"Pipe a song about a lamb": So I piped with merry cheer. "Piper, pipe that song again": So I piped; he wept to hear.

"Drop thy pipe, thy happy pipe, Sing thy songs of happy cheer": So I sung the same again, While he wept with joy to hear.

"Piper, sit thee down and write In a book that all may read." So he vanish'd from my sight; And I pluck'd a hollow reed,

And I made a rural pen, And I stain'd the water clear, And I wrote my happy songs Every child may joy to hear.



333

Eliza Cook (1818-1889) was an English poet who had quite a vogue in her day, and whose poem "Try Again" deals with one of those incidents held in affectionate remembrance by youth. Bruce and the spider may be less historically true, but it seems destined to eternal life alongside Leonidas and his Spartans. Older readers may remember Miss Cook's "My Old Arm Chair," which is usually given the place of honor as her most popular poem.

TRY AGAIN

ELIZA COOK

King Bruce of Scotland flung himself down In a lonely mood to think: 'Tis true he was monarch, and wore a crown, But his heart was beginning to sink.

For he had been trying to do a great deed, To make his people glad; He had tried and tried, but couldn't succeed; And so he became quite sad.

He flung himself down in low despair, As grieved as man could be; And after a while as he pondered there, "I'll give it all up," said he.

Now, just at the moment, a spider dropped, With its silken, filmy clue; And the King, in the midst of his thinking, stopped To see what the spider would do.

'Twas a long way up to the ceiling dome, And it hung by a rope so fine, That how it would get to its cobweb home King Bruce could not divine.

It soon began to cling and crawl Straight up, with strong endeavor; But down it came with a slippery sprawl, As near to the ground as ever.

Up, up it ran, not a second to stay, To utter the least complaint, Till it fell still lower, and there it lay, A little dizzy and faint.

Its head grew steady—again it went, And traveled a half yard higher; 'Twas a delicate thread it had to tread, And a road where its feet would tire.

Again it fell and swung below, But again it quickly mounted; Till up and down, now fast, now slow, Nine brave attempts were counted.

"Sure," cried the King, "that foolish thing Will strive no more to climb; When it toils so hard to reach and cling, And tumbles every time."

But up the insect went once more; Ah me! 'tis an anxious minute; He's only a foot from his cobweb door. Oh, say, will he lose or win it?

Steadily, steadily, inch by inch, Higher and higher he got; And a bold little run at the very last pinch Put him into his native cot.

"Bravo, bravo!" the King cried out; "All honor to those who try; The spider up there, defied despair; He conquered, and why shouldn't I?"

And Bruce of Scotland braced his mind, And gossips tell the tale, That he tried once more as he tried before, And that time did not fail.

Pay goodly heed, all ye who read, And beware of saying, "I can't"; 'Tis a cowardly word, and apt to lead To idleness, folly, and want.

Whenever you find your heart despair Of doing some goodly thing, Con over this strain, try bravely again, And remember the spider and King!



334

Nonsense verse seems to have its special place in the economy of life as a sort of balance to the over-serious tendency. One of the two great masters of verse of this sort was the English author Edward Lear (1812-1888). He was also a famous illustrator of books and magazines. Among his juvenile books, illustrated by himself, were Nonsense Songs and More Nonsense Songs. All his verse is now generally published under the first title. Good nonsense verse precludes explanation, the mind of the hearer being too busy with the delightfully odd combinations to figure on how they happened.

THE OWL AND THE PUSSY-CAT

EDWARD LEAR

The Owl and the Pussy-Cat went to sea In a beautiful pea-green boat: They took some honey, and plenty of money Wrapped up in a five-pound note. The Owl looked up to the stars above, And sang to a small guitar, "O lovely Pussy, O Pussy, my love, What a beautiful Pussy you are, You are, You are! What a beautiful Pussy you are!"

Pussy said to the Owl, "You elegant fowl, How charmingly sweet you sing! Oh! let us be married; too long we have tarried: But what shall we do for a ring?" They sailed away, for a year and a day, To the land where the bong-tree grows; And there in a wood a Piggy-wig stood, With a ring at the end of his nose, His nose, His nose, With a ring at the end of his nose.

"Dear Pig, are you willing to sell for one shilling Your ring?" Said the Piggy, "I will." So they took it away, and were married next day By the Turkey who lives on the hill. They dined on mince, and slices of quince, Which they ate with a runcible spoon; And hand in hand, on the edge of the sand, They danced by the light of the moon, The moon, The moon, They danced by the light of the moon.



335

THE TABLE AND THE CHAIR

EDWARD LEAR

Said the Table to the Chair, "You can hardly be aware How I suffer from the heat And from chilblains on my feet. If we took a little walk, We might have a little talk; Pray let us take the air," Said the Table to the Chair.

Said the Chair unto the Table, "Now, you know we are not able: How foolishly you talk, When you know we cannot walk!" Said the Table with a sigh, "It can do no harm to try. I've as many legs as you: Why can't we walk on two?"

So they both went slowly down, And walked about the town With a cheerful bumpy sound As they toddled round and round; And everybody cried, As they hastened to their side, "See! the Table and the Chair Have come out to take the air!"

But in going down an alley, To a castle in a valley, They completely lost their way, And wandered all the day; Till, to see them safely back, They paid a Ducky-quack, And a Beetle, and a Mouse, Who took them to their house.

Then they whispered to each other, "O delightful little brother, What a lovely walk we've taken! Let us dine on beans and bacon." So the Ducky and the leetle Browny-mousy and the Beetle Dined, and danced upon their heads Till they toddled to their beds.



336

THE POBBLE WHO HAS NO TOES

EDWARD LEAR

The Pobble who has no toes Had once as many as we; When they said, "Some day you may lose them all"; He replied—"Fish fiddle-de-dee!" And his Aunt Jobiska made him drink Lavender water tinged with pink, For she said, "The world in general knows There's nothing so good for a Pobble's toes!"

The Pobble who has no toes Swam across the Bristol Channel; But before he set out he wrapped his nose In a piece of scarlet flannel. For his Aunt Jobiska said, "No harm Can come to his toes if his nose is warm; And it's perfectly known that a Pobble's toes Are safe—provided he minds his nose."

The Pobble swam fast and well, And when boats or ships came near him He tinkledy-binkledy-winkled a bell, So that all the world could hear him. And all the Sailors and Admirals cried, When they saw him nearing the farther side,— "He has gone to fish for his Aunt Jobiska's Runcible Cat with crimson whiskers!"

But before he touched the shore, The shore of the Bristol Channel, A sea-green Porpoise carried away His wrapper of scarlet flannel. And when he came to observe his feet, Formerly garnished with toes so neat, His face at once became forlorn On perceiving that all his toes were gone!

And nobody ever knew, From that dark day to the present, Whoso had taken the Pobble's toes, In a manner so far from pleasant. Whether the shrimps or crawfish gray, Or crafty Mermaids stole them away— Nobody knew; and nobody knows How the Pobble was robbed of his twice five toes!

The Pobble who has no toes Was placed in a friendly Bark, And they rowed him back, and carried him up To his Aunt Jobiska's Park. And she made him a feast at his earnest wish Of eggs and buttercups fried with fish;— And she said,—"It's a fact the whole world knows, That Pobbles are happier without their toes."



337

The two great classics among modern nonsense books are Lewis Carroll's Alice in Wonderland and Through the Looking Glass. They are in prose with poems interspersed. "The Walrus and the Carpenter," is from Through the Looking Glass, while "A Strange Wild Song," is from Sylvie and Bruno. This latter book never achieved the success of its forerunners, though it has some delightful passages, as in the case of the poem given. Lewis Carroll was the pseudonym of Charles Lutwidge Dodgson (1832-1898), an English mathematician at Oxford University.

THE WALRUS AND THE CARPENTER

"LEWIS CARROLL"

The sun was shining on the sea, Shining with all his might: He did his very best to make The billows smooth and bright— And this was odd, because it was The middle of the night.

The moon was shining sulkily, Because she thought the sun Had got no business to be there After the day was done— "It's very rude of him," she said, "To come and spoil the fun!"

The sea was wet as wet could be. The sands were dry as dry. You could not see a cloud, because No cloud was in the sky; No birds were flying overhead— There were no birds to fly.

The Walrus and the Carpenter Were walking close at hand; They wept like anything to see Such quantities of sand: "If this were only cleared away," They said, "it would be grand!"

"If seven maids with seven mops Swept it for half a year, Do you suppose," the Walrus said, "That they could get it clear?" "I doubt it," said the Carpenter, And shed a bitter tear.

"O Oysters, come and walk with us!" The Walrus did beseech. "A pleasant walk, a pleasant talk, Along the briny beach: We cannot do with more than four, To give a hand to each."

The eldest Oyster looked at him, But never a word he said: The eldest Oyster winked his eye, And shook his heavy head— Meaning to say he did not choose To leave the oyster-bed.

But four young Oysters hurried up, All eager for the treat: Their coats were brushed, their faces washed, Their shoes were clean and neat— And this was odd, because, you know, They hadn't any feet.

Four other Oysters followed them, And yet another four; And thick and fast they came at last, And more, and more, and more— All hopping through the frothy waves, And scrambling to the shore.

The Walrus and the Carpenter Walked on a mile or so, And then they rested on a rock Conveniently low: And all the little Oysters stood And waited in a row.

"The time has come," the Walrus said, "To talk of many things: Of shoes—and ships—and sealing wax Of cabbages—and kings— And why the sea is boiling hot— And whether pigs have wings."

