Well, as you say, we live for small horizons:
We move in crowds, we flow and talk together,
Seeing so many eyes and hands and faces,
So many mouths, and all with secret meanings,—
Yet know so little of them; only seeing
The small bright circle of our consciousness,
Beyond which lies the dark. Some few we know—
Or think we know. . . Once, on a sun-bright morning,
I walked in a certain hallway, trying to find
A certain door: I found one, tried it, opened,
And there in a spacious chamber, brightly lighted,

Of what she said to me that night—no matter.
The strange thing came next day.
My brain was full of music—something she played me—;
I couldn't remember it all, but phrases of it
Wreathed and wreathed among faint memories,
Seeking for something, trying to tell me something,
Urging to restlessness: verging on grief.
I tried to play the tune, from memory,—
But memory failed: the chords and discords climbed
And found no resolution—only hung there,
And left me morbid . . . Where, then, had I heard it? . . .
What secret dusty chamber was it hinting?

Snow falls. The sky is grey, and sullenly glares
With purple lights in the canyoned street.
The fiery sign on the dark tower wreathes and flares . . .
The trodden grass in the park is covered with white,
The streets grow silent beneath our feet . . .
The city dreams, it forgets its past to-night.

And one, from his high bright window looking down
Over the enchanted whiteness of the town,
Seeing through whirls of white the vague grey towers,
Desires like this to forget what will not pass,
The littered papers, the dust, the tarnished grass,

Round white clouds roll slowly above the housetops,
Over the clear red roofs they flow and pass.
A flock of pigeons rises with blue wings flashing,
Rises with whistle of wings, hovers an instant,
And settles slowly again on the tarnished grass.

And one old man looks down from a dusty window
And sees the pigeons circling about the fountain
And desires once more to walk among those trees.
Lovers walk in the noontime by that fountain.
Pigeons dip their beaks to drink from the water.
And soon the pond must freeze.

'Draw three cards, and I will tell your future . . .
Draw three cards, and lay them down,
Rest your palms upon them, stare at the crystal,
And think of time . . . My father was a clown,
My mother was a gypsy out of Egypt;
And she was gotten with child in a strange way;
And I was born in a cold eclipse of the moon,
With the future in my eyes as clear as day.'

I sit before the gold-embroidered curtain
And think her face is like a wrinkled desert.
The crystal burns in lamplight beneath my eyes.
A dragon slowly coils on the scaly curtain.

Midnight; bells toll, and along the cloud-high towers
The golden lights go out . . .
The yellow windows darken, the shades are drawn,
In thousands of rooms we sleep, we await the dawn,
We lie face down, we dream,
We cry aloud with terror, half rise, or seem
To stare at the ceiling or walls . . .
Midnight . . . the last of shattering bell-notes falls.
A rush of silence whirls over the cloud-high towers,
A vortex of soundless hours.

'The bells have just struck twelve: I should be sleeping.

Over the darkened city, the city of towers,
The city of a thousand gates,
Over the gleaming terraced roofs, the huddled towers,
Over a somnolent whisper of loves and hates,
The slow wind flows, drearily streams and falls,
With a mournful sound down rain-dark walls.
On one side purples the lustrous dusk of the sea,
And dreams in white at the city's feet;
On one side sleep the plains, with heaped-up hills.
Oaks and beeches whisper in rings about it.
Above the trees are towers where dread bells beat.

My boy's come back; he's here at last;
He came home on a special train.
My longing and my ache are past,
My only son is back again.
He's home with music, flags and flowers;
With peace and joy my heart's abrim;
He got here in the morning hours
With half the town to welcome him.

To hush my grief, night after night,
How I have digged my pillow deep,
And it would be the morning light
Before I sobbed myself to sleep.
And how I used to stare and stare
Across the harbour's yeasty foam,
Thinking he's fighting far out there . . .

Poetry is the supreme fiction, madame.
Take the moral law and make a nave of it
And from the nave build haunted heaven.Thus,
The conscience is converted into palms,
Like windy citherns hankering for hymns.
We agree in principle.That's clear.But take
The opposing law and make a peristyle,
And from the peristyle project a masque
Beyond the planets.Thus, our bawdiness,
Unpurged by epitaph, indulged at last,
Is equally converted into palms,
Squiggling like saxophones.And palm for palm,
Madame, we are where we began.Allow,

WHEN Venus and Hypocrisy combine,
Oft pranks are played that show a deep design;
Men are but men, and friars full as weak:
I'm not by Envy moved these truths to speak.
Have you a sister, daughter, pretty wife?
Beware the monks as you would guard your life;
If in their snares a simple belle be caught:
The trap succeeds: to ruin she is brought.
To show that monks are knaves in Virtue's mask;
Pray read my tale:--no other proof I ask.

A HERMIT, full of youth, was thought around,
A saint, and worthy of the legend found.