beauty

Who is it that, this dark night,
Underneath my window plaineth?
It is one who from thy sight
Being, ah, exiled, disdaineth
Every other vulgar light.

Why, alas, and are you he?
Be not yet those fancies changeed?
Dear, when you find change in me,
Though from me you be estranged,
Let my change to ruin be.

Well, in absence this will die:
Leave to see, and leave to wonder.
Absence sure will help, if I
Can learn how myself to sunder
From what in my heart doth lie.

There in the middle of the field, by the side of a crystalline stream, I saw a bird-cage whose rods and hinges were fashioned by an expert's hands. In one corner lay a dead bird, and in another were two basins -- one empty of water and the other of seeds. I stood there reverently, as if the lifeless bird and the murmur of the water were worthy of deep silence and respect -- something worth of examination and meditation by the heard and conscience.

I love all things that pass: their briefness is
Music that fades on transient silences.
Winds, birds, and glittering leaves that flare and fall—
They fling delight across the world; they call
To rhythmic-flashing limbs that rove and race...
A moment in the dawn for Youth’s lit face;
A moment’s passion, closing on the cry—
‘O Beauty, born of lovely things that die!’

I care not that one listen if he lives
For aught but life's romance, nor puts above
All life's necessities the need to love,
Nor counts his greatest wealth what Beauty gives.
But sometime on an afternoon in spring,
When dandelions dot the fields with gold,
And under rustling shade a few weeks old
'Tis sweet to stroll and hear the bluebirds sing,
Do you, blond head, whom beauty and the power
Of being young and winsome have prepared
For life's last privilege that really pays,
Make the companion of an idle hour

The Old Dominion's largest town,
In Fairfax County lies:
One-half-hour's drive from Washington,
Due west through open skies.
The 'Beltway' takes you close to it,
And 'Sixty Six' does, too;
'One Twenty Three' is its 'main drag.'
Yes, Maple Avenue.

The place is called Vienna,
And they tell us it was named
To match Vienna, Austria,
Whose beauty is so famed.
To check the beauty of our town,
One looks around and sees
How homes, and lawns, and flowers blend

Heart of France for a hundred years,
Passionate, sensitive, proud, and strong,
Quick to throb with her hopes and fears,
Fierce to flame with her sense of wrong!
You, who hailed with a morning song
Dream-light gilding a throne of old:
You, who turned when the dream grew cold,
Singing still, to the light that shone
Pure from Liberty's ancient throne,
Over the human throng!
You, who dared in the dark eclipse,--
When the pygmy heir of a giant name
Dimmed the face of the land with shame,--

Ah, stay thy treacherous hand, forbear to trace
Those faultless forms of elegance and grace!
Ah, cease to spread the bright transparent mass,
With Titian's pencil, o'er the speaking glass!
Nor steal, by strokes of art with truth combin'd,
The fond illusions of my wayward mind!
For long, enamour'd of a barbarous age,
A faithless truant to the classic page;
Long have I lov'd to catch the simple chime
Of minstrel-harps, and spell the fabling rime;
To view the festive rites, the knightly play,

My tangoing seemed to delight her;
With me it was love at first sight.
I mentioned That I was a writer:
She asked me: "What is it you write?"
"Oh, only best-sellers," I told her.
Their titles? . . . She shook her blonde head;
The atmosphere seemed to grow colder:
Not one of my books had she read.

Oh, she was a beauty ensnaring,
And I was an author of note;
But little I saw she'd be caring
If never a novel I wrote.
Alas for the caprice of Cupid!
Alack for the phantom of Fame!

In two large columns on thy motley page
Where Roman wit is strip'd with English rage;
Where ribaldry to satire makes pretence,
And modern scandal rolls with ancient sense:
Whilst on one side we see how Horace thought,
And on the other how he never wrote;
Who can believe, who view the bad, the good,
That the dull copyist better understood
That spirit he pretends to imitate,
Than heretofore that Greek he did translate?
Thine is just such an image of his pen,
As thou thyself art of the sons of men,

Sarcophagi, urns, were all covered with lifelike scenes,
fauns dancing with girls from a Bacchanalian choir,
paired-off, goat-footed creatures puffing their cheeks,
forcing ear-splitting notes from the blaring horns.
Cymbals and drumbeats, the marble is seen and is heard.
How delightful the fruit in the beaks of fluttering birds!
No startling noise can scare them, or scare away love,
Amor, whose torch waves more gladly in this happy throng.
So fullness overcomes death, and the ashes within