"But wait a bit," the Oysters cried, "Before we have our chat; For some of us are out of breath, And all of us are fat!" "No hurry!" said the Carpenter. They thanked him much for that.

"A loaf of bread," the Walrus said, "Is what we chiefly need: Pepper and vinegar besides Are very good indeed— Now if you're ready, Oysters dear, We can begin to feed."

"But not on us!" the Oysters cried, Turning a little blue. "After such kindness, that would be A dismal thing to do!" "The night is fine," the Walrus said. "Do you admire the view?

"It was so kind of you to come! And you are very nice!" The Carpenter said nothing but "Cut me another slice: I wish you were not quite so deaf— I've had to ask you twice!"

"It seems a shame," the Walrus said, "To play them such a trick, After we've brought them out so far, And made them trot so quick!" The Carpenter said nothing but "The butter's spread too thick!"

"I weep for you," the Walrus said: "I deeply sympathize." With sobs and tears he sorted out Those of the largest size, Holding his pocket handkerchief Before his streaming eyes.

"O Oysters," cried the Carpenter, "You've had a pleasant run! Shall we be trotting home again?" But answer came there none— And this was scarcely odd, because They'd eaten every one.



338

A STRANGE WILD SONG

"LEWIS CARROLL"

He thought he saw a Buffalo Upon the chimney-piece: He looked again, and found it was His Sister's Husband's Niece. "Unless you leave this house," he said, "I'll send for the Police."

He thought he saw a Rattlesnake That questioned him in Greek: He looked again, and found it was The Middle of Next Week. "The one thing I regret," he said, "Is that it cannot speak!"

He thought he saw a Banker's Clerk Descending from the 'bus: He looked again, and found it was A Hippopotamus. "If this should stay to dine," he said, "There won't be much for us!"

He thought he saw a Kangaroo That worked a coffee-mill; He looked again, and found it was A Vegetable-Pill. "Were I to swallow this," he said, "I should be very ill."

He thought he saw a Coach and Four That stood beside his bed: He looked again, and found it was A Bear without a Head. "Poor thing," he said, "poor silly thing! It's waiting to be fed!"

He thought he saw an Albatross That fluttered round the Lamp: He looked again, and found it was A Penny Postage-Stamp. "You'd best be getting home," he said: "The nights are very damp!"

He thought he saw a Garden Door That opened with a key: He looked again, and found it was A Double-Rule-of-Three: "And all its mystery," he said, "Is clear as day to me!"

He thought he saw an Argument That proved he was the Pope: He looked again, and found it was A Bar of Mottled Soap. "A fact so dread," he faintly said, "Extinguishes all hope!"



339

Isaac Watts (1674-1748) was an English minister and the writer of many hymns still included in our hymn books. He had a notion that verse might be used as a means of religious and ethical instruction for children, and wrote some poems as illustrations of his theory so that they might suggest to better poets how to carry out the idea. But Watts did this work so well that two or three of his poems and several of his stanzas have become common possessions. They are dominated, of course, by the heavy didactic moralizing, but are all so genuine and true that young readers feel their force and enjoy them.

AGAINST IDLENESS AND MISCHIEF

ISAAC WATTS

How doth the little busy bee Improve each shining hour, And gather honey all the day From every opening flower!

How skilfully she builds her cell, How neat she spreads the wax! And labors hard to store it well With the sweet food she makes.

In works of labor or of skill, I would be busy too; For Satan finds some mischief still For idle hands to do.

In books, or work, or healthful play, Let my first years be past, That I may give for every day Some good account at last.



340

FAMOUS PASSAGES FROM DOCTOR WATTS

O 'tis a lovely thing for youth To walk betimes in wisdom's way; To fear a lie, to speak the truth, That we may trust to all they say.

But liars we can never trust, Though they should speak the thing that's true; And he that does one fault at first, And lies to hide it, makes it two. (From "Against Lying")

Whatever brawls disturb the street, There should be peace at home; Where sisters dwell and brothers meet, Quarrels should never come.

Birds in their little nests agree: And 'tis a shameful sight, When children of one family Fall out, and chide, and fight. (From "Love between Brothers and Sisters")

How proud we are! how fond to show Our clothes, and call them rich and new! When the poor sheep and silk-worm wore That very clothing long before.

The tulip and the butterfly Appear in gayer coats than I; Let me be dressed fine as I will, Flies, worms, and flowers exceed me still.

Then will I set my heart to find Inward adornings of the mind; Knowledge and virtue, truth and grace, These are the robes of richest dress. (From "Against Pride in Clothes")

Let dogs delight to bark and bite, For God hath made them so; Let bears and lions growl and fight, For 'tis their nature to.

But, children, you should never let Such angry passions rise; Your little hands were never made To tear each other's eyes. (From "Against Quarreling and Fighting")



Most of the work of Henry Wadsworth Longfellow (1807-1882) is within the range of children's interests and comprehension. Three poems are given here, "The Skeleton in Armor," as representative of Longfellow's large group of narrative poems, "The Day Is Done," as an expression of the value of poetry in everyday life, and "The Psalm of Life," as the finest and most popular example of his hortatory poems.



341

"The Skeleton in Armor" is one of Longfellow's first and best American art ballads. In Newport, Rhode Island, is an old stone tower known as the "Round Tower," which some people think was built by the Northmen, though it probably was not. In 1836 workmen unearthed a strange skeleton at Fall River, Massachusetts. It was wrapped in bark and coarse cloth. On the breast was a plate of brass, and around the waist was a belt of brass tubes. Apparently it was not the skeleton of an Indian, and people supposed it might have been that of one of the old Norsemen. Longfellow used these two historic facts as a basis for the plot of his poem, which he wrote in 1840.

THE SKELETON IN ARMOR

HENRY WADSWORTH LONGFELLOW

"Speak! speak! thou fearful guest! Who, with thy hollow breast Still in rude armor drest, Comest to daunt me! Wrapt not in Eastern balms, But with thy fleshless palms Stretched, as if asking alms, Why dost thou haunt me?"

Then, from those cavernous eyes Pale flashes seemed to rise, As when the Northern skies Gleam in December; And, like the water's flow Under December's snow, Came a dull voice of woe From the heart's chamber.

"I was a Viking old! My deeds, though manifold, No Skald in song has told, No Saga taught thee! Take heed, that in thy verse Thou dost the tale rehearse, Else dread a dead man's curse! For this I sought thee.

"Far in the Northern Land, By the wild Baltic's strand, I, with my childish hand, Tamed the ger-falcon; And, with my skates fast-bound. Skimmed the half-frozen Sound, That the poor whimpering hound Trembled to walk on.

"Oft to his frozen lair Tracked I the grisly bear, While from my path the hare Fled like a shadow; Oft through the forest dark Followed the were-wolf's bark, Until the soaring lark Sang from the meadow.

"But when I older grew, Joining a corsair's crew, O'er the dark sea I flew With the marauders. Wild was the life we led; Many the souls that sped, Many the hearts that bled, By our stern orders.

"Many a wassail-bout Wore the long Winter out; Often our midnight shout Set the cocks crowing, As we the Berserk's tale Measured in cups of ale, Draining the oaken pail, Filled to o'erflowing.

"Once, as I told in glee Tales of the stormy sea, Soft eyes did gaze on me, Burning, yet tender; And as the white stars shine On the dark Norway pine, On that dark heart of mine Fell their soft splendor.

"I wooed the blue-eyed maid, Yielding, yet half afraid, And in the forest's shade Our vows were plighted. Under its loosened vest Fluttered her little breast, Like birds within their nest By the hawk frighted.

"Bright in her father's hall Shields gleamed upon the wall, Loud sang the minstrels all, Chanting his glory: When of old Hildebrand I asked his daughter's hand, Mute did the minstrel stand To hear my story.

"While the brown ale he quaffed, Loud then the champion laughed, And as the wind-gusts waft The sea-foam brightly, So the loud laugh of scorn, Out of those lips unshorn, From the deep drinking-horn Blew the foam lightly.

"She was a Prince's child, I but a Viking wild, And though she blushed and smiled, I was discarded! Should not the dove so white Follow the sea-new's flight, Why did they leave that night Her nest unguarded?

"Scarce had I put to sea, Bearing the maid with me,— Fairest of all was she Among the Norsemen!— When on the white-sea strand, Waving his armed hand, Saw we old Hildebrand, With twenty horsemen.

"Then launched they to the blast, Bent like a reed each mast, Yet we were gaining fast, When the wind failed us; And with a sudden flaw Came round the gusty Skaw, So that our foe we saw Laugh as he hailed us.

"And as to catch the gale Round veered the flapping sail, 'Death!' was the helmsman's hail, Death without quarter! Mid-ships with iron-keel Struck we her ribs of steel; Down her black hulk did reel Through the black water.

"As with his wings aslant, Sails the fierce cormorant, Seeking some rocky haunt, With his prey laden; So toward the open main, Beating the sea again, Through the wild hurricane, Bore I the maiden.

"Three weeks we westward bore, And when the storm was o'er, Cloud-like we saw the shore Stretching to leeward; There for my lady's bower Built I the lofty tower, Which, to this very hour, Stands looking seaward.

"There lived we many years; Time dried the maiden's tears; She had forgot her fears, She was a mother; Death closed her mild blue eyes, Under that tower she lies; Ne'er shall the sun arise On such another!

"Still grew my bosom then, Still as a stagnant fen! Hateful to me were men, The sunlight hateful! In the vast forest here, Clad in my warlike gear, Fell I upon my spear, Oh, death was grateful!

