou art Being and Breath And what thou art may never be destroyed.

No Coward Soul is Mine - Emily Brontë

On Henry's arrival from Woodston, she made known to him and Eleanor their brother's safety, congratulating them with sincerity on it, and reading aloud the most material passages of her letter with strong indignation. When she had finished it—"So much for Isabella," she cried, "and for all our intimacy! She must think me an idiot, or she could not have written so; but perhaps this has served to make her character better known to me than mine is to her. I see what she has been about. She is a vain coquette, and her tricks have not answered. I do not believe she had ever any regard either for James or for me, and I wish I had never known her." "It will soon be as if you never had," said Henry. "There is but one thing that I cannot understand. I see that she has had designs on Captain Tilney, which have not succeeded; but I do not understand what Captain Tilney has been about all this time. Why should he pay her such attentions as to make her quarrel with my brother, and then fly off himself?" "I have very little to say for Frederick's motives, such as I believe them to have been. He has his vanities as well as Miss Thorpe, and the chief difference is, that, having a stronger head, they have not yet injured himself. If the effect of his behaviour does not justify him with you, we had better not seek after the cause." "Then you do not suppose he ever really cared about her?" "I am persuaded that he never did." "And only made believe to do so for mischief's sake?" Henry bowed his assent. "Well, then, I must say that I do not like him at all. Though it has turned out so well for us, I do not like him at all. As it happens, there is no great harm done, because I do not think Isabella has any heart to lose. But, suppose he had made her very much in love with him?" "But we must first suppose Isabella to have had a heart to lose—consequently to have been a very different creature; and, in that case, she would have met with very different treatment." "It is very right that you should stand by your brother." "And if you would stand by yours, you would not be much distressed by the disappointment of Miss Thorpe. But your mind is warped by an innate principle of general integrity, and therefore not accessible to the cool reasonings of family partiality, or a desire of revenge."

Northanger Abbey - Jane Austen

She spoke to Henry Tilney on the subject, regretting his brother's evident partiality for Miss Thorpe, and entreating him to make known her prior engagement. "My brother does know it," was Henry's answer. "Does he? Then why does he stay here?" He made no reply, and was beginning to talk of something else; but she eagerly continued, "Why do not you persuade him to go away? The longer he stays, the worse it will be for him at last. Pray advise him for his own sake, and for everybody's sake, to leave Bath directly. Absence will in time make him comfortable again; but he can have no hope here, and it is only staying to be miserable." Henry smiled and said, "I am sure my brother would not wish to do that." "Then you will persuade him to go away?" "Persuasion is not at command; but pardon me, if I cannot even endeavour to persuade him. I have myself told him that Miss Thorpe is engaged. He knows what he is about, and must be his own master." "No, he does not know what he is about," cried Catherine; "he does not know the pain he is giving my brother. Not that James has ever told me so, but I am sure he is very uncomfortable." "And are you sure it is my brother's doing?" "Yes, very sure." "Is it my brother's attentions to Miss Thorpe, or Miss Thorpe's admission of them, that gives the pain?" "Is not it the same thing?" "I think Mr. Morland would acknowledge a difference. No man is offended by another man's admiration of the woman he loves; it is the woman only who can make it a torment." Catherine blushed for her friend, and said, "Isabella is wrong. But I am sure she cannot mean to torment, for she is very much attached to my brother. She has been in love with him ever since they first met, and while my father's consent was uncertain, she fretted herself almost into a fever. You know she must be attached to him." "I understand: she is in love with James, and flirts with Frederick." "Oh! no, not flirts. A woman in love with one man cannot flirt with another." "It is probable that she will neither love so well, nor flirt so well, as she might do either singly. The gentlemen must each give up a little." After a short pause, Catherine resumed with, "Then you do not believe Isabella so very much attached to my brother?" "I can have no opinion on that subject." "But what can your brother mean? If he knows her engagement, what can he mean by his behaviour?" "You are a very close questioner." "Am I? I only ask what I want to be told." "But do you only ask what I can be expected to tell?" "Yes, I think so; for you must know your brother's heart." "My brother's heart, as you term it, on the present occasion, I assure you I can only guess at." "Well?" "Well! Nay, if it is to be guesswork, let us all guess for ourselves. To be guided by second-hand conjecture is pitiful. The premises are before you. My brother is a lively and perhaps sometimes a thoughtless young man; he has had about a week's acquaintance with your friend, and he has known her engagement almost as long as he has known her." "Well," said Catherine, after some moments' consideration, "you may be able to guess at your brother's intentions from all this; but I am sure I cannot. But is not your father uncomfortable about it? Does not he want Captain Tilney to go away? Sure, if your father were to speak to him, he would go." "My dear Miss Morland," said Henry, "in this amiable solicitude for your brother's comfort, may you not be a little mistaken? Are you not carried a little too far? Would he thank you, either on his own account or Miss Thorpe's, for supposing that her affection, or at least her good behaviour, is only to be secured by her seeing nothing of Captain Tilney? Is he safe only in solitude? Or is her heart constant to him only when unsolicited by anyone else? He cannot think this—and you may be sure that he would not have you think it. I will not say, 'Do not be uneasy,' because I know that you are so, at this moment; but be as little uneasy as you can. You have no doubt of the mutual attachment of your brother and your friend; depend upon it, therefore, that real jealousy never can exist between them; depend upon it that no disagreement between them can be of any duration. Their hearts are open to each other, as neither heart can be to you; they know exactly what is required and what can be borne; and you may be certain that one will never tease the other beyond what is known to be pleasant." Perceiving her still to look doubtful and grave, he added, "Though Frederick does not leave Bath with us, he will probably remain but a very short time, perhaps only a few days behind us. His leave of absence will soon expire, and he must return to his regiment. And what will then be their acquaintance? The mess-room will drink Isabella Thorpe for a fortnight, and she will laugh with your brother over poor Tilney's passion for a month."

Northanger Abbey - Jane Austen

She was heartily ashamed of her ignorance. A misplaced shame. Where people wish to attach, they should always be ignorant. To come with a well-informed mind is to come with an inability of administering to the vanity of others, which a sensible person would always wish to avoid. A woman especially, if she have the misfortune of knowing anything, should conceal it as well as she can. The advantages of natural folly in a beautiful girl have been already set forth by the capital pen of a sister author; and to her treatment of the subject I will only add, in justice to men, that though to the larger and more trifling part of the sex, imbecility in females is a great enhancement of their personal charms, there is a portion of them too reasonable and too well informed themselves to desire anything more in woman than ignorance. But Catherine did not know her own advantages—did not know that a good-looking girl, with an affectionate heart and a very ignorant mind, cannot fail of attracting a clever young man, unless circumstances are particularly untoward. In the present instance, she confessed and lamented her want of knowledge, declared that she would give anything in the world to be able to draw; and a lecture on the picturesque immediately followed, in which his instructions were so clear that she soon began to see beauty in everything admired by him, and her attention was so earnest that he became perfectly satisfied of her having a great deal of natural taste. He talked of foregrounds, distances, and second distances—side-screens and perspectives—lights and shades; and Catherine was so hopeful a scholar that when they gained the top of Beechen Cliff, she voluntarily rejected the whole city of Bath as unworthy to make part of a landscape. Delighted with her progress, and fearful of wearying her with too much wisdom at once, Henry suffered the subject to decline, and by an easy transition from a piece of rocky fragment and the withered oak which he had placed near its summit, to oaks in general, to forests, the enclosure of them, waste lands, crown lands and government, he shortly found himself arrived at politics; and from politics, it was an easy step to silence. The general pause which succeeded his short disquisition on the state of the nation was put an end to by Catherine, who, in rather a solemn tone of voice, uttered these words, "I have heard that something very shocking indeed will soon come out in London."

Northanger Abbey - Jane Austen

They began their walk, and Mrs. Morland was not entirely mistaken in his object in wishing it. Some explanation on his father's account he had to give; but his first purpose was to explain himself, and before they reached Mr. Allen's grounds he had done it so well that Catherine did not think it could ever be repeated too often. She was assured of his affection; and that heart in return was solicited, which, perhaps, they pretty equally knew was already entirely his own; for, though Henry was now sincerely attached to her, though he felt and delighted in all the excellencies of her character and truly loved her society, I must confess that his affection originated in nothing better than gratitude, or, in other words, that a persuasion of her partiality for him had been the only cause of giving her a serious thought. It is a new circumstance in romance, I acknowledge, and dreadfully derogatory of an heroine's dignity; but if it be as new in common life, the credit of a wild imagination will at least be all my own. A very short visit to Mrs. Allen, in which Henry talked at random, without sense or connection, and Catherine, rapt in the contemplation of her own unutterable happiness, scarcely opened her lips, dismissed them to the ecstasies of another tete-a-tete; and before it was suffered to close, she was enabled to judge how far he was sanctioned by parental authority in his present application. On his return from Woodston, two days before, he had been met near the abbey by his impatient father, hastily informed in angry terms of Miss Morland's departure, and ordered to think of her no more. Such was the permission upon which he had now offered her his hand. The affrighted Catherine, amidst all the terrors of expectation, as she listened to this account, could not but rejoice in the kind caution with which Henry had saved her from the necessity of a conscientious rejection, by engaging her faith before he mentioned the subject; and as he proceeded to give the particulars, and explain the motives of his father's conduct, her feelings soon hardened into even a triumphant delight. The general had had nothing to accuse her of, nothing to lay to her charge, but her being the involuntary, unconscious object of a deception which his pride could not pardon, and which a better pride would have been ashamed to own. She was guilty only of being less rich than he had supposed her to be. Under a mistaken persuasion of her possessions and claims, he had courted her acquaintance in Bath, solicited her company at Northanger, and designed her for his daughter-in-law. On discovering his error, to turn her from the house seemed the best, though to his feelings an inadequate proof of his resentment towards herself, and his contempt of her family.

