Under the flowering trees, with a bottle of wine,
I drink alone, for no friend is near.
Raising my cup I call the bright moon,
For he, with my shadow, make us three.
The moon is no drinker of wine;
Listless, my shadow only follows me.
With the moon and shadow as friends
We are joyful in the late Spring night.
I sing my songs to the moon and she dances in beams;
In the dance I weave my shadow tangles and breaks.
While we were sober, three shared the fun;
Now we are drunk, each goes his way.
May we long share our odd, inanimate feast,
And meet again at last on in the Milky Way.
Tenderly, day that I have loved, I close your eyes,
And smooth your quiet brow, and fold your thin dead hands.
The grey veils of the half-light deepen; colour dies.
I bear you, a light burden, to the shrouded sands,
Where lies your waiting boat, by wreaths of the sea’s making
Mist-garlanded, with all grey weeds of the water crowned.
There you’ll be laid, past fear of sleep or hope of waking;
And over the unmoving sea, without a sound,
Faint hands will row you outward, out beyond our sight,
Us with stretched arms and empty eyes on the far-gleaming
And marble sand. . . .
Beyond the shifting cold twilight,
Further than laughter goes, or tears, further than dreaming,
There’ll be no port, no dawn-lit islands!? But the drear
Waste darkening, and, at length, flame ultimate on the deep.
Oh, the last fire ? and you, unkissed, unfriended there!
Oh, the lone way’s red ending, and we not there to weep!
(We found you pale and quiet, and strangely crowned with flowers,
Lovely and secret as a child.? You came with us,
Came happily, hand in hand with the young dancing hours,
High on the downs at dawn!)? Void now and tenebrous,
The grey sands curve before me. . . .
From the inland meadows,
Fragrant of June and clover, floats the dark, and fills
The hollow sea’s dead face with little creeping shadows,
And the white silence brims the hollow of the hills.
Close in the nest is folded every weary wing,
Hushed all the joyful voices; and we, who held you dear,
Eastward we turn and homeward, alone, remembering . . .
Day that I loved, day that I loved, the Night is here!
Twelve o’clock.
Along the reaches of the street
Held in a lunar synthesis,
Whispering lunar incantations
Disolve the floors of memory
And all its clear relations,
Its divisions and precisions,
Every street lamp that I pass
Beats like a fatalistic drum,
And through the spaces of the dark
Midnight shakes the memory
As a madman shakes a dead geranium.
Half-past one,
The street lamp sputtered,
The street lamp muttered,
The street lamp said,
“Regard that woman
Who hesitates toward you in the light of the door
Which opens on her like a grin.
You see the border of her dress
Is torn and stained with sand,
And you see the corner of her eye
Twists like a crooked pin.”
The memory throws up high and dry
A crowd of twisted things;
A twisted branch upon the beach
Eaten smooth, and polished
As if the world gave up
The secret of its skeleton,
Stiff and white.
A broken spring in a factory yard,
Rust that clings to the form that the strength has left
Hard and curled and ready to snap.
Half-past two,
The street-lamp said,
“Remark the cat which flattens itself in the gutter,
Slips out its tongue
And devours a morsel of rancid butter.”
So the hand of the child, automatic,
Slipped out and pocketed a toy that was running along
the quay.
I could see nothing behind that child’s eye.
I have seen eyes in the street
Trying to peer through lighted shutters,
And a crab one afternoon in a pool,
An old crab with barnacles on his back,
Gripped the end of a stick which I held him.
Half-past three,
The lamp sputtered,
The lamp muttered in the dark.
The lamp hummed:
“Regard the moon,
La lune ne garde aucune rancune,
She winks a feeble eye,
She smiles into corners.
She smooths the hair of the grass.
The moon has lost her memory.
A washed-out smallpox cracks her face,
Her hand twists a paper rose,
That smells of dust and old Cologne,
She is alone With all the old nocturnal smells
That cross and cross across her brain.
