Him goin' to ride for us! Him -- with the pants and the eyeglass and all.
Amateur! don't he just look it -- it's twenty to one on a fall.
Boss must be gone off his head to be sending out steeplechase crack
Out over fences like these with an object like that on his back.
Ride! Don't tell me he can ride. With his pants just as loose as balloons,
How can he sit on a horse? and his spurs like a pair of harpoons;
Ought to be under the Dog Act, he ought, and be kept off the course.
Fall! why, he'd fall off a cart, let alone off a steeplechase horse.

I tell you a tale to-night
Which a seaman told to me,
With eyes that gleamed in the lanthorn light
And a voice as low as the sea.

You could almost hear the stars
Twinkling up in the sky,
And the old wind woke and moaned in the spars
And the same old waves went by.

Singing the same old song
As ages and ages ago,
While he froze my blood in that deep-sea night
With the things he seemed to know.

A bare foot pattered on deck;
Ropes creaked; then-all grew still,
And he pointed his finger straight in my face

ARGUMENT.

Here is the place; right over the hill
Runs the path I took;
You can see the gap in the old wall still,
And the stepping-stones in the shallow brook.

There is the house, with the gate red-barred,
And the poplars tall;
And the barn's brown length, and the cattle-yard,
And the white horns tossing above the wall.

There are the beehives ranged in the sun;
And down by the brink
Of the brook are her poor flowers, weed-o'errun,
Pansy and daffodil, rose and pink.

A year has gone, as the tortoise goes,

Ah, Grief, I should not treat you
like a homeless dog
who comes to the back door
for a crust, for a meatless bone.
I should trust you.

I should coax you
into the house and give you
your own corner,
a worn mat to lie on,
your own water dish.

You think I don't know you've been living
under my porch.
You long for your real place to be readied
before winter comes. You need
your name,
your collar and tag. You need
the right to warn off intruders,
to consider
my house your own
and me your person

sway with me, everything sad -
madmen in stone houses
without doors,
lepers steaming love and song
frogs trying to figure
the sky;
sway with me, sad things -
fingers split on a forge
old age like breakfast shell
used books, used people
used flowers, used love
I need you
I need you
I need you:
it has run away
like a horse or a dog,
dead or lost
or unforgiving.

Athwart the star-lit midnight sky
Luminous fleecy clouds drift by,
As the mysterious, pallid moon
Sinks in the waveless still lagoon.
Now that the queen of night is dead,
The starry commonwealth o'erhead
(Softer and fairer than gaudy day)
Sheds lustrous light from the Milky Way;
While the Dog-star gleams, and the Sisters Seven,
Float tremulously in the misty heaven.
Faintly, afar the horse-bells ring;
Myriads of wakened crickets sing;
And the spirit voices of the night
Sing snatches of fairy music bright,

I knew that James Whistler was part of the Paris scene,
but I was still surprised when I found the painting
of his mother at the Musée d'Orsay
among all the colored dots and mobile brushstrokes
of the French Impressionists.

And I was surprised to notice
after a few minutes of benign staring,
how that woman, stark in profile
and fixed forever in her chair,
began to resemble my own ancient mother
who was now fixed forever in the stars, the air, the earth.

You can understand why he titled the painting
"Arrangement in Gray and Black"

Somewhere the long mellow note of the blackbird
Quickens the unclasping hands of hazel,
Somewhere the wind-flowers fling their heads back,
Stirred by an impetuous wind. Some ways’ll
All be sweet with white and blue violet.
(Hush now, hush. Where am I?—Biuret—)

On the green wood’s edge a shy girl hovers
From out of the hazel-screen on to the grass,
Where wheeling and screaming the petulant plovers
Wave frighted. Who comes? A labourer, alas!
Oh the sunset swims in her eyes’ swift pool.
(Work, work, you fool——!)

Henley, June 7, 1891.

Shall we, to whom the stream by right belongs,
Who travel silent, save, perchance, for songs;
Whose track's a ripple,--leaves the Thames a lake,
Nor frights the swan--scarce makes the rushes shake;
Who harmonize, exemplify, complete
And vivify a scene already sweet:
Who travel careless on, from lock to lock,
Oblivious that the world contains a clock,
With pace commensurate to our desires,
Propelled by other force than Stygian fire's;
Shall we be driven hence to leave a place