Northanger Abbey - Jane Austen

This was the last sentence by which he could weary Catherine's attention, for he was just then borne off by the resistless pressure of a long string of passing ladies. Her partner now drew near, and said, "That gentleman would have put me out of patience, had he stayed with you half a minute longer. He has no business to withdraw the attention of my partner from me. We have entered into a contract of mutual agreeableness for the space of an evening, and all our agreeableness belongs solely to each other for that time. Nobody can fasten themselves on the notice of one, without injuring the rights of the other. I consider a country-dance as an emblem of marriage. Fidelity and complaisance are the principal duties of both; and those men who do not choose to dance or marry themselves, have no business with the partners or wives of their neighbours." "But they are such very different things!" "—That you think they cannot be compared together." "To be sure not. People that marry can never part, but must go and keep house together. People that dance only stand opposite each other in a long room for half an hour." "And such is your definition of matrimony and dancing. Taken in that light certainly, their resemblance is not striking; but I think I could place them in such a view. You will allow, that in both, man has the advantage of choice, woman only the power of refusal; that in both, it is an engagement between man and woman, formed for the advantage of each; and that when once entered into, they belong exclusively to each other till the moment of its dissolution; that it is their duty, each to endeavour to give the other no cause for wishing that he or she had bestowed themselves elsewhere, and their best interest to keep their own imaginations from wandering towards the perfections of their neighbours, or fancying that they should have been better off with anyone else. You will allow all this?" "Yes, to be sure, as you state it, all this sounds very well; but still they are so very different. I cannot look upon them at all in the same light, nor think the same duties belong to them." "In one respect, there certainly is a difference. In marriage, the man is supposed to provide for the support of the woman, the woman to make the home agreeable to the man; he is to purvey, and she is to smile. But in dancing, their duties are exactly changed; the agreeableness, the compliance are expected from him, while she furnishes the fan and the lavender water. That, I suppose, was the difference of duties which struck you, as rendering the conditions incapable of comparison." "No, indeed, I never thought of that." "Then I am quite at a loss. One thing, however, I must observe. This disposition on your side is rather alarming. You totally disallow any similarity in the obligations; and may I not thence infer that your notions of the duties of the dancing state are not so strict as your partner might wish? Have I not reason to fear that if the gentleman who spoke to you just now were to return, or if any other gentleman were to address you, there would be nothing to restrain you from conversing with him as long as you chose?" "Mr. Thorpe is such a very particular friend of my brother's, that if he talks to me, I must talk to him again; but there are hardly three young men in the room besides him that I have any acquaintance with." "And is that to be my only security? Alas, alas!" "Nay, I am sure you cannot have a better; for if I do not know anybody, it is impossible for me to talk to them; and, besides, I do not want to talk to anybody." "Now you have given me a security worth having; and I shall proceed with courage. Do you find Bath as agreeable as when I had the honour of making the inquiry before?" "Yes, quite—more so, indeed." "More so! Take care, or you will forget to be tired of it at the proper time. You ought to be tired at the end of six weeks." "I do not think I should be tired, if I were to stay here six months." "Bath, compared with London, has little variety, and so everybody finds out every year. 'For six weeks, I allow Bath is pleasant enough; but beyond that, it is the most tiresome place in the world.' You would be told so by people of all descriptions, who come regularly every winter, lengthen their six weeks into ten or twelve, and go away at last because they can afford to stay no longer." "Well, other people must judge for themselves, and those who go to London may think nothing of Bath. But I, who live in a small retired village in the country, can never find greater sameness in such a place as this than in my own home; for here are a variety of amusements, a variety of things to be seen and done all day long, which I can know nothing of there." "You are not fond of the country." "Yes, I am. I have always lived there, and always been very happy. But certainly there is much more sameness in a country life than in a Bath life. One day in the country is exactly like another." "But then you spend your time so much more rationally in the country." "Do I?" "Do you not?" "I do not believe there is much difference." "Here you are in pursuit only of amusement all day long." "And so I am at home—only I do not find so much of it. I walk about here, and so I do there; but here I see a variety of people in every street, and there I can only go and call on Mrs. Allen." Mr. Tilney was very much amused. "Only go and call on Mrs. Allen!" he repeated. "What a picture of intellectual poverty! However, when you sink into this abyss again, you will have more to say. You will be able to talk of Bath, and of all that you did here." "Oh! Yes. I shall never be in want of something to talk of again to Mrs. Allen, or anybody else. I really believe I shall always be talking of Bath, when I am at home again—I do like it so very much. If I could but have Papa and Mamma, and the rest of them here, I suppose I should be too happy! James's coming (my eldest brother) is quite delightful—and especially as it turns out that the very family we are just got so intimate with are his intimate friends already. Oh! Who can ever be tired of Bath?" "Not those who bring such fresh feelings of every sort to it as you do. But papas and mammas, and brothers, and intimate friends are a good deal gone by, to most of the frequenters of Bath—and the honest relish of balls and plays, and everyday sights, is past with them." Here their conversation closed, the demands of the dance becoming now too importunate for a divided attention.

Northanger Abbey - Jane Austen

At length their long kiss severed, with sweet smart: And as the last slow sudden drops are shed From sparkling eaves when all the storm has fled, So singly flagged the pulses of each heart. Their bosoms sundered, with the opening start Of married flowers to either side outspread From the knit stem; yet still their mouths, burnt red, Fawned on each other where they lay apart. Sleep sank them lower than the tide of dreams, And their dreams watched them sink, and slid away. Slowly their souls swam up again, through gleams Of watered light and dull drowned waifs of day; Till from some wonder of new woods and streams He woke, and wondered more: for there she lay.

Nuptial Sleep - Dante Gabriel Rossetti

—It seems a day (I speak of one from many singled out) One of those heavenly days that cannot die; When, in the eagerness of boyish hope, I left our cottage-threshold, sallying forth With a huge wallet o'er my shoulders slung, A nutting-crook in hand; and turned my steps Tow'rd some far-distant wood, a Figure quaint, Tricked out in proud disguise of cast-off weeds Which for that service had been husbanded, By exhortation of my frugal Dame— Motley accoutrement, of power to smile At thorns, and brakes, and brambles,—and, in truth, More ragged than need was! O'er pathless rocks, Through beds of matted fern, and tangled thickets, Forcing my way, I came to one dear nook Unvisited, where not a broken bough Drooped with its withered leaves, ungracious sign Of devastation; but the hazels rose Tall and erect, with tempting clusters hung, A virgin scene!—A little while I stood, Breathing with such suppression of the heart As joy delights in; and, with wise restraint Voluptuous, fearless of a rival, eyed The banquet;—or beneath the trees I sate Among the flowers, and with the flowers I played; A temper known to those, who, after long And weary expectation, have been blest With sudden happiness beyond all hope. Perhaps it was a bower beneath whose leaves The violets of five seasons re-appear And fade, unseen by any human eye; Where fairy water-breaks do murmur on For ever; and I saw the sparkling foam, And—with my cheek on one of those green stones That, fleeced with moss, under the shady trees, Lay round me, scattered like a flock of sheep— I heard the murmur, and the murmuring sound, In that sweet mood when pleasure loves to pay Tribute to ease; and, of its joy secure, The heart luxuriates with indifferent things, Wasting its kindliness on stocks and stones, And on the vacant air. Then up I rose, And dragged to earth both branch and bough, with crash And merciless ravage: and the shady nook Of hazels, and the green and mossy bower, Deformed and sullied, patiently gave up Their quiet being: and, unless I now Confound my present feelings with the past; Ere from the mutilated bower I turned Exulting, rich beyond the wealth of kings, I felt a sense of pain when I beheld The silent trees, and saw the intruding sky.— Then, dearest Maiden, move along these shades In gentleness of heart; with gentle hand Touch—for there is a spirit in the woods.

