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That after Horror—that 'twas us—
That passed the mouldering Pier—
Just as the Granite Crumb let go—
Our Savior, by a Hair—

A second more, had dropped too deep
For Fisherman to plumb—
The very profile of the Thought
Puts Recollection numb—

The possibility—to pass
Without a Moment's Bell—
Into Conjecture's presence—
Is like a Face of Steel—
That suddenly looks into ours
With a metallic grin—
The Cordiality of Death—
Who drills his Welcome in—

(Deathless Death)

At eve when the brief wintry day is sped,
I muse beside my fire's faint-flickering glare-
Conscious of wrinkling face and whitening hair-
Of those who, dying young, inherited
The immortal youthfulness of the early dead.
I think of Raphael's grand-seigneurial air;
Of Shelley and Keats, with laurels fresh and fair
Shining unwithered on each sacred head;
And soldier boys who snatched death's starry prize,
With sweet life radiant in their fearless eyes,
The dreams of love upon their beardless lips,

"A MIDDLE-AGED LYRICAL POET IS SUPPOSED TO BE TAKING FINAL LEAVE OF THE MUSE OF COMEDY. SHE HAS BROUGHT HIM HIS HAT AND GLOVES, AND IS ABSTRACTEDLY PICKING A THREAD OF GOLD HAIR FROM HIS COAT SLEEVE AS HE BEGINS TO SPEAK:

I say it under the rose--
oh, thanks! --yes, under the laurel,
We part lovers, not foes;
we are not going to quarrel.

We have too long been friends
on foot and in guilded coaches,
Now that the whole thing ends,
to spoil our kiss with reproaches.

I leave you; my soul is wrung;

Hebrew writing and Arabic writing go from east to west,
Latin writing, from west to east.
Languages are like cats:
You must not stroke their hair the wrong way.
The clouds come from the sea, the hot wind from the desert,
The trees bend in the wind,
And stones fly from all four winds,
Into all four winds. They throw stones,
Throw this land, one at the other,
But the land always falls back to the land.
They throw the land, want to get rid of it.
Its stones, its soil, but you can't get rid of it.
They throw stones, throw stones at me

ARGUMENT.

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,

Talking with my beloved in New York
I stood at the outdoor public telephone
in Mexican sunlight, in my purple shirt.
Someone had called it a man/woman
shirt. The phrase irked me. But then
I remembered that Rainer Maria
Rilke, who until he was seven wore
dresses and had long yellow hair,
wrote that the girl he almost was
"made her bed in his ear" and "slept him the world."
I thought, OK this shirt will clothe the other in me.
As we fell into long-distance love talk
a squeaky chittering started up all around,

LO, upon the carpet, where
Throned upon a heap of slain
Blue-eyed dolls of beauty rare
(Ah, they pleaded all in vain!)
Sits the Infant Tamerlane!
Broken toys upon the floor
Scattered lie—a ruined rout.
Thus from all things evermore
Are—the fact is past a doubt—
Hidden virtues hammered out.

Poet’s page, or statesman’s bust,
Nothing comes to him amiss;
Everything he clutches must—
’Tis his simple dream of bliss!—
Suffer his analysis.

O my little Tamerlane,
Infantile Iconoclast,

O I forbid you, maidens a',
That wear gowd on your hair,
To come or gae by Carterhaugh,
For young Tam Lin is there.

There's nane that gaes by Carterhaugh
But they leave him a wad,
Either their rings, or green mantles,
Or else their maidenhead.

Janet has kilted her green kirtle
A little aboon her knee,
And she has broded her yellow hair
A little aboon her bree,
And she's awa to Carterhaugh
As fast as she can hie.

When she came to carterhaugh
Tam Lin was at the well,
And there she fand his steed standing,