to Karl Max Ostojic

Why do you stare at the little box
That in her emptiness
Holds the whole world

If the little box holds
The world in her emptiness
Then the antiworld
Holds the little box in its antihand

Who'll bite off the antiworld's antihand
And on that hand
Five hundred antifingers

Do you believe
You'll bite it off
With your thirty-two teeth

Or are you waiting
For the little box
To fly into your mouth

Is this why you are staring

It's good the great green earth to roam,
Where sights of awe the soul inspire;
But oh, it's best, the coming home,
The crackle of one's own hearth-fire!
You've hob-nobbed with the solemn Past;
You've seen the pageantry of kings;
Yet oh, how sweet to gain at last
The peace and rest of Little Things!

Perhaps you're counted with the Great;
You strain and strive with mighty men;
Your hand is on the helm of State;
Colossus-like you stride . . . and then
There comes a pause, a shining hour,
A dog that leaps, a hand that clings:

AN ARGUMENT FOR THE MAINTENANCE OF PEACE AND GOODWILL WITH THE JAPANESE PEOPLE

Glossary for the uninstructed and the hasty: Jimmu Tenno, ancestor of all the Japanese Emperors; Nikko, Japan's loveliest shrine; Iyeyasu, her greatest statesman; Bushido, her code of knighthood; The Forty-seven Ronins, her classic heroes; Nogi, her latest hero; Fuji, her most beautiful mountain.


"Now do you know of Avalon
That sailors call Japan?
She holds as rare a chivalry
As ever bled for man.
King Arthur sleeps at Nikko hill
Where Iyeyasu lies,

Awake, O Krishna awake,
the night has gone arise,
no longer laze breathe the pure air of early morn;
the cowherd-lads come and gaze at you,
and seeing you asleep,
depart as swarms of bumblebees
fly from the lotus clusters.

O darling boy,
dark as the tamala,
if you don't believe me,
open your large eyes
and see for yourself.

I.

Man, being the servant and interpreter of Nature, can do and understand so much and so much only as he has observed in fact or in thought of the course of nature: beyond this he neither knows anything nor can do anything.


II.

FAMED Paris ne'er within its walls had got,
Such magick charms as were Aminta's lot,
Youth, beauty, temper, fortune, she possessed,
And all that should a husband render blessed,
The mother still retained her 'neath the wing;
Her father's riches well might lovers bring;
Whate'er his daughter wished, he would provide,
Amusements, jewels, dress, and much beside.

BLITHE Damon for her having felt the dart,
The belle received the offer of his heart;
So well he managed and expressed his flame.
That soon her lord and master he became,

I can love both fair and brown;
Her whom abundance melts, and her whom want betrays;
Her who loves loneness best, and her who masks and plays;
Her whom the country form'd, and whom the town;
Her who believes, and her who tries;
Her who still weeps with spongy eyes,
And her who is dry cork, and never cries.
I can love her, and her, and you, and you;
I can love any, so she be not true.

Will no other vice content you?
Will it not serve your turn to do as did your mothers?
Or have you all old vices spent and now would find out others?

Scene--A spacious drawing-room, with music-room adjoining.

Katharine. What are the words ?

Eliza. Ask our friend, the Improvisatore ; here he comes. Kate has a favour
to ask of you, Sir ; it is that you will repeat the ballad [Believe me if
all those endearing young charms.--EHC's ? note] that Mr. sang so
sweetly.

Friend. It is in Moore's Irish Melodies ; but I do not recollect the
words distinctly. The moral of them, however, I take to be this :--

Love would remain the same if true,

FOR Socrates a House was built,
Of but inferiour Size;
Not highly Arch'd, nor Carv'd, nor Gilt;
The Man, 'tis said, was Wise.

But Mob despis'd the little Cell,
That struck them with no Fear;
Whilst Others thought, there should not dwell
So great a Person there.

How shou'd a due Recourse be made
To One, so much Admir'd?
Where shou'd the spacious Cloth be laid,
Or where the Guests retir'd?

Believe me, quoth the list'ning Sage,
'Twas not to save the Charge;
That in this over-building Age,

From time to time, lifting his eyes, he sees
The soft blue starlight through the one small window,
The moon above black trees, and clouds, and Venus,—
And turns to write . . . The clock, behind ticks softly.

It is so long, indeed, since I have written,—
Two years, almost, your last is turning yellow,—
That these first words I write seem cold and strange.
Are you the man I knew, or have you altered?
Altered, of course—just as I too have altered—
And whether towards each other, or more apart,
We cannot say . . . I've just re-read your letter—