Nutting - William Wordsworth

But this for the moment it was not so easy to do. Something had attracted the crowd to a spot in their rear, and the young widow, caught by its sway, found herself pressed against Anna's acquaintance without power to move away. Their faces were within a few inches of each other, his breath fanned her cheek as well as Anna's. They could do no other than smile at the accident; but neither spoke, and each waited passively. Mrs. Harnham then felt a man's hand clasping her fingers, and from the look of consciousness on the young fellow's face she knew the hand to be his: she also knew that from the position of the girl he had no other thought than that the imprisoned hand was Anna's. What prompted her to refrain from undeceiving him she could hardly tell. Not content with holding the hand, he playfully slipped two of his fingers inside her glove, against her palm. Thus matters continued till the pressure lessened, but several minutes passed before the crowd thinned sufficiently to allow Mrs. Harnham to withdraw. "How did they get to know each other, I wonder?" she mused as she retreated. "Anna is really very forward—and he very nice." She was so greatly struck with the young barrister's manner, voice, with the fascination of his touch, that instead of re-entering the house she turned back again and observed the pair from a screened nook. Really she argued (being little less impulsive than Anna herself) it was very excusable in Anna to encourage him, however she might have contrived to make his acquaintance; he was so gentlemanly, so fascinating, had such beautiful eyes. The thought that he was several years her junior produced a sigh. At length the couple turned from the roundabout, towards the door of Mrs. Harnham's house, and the young man could be heard saying that he would accompany her home. Anna certainly had found a lover, apparently a very devoted one. Mrs. Harnham was quite interested in him. When they drew near the door of the wine-merchant's house, a comparatively deserted spot by this time, they stood invisible for a little while in the shadow of a wall, where they separated, Anna going on to the entrance, and her acquaintance returning across the square.

On the Western Circuit - Thomas Hardy

She was now clearly realizing that she had become possessed to the bottom of her soul with the image of a man to whom she was hardly so much as a name. From the first he had attracted her by his looks and voice; by his tender touch; and, with these as generators, the writing of letter after letter, and the reading of their soft answers, had insensibly developed on her side an emotion which fanned his; till there had resulted a magnetic reciprocity between the correspondents, notwithstanding that one of them wrote in a character not her own. That he had been able to seduce another woman in two days was his crowning though unrecognised fascination for her as the she-animal. They were her own impassioned and pent-up ideas--lowered to monosyllabic phraseology in order to keep up the disguise--that Edith put into letters signed with another name, much to the shallow Anna's delight, who, unassisted, could not for the world have conceived such pretty fancies for winning him, even had she been able to write them. Edith found that it was these, her own foisted-in sentiments, to which the young barrister mainly responded. The few sentences occasionally added from Anna's own lips made apparently no impression upon him.

On the Western Circuit - Thomas Hardy

Though sensuous, and, superficially at least, infested with the self-indulgent vices of artificial society, there was a substratum of honest and fairness in Raye's character. He had really a tender regard for the country girl, and it grew more tender than ever when he found her apparently capable of expressing the deepest sensibilities in the simplest words. He meditated, he wavered; and finally resolved to consult his sister, a maiden lady much older than himself, of lively sympathies and good intent. In making this confidence, he showed her some of the letters. 'She seems fairly educated,' Miss Raye observed. 'And bright in ideas. She expresses herself with a taste that must be innate.' 'Yes. She writes very prettily, doesn't she, thanks to these elementary schools?' 'One is drawn out towards her, in spite of one's self, poor thing.' The upshot of the discussion was that though he had not been directly advised to do it, Raye wrote, in his real name, what he would never have decided to write on his own responsibility; namely that he could not live without her, and would come down in the spring and shelve her looming difficulty by marrying her.

On the Western Circuit - Thomas Hardy

Say over again, and yet once over again, That thou dost love me. Though the word repeated Should seem "a cuckoo-song," as thou dost treat it, Remember, never to the hill or plain, Valley and wood, without her cuckoo-strain Comes the fresh Spring in all her green completed. Belovèd, I, amid the darkness greeted By a doubtful spirit-voice, in that doubt's pain Cry, "Speak once more—thou lovest!" Who can fear Too many stars, though each in heaven shall roll, Too many flowers, though each shall crown the year? Say thou dost love me, love me, love me—toll The silver iterance!—only minding, Dear, To love me also in silence with thy soul.

Sonnets from the Portuguese No. 21 - Elizabeth Barrett Browning

When our two souls stand up erect and strong, Face to face, silent, drawing nigh and nigher, Until the lengthening wings break into fire At either curvéd point, — what bitter wrong Can the earth do to us, that we should not long Be here contented ? Think. In mounting higher, The angels would press on us, and aspire To drop some golden orb of perfect song Into our deep, dear silence. Let us stay Rather on earth, Belovèd, — where the unfit Contrarious moods of men recoil away And isolate pure spirits, and permit A place to stand and love in for a day, With darkness and the death-hour rounding it.

Sonnets from the Portuguese No. 22 - Elizabeth Barrett Browning

The first time that the sun rose on thine oath To love me, I looked forward to the moon To slacken all those bonds which seemed too soon And quickly tied to make a lasting troth. Quick-loving hearts, I thought, may quickly loathe; And, looking on myself, I seemed not one For such man's love!—more like an out-of-tune Worn viol, a good singer would be wroth To spoil his song with, and which, snatched in haste, Is laid down at the first ill-sounding note. I did not wrong myself so, but I placed A wrong on thee. For perfect strains may float 'Neath master-hands, from instruments defaced— And great souls, at one stroke, may do and dote.

Sonnets from the Portuguese No. 32 - Elizabeth Barrett Browning

How do I love thee? Let me count the ways. I love thee to the depth and breadth and height My soul can reach, when feeling out of sight For the ends of being and ideal grace. I love thee to the level of every day's Most quiet need, by sun and candle-light. I love thee freely, as men strive for right; I love thee purely, as they turn from praise. I love thee with the passion put to use In my old griefs, and with my childhood's faith. I love thee with a love I seemed to lose With my lost saints. I love thee with the breath, Smiles, tears, of all my life; and, if God choose, I shall but love thee better after death.

Sonnets from the Portuguese No. 43 - Elizabeth Barrett Browning

"Gretta tells me you're not going to take a cab back to Monkstown tonight, Gabriel," said Aunt Kate. "No," said Gabriel, turning to his wife, "we had quite enough of that last year, hadn't we? Don't you remember, Aunt Kate, what a cold Gretta got out of it? Cab windows rattling all the way, and the east wind blowing in after we passed Merrion. Very jolly it was. Gretta caught a dreadful cold." Aunt Kate frowned severely and nodded her head at every word. "Quite right, Gabriel, quite right," she said. "You can't be too careful." "But as for Gretta there," said Gabriel, "she'd walk home in the snow if she were let." Mrs. Conroy laughed. "Don't mind him, Aunt Kate," she said. "He's really an awful bother, what with green shades for Tom's eyes at night and making him do the dumb-bells, and forcing Eva to eat the stirabout. The poor child! And she simply hates the sight of it!... O, but you'll never guess what he makes me wear now!" She broke out into a peal of laughter and glanced at her husband, whose admiring and happy eyes had been wandering from her dress to her face and hair. The two aunts laughed heartily, too, for Gabriel's solicitude was a standing joke with them. "Goloshes!" said Mrs. Conroy. "That's the latest. Whenever it's wet underfoot I must put on my galoshes. Tonight even, he wanted me to put them on, but I wouldn't. The next thing he'll buy me will be a diving suit." Gabriel laughed nervously and patted his tie reassuringly, while Aunt Kate nearly doubled herself, so heartily did she enjoy the joke. The smile soon faded from Aunt Julia's face and her mirthless eyes were directed towards her nephew's face. After a pause she asked: "And what are goloshes, Gabriel?" "Goloshes, Julia!" exclaimed her sister "Goodness me, don't you know what goloshes are? You wear them over your... over your boots, Gretta, isn't it?"