"Thus, seamed with many scars, Bursting these prison bars, Up to its native stars My soul ascended! There from the flowing bowl Deep drinks the warrior's soul, Skoal! to the Northland! Skoal!" —Thus the tale ended.



342

THE DAY IS DONE

HENRY WADSWORTH LONGFELLOW

The day is done, and the darkness Falls from the wings of Night. As a feather is wafted downward From an eagle in its flight.

I see the lights of the village Gleam through the rain and the mist, And a feeling of sadness comes o'er me That my soul cannot resist:

A feeling of sadness and longing, That is not akin to pain, And resembles sorrow only As the mist resembles the rain.

Come, read to me some poem, Some simple and heartfelt lay, That shall soothe this restless feeling, And banish the thoughts of day.

Not from the grand old masters, Not from the bards sublime, Whose distant footsteps echo Through the corridors of Time.

For, like strains of martial music, Their mighty thoughts suggest Life's endless toil and endeavor; And to-night I long for rest.

Read from some humbler poet, Whose songs gushed from his heart, As showers from the clouds of summer, Or tears from the eyelids start;

Who, through long days of labor, And nights devoid of ease, Still heard in his soul the music Of wonderful melodies.

Such songs have power to quiet The restless pulse of care, And come like the benediction That follows after prayer.

Then read from the treasured volume The poem of thy choice, And lend to the rhyme of the poet The beauty of thy voice.

And the night shall be filled with music, And the cares that infest the day, Shall fold their tents, like the Arabs, And as silently steal away.



343

A PSALM OF LIFE

HENRY WADSWORTH LONGFELLOW

Tell me not, in mournful numbers, Life is but an empty dream!— For the soul is dead that slumbers, And things are not what they seem.

Life is real! Life is earnest! And the grave is not its goal; Dust thou art, to dust returnest, Was not spoken of the soul.

Not enjoyment, and not sorrow, Is our destined end or way; But to act, that each tomorrow Find us farther than today.

Art is long, and Time is fleeting, And our hearts, though stout and brave, Still, like muffled drums, are beating Funeral marches to the grave.

In the world's broad field of battle, In the bivouac of Life, Be not like dumb, driven cattle! Be a hero in the strife.

Trust no Future, howe'er pleasant! Let the dead Past bury its dead! Act,—act in the living Present! Heart within, and God o'erhead!

Lives of great men all remind us We can make our lives sublime, And, departing, leave behind us Footprints on the sands of time;

Footprints, that perhaps another, Sailing o'er life's solemn main, A forlorn and shipwrecked brother, Seeing, shall take heart again.

Let us, then, be up and doing, With a heart for any fate; Still achieving, still pursuing, Learn to labor and to wait.



344

Historians usually mention Charles Kingsley (1819-1875) only as an English novelist, but it seems probable that eventually he will be remembered chiefly for his work in juvenile literature. His Water Babies is popular with children of the fourth and fifth grade, while his book of Greek myths entitled The Heroes is a classic for older children. The next two poems are popular with both adults and children. Kingsley was a minister and his church was located in Devon so that the tragedies of the sea among the fisher folk were often brought to his attention. Both these poems deal with such tragedies.

THE THREE FISHERS

CHARLES KINGSLEY

Three fishers went sailing out into the west,— Out into the west as the sun went down; Each thought of the woman who loved him the best, And the children stood watching them out of the town; For men must work, and women must weep; And there's little to earn, and many to keep, Though the harbor bar be moaning.

Three wives sat up in the light-house tower, And trimmed the lamps as the sun went down; And they looked at the squall, and they looked at the shower, And the rack it came rolling up, ragged and brown; But men must work, and women must weep, Though storms be sudden, and waters deep, And the harbor bar be moaning.

Three corpses lay out on the shining sands In the morning gleam as the tide went down, And the women are watching and wringing their hands, For those who will never come back to the town; For men must work, and women must weep,— And the sooner it's over, the sooner to sleep,— And good-by to the bar and its moaning.



345

THE SANDS OF DEE

CHARLES KINGSLEY

"O Mary, go and call the cattle home, And call the cattle home, And call the cattle home Across the sands of Dee!" The western wind was wild and dank with foam, And all alone went she.

The western tide crept up along the sand, And o'er and o'er the sand, And round and round the sand, As far as eye could see. The rolling mist came down and hid the land: And never home came she.

"Oh! is it weed, or fish, or floating hair— A tress of golden hair, A drowned maiden's hair Above the nets at sea? Was never salmon yet that shone so fair Among the stakes on Dee."

They rowed her in across the sailing foam, The cruel crawling foam, The cruel hungry foam, To her grave beside the sea: But still the boatmen hear her call the cattle home Across the sands of Dee!

The next two poems, by Alfred Tennyson (1809-1892), are very well-known songs. "What Does Little Birdie Say" is the mother's song in "Sea Dreams." "Sweet and Low" is one of the best of the lyrics in "The Princess," and a favorite among the greatest lullabies.



346

"WHAT DOES LITTLE BIRDIE SAY?"

ALFRED TENNYSON

What does little birdie say, In her nest at peep of day? "Let me fly," says little birdie, "Mother, let me fly away." "Birdie, rest a little longer, Till the little wings are stronger." So she rests a little longer, Then she flies away.

What does little baby say, In her bed at peep of day? Baby says, like little birdie, "Let me rise and fly away." "Baby, sleep a little longer, Till the little limbs are stronger." If she sleeps a little longer, Baby too shall fly away.



347

SWEET AND LOW

ALFRED TENNYSON

Sweet and low, sweet and low, Wind of the western sea, Low, low, breathe and blow, Wind of the western sea! Over the rolling waters go, Come from the dying moon, and blow, Blow him again to me; While my little one, while my pretty one, sleeps.

Sleep and rest, sleep and rest, Father will come to thee soon; Rest, rest on mother's breast, Father will come to thee soon; Father will come to his babe in the nest, Silver sails all out of the west Under the silver moon: Sleep, my little one, sleep, my pretty one, sleep.



348

This poem is a great poet's expression of what a poet's ideal of his mission should be. It is summed up in the last two lines. An interesting comparison could be made of the purpose of poetry as reflected here with that suggested by Longfellow in No. 342.

THE POET'S SONG

ALFRED TENNYSON

The rain had fallen, the Poet arose, He pass'd by the town and out of the street, A light wind blew from the gates of the sun, And waves of shadow went over the wheat, And he sat him down in a lonely place, And chanted a melody loud and sweet, That made the wild-swan pause in her cloud, And the lark drop down at his feet.

The swallow stopt as he hunted the bee, The snake slipt under a spray, The wild hawk stood with the down on his beak, And stared, with his foot on the prey, And the nightingale thought, "I have sung many songs, But never a one so gay, For he sings of what the world will be When the years have died away."



349

Those who live near the sea know that outside a harbor a bar is formed of earth washed down from the land. At low tide this may be so near the surface as to be dangerous to ships passing in and out, and the waves may beat against it with a moaning sound. In his eighty-first year Tennyson wrote "Crossing the Bar" to express his thought about death. He represents the soul as having come from the boundless deep of eternity into this world-harbor of Time and Place, and he represents death as the departure from the harbor. He would have no lingering illness to bar the departure. He would have the end of life's day to be peaceful and without sadness of farewell, for he trusts that his journey into the sea of eternity will be guided by "my Pilot." This poem may be somewhat beyond the comprehension of eighth-grade pupils, but they can perceive the beauty of the imagery and music, and later in life it will be a source of hope and comfort.

CROSSING THE BAR

ALFRED TENNYSON

Sunset and evening star, And one clear call for me! And may there be no moaning of the bar When I put out to sea,

But such a tide as moving seems asleep, Too full for sound and foam, When that which drew from out the boundless deep Turns again home.

Twilight and evening bell, And after that the dark! And may there be no sadness of farewell, When I embark;

For though from out our bourne of Time and Place The flood may bear me far, I hope to see my Pilot face to face When I have crossed the bar.



350

Leigh Hunt (1784-1859) was an English essayist, journalist, and poet. His one universally known poem is "Abou Ben Adhem." The secret of its appeal is no doubt the emphasis placed on the idea that a person's attitude toward his fellows is more important than mere professions. The line "Write me as one that loves his fellow men" is on Hunt's tomb in Kensal Green Cemetery, London.

ABOU BEN ADHEM

LEIGH HUNT

Abou Ben Adhem (may his tribe increase!) Awoke one night from a deep dream of peace, And saw, within the moonlight in his room, Making it rich, and like a lily in bloom, An angel writing in a book of gold: Exceeding peace had made Ben Adhem bold, And to the presence in the room he said, "What writest thou?"—the vision rais'd its head, And with a look made all of sweet accord, Answer'd, "The names of those that love the Lord." "And is mine one?" said Abou. "Nay, not so," Replied the angel. Abou spoke more low, But cheerly still; and said, "I pray thee, then, Write me as one that loves his fellow men." The angel wrote, and vanished. The next night It came again with a great wakening light, And show'd the names whom love of God had blest, And lo! Ben Adhem's name led all the rest.



351

Cincinnatus Heine Miller, generally known as Joaquin Miller (1841-1912), revealed in his verse much of the restless energy of Western America, where most of his life was passed. "Columbus" is probably his best known poem. "For Those Who Fail" suggests the important truth that he who wins popular applause is not usually the one who most deserves to be honored.

FOR THOSE WHO FAIL

JOAQUIN MILLER

"All honor to him who shall win the prize," The world has cried for a thousand years; But to him who tries and who fails and dies, I give great honor and glory and tears.

O great is the hero who wins a name, But greater many and many a time, Some pale-faced fellow who dies in shame, And lets God finish the thought sublime.