The reminiscence comes
Of sunless dry geraniums
And dust in crevices,
Smells of chestnuts in the streets
And female smells in shuttered rooms
And cigarettes in corridors
And cocktail smells in bars.”
The lamp said,
“Four o’clock,
Here is the number on the door.
Memory!
You have the key,
The little lamp spreads a ring on the stair,
Mount.
The bed is open; the tooth-brush hangs on the wall,
Put your shoes at the door, sleep, prepare for life.”
“Over Hill, Over Dale”
Over hill, over dale,
Thorough bush, thorough brier,
Over park, over pale,
Thorough flood, thorough fire.
I do wander everywhere,
Swifter than the moone’s sphere.
And I serve the Fairy Queen,
To dew her orbs upon the green;
The cowslips tall her pensioners be,
In their gold coats spots you see,
Those be rubies, Fairy favors:
In those freckles live their savors.
I must go seek some dew-drops here,
And hang a pearl in every cowslip’s ear.
On a mountain-side the real estate agents
Put up signs marking the city lots to be sold there.
A man whose father and mother were Irish
Ran a goat farm half-way down the mountain;
He drove a covered wagon years ago,
Understood how to handle a rifle,
Shot grouse, buffalo, Indians, in a single year,
And now was raising goats around a shanty.
Down at the foot of the mountain
Two Japanese families had flower farms.
A man and woman were in rows of sweet peas
Picking the pink and white flowers
To put in baskets and take to the Los Angeles market.
They were clean as what they handled
There in the morning sun, the big people and the baby-faces.
Across the road, high on another mountain,
Stood a house saying, “I am it,” a commanding house.
There was the home of a motion picture director
Famous for lavish whore-house interiors,
Clothes ransacked from the latest designs for women
In the combats of “male against female.”
The mountain, the scenery, the layout of the landscape,
And the peace of the morning sun as it happened,
The miles of houses pocketed in the valley beyond–
It was all worth looking at, worth wondering about,
How long it might last, how young it might be.
Something there is that doesn’t love a wall,
That sends the frozen-ground-swell under it,
And spills the upper boulders in the sun;
And makes gaps even two can pass abreast.
The work of hunters is another thing:
I have come after them and made repair
Where they have left not one stone on a stone,
But they would have the rabbit out of hiding,
To please the yelping dogs. The gaps I mean,
No one has seen them made or heard them made,
But at spring mending-time we find them there.
I let my neighbour know beyond the hill;
And on a day we meet to walk the line
And set the wall between us once again.
We keep the wall between us as we go.
To each the boulders that have fallen to each.
And some are loaves and some so nearly balls
We have to use a spell to make them balance:
“Stay where you are until our backs are turned!”
We wear our fingers rough with handling them.
Oh, just another kind of out-door game,
One on a side. It comes to little more:
There where it is we do not need the wall:
He is all pine and I am apple orchard.
My apple trees will never get across
And eat the cones under his pines, I tell him.
He only says, “Good fences make good neighbours.”
Spring is the mischief in me, and I wonder
If I could put a notion in his head:
“Why do they make good neighbours? Isn’t it
Where there are cows? But here there are no cows.
Before I built a wall I’d ask to know
What I was walling in or walling out,
And to whom I was like to give offence.
Something there is that doesn’t love a wall,
That wants it down.” I could say “Elves” to him,
But it’s not elves exactly, and I’d rather
He said it for himself. I see him there
Bringing a stone grasped firmly by the top
In each hand, like an old-stone savage armed.
He moves in darkness as it seems to me,
Not of woods only and the shade of trees.
He will not go behind his father’s saying,
And he likes having thought of it so well
He says again, “Good fences make good neighbours.”
On the day when youth is no more upon me
I will write of the leaves and the moon in a tree top!
I will sing then the song, long in the making?
When the stress of youth is put away from me.
How can I ever be written out as men say?
Surely it is merely an interference with the long song?
This that I am now doing.
But when the spring of it is worn like the old moon
And the eaten leaves are lace upon the cold earth?
Then I will rise up in my great desire?