The Dead - James Joyce

"He is dead," she said at length. "He died when he was only seventeen. Isn't it a terrible thing to die so young as that?" "What was he?" asked Gabriel, still ironically. "He was in the gasworks," she said. Gabriel felt humiliated by the failure of his irony and by the evocation of this figure from the dead, a boy in the gasworks. While he had been full of memories of their secret life together, full of tenderness and joy and desire, she had been comparing him in her mind with another. A shameful consciousness of his own person assailed him. He saw himself as a ludicrous figure, acting as a pennyboy for his aunts, a nervous, well-meaning sentimentalist, orating to vulgarians and idealising his own clownish lusts, the pitiable fatuous fellow he had caught a glimpse of in the mirror. Instinctively he turned his back more to the light lest she might see the shame that burned upon his forehead. He tried to keep up his tone of cold interrogation, but his voice when he spoke was humble and indifferent. "I suppose you were in love with this Michael Furey, Gretta," he said. "I was great with him at that time," she said. Her voice was veiled and sad. Gabriel, feeling now how vain it would be to try to lead her whither he had purposed, caressed one of her hands and said, also sadly: "And what did he die of so young, Gretta? Consumption, was it?" "I think he died for me," she answered. A vague terror seized Gabriel at this answer, as if, at that hour when he had hoped to triumph, some impalpable and vindictive being was coming against him, gathering forces against him in its vague world. But he shook himself free of it with an effort of reason and continued to caress her hand. He did not question her again, for he felt that she would tell him of herself. Her hand was warm and moist: it did not respond to his touch, but he continued to caress it just as he had caressed her first letter to him that spring morning. "It was in the winter," she said, "about the beginning of the winter when I was going to leave my grandmother's and come up here to the convent. And he was ill at the time in his lodgings in Galway and wouldn't be let out, and his people in Oughterard were written to. He was in decline, they said, or something like that. I never knew rightly." She paused for a moment and sighed. "Poor fellow," she said. "He was very fond of me and he was such a gentle boy. We used to go out together, walking, you know, Gabriel, like the way they do in the country. He was going to study singing only for his health. He had a very good voice, poor Michael Furey." "Well; and then?" asked Gabriel. "And then when it came to the time for me to leave Galway and come up to the convent he was much worse and I wouldn't be let see him so I wrote him a letter saying I was going up to Dublin and would be back in the summer, and hoping he would be better then." She paused for a moment to get her voice under control, and then went on: "Then the night before I left, I was in my grandmother's house in Nuns' Island, packing up, and I heard gravel thrown up against the window. The window was so wet I couldn't see, so I ran downstairs as I was and slipped out the back into the garden and there was the poor fellow at the end of the garden, shivering." "And did you not tell him to go back?" asked Gabriel. "I implored of him to go home at once and told him he would get his death in the rain. But he said he did not want to live. I can see his eyes as well as well! He was standing at the end of the wall where there was a tree." "And did he go home?" asked Gabriel. "Yes, he went home. And when I was only a week in the convent he died and he was buried in Oughterard, where his people came from. O, the day I heard that, that he was dead!" She stopped, choking with sobs, and, overcome by emotion, flung herself face downward on the bed, sobbing in the quilt. Gabriel held her hand for a moment longer, irresolutely, and then, shy of intruding on her grief, let it fall gently and walked quietly to the window.

The Dead - James Joyce

He stood, holding her head between his hands. Then, slipping one arm swiftly about her body and drawing her towards him, he said softly: "Gretta, dear, what are you thinking about?" She did not answer nor yield wholly to his arm. He said again, softly: "Tell me what it is, Gretta. I think I know what is the matter. Do I know?" She did not answer at once. Then she said in an outburst of tears: "O, I am thinking about that song, The Lass of Aughrim." She broke loose from him and ran to the bed and, throwing her arms across the bed-rail, hid her face. Gabriel stood stockstill for a moment in astonishment and then followed her. As he passed in the way of the cheval-glass he caught sight of himself in full length, his broad, well-filled shirt-front, the face whose expression always puzzled him when he saw it in a mirror, and his glimmering gilt-rimmed eyeglasses. He halted a few paces from her and said: "What about the song? Why does that make you cry?" She raised her head from her arms and dried her eyes with the back of her hand like a child. A kinder note than he had intended went into his voice. "Why, Gretta?" he asked. "I am thinking about a person long ago who used to sing that song." "And who was the person long ago?" asked Gabriel, smiling. "It was a person I used to know in Galway when I was living with my grandmother," she said. The smile passed away from Gabriel's face. A dull anger began to gather again at the back of his mind and the dull fires of his lust began to glow angrily in his veins. "Someone you were in love with?" he asked ironically. "It was a young boy I used to know," she answered, "named Michael Furey. He used to sing that song, The Lass of Aughrim. He was very delicate." Gabriel was silent. He did not wish her to think that he was interested in this delicate boy. "I can see him so plainly," she said, after a moment. "Such eyes as he had: big, dark eyes! And such an expression in them -- an expression!" "O, then, you are in love with him?" said Gabriel. "I used to go out walking with him," she said, "when I was in Galway." A thought flew across Gabriel's mind. "Perhaps that was why you wanted to go to Galway with that Ivors girl?" he said coldly. She looked at him and asked in surprise: "What for?" Her eyes made Gabriel feel awkward. He shrugged his shoulders and said: "How do I know? To see him, perhaps." She looked away from him along the shaft of light towards the window in silence.

The Dead - James Joyce

He was trembling now with annoyance. Why did she seem so abstracted? He did not know how he could begin. Was she annoyed, too, about something? If she would only turn to him or come to him of her own accord! To take her as she was would be brutal. No, he must see some ardour in her eyes first. He longed to be master of her strange mood. "When did you lend him the pound?" she asked, after a pause. Gabriel strove to restrain himself from breaking out into brutal language about the sottish Malins and his pound. He longed to cry to her from his soul, to crush her body against his, to overmaster her. But he said: "O, at Christmas, when he opened that little Christmas-card shop in Henry Street." He was in such a fever of rage and desire that he did not hear her come from the window. She stood before him for an instant, looking at him strangely. Then, suddenly raising herself on tiptoe and resting her hands lightly on his shoulders, she kissed him. "You are a very generous person, Gabriel," she said. Gabriel, trembling with delight at her sudden kiss and at the quaintness of her phrase, put his hands on her hair and began smoothing it back, scarcely touching it with his fingers. The washing had made it fine and brilliant. His heart was brimming over with happiness. Just when he was wishing for it she had come to him of her own accord. Perhaps her thoughts had been running with his. Perhaps she had felt the impetuous desire that was in him, and then the yielding mood had come upon her. Now that she had fallen to him so easily, he wondered why he had been so diffident.

The Dead - James Joyce

She was fast asleep. Gabriel, leaning on his elbow, looked for a few moments unresentfully on her tangled hair and half-open mouth, listening to her deep-drawn breath. So she had had that romance in her life: a man had died for her sake. It hardly pained him now to think how poor a part he, her husband, had played in her life. He watched her while she slept, as though he and she had never lived together as man and wife. His curious eyes rested long upon her face and on her hair: and, as he thought of what she must have been then, in that time of her first girlish beauty, a strange, friendly pity for her entered his soul. He did not like to say even to himself that her face was no longer beautiful, but he knew that it was no longer the face for which Michael Furey had braved death. Perhaps she had not told him all the story. His eyes moved to the chair over which she had thrown some of her clothes. A petticoat string dangled to the floor. One boot stood upright, its limp upper fallen down: the fellow of it lay upon its side. He wondered at his riot of emotions of an hour before. From what had it proceeded? From his aunt's supper, from his own foolish speech, from the wine and dancing, the merry-making when saying good-night in the hall, the pleasure of the walk along the river in the snow. Poor Aunt Julia! She, too, would soon be a shade with the shade of Patrick Morkan and his horse. He had caught that haggard look upon her face for a moment when she was singing Arrayed for the Bridal. Soon, perhaps, he would be sitting in that same drawing-room, dressed in black, his silk hat on his knees. The blinds would be drawn down and Aunt Kate would be sitting beside him, crying and blowing her nose and telling him how Julia had died. He would cast about in his mind for some words that might console her, and would find only lame and useless ones. Yes, yes: that would happen very soon. The air of the room chilled his shoulders. He stretched himself cautiously along under the sheets and lay down beside his wife. One by one, they were all becoming shades. Better pass boldly into that other world, in the full glory of some passion, than fade and wither dismally with age. He thought of how she who lay beside him had locked in her heart for so many years that image of her lover's eyes when he had told her that he did not wish to live. Generous tears filled Gabriel's eyes. He had never felt like that himself towards any woman, but he knew that such a feeling must be love. The tears gathered more thickly in his eyes and in the partial darkness he imagined he saw the form of a young man standing under a dripping tree. Other forms were near. His soul had approached that region where dwell the vast hosts of the dead. He was conscious of, but could not apprehend, their wayward and flickering existence. His own identity was fading out into a grey impalpable world: the solid world itself, which these dead had one time reared and lived in, was dissolving and dwindling. A few light taps upon the pane made him turn to the window. It had begun to snow again. He watched sleepily the flakes, silver and dark, falling obliquely against the lamplight. The time had come for him to set out on his journey westward. Yes, the newspapers were right: snow was general all over Ireland. It was falling on every part of the dark central plain, on the treeless hills, falling softly upon the Bog of Allen and, farther westward, softly falling into the dark mutinous Shannon waves. It was falling, too, upon every part of the lonely churchyard on the hill where Michael Furey lay buried. It lay thickly drifted on the crooked crosses and headstones, on the spears of the little gate, on the barren thorns. His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead.

The Dead - James Joyce

And still she slept an azure-lidded sleep, In blanched linen, smooth, and lavender'd, While he forth from the closet brought a heap Of candied apple, quince, and plum, and gourd; With jellies soother than the creamy curd, And lucent syrops, tinct with cinnamon; Manna and dates, in argosy transferr'd From Fez; and spiced dainties, every one, From silken Samarcand to cedar'd Lebanon.