And great is the man with a sword undrawn, And good is the man who refrains from wine; But the man who fails and yet fights on, 'Lo! he is the twin-born brother of mine!



352

Numerous poems have been written about the futility of searching on earth for a place of perfect happiness. The next poem, by Edgar Allan Poe (1809-1849), seems to deal with this subject. Some lines from Longfellow are good to suggest its special message:

"No endeavor is in vain, Its reward is in the doing, And the rapture of pursuing Is the prize the vanquished gain."

ELDORADO

EDGAR ALLAN POE

Gaily bedight, A gallant knight, In sunshine and in shadow Had journeyed long, Singing a song, In search of Eldorado.

But he grew old— This knight so bold— And o'er his heart a shadow Fell as he found No spot of ground That looked like Eldorado.

And, as his strength Failed him at length, He met a pilgrim shadow— "Shadow," said he, "Where can it be— This land of Eldorado?"

"Over the mountains Of the Moon, Down the Valley of the Shadow Ride, boldly ride," The Shade replied, "If you seek for Eldorado!"



353

Lord Byron (1788-1824) was the most popular of English poets in his day. His fame has since declined, although his fiery, impetuous nature, expressing itself in rapid verse of great rhetorical and satiric power, still reaches kindred spirits. His "Prisoner of Chillon" is often studied in the upper grades. It is full of the passion for freedom which was the dominating idea in Byron's work as it was in his life. He gave his life for this idea, striving to help the Greeks gain their independence. The poem which follows is from an early work called Hebrew Melodies. We learn from II Chronicles 32:21 that Sennacherib, King of Assyria, having invaded Judah, Hezekiah cried unto heaven, "And the Lord sent an angel, which cut off the mighty men of valor, and the leaders and captains in the camp of the King of Assyria. So he returned with shame of face to his own land." Byron's title seems to indicate that Sennacherib was himself destroyed. The fine swinging measure of the lines, and the vivid picture of the destroyed hosts in contrast to the brilliant glory of their triumphant invasion, are two of the chief elements in its appeal.

THE DESTRUCTION OF SENNACHERIB

LORD BYRON

The Assyrian came down like a wolf on the fold, And his cohorts were gleaming in purple and gold; And the sheen of their spears was like stars on the sea, When the blue wave rolls nightly on deep Galilee.

Like the leaves of the forest when summer is green, That host with their banners at sunset were seen: Like the leaves of the forest when autumn hath blown, The host on the morrow lay wither'd and strown.

For the Angel of Death spread his wings on the blast, And breathed in the face of the foe as he passed; And the eyes of the sleepers waxed deadly and chill, And their hearts but once heaved, and for ever grew still!

And there lay the steed with his nostril all wide, But through it there rolled not the breath of his pride: And the foam of his gasping lay white on the turf, And cold as the spray of the rock-beating surf.

And there lay the rider distorted and pale, With the dew on his brow and the rust on his mail; And the tents were all silent, the banners alone, The lances unlifted, the trumpet unblown.

And the widows of Ashur are loud in their wail, And the idols are broke in the temple of Baal; And the might of the Gentile, unsmote by the sword, Hath melted like snow in the glance of the Lord.



354

The next two poems may represent the youth and the maturity of America's first great nature poet, William Cullen Bryant (1794-1878), although neither is in the style that characterizes his nature verse. He wrote "To a Waterfowl" in 1815. When he had completed his study of law, he set out on foot to find a village where he might begin work as a lawyer. He was poor and without friends. At the end of a day's journey, when he began to feel discouraged, he saw a wild duck flying alone high in the sky. Then the thought came to him that he would be guided aright, just as the bird was, and he wrote "To a Waterfowl," the most artistic of all his poems. The poem is suitable for the seventh or eighth grade.

TO A WATERFOWL

WILLIAM CULLEN BRYANT

Whither, midst falling dew, While glow the heavens with the last steps of day, Far, through their rosy depths, dost thou pursue Thy solitary way?

Vainly the fowler's eye Might mark thy distant flight to do thee wrong, As, darkly painted on the crimson sky, Thy figure floats along.

Seek'st thou the plashy brink Of weedy lake, or marge of river wide, Or where the rocking billows rise and sink On the chafed ocean-side?

There is a Power whose care Teaches thy way along that pathless coast— The desert and illimitable air— Lone wandering, but not lost.

All day thy wings have fanned At that far height, the cold, thin atmosphere, Yet stoop not, weary, to the welcome land Though the dark night is near.

And soon that toil shall end; Soon shalt thou find a summer home, and rest, And scream among thy fellows; reeds shall bend, Soon, o'er thy sheltered nest.

Thou'rt gone, the abyss of heaven Hath swallowed up thy form; yet, on my heart Deeply hath sunk the lesson thou hast given, And shall not soon depart.

He who, from zone to zone, Guides through the boundless sky thy certain flight, In the long way that I must tread alone, Will lead my steps aright.



355

Bryant wrote this poem in 1849 after he had been planting fruit trees on his country place on Long Island.

THE PLANTING OF THE APPLE-TREE

WILLIAM CULLEN BRYANT

Come, let us plant the apple-tree. Cleave the tough greensward with the spade: Wide let its hollow bed be made; There gently lay the roots, and there Sift the dark mould with kindly care, And press it o'er them tenderly, As, round the sleeping infant's feet, We softly fold the cradle-sheet; So plant we the apple-tree.

What plant we in this apple-tree? Buds, which the breath of summer days Shall lengthen into leafy sprays; Boughs where the thrush, with crimson breast, Shall haunt, and sing, and hide her nest; We plant, upon the sunny lea, A shadow for the noontide hour, A shelter from the summer shower, When we plant the apple-tree.

What plant we in this apple-tree? Sweets for a hundred flowery springs To load the May-wind's restless wings, When, from the orchard row, he pours Its fragrance through our open doors; A world of blossoms for the bee, Flowers for the sick girl's silent room, For the glad infant sprigs of bloom, We plant with the apple-tree.

What plant we in this apple-tree? Fruits that shall swell in sunny June, And redden in the August noon, And drop, when gentle airs come by, That fan the blue September sky, While children come, with cries of glee, And seek them where the fragrant grass Betrays their bed to those who pass, At the foot of the apple-tree.

And when, above this apple-tree, The winter stars are quivering bright, And winds go howling through the night, Girls, whose young eyes o'erflow with mirth, Shall peel its fruit by cottage-hearth, And guests in prouder homes shall see, Heaped with the grape of Cintra's vine And golden orange of the line, The fruit of the apple-tree.

The fruitage of this apple-tree Winds and our flag of stripe and star Shall bear to coasts that lie afar, Where men shall wonder at the view, And ask in what fair groves they grew; And sojourners beyond the sea Shall think of childhood's careless day, And long, long hours of summer play, In the shade of the apple-tree.

Each year shall give this apple-tree A broader flush of roseate bloom, A deeper maze of verdurous gloom, And loosen, when the frost-clouds lower, The crisp brown leaves in thicker shower. The years shall come and pass, but we Shall hear no longer, where we lie, The summer's songs, the autumn's sigh, In the boughs of the apple-tree.

And time shall waste this apple-tree. Oh, when its aged branches throw Thin shadows on the ground below, Shall fraud and force and iron will Oppress the weak and helpless still? What shall the tasks of mercy be, Amid the toils, the strifes, the tears Of those who live when length of years Is wasting this apple-tree?

"Who planted this old apple-tree?" The children of that distant day Thus to some aged man shall say; And, gazing on its mossy stem, The gray-haired man shall answer them: "A poet of the land was he, Born in the rude but good old times; 'T is said he made some quaint old rhymes, On planting the apple-tree."



356

The next poem, by the English poet Thomas Edward Brown (1830-1897), deserves to be classed with the most beautiful and artistic verse in our language. Students will notice the allusion to the biblical tradition that God walked in the Garden of Eden in the cool of the evening.

MY GARDEN

THOMAS EDWARD BROWN

A garden is a lovesome thing, God wot! Rose plot, Fringed pool, Ferned grot— The veriest school Of peace; and yet the fool Contends that God is not— Not God! in gardens! when the eve is cool? Nay, but I have a sign; 'T is very sure God walks in mine.



357

William Wordsworth (1770-1850) ranks very high among English poets. He endeavored to bring poetry close to actual life and to get rid of the stilted language of conventional verse. The struggle was long and difficult, but Wordsworth lived long enough to know that the world had realized his greatness. Many of his poems are suitable for use with children. Their simplicity, their directness, and their utter sincerity made many of them, while not written especially for the young, seem as if directly addressed to the childlike mind. "We are Seven," "Lucy Gray," and "Michael" belong to this number, as do the two masterpieces among short poems which are quoted here. "How many people," exclaims Dr. Oliver Wendell Holmes, "have been waked to a quicker consciousness of life by Wordsworth's simple lines about the daffodils, and what he says of the thoughts suggested to him by 'the meanest flower that blows'!" In both poems the imagery is of the utmost importance. Through it the reader is able to put himself with the poet and see things as the poet saw them. In "The Daffodils" the flowers, jocund in the breeze, drive away the melancholy mood with which the poet had approached them and enable him to carry away a picture in his memory that can be drawn upon for help on future occasions of gloom. In "The Solitary Reaper" the weird and haunting notes of the song coming to his ear in an unknown tongue suggest possible ideas back of the strong feeling which he recognizes in the singer. Here also, the poet's memory carries something away,

"The music in my heart I bore, Long after it was heard no more."