Long at the birth?and sing me the youth-song!
me, bathing
in a Parisian pool
while you glance
at me over your
Rumi,
sipping wine
and speaking lyrically
of beaming light,
moons, and
happy memories.
Awakening to sunlight,
laughing, weightless
across our room.
Exploring cobblestone byways,
old bakeries in full swing,
the sweet nectar from
a nearby cafe’
mingling with our senses.
Poetry, melodies, and
painted muses,
thoughts of us
together again.
Rainy days spent under
wooden awnings,
with umbrellas bouncing
around the streets.
The bright lights of night
bring our glasses clinging,
a toast to once again.
Lydia R. LeRoy-Williams is a freelance writer, poet, and in the midst of her first novel. Her work has appeared in the Quill Books,? A Time to Be Free;Lulu.com; Beginnings, A Magazine for the Novice Writer; The Idaho Press Tribune; Log Cabin Literary Centers, Standing; and The Coyote, Albertson College of Idaho’s Newspaper.?? She is a wife, mother, and lover of all things kind and romantic.
You can get more information about Lydia at her websites:
You may talk o’ gin and beer
When you’re quartered safe out ‘ere,
An’ you’re sent to penny-fights an’ Aldershot it;
But when it comes to slaughter
You will do your work on water,
An’ you’ll lick the bloomin’ boots of ‘im that’s got it.
Now in Injia’s sunny clime,
Where I used to spend my time
A-servin’ of ‘Er Majesty the Queen,
Of all them blackfaced crew
The finest man I knew
Was our regimental bhisti, Gunga Din.
He was “Din! Din! Din!
You limpin’ lump o’ brick-dust, Gunga Din!
Hi! slippery hitherao!
Water, get it! Panee lao!
You squidgy-nosed old idol, Gunga Din.”
The uniform ‘e wore
Was nothin’ much before,
An’ rather less than ‘arf o’ that be’ind,
For a piece o’ twisty rag
An’ a goatskin water-bag
Was all the field-equipment ‘e could find.
When the sweatin’ troop-train lay
In a sidin’ through the day,
Where the ‘eat would make your bloomin’ eyebrows crawl,
We shouted “Harry By!”
Till our throats were bricky-dry,
Then we wopped ‘im ’cause ‘e couldn’t serve us all.
It was “Din! Din! Din!
You ‘eathen, where the mischief ‘ave you been?
You put some juldee in it
Or I’ll marrow you this minute
If you don’t fill up my helmet, Gunga Din!”
‘E would dot an’ carry one
Till the longest day was done;
An’ ‘e didn’t seem to know the use o’ fear.
If we charged or broke or cut,
You could bet your bloomin’ nut,
‘E’d be waitin’ fifty paces right flank rear.
With ‘is mussick on ‘is back,
‘E would skip with our attack,
An’ watch us till the bugles made “Retire”,
An’ for all ‘is dirty ‘ide
‘E was white, clear white, inside
When ‘e went to tend the wounded under fire!
It was “Din! Din! Din!”
With the bullets kickin’ dust-spots on the green.
When the cartridges ran out,
You could hear the front-files shout,
“Hi! ammunition-mules an’ Gunga Din!”
I shan’t forgit the night
When I dropped be’ind the fight
With a bullet where my belt-plate should ‘a’ been.
I was chokin’ mad with thirst,
An’ the man that spied me first
Was our good old grinnin’, gruntin’ Gunga Din.
‘E lifted up my ‘ead,
An’ he plugged me where I bled,
An’ ‘e guv me ‘arf-a-pint o’ water-green:
It was crawlin’ and it stunk,
But of all the drinks I’ve drunk,
I’m gratefullest to one from Gunga Din.
It was “Din! Din! Din!
‘Ere’s a beggar with a bullet through ‘is spleen;
‘E’s chawin’ up the ground,
An’ ‘e’s kickin’ all around:
For Gawd’s sake git the water, Gunga Din!”
‘E carried me away
To where a dooli lay,
An’ a bullet come an’ drilled the beggar clean.