The Eve of St. Agnes - John Keats

Anon his heart revives: her vespers done, Of all its wreathed pearls her hair she frees; Unclasps her warmed jewels one by one; Loosens her fragrant boddice; by degrees Her rich attire creeps rustling to her knees: Half-hidden, like a mermaid in sea-weed, Pensive awhile she dreams awake, and sees, In fancy, fair St. Agnes in her bed, But dares not look behind, or all the charm is fled.

The Eve of St. Agnes - John Keats

Full of this whim was thoughtful Madeline: The music, yearning like a God in pain, She scarcely heard: her maiden eyes divine, Fix'd on the floor, saw many a sweeping train Pass by—she heeded not at all: in vain Came many a tiptoe, amorous cavalier, And back retir'd; not cool'd by high disdain, But she saw not: her heart was otherwhere: She sigh'd for Agnes' dreams, the sweetest of the year.

The Eve of St. Agnes - John Keats

Her eyes were open, but she still beheld, Now wide awake, the vision of her sleep: There was a painful change, that nigh expell'd The blisses of her dream so pure and deep At which fair Madeline began to weep, And moan forth witless words with many a sigh; While still her gaze on Porphyro would keep; Who knelt, with joined hands and piteous eye, Fearing to move or speak, she look'd so dreamingly. "Ah, Porphyro!" said she, "but even now Thy voice was at sweet tremble in mine ear, Made tuneable with every sweetest vow; And those sad eyes were spiritual and clear: How chang'd thou art! how pallid, chill, and drear! Give me that voice again, my Porphyro, Those looks immortal, those complainings dear! Oh leave me not in this eternal woe, For if thy diest, my Love, I know not where to go." Beyond a mortal man impassion'd far At these voluptuous accents, he arose Ethereal, flush'd, and like a throbbing star Seen mid the sapphire heaven's deep repose; Into her dream he melted, as the rose Blendeth its odour with the violet,— Solution sweet: meantime the frost-wind blows Like Love's alarum pattering the sharp sleet Against the window-panes; St. Agnes' moon hath set. 'Tis dark: quick pattereth the flaw-blown sleet: "This is no dream, my bride, my Madeline!" 'Tis dark: the iced gusts still rave and beat: "No dream, alas! alas! and woe is mine! Porphyro will leave me here to fade and pine.— Cruel! what traitor could thee hither bring? I curse not, for my heart is lost in thine, Though thou forsakest a deceived thing;— A dove forlorn and lost with sick unpruned wing."

The Eve of St. Agnes - John Keats

"It was a horrible affair all the same," said Mr. Sheridan. "The chap was married too. Lived just below in the lane, and leaves a wife and half a dozen kiddies, so they say." An awkward little silence fell. Mrs. Sheridan fidgeted with her cup. Really, it was very tactless of father... Suddenly she looked up. There on the table were all those sandwiches, cakes, puffs, all uneaten, all going to be wasted. She had one of her brilliant ideas. "I know," she said. "Let's make up a basket. Let's send that poor creature some of this perfectly good food. At any rate, it will be the greatest treat for the children. Don't you agree? And she's sure to have neighbours calling in and so on. What a point to have it all ready prepared. Laura!" She jumped up. "Get me the big basket out of the stairs cupboard." "But, mother, do you really think it's a good idea?" said Laura. Again, how curious, she seemed to be different from them all. To take scraps from their party. Would the poor woman really like that? "Of course! What's the matter with you to-day? An hour or two ago you were insisting on us being sympathetic, and now—" Oh well! Laura ran for the basket. It was filled, it was heaped by her mother. "Take it yourself, darling," said she. "Run down just as you are. No, wait, take the arum lilies too. People of that class are so impressed by arum lilies." "The stems will ruin her lace frock," said practical Jose. So they would. Just in time. "Only the basket, then. And, Laura!"—her mother followed her out of the marquee—"don't on any account—" "What mother?" No, better not put such ideas into the child's head! "Nothing! Run along."

The Garden Party - Katherine Mansfield

"Yes, quite. Oh, Laurie!" She took his arm, she pressed up against him. "I say, you're not crying, are you?" asked her brother. Laura shook her head. She was. Laurie put his arm round her shoulder. "Don't cry," he said in his warm, loving voice. "Was it awful?" "No," sobbed Laura. "It was simply marvellous. But Laurie—" She stopped, she looked at her brother. "Isn't life," she stammered, "isn't life—" But what life was she couldn't explain. No matter. He quite understood. "Isn't it, darling?" said Laurie.

The Garden Party - Katherine Mansfield

"You won't bring a drunken workman back to life by being sentimental," she said softly. "Drunk! Who said he was drunk?" Laura turned furiously on Jose. She said, just as they had used to say on those occasions, "I'm going straight up to tell mother." "Do, dear," cooed Jose. "Mother, can I come into your room?" Laura turned the big glass door-knob. "Of course, child. Why, what's the matter? What's given you such a colour?" And Mrs. Sheridan turned round from her dressing-table. She was trying on a new hat. "Mother, a man's been killed," began Laura. "Not in the garden?" interrupted her mother. "No, no!" "Oh, what a fright you gave me!" Mrs. Sheridan sighed with relief, and took off the big hat and held it on her knees. "But listen, mother," said Laura. Breathless, half-choking, she told the dreadful story. "Of course, we can't have our party, can we?" she pleaded. "The band and everybody arriving. They'd hear us, mother; they're nearly neighbours!" To Laura's astonishment her mother behaved just like Jose; it was harder to bear because she seemed amused. She refused to take Laura seriously. "But, my dear child, use your common sense. It's only by accident we've heard of it. If some one had died there normally—and I can't understand how they keep alive in those poky little holes—we should still be having our party, shouldn't we?" Laura had to say "yes" to that, but she felt it was all wrong. She sat down on her mother's sofa and pinched the cushion frill. "Mother, isn't it terribly heartless of us?" she asked. "Darling!" Mrs. Sheridan got up and came over to her, carrying the hat. Before Laura could stop her she had popped it on. "My child!" said her mother, "the hat is yours. It's made for you. It's much too young for me. I have never seen you look such a picture. Look at yourself!" And she held up her hand-mirror. "But, mother," Laura began again. She couldn't look at herself; she turned aside. This time Mrs. Sheridan lost patience just as Jose had done. "You are being very absurd, Laura," she said coldly. "People like that don't expect sacrifices from us. And it's not very sympathetic to spoil everybody's enjoyment as you're doing now." "I don't understand," said Laura, and she walked quickly out of the room into her own bedroom. There, quite by chance, the first thing she saw was this charming girl in the mirror, in her black hat trimmed with gold daisies, and a long black velvet ribbon. Never had she imagined she could look like that. Is mother right? she thought. And now she hoped her mother was right. Am I being extravagant? Perhaps it was extravagant. Just for a moment she had another glimpse of that poor woman and those little children, and the body being carried into the house. But it all seemed blurred, unreal, like a picture in the newspaper. I'll remember it again after the party's over, she decided. And somehow that seemed quite the best plan...

The Garden Party - Katherine Mansfield

Four men in their shirt-sleeves stood grouped together on the garden path. They carried staves covered with rolls of canvas, and they had big tool-bags slung on their backs. They looked impressive. Laura wished now that she had not got the bread-and-butter, but there was nowhere to put it, and she couldn't possibly throw it away. She blushed and tried to look severe and even a little bit short-sighted as she came up to them. "Good morning," she said, copying her mother's voice. But that sounded so fearfully affected that she was ashamed, and stammered like a little girl, "Oh—er—have you come—is it about the marquee?" "That's right, miss," said the tallest of the men, a lanky, freckled fellow, and he shifted his tool-bag, knocked back his straw hat and smiled down at her. "That's about it." His smile was so easy, so friendly that Laura recovered. What nice eyes he had, small, but such a dark blue! And now she looked at the others, they were smiling too. "Cheer up, we won't bite," their smile seemed to say. How very nice workmen were! And what a beautiful morning! She mustn't mention the morning; she must be business-like. The marquee. "Well, what about the lily-lawn? Would that do?" And she pointed to the lily-lawn with the hand that didn't hold the bread-and-butter. They turned, they stared in the direction. A little fat chap thrust out his under-lip, and the tall fellow frowned. "I don't fancy it," said he. "Not conspicuous enough. You see, with a thing like a marquee," and he turned to Laura in his easy way, "you want to put it somewhere where it'll give you a bang slap in the eye, if you follow me." Laura's upbringing made her wonder for a moment whether it was quite respectful of a workman to talk to her of bangs slap in the eye. But she did quite follow him. "A corner of the tennis-court," she suggested. "But the band's going to be in one corner." "H'm, going to have a band, are you?" said another of the workmen. He was pale. He had a haggard look as his dark eyes scanned the tennis-court. What was he thinking? "Only a very small band," said Laura gently. Perhaps he wouldn't mind so much if the band was quite small. But the tall fellow interrupted. "Look here, miss, that's the place. Against those trees. Over there. That'll do fine." Against the karakas. Then the karaka-trees would be hidden. And they were so lovely, with their broad, gleaming leaves, and their clusters of yellow fruit. They were like trees you imagined growing on a desert island, proud, solitary, lifting their leaves and fruits to the sun in a kind of silent splendour. Must they be hidden by a marquee? They must. Already the men had shouldered their staves and were making for the place. Only the tall fellow was left. He bent down, pinched a sprig of lavender, put his thumb and forefinger to his nose and snuffed up the smell. When Laura saw that gesture she forgot all about the karakas in her wonder at him caring for things like that—caring for the smell of lavender. How many men that she knew would have done such a thing? Oh, how extraordinarily nice workmen were, she thought. Why couldn't she have workmen for her friends rather than the silly boys she danced with and who came to Sunday night supper? She would get on much better with men like these. It's all the fault, she decided, as the tall fellow drew something on the back of an envelope, something that was to be looped up or left to hang, of these absurd class distinctions. Well, for her part, she didn't feel them. Not a bit, not an atom... And now there came the chock-chock of wooden hammers. Some one whistled, some one sang out, "Are you right there, matey?" "Matey!" The friendliness of it, the—the—Just to prove how happy she was, just to show the tall fellow how at home she felt, and how she despised stupid conventions, Laura took a big bite of her bread-and-butter as she stared at the little drawing. She felt just like a work-girl.