One of the purposes in teaching poetry should be to store the mind, not with words only, but with impressions that may later be recalled to beautify and strengthen life.

DAFFODILS

WILLIAM WORDSWORTH

I wander'd lonely as a cloud That floats on high o'er vales and hills, When all at once I saw a crowd, A host, of golden daffodils; Beside the lake, beneath the trees, Fluttering and dancing in the breeze.

Continuous as the stars that shine And twinkle on the Milky Way, They stretch'd in never-ending line Along the margin of a bay: Ten thousand saw I at a glance, Tossing their heads in sprightly dance.

The waves beside them danced, but they Outdid the sparkling waves in glee: A poet could not but be gay, In such a jocund company: I gazed—and gazed—but little thought What wealth the show to me had brought:

For oft, when on my couch I lie In vacant or in pensive mood, They flash upon that inward eye Which is the bliss of solitude; And then my heart with pleasure fills, And dances with the daffodils.



358

THE SOLITARY REAPER

WILLIAM WORDSWORTH

Behold her, single in the field, Yon solitary highland lass! Reaping and singing by herself; Stop here, or gently pass! Alone she cuts and binds the grain, And sings a melancholy strain; Oh, listen! for the vale profound Is overflowing with the sound.

No nightingale did ever chant More welcome notes to weary bands Of travelers in some shady haunt, Among Arabian sands: A voice so thrilling ne'er was heard In spring-time from the cuckoo-bird, Breaking the silence of the seas Among the farthest Hebrides.

Will no one tell me what she sings? Perhaps the plaintive numbers flow For old, unhappy, far-off things, And battles long ago! Or is it some more humble lay, Familiar matter of to-day? Some natural sorrow, loss, or pain, That has been, and may be again?

Whate'er the theme, the maiden sang As if her song could have no ending: I saw her singing at her work, And o'er the sickle bending;— I listen'd, motionless and still; And, as I mounted up the hill, The music in my heart I bore, Long after it was heard no more.



359

Lady Norton (1808-1877) does not belong among the great poets, but she wrote several poems that were immense favorites with a generation now passing away. Among them are "Bingen on the Rhine," "The King of Denmark's Ride" and the one given below. It will no doubt show that her work still has power to stir readers of the present day, although we are likely to think of her poems as being too emotional or sentimental. She wrote the words of the very popular song "Juanita."

THE ARAB TO HIS FAVORITE STEED

CAROLINE E. NORTON

My beautiful! my beautiful! that standest meekly by, With thy proudly arched and glossy neck, and dark and fiery eye, Fret not to roam the desert now, with all thy winged speed; I may not mount on thee again,—thou'rt sold, my Arab steed! Fret not with that impatient hoof,—snuff not the breezy wind,— The farther that thou fliest now, so far am I behind; The stranger hath thy bridle-rein,—thy master hath his gold,— Fleet-limbed and beautiful, farewell; thou'rt sold, my steed, thou'rt sold.

Farewell! those free untired limbs full many a mile must roam, To reach the chill and wintry sky which clouds the stranger's home; Some other hand, less fond, must now thy corn and bed prepare, Thy silky mane, I braided once, must be another's care! The morning sun shall dawn again, but never more with thee Shall I gallop through the desert paths, where we were wont to be; Evening shall darken on the earth, and o'er the sandy plain Some other steed, with slower step, shall bear me home again.

Yes, thou must go! the wild, free breeze, the brilliant sun and sky, Thy master's house,—from all of these my exiled one must fly; Thy proud dark eye will grow less proud, thy step become less fleet, And vainly shalt thou arch thy neck, thy master's hand to meet. Only in sleep shall I behold that dark eye, glancing bright;— Only in sleep shall hear again that step so firm and light; And when I raise my dreaming arm to check or cheer thy speed, Then must I, starting, wake to feel,—thou'rt sold, my Arab steed.

Ah! rudely then, unseen by me, some cruel hand may chide, Till foam-wreaths lie, like crested waves, along thy panting side: And the rich blood that's in thee swells, in thy indignant pain, Till careless eyes, which rest on thee, may count each starting vein. Will they ill-use thee? If I thought—but no, it cannot be,— Thou art so swift, yet easy curbed; so gentle, yet so free: And yet, if haply, when thou'rt gone, my lonely heart should yearn, Can the hand which casts thee from it now command thee to return?

Return! alas! my Arab steed! what shall thy master do, When thou, who wast his all of joy, hast vanished from his view? When the dim distance cheats mine eye, and through the gathering tears Thy bright form, for a moment, like the false mirage appears; Slow and unmounted shall I roam, with weary step alone, Where, with fleet step and joyous bound, thou oft hast borne me on; And sitting down by that green well, I'll pause and sadly think, "It was here he bowed his glossy neck when last I saw him drink!"

When last I saw thee drink!—Away! the fevered dream is o'er,— I could not live a day, and know that we should meet no more! They tempted me, my beautiful! for hunger's power is strong,— They tempted me, my beautiful! but I have loved too long. Who said that I had given thee up? who said that thou wast sold? 'T is false!—'t is false, my Arab steed! I fling them back their gold! Thus, thus, I leap upon thy back, and scour the distant plains; Away! who overtakes us now shall claim thee for his pains!



360

Robert Southey (1774-1843) was poet laureate of England, and a most prolific writer of poetry and miscellaneous prose. His great prominence in his own day has been succeeded by an obscurity so complete that only a few items of his work are now remembered. Among these are "The Battle of Blenheim," a very brief and effective satire against war, "The Well of St. Keyne," a humorous poem based on an old superstition, and "The Inchcape Rock," a stirring narrative of how evil deeds return upon the evil doer. (See also No. 153.)

THE INCHCAPE ROCK

ROBERT SOUTHEY

No stir in the air, no stir in the sea, The ship was as still as she could be; Her sails from Heaven received no motion, Her keel was steady in the ocean.

Without either sign or sound of their shock, The waves flowed over the Inchcape Rock; So little they rose, so little they fell, They did not move the Inchcape Bell.

The holy Abbot of Aberbrothok Had placed that bell on the Inchcape Rock; On a buoy in the storm it floated and swung, And over the waves its warning rung.

When the rock was hid by the surges' swell, The mariners heard the warning bell; And then they knew the perilous Rock, And blessed the Abbot of Aberbrothok.

The Sun in heaven was shining gay, All things were joyful on that day; The sea-birds screamed as they wheeled around, And there was joyance in their sound.

The buoy of the Inchcape Rock was seen, A darker speck on the ocean green; Sir Ralph, the Rover, walked his deck, And he fixed his eye on the darker speck.

He felt the cheering power of spring, It made him whistle, it made him sing; His heart was mirthful to excess; But the Rover's mirth was wickedness.

His eye was on the Inchcape float; Quoth he, "My men, put out the boat; And row me to the Inchcape Rock, And I'll plague the Abbot of Aberbrothok."

The boat is lowered, the boatmen row, And to the Inchcape Rock they go; Sir Ralph bent over from the boat, And cut the Bell from the Inchcape float.

Down sank the Bell with a gurgling sound; The bubbles rose, and burst around. Quoth Sir Ralph, "The next who comes to the Rock Will not bless the Abbot of Aberbrothok."

Sir Ralph, the Rover, sailed away, He scoured the seas for many a day; And now, grown rich with plundered store, He steers his course for Scotland's shore.

So thick a haze o'erspreads the sky They cannot see the Sun on high; The wind hath blown a gale all day; At evening it hath died away.

On the deck the Rover takes his stand; So dark it is they see no land. Quoth Sir Ralph, "It will be lighter soon, For there is the dawn of the rising Moon."

"Canst hear," said one, "the breakers roar? For yonder, methinks, should be the shore. Now where we are I cannot tell, But I wish we could hear the Inchcape Bell."

They hear no sound; the swell is strong; Though the wind hath fallen, they drift along, Till the vessel strikes with a shivering shock,— "O Christ! it is the Inchcape Rock."

Sir Ralph, the Rover, tore his hair; He cursed himself in his despair. The waves rush in on every side; The ship is sinking beneath the tide.

But even in his dying fear, One dreadful sound he seemed to hear,— A sound as if, with the Inchcape Bell, The Devil below was ringing his knell.

The Shakespeare passages which follow are from the fairy play "A Midsummer Night's Dream." A teacher well acquainted with that play would find it possible to delight children with it. The fairy and rustic scenes could be given almost in their entirety, the other scenes could be summarized.



361

OVER HILL, OVER DALE

WILLIAM SHAKESPEARE

Over hill, over dale, Thorough bush, thorough brier, Over park, over pale, Thorough flood, thorough fire, I do wander everywhere, Swifter than the moon's sphere; And I serve the fairy queen, To dew her orbs upon the green. The cowslips tall her pensioners be: In their gold coats spots you see; Those be rubies, fairy favours, In those freckles live their savours: I must go seek some dewdrops here, And hang a pearl in every cowslip's ear.



362

A FAIRY SCENE IN A WOOD

WILLIAM SHAKESPEARE

FAIRY QUEEN TITANIA (calls to her FAIRIES following her)

Come, now a roundel and a fairy song; Then, for the third part of a minute, hence; Some to kill cankers in the musk-rose buds, Some war with rere-mice for their leathern wings, To make my small elves coats, and some keep back The clamorous owl that nightly hoots and wonders At our quaint spirits. Sing me now asleep; Then to your offices and let me rest.