‘E put me safe inside,
An’ just before ‘e died,
“I ‘ope you liked your drink”, sez Gunga Din.
So I’ll meet ‘im later on
At the place where ‘e is gone?
Where it’s always double drill and no canteen;
‘E’ll be squattin’ on the coals
Givin’ drink to poor damned souls,
An’ I’ll get a swig in hell from Gunga Din!
Yes, Din! Din! Din!
You Lazarushian-leather Gunga Din!
Though I’ve belted you and flayed you,
By the livin’ Gawd that made you,
You’re a better man than I am, Gunga Din!
Take this kiss upon the brow!
And, in parting from you now,
Thus much let me avow-
You are not wrong, who deem
That my days have been a dream;
Yet if hope has flown away
In a night, or in a day,
In a vision, or in none,
Is it therefore the less gone?
All that we see or seem
Is but a dream within a dream.
I stand amid the roar
Of a surf-tormented shore,
And I hold within my hand
Grains of the golden sand-
How few! yet how they creep
Through my fingers to the deep,
While I weep- while I weep!
O God! can I not grasp
Them with a tighter clasp?
O God! can I not save
One from the pitiless wave?
Is all that we see or seem
But a dream within a dream?
Oh, Prue she has a patient man,
And Joan a gentle lover,
And Agatha’s Arth’ is a hug-the-hearth,?
But my true love’s a rover!
Mig, her man’s as good as cheese
And honest as a briar,
Sue tells her love what he’s thinking of,?
But my dear lad’s a liar!
Oh, Sue and Prue and Agatha
Are thick with Mig and Joan!
They bite their threads and shake their heads
And gnaw my name like a bone;
And Prue says, “Mine’s a patient man,
As never snaps me up,”
And Agatha, “Arth’ is a hug-the-hearth,
Could live content in a cup;”
Sue’s man’s mind is like good jell?
All one colour, and clear?
And Mig’s no call to think at all
What’s to come next year,
While Joan makes boast of a gentle lad,
That’s troubled with that and this;?
But they all would give the life they live
For a look from the man I kiss!
Cold he slants his eyes about,
And few enough’s his choice,?
Though he’d slip me clean for a nun, or a queen,
Or a beggar with knots in her voice,?
And Agatha will turn awake
While her good man sleeps sound,
And Mig and Sue and Joan and Prue
Will hear the clock strike round,
For Prue she has a patient man,
As asks not when or why,
And Mig and Sue have naught to do
But peep who’s passing by,
Joan is paired with a putterer
That bastes and tastes and salts,
And Agatha’s Arth’ is a hug-the-hearth,?
But my true love is false!
She Is Overheard Singing
Oh, Prue she has a patient man,
And Joan a gentle lover,
And Agatha’s Arth’ is a hug-the-hearth,?
But my true love’s a rover!
Mig, her man’s as good as cheese
And honest as a briar,
Sue tells her love what he’s thinking of,?
But my dear lad’s a liar!
Oh, Sue and Prue and Agatha
Are thick with Mig and Joan!
They bite their threads and shake their heads
And gnaw my name like a bone;
And Prue says, “Mine’s a patient man,
As never snaps me up,”
And Agatha, “Arth’ is a hug-the-hearth,
Could live content in a cup;”
Sue’s man’s mind is like good jell?
All one colour, and clear?
And Mig’s no call to think at all
What’s to come next year,
While Joan makes boast of a gentle lad,
That’s troubled with that and this;?
But they all would give the life they live
For a look from the man I kiss!
Cold he slants his eyes about,
And few enough’s his choice,?
Though he’d slip me clean for a nun, or a queen,
Or a beggar with knots in her voice,?
And Agatha will turn awake
While her good man sleeps sound,
And Mig and Sue and Joan and Prue
Will hear the clock strike round,
For Prue she has a patient man,
As asks not when or why,
And Mig and Sue have naught to do
But peep who’s passing by,
Joan is paired with a putterer
That bastes and tastes and salts,
And Agatha’s Arth’ is a hug-the-hearth,?
But my true love is false!