The Garden Party - Katherine Mansfield

Here she was going down the hill to somewhere where a man lay dead, and she couldn't realize it. Why couldn't she? She stopped a minute. And it seemed to her that kisses, voices, tinkling spoons, laughter, the smell of crushed grass were somehow inside her. She had no room for anything else. How strange! She looked up at the pale sky, and all she thought was, "Yes, it was the most successful party."

The Garden Party - Katherine Mansfield

Oh, to be away from this! She actually said, "Help me, God," as she walked up the tiny path and knocked. To be away from those staring eyes, or to be covered up in anything, one of those women's shawls even. I'll just leave the basket and go, she decided. I shan't even wait for it to be emptied. Then the door opened. A little woman in black showed in the gloom. Laura said, "Are you Mrs. Scott?" But to her horror the woman answered, "Walk in please, miss," and she was shut in the passage. "No," said Laura, "I don't want to come in. I only want to leave this basket. Mother sent—" The little woman in the gloomy passage seemed not to have heard her. "Step this way, please, miss," she said in an oily voice, and Laura followed her. She found herself in a wretched little low kitchen, lighted by a smoky lamp. There was a woman sitting before the fire. "Em," said the little creature who had let her in. "Em! It's a young lady." She turned to Laura. She said meaningly, "I'm 'er sister, miss. You'll excuse 'er, won't you?" "Oh, but of course!" said Laura. "Please, please don't disturb her. I—I only want to leave—" But at that moment the woman at the fire turned round. Her face, puffed up, red, with swollen eyes and swollen lips, looked terrible. She seemed as though she couldn't understand why Laura was there. What did it mean? Why was this stranger standing in the kitchen with a basket? What was it all about? And the poor face puckered up again. "All right, my dear," said the other. "I'll thenk the young lady." And again she began, "You'll excuse her, miss, I'm sure," and her face, swollen too, tried an oily smile.

The Garden Party - Katherine Mansfield

Only Godber's man seemed to be enjoying himself; it was his story. "What's the matter? What's happened?" "There's been a horrible accident," said Cook. "A man killed." "A man killed! Where? How? When?" But Godber's man wasn't going to have his story snatched from under his very nose. "Know those little cottages just below here, miss?" Know them? Of course, she knew them. "Well, there's a young chap living there, name of Scott, a carter. His horse shied at a traction-engine, corner of Hawke Street this morning, and he was thrown out on the back of his head. Killed." "Dead!" Laura stared at Godber's man. "Dead when they picked him up," said Godber's man with relish. "They were taking the body home as I come up here." And he said to the cook, "He's left a wife and five little ones." "Jose, come here." Laura caught hold of her sister's sleeve and dragged her through the kitchen to the other side of the green baize door. There she paused and leaned against it. "Jose!" she said, horrified, "however are we going to stop everything?" "Stop everything, Laura!" cried Jose in astonishment. "What do you mean?" "Stop the garden-party, of course." Why did Jose pretend? But Jose was still more amazed. "Stop the garden-party? My dear Laura, don't be so absurd. Of course we can't do anything of the kind. Nobody expects us to. Don't be so extravagant." "But we can't possibly have a garden-party with a man dead just outside the front gate." That really was extravagant, for the little cottages were in a lane to themselves at the very bottom of a steep rise that led up to the house. A broad road ran between. True, they were far too near. They were the greatest possible eyesore, and they had no right to be in that neighbourhood at all.

The Garden Party - Katherine Mansfield

Pom! Ta-ta-ta Tee-ta! The piano burst out so passionately that Jose's face changed. She clasped her hands. She looked mournfully and enigmatically at her mother and Laura as they came in. "This Life is Wee-ary, A Tear—a Sigh. A Love that Chan-ges, This Life is Wee-ary, A Tear—a Sigh. A Love that Chan-ges, And then... Good-bye!" But at the word "Good-bye," and although the piano sounded more desperate than ever, her face broke into a brilliant, dreadfully unsympathetic smile. "Aren't I in good voice, mummy?" she beamed. "This Life is Wee-ary, Hope comes to Die. A Dream—a Wa-kening."

The Garden Party - Katherine Mansfield

She wished now she had put on a coat. How her frock shone! And the big hat with the velvet streamer—if only it was another hat! Were the people looking at her? They must be. It was a mistake to have come; she knew all along it was a mistake. Should she go back even now? No, too late. This was the house. It must be. A dark knot of people stood outside. Beside the gate an old, old woman with a crutch sat in a chair, watching.

The Garden Party - Katherine Mansfield

There lay a young man, fast asleep—sleeping so soundly, so deeply, that he was far, far away from them both. Oh, so remote, so peaceful. He was dreaming. Never wake him up again. His head was sunk in the pillow, his eyes were closed; they were blind under the closed eyelids. He was given up to his dream. What did garden-parties and baskets and lace frocks matter to him? He was far from all those things. He was wonderful, beautiful. While they were laughing and while the band was playing, this marvel had come to the lane. Happy... happy... All is well, said that sleeping face. This is just as it should be. I am content. But all the same you had to cry, and she couldn't go out of the room without saying something to him. Laura gave a loud childish sob. "Forgive my hat," she said.

The Garden Party - Katherine Mansfield

"Was I out of my mind?" she asked, while her eyes were fixed on him all the time. "Maybe, for the moment," he replied. He felt quiet, because his strength had come back. The strange fretful strain had left him. "Am I out of my mind now?" she asked. "Are you?" he reflected a moment. "No," he answered truthfully. "I don't see that you are." He turned his face aside. He was afraid now, because he felt dazed, and felt dimly that her power was stronger than his, in this issue. And she continued to look at him fixedly all the time. "Can you tell me where I shall find some dry things to put on?" he asked. "Did you dive into the pond for me?" she asked. "No," he answered. "I walked in. But I went in over head as well." There was silence for a moment. He hesitated. He very much wanted to go upstairs to get into dry clothing. But there was another desire in him. And she seemed to hold him. His will seemed to have gone to sleep, and left him, standing there slack before her. But he felt warm inside himself. He did not shudder at all, though his clothes were sodden on him. "Why did you?" she asked. "Because I didn't want you to do such a foolish thing," he said. "It wasn't foolish," she said, still gazing at him as she lay on the floor, with a sofa cushion under her head. "It was the right thing to do. I knew best, then." "I'll go and shift these wet things," he said. But still he had not the power to move out of her presence, until she sent him. It was as if she had the life of his body in her hands, and he could not extricate himself. Or perhaps he did not want to. Suddenly she sat up. Then she became aware of her own immediate condition. She felt the blankets about her, she knew her own limbs. For a moment it seemed as if her reason were going. She looked round, with wild eye, as if seeking something. He stood still with fear. She saw her clothing lying scattered. "Who undressed me?" she asked, her eyes resting full and inevitable on his face. "I did," he replied, "to bring you round." For some moments she sat and gazed at him awfully, her lips parted. "Do you love me, then?" she asked. He only stood and stared at her, fascinated. His soul seemed to melt. She shuffled forward on her knees, and put her arms round him, round his legs, as he stood there, pressing her breasts against his knees and thighs, clutching him with strange, convulsive certainty, pressing his thighs against her, drawing him to her face, her throat, as she looked up at him with flaring, humble eyes of transfiguration, triumphant in first possession. "You love me," she murmured, in strange transport, yearning and tri- umphant and confident. "You love me. I know you love me, I know." And she was passionately kissing his knees, through the wet clothing, passionately and indiscriminately kissing his knees, his legs, as if un- aware of everything. He looked down at the tangled wet hair, the wild, bare, animal shoul- ders. He was amazed, bewildered, and afraid. He had never thought of loving her. He had never wanted to love her. When he rescued her and restored her, he was a doctor, and she was a patient. He had had no single personal thought of her. Nay, this introduction of the personal ele- ment was very distasteful to him, a violation of his professional honor. It was horrible to have her there embracing his knees. It was horrible. He revolted from it, violently. And yet—and yet—he had not the power to break away. She looked at him again, with the same supplication of powerful love, and that same transcendent, frightening light of triumph. In view of the delicate flame which seemed to come from her face like a light, he was powerless. And yet he had never intended to love her. He had never intended. And something stubborn in him could not give way. "You love me," she repeated, in a murmur of deep, rhapsodic assur- ance. "You love me." Her hands were drawing him, drawing him down to her. He was afraid, even a little horrified. For he had, really, no intention of loving her. Yet her hands were drawing him toward her. He put out his hand quickly to steady himself, and grasped her bare shoulder. A flame seemed to burn the hand that grasped her soft shoulder. He had no intention of loving her: his whole will was against his yielding. It was horrible. And yet wonderful was the touch of her shoulders, beautiful the shining of her face. Was she perhaps mad? He had a horror of yield- ing to her. Yet something in him ached also.