She lies down to sleep, and the FAIRIES sing as follows:

You spotted snakes with double tongue, Thorny hedgehogs, be not seen; Newts and blind-worms, do no wrong, Come not near our fairy queen. Philomel, with melody Sing in our sweet lullaby; Lulla, lulla, lullaby, lulla, lulla, lullaby: Never harm, Nor spell nor charm, Come our lovely lady nigh: So good-night, with lullaby.

Weaving spiders, come not here; Hence, you long-legged spinners, hence. Beetles black, approach not near; Worm nor snail, do no offence. Philomel, with melody Sing in our sweet lullaby; Lulla, lulla, lullaby, lulla, lulla, lullaby: Never harm, Nor spell nor charm, Come our lovely lady nigh; So, good-night, with lullaby.

A FAIRY

Hence, away! now all is well: One aloof stand sentinel.



363

Ralph Waldo Emerson (1803-1882) is America's greatest spiritual teacher. His essays, such as "Self-Reliance" and "The American Scholar," are his chief claim to fame. The two brief poems given here are well known. "Fable" should be studied along with No. 236, since they emphasize the same lesson that size is after all a purely relative matter. "Concord Hymn" is a splendidly dignified expression of the debt of gratitude we owe to the memory of those who made our country possible. Of course no reader will fail to notice the famous last two lines of the first stanza.

FABLE

RALPH WALDO EMERSON

The mountain and the squirrel Had a quarrel, And the former called the latter "Little Prig"; Bun replied, "You are doubtless very big; But all sorts of things and weather Must be taken in together To make up a year And a sphere. And I think it no disgrace To occupy my place. If I'm not so large as you, You are not so small as I, And not half so spry. I'll not deny you make A very pretty squirrel track; Talents differ; all is well and wisely put; If I cannot carry forests on my back, Neither can you crack a nut!"



364

CONCORD HYMN

RALPH WALDO EMERSON

By the rude bridge that arched the flood, Their flag to April's breeze unfurled, Here once the embattled farmers stood, And fired the shot heard round the world.

The foe long since in silence slept; Alike the conqueror silent sleeps; And Time the ruined bridge has swept Down the dark stream which seaward creeps.

On this green bank, by this soft stream, We set to-day a votive stone; That memory may their deed redeem, When, like our sires, our sons are gone.

Spirit, that made those heroes dare To die, and leave their children free, Bid Time and Nature gently spare The shaft we raise to them and thee.



365

Almost any of the works of Sir Walter Scott (1771-1832), whether in prose or verse, is within the range of children in the grades. Especially the fine ballads, such as "Lochinvar" and "Allen-a-Dale," are sure to interest them. Children should be encouraged to read one of the long story-poems, "The Lady of the Lake" or "The Lay of the Last Minstrel." The famous expression of patriotism quoted below is from the latter poem.

BREATHES THERE THE MAN

SIR WALTER SCOTT

Breathes there the man, with soul so dead, Who never to himself hath said, This is my own, my native land! Whose heart hath ne'er within him burned, As home his footsteps he hath turned From wandering on a foreign strand! If such there be, go, mark him well; For him no minstrel raptures swell; High though his titles, proud his name, Boundless his wealth as wish can claim; Despite those titles, power, and pelf, The wretch, concentered all in self, Living, shall forfeit fair renown, And doubly dying, shall go down To the vile dust, from whence he sprung, Unwept, unhonored, and unsung.



366

When Oliver Wendell Holmes (1809-1894) was twenty-one years old, he read that the Navy Department had decided to destroy the old, unseaworthy frigate "Constitution," which had become famous in the War of 1812. In one evening he wrote the poem "Old Ironsides." This not only made Holmes immediately famous as a poet, but so aroused the American people that the Navy Department changed its plans and rebuilt the ship.

OLD IRONSIDES

OLIVER WENDELL HOLMES

Ay, tear her tattered ensign down! Long has it waved on high, And many an eye has danced to see That banner in the sky; Beneath it rung the battle shout, And burst the cannon's roar:— The meteor of the ocean air Shall sweep the clouds no more.

Her deck, once red with heroes' blood, Where knelt the vanquished foe, When winds were hurrying o'er the flood, And waves were white below, No more shall feel the victor's tread, Or know the conquered knee;— The harpies of the shore shall pluck The eagle of the sea!

Oh, better that her shattered hulk Should sink beneath the wave; Her thunders shook the mighty deep, And there should be her grave; Nail to the mast her holy flag, Set every threadbare sail, And give her to the god of storms, The lightning and the gale!



367

William Collins (1721-1759), English poet, wrote only a few poems, but among them is this short dirge which keeps his name alive in popular memory. It was probably in honor of his countrymen who fell at Fontenoy in 1745, the year before its composition. Its austere brevity, its well-known personifications, its freedom from fulsome expressions, place it very high among patriotic utterances.

HOW SLEEP THE BRAVE

WILLIAM COLLINS

How sleep the brave, who sink to rest By all their country's wishes blest! When Spring, with dewy fingers cold, Returns to deck their hallowed mould, She there shall dress a sweeter sod Than Fancy's feet have ever trod.

By fairy hands their knell is rung; By forms unseen their dirge is sung; There Honor comes, a pilgrim gray, To bless the turf that wraps their clay; And Freedom shall awhile repair, To dwell a weeping hermit there!



368

The anonymous ballad dealing with the familiar story of Nathan Hale, of Revolutionary times, is the nearest approach to the old folk ballad in our history. Its repetitions help it in catching something of the breathless suspense accompanying his daring effort, betrayal, and execution. The pathos of the closing incidents of Hale's career has attracted the tributes of poets and dramatists. Francis Miles Finch, author of "The Blue and the Gray," wrote a well-known poetic account of Hale, while Clyde Fitch's drama of Nathan Hale had a great popular success.

THE BALLAD OF NATHAN HALE

The breezes went steadily through the tall pines, A-saying "Oh! hu-ush!" a-saying "Oh! hu-ush!" As stilly stole by a bold legion of horse, For Hale in the bush; for Hale in the bush.

"Keep still!" said the thrush as she nestled her young, In a nest by the road; in a nest by the road. "For the tyrants are near, and with them appear What bodes us no good; what bodes us no good."

The brave captain heard it, and thought of his home In a cot by the brook; in a cot by the brook; With mother and sister and memories dear, He so gayly forsook; he so gayly forsook.

Cooling shades of the night were coming apace, The tattoo had beat; the tattoo had beat. The noble one sprang from his dark lurking-place, To make his retreat; to make his retreat.

He warily trod on the dry rustling leaves, As he passed through the wood; as he passed through the wood; And silently gained his rude launch on the shore, As she played with the flood; as she played with the flood.

The guards of the camp, on that dark, dreary night, Had a murderous will; had a murderous will. They took him and bore him afar from the shore, To a hut on the hill; to a hut on the hill.

No mother was there, nor a friend who could cheer, In that little stone cell; in that little stone cell. But he trusted in love, from his Father above. In his heart, all was well; in his heart, all was well.

An ominous owl, with his solemn bass voice, Sat moaning hard by; sat moaning hard by; "The tyrant's proud minions most gladly rejoice, For he must soon die; for he must soon die."

The brave fellow told them, no thing he restrained,— The cruel general! the cruel general!— His errand from camp, of the ends to be gained, And said that was all; and said that was all.

They took him and bound him and bore him away, Down the hill's grassy side; down the hill's grassy side. 'Twas there the base hirelings, in royal array, His cause did deride; his cause did deride.

Five minutes were given, short moments, no more, For him to repent; for him to repent. He prayed for his mother, he asked not another, To Heaven he went; to Heaven he went.

The faith of a martyr the tragedy showed, As he trod the last stage; as he trod the last stage. And Britons will shudder at gallant Hale's blood, As his words do presage; as his words do presage:

"Thou pale King of terrors, thou life's gloomy foe, Go frighten the slave; go frighten the slave; Tell tyrants, to you their allegiance they owe. No fears for the brave; no fears for the brave."



369

That men of great courage are certain to recognize and pay tribute to courage in others, even if those others are their enemies, is the theme of "The Red Thread of Honor." Sir Francis Hastings Doyle (1810-1888) wrote two other stirring poems of action, "The Loss of the Birkenhead" and "The Private of the Buffs."

THE RED THREAD OF HONOR

FRANCIS HASTINGS DOYLE

Eleven men of England A breastwork charged in vain; Eleven men of England Lie stripp'd, and gash'd, and slain. Slain; but of foes that guarded Their rock-built fortress well, Some twenty had been mastered, When the last soldier fell.

The robber-chief mused deeply, Above those daring dead; "Bring here," at length he shouted, "Bring quick, the battle thread. Let Eblis blast forever Their souls, if Allah will: But we must keep unbroken The old rules of the Hill.

"Before the Ghiznee tiger Leapt forth to burn and slay; Before the holy Prophet Taught our grim tribes to pray; Before Secunder's lances Pierced through each Indian glen; The mountain laws of honor Were framed for fearless men.

"Still, when a chief dies bravely, We bind with green one wrist— Green for the brave, for heroes One crimson thread we twist. Say ye, oh gallant Hillmen, For these, whose life has fled, Which is the fitting color, The green one, or the red?"

"Our brethren, laid in honor'd graves, may wear Their green reward," each noble savage said; "To these, whom hawks and hungry wolves shall tear, Who dares deny the red?"

Thus conquering hate, and steadfast to the right, Fresh from the heart that haughty verdict came; Beneath a waning moon, each spectral height Rolled back its loud acclaim.

Once more the chief gazed keenly Down on those daring dead; From his good sword their heart's blood Crept to that crimson thread. Once more he cried, "The judgment, Good friends, is wise and true, But though the red be given, Have we not more to do?