The Horse-Dealer's Daughter - D.H. Lawrence

Part I On either side the river lie Long fields of barley and of rye, That clothe the wold and meet the sky; And thro' the field the road runs by To many-tower'd Camelot; And up and down the people go, Gazing where the lilies blow Round an island there below, The island of Shalott. Willows whiten, aspens quiver, Little breezes dusk and shiver Thro' the wave that runs for ever By the island in the river Flowing down to Camelot. Four gray walls, and four gray towers, Overlook a space of flowers, And the silent isle imbowers The Lady of Shalott. By the margin, willow veil'd, Slide the heavy barges trail'd By slow horses; and unhail'd The shallop flitteth silken-sail'd Skimming down to Camelot: But who hath seen her wave her hand? Or at the casement seen her stand? Or is she known in all the land, The Lady of Shalott? Only reapers, reaping early In among the bearded barley, Hear a song that echoes cheerly From the river winding clearly, Down to tower'd Camelot: And by the moon the reaper weary, Piling sheaves in uplands airy, Listening, whispers " 'Tis the fairy Lady of Shalott." Part II There she weaves by night and day A magic web with colours gay. She has heard a whisper say, A curse is on her if she stay To look down to Camelot. She knows not what the curse may be, And so she weaveth steadily, And little other care hath she, The Lady of Shalott. And moving thro' a mirror clear That hangs before her all the year, Shadows of the world appear. There she sees the highway near Winding down to Camelot: There the river eddy whirls, And there the surly village-churls, And the red cloaks of market girls, Pass onward from Shalott. Sometimes a troop of damsels glad, An abbot on an ambling pad, Sometimes a curly shepherd-lad, Or long-hair'd page in crimson clad, Goes by to tower'd Camelot; And sometimes thro' the mirror blue The knights come riding two and two: She hath no loyal knight and true, The Lady of Shalott. But in her web she still delights To weave the mirror's magic sights, For often thro' the silent nights A funeral, with plumes and lights And music, went to Camelot: Or when the moon was overhead, Came two young lovers lately wed: "I am half sick of shadows," said The Lady of Shalott. Part III A bow-shot from her bower-eaves, He rode between the barley-sheaves, The sun came dazzling thro' the leaves, And flamed upon the brazen greaves Of bold Sir Lancelot. A red-cross knight for ever kneel'd To a lady in his shield, That sparkled on the yellow field, Beside remote Shalott. The gemmy bridle glitter'd free, Like to some branch of stars we see Hung in the golden Galaxy. The bridle bells rang merrily As he rode down to Camelot: And from his blazon'd baldric slung A mighty silver bugle hung, And as he rode his armour rung, Beside remote Shalott. All in the blue unclouded weather Thick-jewell'd shone the saddle-leather, The helmet and the helmet-feather Burn'd like one burning flame together, As he rode down to Camelot. As often thro' the purple night, Below the starry clusters bright, Some bearded meteor, trailing light, Moves over still Shalott. His broad clear brow in sunlight glow'd; On burnish'd hooves his war-horse trode; From underneath his helmet flow'd His coal-black curls as on he rode, As he rode down to Camelot. From the bank and from the river He flash'd into the crystal mirror, "Tirra lirra," by the river Sang Sir Lancelot. She left the web, she left the loom, She made three paces thro' the room, She saw the water-lily bloom, She saw the helmet and the plume, She look'd down to Camelot. Out flew the web and floated wide; The mirror crack'd from side to side; "The curse is come upon me," cried The Lady of Shalott. Part IV In the stormy east-wind straining, The pale yellow woods were waning, The broad stream in his banks complaining, Heavily the low sky raining Over tower'd Camelot; Down she came and found a boat Beneath a willow left afloat, And round about the prow she wrote The Lady of Shalott. And down the river's dim expanse Like some bold seër in a trance, Seeing all his own mischance— With a glassy countenance Did she look to Camelot. And at the closing of the day She loosed the chain, and down she lay; The broad stream bore her far away, The Lady of Shalott. Lying, robed in snowy white That loosely flew to left and right— The leaves upon her falling light— Thro' the noises of the night She floated down to Camelot: And as the boat-head wound along The willowy hills and fields among, They heard her singing her last song, The Lady of Shalott. Heard a carol, mournful, holy, Chanted loudly, chanted lowly, Till her blood was frozen slowly, And her eyes were darken'd wholly, Turn'd to tower'd Camelot. For ere she reach'd upon the tide The first house by the water-side, Singing in her song she died, The Lady of Shalott. Under tower and balcony, By garden-wall and gallery, A gleaming shape she floated by, Dead-pale between the houses high, Silent into Camelot. Out upon the wharfs they came, Knight and burgher, lord and dame, And round the prow they read her name, The Lady of Shalott. Who is this? and what is here? And in the lighted palace near Died the sound of royal cheer; And they cross'd themselves for fear, All the knights at Camelot: But Lancelot mused a little space; He said, "She has a lovely face; God in his mercy lend her grace, The Lady of Shalott."

The Lady of Shalott - Alfred, Lord Tennyson

In summer's mellow midnight, A cloudless moon shone through Our open parlour window, And rose-trees wet with dew. I sat in silent musing; The soft wind waved my hair; It told me heaven was glorious, And sleeping earth was fair. I needed not its breathing To bring such thoughts to me; But still it whispered lowly, How dark the woods will be! "The thick leaves in my murmur Are rustling like a dream, And all their myriad voices Instinct with spirit seem." I said, "Go, gentle singer, Thy wooing voice is kind: But do not think its music Has power to reach my mind. "Play with the scented flower, The young tree's supple bough, And leave my human feelings In their own course to flow." The wanderer would not leave me; Its kiss grew warmer still-- "O come," it sighed so sweetly, "I'll win thee 'gainst thy will. "Have we not been from childhood friends? Have I not loved thee long? As long as thou hast loved the night Whose silence wakes my song. "And when thy heart is laid at rest Beneath the church-yard stone, I shall have time enough to mourn And thou to be alone."

The Night-Wind - Emily Brontë

"O 'Melia, my dear, this does everything crown! Who could have supposed I should meet you in Town? And whence such fair garments, such prosperi-ty?" — "O didn't you know I'd been ruined?" said she. — "You left us in tatters, without shoes or socks, Tired of digging potatoes, and spudding up docks; And now you've gay bracelets and bright feathers three!" — "Yes: that's how we dress when we're ruined," said she. — "At home in the barton you said thee' and thou,' And thik oon,' and theäs oon,' and t'other'; but now Your talking quite fits 'ee for high compa-ny!" — "Some polish is gained with one's ruin," said she. — "Your hands were like paws then, your face blue and bleak But now I'm bewitched by your delicate cheek, And your little gloves fit as on any la-dy!" — "We never do work when we're ruined," said she. — "You used to call home-life a hag-ridden dream, And you'd sigh, and you'd sock; but at present you seem To know not of megrims or melancho-ly!" — "True. One's pretty lively when ruined," said she. — "I wish I had feathers, a fine sweeping gown, And a delicate face, and could strut about Town!" — "My dear — a raw country girl, such as you be, Cannot quite expect that. You ain't ruined," said she.

The Ruined Maid - Thomas Hardy

If I should die, think only this of me: That there's some corner of a foreign field That is for ever England. There shall be In that rich earth a richer dust concealed; A dust whom England bore, shaped, made aware, Gave, once, her flowers to love, her ways to roam; A body of England's, breathing English air, Washed by the rivers, blest by suns of home. And think, this heart, all evil shed away, A pulse in the eternal mind, no less Gives somewhere back the thoughts by England given; Her sights and sounds; dreams happy as her day; And laughter, learnt of friends; and gentleness, In hearts at peace, under an English heaven.