"These were not stirred by anger, Nor yet by lust made bold; Renown they thought above them, Nor did they look for gold. To them their leader's signal Was as the voice of God: Unmoved, and uncomplaining, The path it showed they trod.

"As, without sound or struggle, The stars unhurrying march, Where Allah's finger guides them, Through yonder purple arch, These Franks, sublimely silent, Without a quickened breath, Went, in the strength of duty, Straight to their goal of death.

"If I were now to ask you, To name our bravest man, Ye all at once would answer, They call'd him Mehrab Khan. He sleeps among his fathers, Dear to our native land, With the bright mark he bled for Firm round his faithful hand.

"The songs they sing of Roostum Fill all the past with light; If truth be in their music, He was a noble knight. But were those heroes living, And strong for battle still, Would Mehrab Khan or Roostum Have climbed, like these, the Hill?"

And they replied, "Though Mehrab Khan was brave, As chief, he chose himself what risks to run; Prince Roostum lied, his forfeit life to save, Which these had never done."

"Enough!" he shouted fiercely; "Doomed though they be to hell, Bind fast the crimson trophy Round BOTH wrists—bind it well. Who knows but that great Allah May grudge such matchless men, With none so decked in heaven, To the fiend's flaming den?"

Then all those gallant robbers Shouted a stern "Amen!" They raised the slaughter'd sergeant, They raised his mangled ten. And when we found their bodies Left bleaching in the wind, Around BOTH wrists in glory That crimson thread was twined.



370

In the year 1897 a great diamond jubilee was held in England in honor of the completion of sixty years of rule by Queen Victoria. Many poems were written for the occasion, most of which praised the greatness of Britain, the extent of her dominion, the strength of her army and navy, and the abundance of her wealth. The "Recessional" was written for the occasion by Rudyard Kipling (1865—). It is in the form of a prayer, but its purpose was to tell the British that they were forgetting the "God of our fathers" and putting their trust in wealth and navies and the "reeking tube and iron shard" of the cannon. The poem rang through England like a bugle call and stirred the British people more deeply than any other poem of recent times.

RECESSIONAL

RUDYARD KIPLING

God of our fathers, known of old— Lord of our far flung battle-line— Beneath whose awful hand we hold Dominion over palm and pine— Lord God of Hosts, be with us yet, Lest we forget—lest we forget!

The tumult and the shouting dies— The captains and the kings depart— Still stands Thine ancient Sacrifice, A humble and a contrite heart. Lord God of Hosts, be with us yet, Lest we forget—lest we forget!

Far-called our navies sink away— On dune and headland sinks the fire Lo, all our pomp of yesterday Is one with Nineveh and Tyre! Judge of the Nations, spare us yet, Lest we forget—lest we forget!

If, drunk with sight of power, we loose Wild tongues that have not Thee in awe— Such boasting as the Gentiles use Or lesser breeds without the law— Lord God of Hosts, be with us yet, Lest we forget—lest we forget!

For heathen heart that puts her trust In reeking tube and iron shard— All valiant dust that builds on dust, And guarding calls not Thee to guard— For frantic boast and foolish word, Thy Mercy on Thy People, Lord!



371

William Ernest Henley (1849-1903) was an English critic and journalist of great force and a poet whose verse is full of manliness and tenderness. His life was a constant and courageous struggle against disease. The spirit in which he faced conditions that would have conquered a weaker man breathes through the famous poem quoted below. Such a spirit is not confined to any particular stage of maturity as represented by years, and many young people will find themselves buoyed up in the face of difficulties by coming into touch with the unconquered and unconquerable voice in this poem. The last two lines in particular are often quoted.

INVICTUS

WILLIAM E. HENLEY

Out of the night that covers me, Black as the pit from pole to pole, I thank whatever gods may be For my unconquerable soul.

In the fell clutch of circumstance I have not winced nor cried aloud: Under the bludgeonings of chance My head is bloody, but unbowed.

Beyond this place of wrath and tears Looms but the horror of the shade, And yet the menace of the years Finds and shall find me unafraid.

It matters not how strait the gate, How charged with punishments the scroll, I am the master of my fate; I am the captain of my soul.



372

James Russell Lowell (1819-1891) is a poet of such high idealisms that many of his poems seem to form the natural heritage of youth. Among such are "The Vision of Sir Launfal," "The Present Crisis," "The Fatherland," and "Aladdin." "The Falcon" is not so well known as any of these, but its fine image for the seeker after truth should appeal to most children of upper grades. "The Shepherd of King Admetus" is a very attractive poetizing of an old myth (see No. 261) and lets us see something of how the public looks upon its poets and other artistic folk.

THE FALCON

JAMES RUSSELL LOWELL

I know a falcon swift and peerless As e'er was cradled in the pine; No bird had ever eye so fearless, Or wing so strong as this of mine.

The winds not better love to pilot A cloud with molten gold o'errun, Than him, a little burning islet, A star above the coming sun.

For with a lark's heart he doth tower, By a glorious upward instinct drawn; No bee nestles deeper in the flower Than he in the bursting rose of dawn.

No harmless dove, no bird that singeth, Shudders to see him overhead; The rush of his fierce swooping bringeth To innocent hearts no thrill of dread.

Let fraud and wrong and baseness shiver, For still between them and the sky The falcon Truth hangs poised forever And marks them with his vengeful eye.



373

THE SHEPHERD OF KING ADMETUS

JAMES RUSSELL LOWELL

There came a youth upon the earth, Some thousand years ago, Whose slender hands were nothing worth, Whether to plough, or reap, or sow.

Upon an empty tortoise-shell He stretched some chords, and drew Music that made men's bosoms swell Fearless, or brimmed their eyes with dew.

Then King Admetus, one who had Pure taste by right divine, Decreed his singing not too bad To hear between the cups of wine:

And so, well pleased with being soothed Into a sweet half-sleep, Three times his kingly beard he smoothed, And made him viceroy o'er his sheep.

His words were simple words enough, And yet he used them so, That what in other mouths was rough In his seemed musical and low.

Men called him but a shiftless youth, In whom no good they saw; And yet, unwittingly, in truth, They made his careless words their law.

They knew not how he learned at all, For idly, hour by hour, He sat and watched the dead leaves fall, Or mused upon a common flower.

It seemed the loveliness of things Did teach him all their use, For, in mere weeds, and stones, and springs, He found a healing power profuse.

Men granted that his speech was wise, But, when a glance they caught Of his slim grace and woman's eyes, They laughed, and called him good-for-naught.

Yet after he was dead and gone, And e'en his memory dim, Earth seemed more sweet to live upon, More full of love, because of him.

And day by day more holy grew Each spot where he had trod, Till after-poets only knew Their first-born brother as a god.



374

Sir William S. Gilbert (1837-1911), an English dramatist, is known to us as the librettist of the popular Gilbert and Sullivan operas, The Mikado, Pinafore, etc. In his earlier days he wrote a book of humorous poetry called The Bab Ballads. Many of these still please readers who like a little nonsense now and then of a supremely ridiculous type. "The Yarn of the Nancy Bell" is a splendid take-off on "travelers' tales," and is not likely to deceive anyone. However, Gilbert said that when he sent the poem to Punch, the editor made objection to its extremely cannibalistic nature!

THE YARN OF THE NANCY BELL

WILLIAM S. GILBERT

'Twas on the shores that round our coast From Deal to Ramsgate span, That I found alone on a piece of stone An elderly naval man.

His hair was weedy, his beard was long, And weedy and long was he, And I heard this wight on the shore recite, In a singular minor key:

"Oh, I am a cook and a captain bold, And the mate of the Nancy brig, And a bo'sun tight, and a midshipmite, And the crew of the captain's gig."

And he shook his fists and he tore his hair, Till I really felt afraid, For I couldn't help thinking the man had been drinking, And so I simply said:

"Oh, elderly man, it's little I know Of the duties of men of the sea, And I'll eat my hand if I understand However you can be

"At once a cook, and a captain bold, And the mate of the Nancy brig, And a bo'sun tight, and a midshipmite, And the crew of the captain's gig."

Then he gave a hitch to his trousers, which Is a trick all seamen larn, And having got rid of a thumping quid, He spun this painful yarn:

"'Twas in the good ship Nancy Bell That we sailed to the Indian Sea, And there on a reef we come to grief, Which has often occurred to me.

"And pretty nigh all the crew was drowned (There was seventy-seven o' soul), And only ten of the Nancy's men Said 'Here!' to the muster-roll.

"There was me and the cook and the captain bold, And the mate of the Nancy brig, And the bo'sun tight, and a midshipmite, And the crew of the captain's gig.

"For a month we'd neither wittles nor drink, Till a-hungry we did feel, So we drawed a lot, and accordin' shot The captain for our meal.

"The next lot fell to the Nancy's mate, And a delicate dish he made; Then our appetite with the midshipmite We seven survivors stayed.

"And then we murdered the bo'sun tight, And he much resembled pig; Then we wittled free, did the cook and me, On the crew of the captain's gig.

"Then only the cook and me was left, And the delicate question, 'Which Of us two goes to the kettle?' arose, And we argued it out as sich.

"For I loved that cook as a brother, I did, And the cook he worshipped me; But we'd both be blowed if we'd either be stowed In the other chap's hold, you see.

"'I'll be eat if you dines off me,' says Tom; 'Yes, that,' says I, 'you'll be,'— 'I'm boiled if I die, my friend,' quoth I; And 'Exactly so,' quoth he.

"Says he, 'Dear James, to murder me Were a foolish thing to do; For don't you see that you can't cook me, While I can—and will—cook you!'