The Soldier - Rupert Brooke

He was found by the Bureau of Statistics to be One against whom there was no official complaint, And all the reports on his conduct agree That, in the modern sense of an old-fashioned word, he was a saint, For in everything he did he served the Greater Community. Except for the War till the day he retired He worked in a factory and never got fired, But satisfied his employers, Fudge Motors Inc. Yet he wasn't a scab or odd in his views, For his Union reports that he paid his dues, (Our report on his Union shows it was sound) And our Social Psychology workers found That he was popular with his mates and liked a drink. The Press are convinced that he bought a paper every day And that his reactions to advertisements were normal in every way. Policies taken out in his name prove that he was fully insured, And his Health-card shows he was once in hospital but left it cured. Both Producers Research and High-Grade Living declare He was fully sensible to the advantages of the Instalment Plan And had everything necessary to the Modern Man, A phonograph, a radio, a car and a frigidaire. Our researchers into Public Opinion are content That he held the proper opinions for the time of year; When there was peace, he was for peace: when there was war, he went. He was married and added five children to the population, Which our Eugenist says was the right number for a parent of his generation. And our teachers report that he never interfered with their education. Was he free? Was he happy? The question is absurd: Had anything been wrong, we should certainly have heard.

The Unknown Citizen - W.H. Auden

The wind flapp'd loose, the wind was still, Shaken out dead from tree and hill: I had walk'd on at the wind's will,— I sat now, for the wind was still. Between my knees my forehead was,— My lips, drawn in, said not Alas! My hair was over in the grass, My naked ears heard the day pass. My eyes, wide open, had the run Of some ten weeds to fix upon; Among those few, out of the sun, The woodspurge flower'd, three cups in one. From perfect grief there need not be Wisdom or even memory: One thing then learnt remains to me,— The woodspurge has a cup of three.

The Woodspurge - Dante Gabriel Rossetti

The Bishop tells us: 'When the boys come back 'They will not be the same; for they'll have fought 'In a just cause: they lead the last attack 'On Anti-Christ; their comrades' blood has bought 'New right to breed an honourable race, 'They have challenged Death and dared him face to face.' 'We're none of us the same!' the boys reply. 'For George lost both his legs; and Bill's stone blind; 'Poor Jim's shot through the lungs and like to die; 'And Bert's gone syphilitic: you'll not find 'A chap who's served that hasn't found some change. ' And the Bishop said: 'The ways of God are strange!'

They - Siegfried Sassoon

He's gone, and all our plans Are useless indeed. We'll walk no more on Cotswold Where the sheep feed Quietly and take no heed. His body that was so quick Is not as you Knew it, on Severn river Under the blue Driving our small boat through. You would not know him now ... But still he died Nobly, so cover him over With violets of pride Purple from Severn side. Cover him, cover him soon! And with thick-set Masses of memoried flowers— Hide that red wet Thing I must somehow forget.

To His Love - Ivor Gurney

'Whenever I plunge my arm, like this, In a basin of water, I never miss The sweet sharp sense of a fugitive day Fetched back from its thickening shroud of gray. Hence the only prime And real love-rhyme That I know by heart, And that leaves no smart, Is the purl of a little valley fall About three spans wide and two spans tall Over a table of solid rock, And into a scoop of the self-same block; The purl of a runlet that never ceases In stir of kingdoms, in wars, in peaces; With a hollow boiling voice it speaks And has spoken since hills were turfless peaks.' 'And why gives this the only prime Idea to you of a real love-rhyme? And why does plunging your arm in a bowl Full of spring water, bring throbs to your soul?' 'Well, under the fall, in a crease of the stone, Though precisely where none ever has known, Jammed darkly, nothing to show how prized, And by now with its smoothness opalized, Is a grinking glass: For, down that pass My lover and I Walked under a sky Of blue with a leaf-wove awning of green, In the burn of August, to paint the scene, And we placed our basket of fruit and wine By the runlet's rim, where we sat to dine; And when we had drunk from the glass together, Arched by the oak-copse from the weather, I held the vessel to rinse in the fall, Where it slipped, and it sank, and was past recall, Though we stooped and plumbed the little abyss With long bared arms. There the glass still is. And, as said, if I thrust my arm below Cold water in a basin or bowl, a throe From the past awakens a sense of that time, And the glass we used, and the cascade's rhyme. The basin seems the pool, and its edge The hard smooth face of the brook-side ledge, And the leafy pattern of china-ware The hanging plants that were bathing there. 'By night, by day, when it shines or lours, There lies intact that chalice of ours, And its presence adds to the rhyme of love Persistently sung by the fall above. No lip has touched it since his and mine In turns therefrom sipped lovers' wine.'

Under the Waterfall - Thomas Hardy

Does the road wind up-hill all the way? Yes, to the very end. Will the day's journey take the whole long day? From morn to night, my friend. But is there for the night a resting-place? A roof for when the slow dark hours begin. May not the darkness hide it from my face? You cannot miss that inn. Shall I meet other wayfarers at night? Those who have gone before. Then must I knock, or call when just in sight? They will not keep you standing at that door. Shall I find comfort, travel-sore and weak? Of labour you shall find the sum. Will there be beds for me and all who seek? Yea, beds for all who come.

Up-Hill - Christina Rossetti

When you are old and grey and full of sleep, And nodding by the fire, take down this book, And slowly read, and dream of the soft look Your eyes had once, and of their shadows deep; How many loved your moments of glad grace, And loved your beauty with love false or true, But one man loved the pilgrim soul in you, And loved the sorrows of your changing face; And bending down beside the glowing bars, Murmur, a little sadly, how Love fled And paced upon the mountains overhead And hid his face amid a crowd of stars.

When You Are Old - W.B. Yeats

Let us learn from the novel. In the novel, the characters can do nothing but live. If they keep on being good, according to pattern, or bad, according to pattern, or even volatile, according to pattern, they cease to live, and the novel falls dead. A character in a novel has got to live, or it is nothing. We, likewise, in life have got to live, or we are nothing. What we mean by living is, of course, just as indescribable as what we mean by being. Men get ideas into their heads, of what they mean by Life, and they proceed to cut life out to pattern. Sometimes they go into the desert to seek God, sometimes they go into the desert to seek cash, sometimes it is wine, woman, and song, * and again it is water, political reform, and votes. You never know what it will be next: from killing your neighbour with hideous bombs and gas that tears the lungs, to supporting a Foundlings Home and preaching infinite Love, and being corespondent in a divorce. In all this wild welter, we need some sort of guide. It's no good inventing Thou Shalt Nots! What then? Turn truly, honorably to the novel, and see wherein you are man alive, and wherein you are dead man in life. You may love a woman as man alive, and you may be making love to a woman as sheer dead man in life. You may eat your dinner as man alive, or as a mere masticating corpse. As man alive you may have a shot at your enemy. But as a ghastly simulacrum of life you may be firing bombs into men who are neither your enemies nor your friends, but just things you are dead to. Which is criminal, when the things happen to be alive. To be alive, to be man alive, to be whole man alive: that is the point. And at its best, the novel, and the novel supremely, can help you. It can help you not to be dead man in life. So much of a man walks about dead and a carcass in the street and house, today: so much of women is merely dead. Like a pianoforte with half the notes mute. But in the novel you can see, plainly, when the man goes dead, the woman goes inert. You can develop an instinct for life, if you will, instead of a theory of right and wrong, good and bad. In life, there is right and wrong, good and bad, all the time. But what is right in one case is wrong in another. And in the novel you see one man becoming a corpse, because of his so-called goodness, another going dead because of his so-called wickedness. Right and wrong is an instinct: but an instinct of the whole consciousness in a man, bodily, mental, spiritual at once. And only in the novel are all things given full play, or at least, they may be given full play, when we realize that life itself, and not inert safety, is the reason for living. For out of the full play of all things emerges the only thing that is anything, the wholeness of a man, the wholeness of a woman, man alive, and live woman.

Why The Novel Matters - D.H. Lawrence

We have curious ideas of ourselves. We think of ourselves as a body with a spirit in it, or a body with a soul in it, or a body with a mind in it. Mens sana in corpore sano. The years drink up the wine, and at last throw the bottle away, the body, of course, being the bottle. It is a funny sort of superstition. Why should I look at my hand, as it so cleverly writes these words, and decide that it is a mere nothing compared to the mind that directs it? Is there really any huge difference between my hand and my brain? Or my mind? My hand is alive, it flickers with a life of its own. It meets all the strange universe in touch, and learns a vast number of things, and knows a vast number of things. My hand, as it writes these words, slips gaily along, jumps like a grasshopper to dot an i, feels the table rather cold, gets a little bored if I write too long, has its own rudiments of thought, and is just as much me as is my brain, my mind, or my soul. Why should I imagine that there is a me which is more me than my hand is? Since my hand is absolutely alive, me alive. Whereas, of course, as far as I am concerned, my pen isn't alive at all. My pen isn't me alive. Me alive ends at my finger-tips. Whatever is me alive is me. Every tiny bit of my hands is alive, every little freckle and hair and fold of skin. And whatever is me alive is me. Only my finger-nails, those ten little weapons between me and an inanimate universe, they cross the mysterious Rubicon between me alive and things like my pen, which are not alive, in my own sense.

Why The Novel Matters - D.H. Lawrence