"So he boils the water, and takes the salt And the pepper in portions true (Which he never forgot), and some chopped shalot, And some sage and parsley, too.

"'Come here,' says he, with a proper pride, Which his smiling features tell, ''T will soothing be if I let you see How extremely nice you'll smell.'

"And he stirred it round and round and round And he sniffed at the foaming froth; When I ups with his heels and smothers his squeals In the scum of the boiling broth.

"And I eat that cook in a week or less, And—as I eating be The last of his chops, why, I almost drops, For a wessel in sight I see!

* * * * *

"'And I never larf, and never smile, And I never lark nor play, But sit and croak, and a single joke I have—which is to say:

"'Oh, I am a cook and a captain bold, And the mate of the Nancy brig, And a bo'sun tight, and a midshipmite, And the crew of the captain's gig!'"



375

John T. Trowbridge (1827-1916) is one of the important figures in modern literature for young folks. He wrote a popular series of books for them beginning with Cudjo's Cave, and many poems, the most famous of which are "The Vagabonds" and the one given below. Trowbridge's autobiography will interest children with its story of a literary life devoted to the problems of their entertainment. "Darius Green and His Flying Machine" first appeared in Our Young Folks in 1867. It is to be read for its fun—fun of dialect, fun of character, and fun of incident. If it has any lesson, it must be that dreamers may come to grief unless they have some plain practical common sense to balance their enthusiasm!

DARIUS GREEN AND HIS FLYING MACHINE

JOHN TOWNSEND TROWBRIDGE

If ever there lived a Yankee lad, Wise or otherwise, good or bad, Who, seeing the birds fly, didn't jump With flapping arms from stake or stump, Or, spreading the tail of his coat for a sail, Take a soaring leap from post or rail, And wonder why he couldn't fly, And flap and flutter and wish and try,— If ever you knew a country dunce Who didn't try that as often as once, All I can say is, that's a sign He never would do for a hero of mine.

An aspiring genius was D. Green; The son of a farmer,—age fourteen; His body was long and lank and lean,— Just right for flying, as will be seen; He had two eyes as bright as a bean, And a freckled nose that grew between, A little awry;—for I must mention That he had riveted his attention Upon his wonderful invention, Twisting his tongue as he twisted the strings, And working his face as he worked the wings, And with every turn of gimlet and screw Turning and screwing his mouth round too, Till his nose seemed bent to catch the scent, Around some corner, of new-baked pies, And his wrinkled cheek and his squinting eyes Grew puckered into a queer grimace, That made him look very droll in the face, And also very wise. And wise he must have been, to do more Than ever a genius did before, Excepting Daedalus of yore And his son Icarus, who wore Upon their backs those wings of wax He had read of in the old almanacs. Darius was clearly of the opinion, That the air was also man's dominion, And that with paddle or fin or pinion, We soon or late should navigate The azure as now we sail the sea. The thing looks simple enough to me; And, if you doubt it, Hear how Darius reasoned about it: "The birds can fly, an' why can't I? Must we give in," says he with a grin, "'T the bluebird an' phoebe are smarter'n we be? Jest fold our hands, an' see the swaller An' blackbird an' catbird beat us holler? Does the leetle chatterin', sassy wren, No bigger'n my thumb, know more than men? Jest show me that! er prove 't bat Hez got more brains than's in my hat, An' I'll back down, an' not till then!" He argued further: "Ner I can't see What's the use o' wings to a bumble-bee, Fer to git a livin' with, more'n to me;— Ain't my business importanter'n his'n is? That Icarus was a silly cuss,— Him an' his daddy Daedalus; They might 'a' knowed wings made o' wax Wouldn't stan' sun-heat an' hard whacks: I'll make mine o' luther, er suthin' er other."

And he said to himself, as he tinkered and planned: "But I ain't goin' to show my hand To nummies that never can understand The fust idee that's big an' grand. They'd 'a' laft an' made fun O' Creation itself afore it was done!" So he kept his secret from all the rest, Safely buttoned within his vest; And in the loft above the shed Himself he locks, with thimble and thread And wax and hammer and buckles and screws, And all such things as geniuses use;— Two bats for patterns, curious fellows! A charcoal-pot and a pair of bellows; An old hoop-skirt or two, as well as Some wire, and several old umbrellas; A carriage-cover, for tail and wings; A piece of harness; and straps and strings; And a big strong box, in which he locks These and a hundred other things.

His grinning brothers, Reuben and Burke And Nathan and Jotham and Solomon, lurk Around the corner to see him work,— Sitting cross-legged, like a Turk, Drawing the waxed-end through with a jerk, And boring the holes with a comical quirk Of his wise old head, and a knowing smirk. But vainly they mounted each other's backs, And poked through knot-holes and pried through cracks; With wood from the pile and straw from the stacks He plugged the knot-holes and calked the cracks; And a bucket of water, which one would think He had brought up into the loft to drink When he chanced to be dry, Stood always nigh, for Darius was sly! And, whenever at work he happened to spy, At chink or crevice a blinking eye, He let a dipper of water fly: "Take that! an', ef ever ye git a peep, Guess ye'll ketch a weasel asleep!" And he sings as he locks his big strong box; "The weasel's head is small an' trim, An' he is leetle an' long an' slim, An' quick of motion an' nimble of limb, An', ef yeou'll be advised by me, Keep wide awake when ye're ketching him!"

So day after day He stitched and tinkered and hammered away, Till at last 'twas done,— The greatest invention under the sun. "An' now," says Darius, "hooray fer some fun!"

'Twas the Fourth of July, and the weather was dry, And not a cloud was on all the sky, Save a few light fleeces, which here and there, Half mist, half air, Like foam on the ocean went floating by, Just as lovely a morning as ever was seen For a nice little trip in a flying-machine.

Thought cunning Darius, "Now I shan't go Along 'ith the fellers to see the show: I'll say I've got sich a terrible cough! An' then, when the folks have all gone off, I'll hev full swing fer to try the thing, An' practyse a little on the wing."

"Ain't goin' to see the celebration?" Says brother Nate. "No; botheration! I've got sich a cold—a toothache—I— My gracious! feel's though I should fly!"

Said Jotham, "Sho! guess ye better go." But Darius said, "No! Shouldn't wonder 'f yeou might see me, though, 'Long 'bout noon, ef I git red O' this jumpin', thumpin' pain in my head." For all the while to himself he said,— "I tell ye what! I'll fly a few times around the lot, To see how 't seems; then soon's I've got The hang o' the thing, ez likely's not, I'll astonish the nation, an' all creation, By flying over the celebration! Over their heads I'll sail like an eagle; I'll balance myself on my wings like a sea-gull; I'll dance on the chimbleys; I'll stan' on the steeple; I'll flop up to winders an' scare the people! I'll light on the libbe'ty-pole, an' crow; An' I'll say to the gawpin' fools below, 'What world's this here that I've come near?' Fer I'll make 'em b'lieve I'm a chap f'm the moon; An' I'll try a race 'ith their ol' balloon!"

He crept from his bed; And, seeing the others were gone, he said, "I'm a-gittin' over the cold 'n my head." And away he sped, To open the wonderful box in the shed.

His brothers had walked but a little way, When Jotham to Nathan chanced to say, "What on airth is he up to, hey?" "Don'o',—the's suthin' er other to pay, Er he wouldn't 'a' stayed to hum to-day." Says Burke, "His toothache's all'n his eye! He never'd miss a Fo'th-o'-July, Ef he hadn't got some machine to try." Then Sol, the little one, spoke: "By darn! Le's hurry back, an' hide'n the barn, An' pay him fer tellin' us that yarn!"

"Agreed!" Through the orchard they creep back, Along by the fences, behind the stack, And one by one, through a hole in the wall, In under the dusty barn they crawl, Dressed in their Sunday garments all; And a very astonishing sight was that, When each in his cobwebbed coat and hat Came up through the floor like an ancient rat. And there they hid; and Reuben slid The fastenings back, and the door undid. "Keep dark," said he, "While I squint an' see what the' is to see."

As knights of old put on their mail,— From head to foot in an iron suit, Iron jacket and iron boot, Iron breeches, and on the head No hat, but an iron pot instead, And under the chin the bail,— (I believe they call the thing a helm,—) And, thus accoutred, they took the field, Sallying forth to overwhelm The dragons and pagans that plagued the realm; So this modern knight prepared for flight, Put on his wings and strapped them tight— Jointed and jaunty, strong and light,— Buckled them fast to shoulder and hip,— Ten feet they measured from tip to tip! And a helm he had, but that he wore, Not on his head, like those of yore, But more like the helm of a ship.

"Hush!" Reuben said, "he's up in the shed! He's opened the winder,—I see his head! He stretches it out, an' pokes it about Lookin' to see 'f the coast is clear, An' nobody near;— Guess he don'o' who's hid in here! He's riggin' a spring-board over the sill! Stop laffin', Solomon! Burke, keep still! He's climbin' out now—Of all the things! What's he got on? I vum, it's wings! An' that t'other thing? I vum, it's a tail! And there he sets like a hawk on a rail! Steppin' careful, he travels the length Of his spring-board, and teeters to try its strength, Now he stretches his wings, like a monstrous bat; Peeks over his shoulder, this way an' that, Fer to see 'f the's anyone passin' by; But the's o'ny a ca'f an' a goslin' nigh. They turn up at him a wonderin' eye, To see—The dragon! he's goin' to fly! Away he goes! Jimminy! what a jump! Flop—flop—an' plump to the ground with a thump! Flutt'rin' an' flound'rin', all'n a lump!"