C. M. Rice.
Short English Poems
For Repetition.
HEFFER'S PHONETIC SERIES
SHORT ENGLISH POEMS
For Repetition
C. M. RICE, M.A., A.R.C.M.
CAMBRIDGE
W. HEFFER & SONS LTD.
1920
net
(Ehis fealintte has been purchased frmn ike
futtit berpteaikefr bg
applied it titis pitrpuse bg Jjsi kusbattii,
in ntenttxrg uf their tntig san
Cbtoin Hamilton,
toas ^erturer in Slrenck in
Callege iiuiing the gear
ie6 on the 26tij af ^arc
in his thirty-fourth gear.
f ani
HEFFER'S PHONETIC SERIES
Editors: G. Noel-Armfield and C. M. Rice
No. 2
SHORT ENGLISH POEMS
FOR REPETITION
PRINTED BY
W. HEFFER AND SONS LTD..
104, HILI.S ROAD,
CAMBRIDGE
SHORT ENGLISH
POEMS
For Repetition
C. M. RICE, M.A., A.R.C.M.
SECOND EDITION
CAMBRIDGE
W. HEFFER & SONS LTD
LONDON . SIMPKIN, MARSHALL, HAMILTON, KENT & Co. LTD.
1920
AUTHOR'S PREFACE
HAVE aimed, in these transcriptions, at an exact
reproduction of my own pronunciation. In deference
to convention, I have allowed two slight modifications :
(i) the indeterminate vowel is indicated by a, whereas
in my particular case it would generally be more
accurate to write A_; and (ii) I have omitted final r
before an aspirated vowel, which I find it impossible
to do in speech, an ineradicable souvenir of a childhood
spent chiefly in Dublin.
I have not aimed at uniformity. The same word will
often be found on the same page pronounced in two
completely different ways. Where this is the case
there is generally a reason for it connected with the
interpretation of the passage ; and there is always the
reason that my own rendering includes both forms.
The proofs have all been submitted to the invaluable
criticism of my colleague, Mr. Noel-Armfield. All his
suggestions, not incompatible with my own practice,
have been incorporated in the book, but the responsi-
bility for its final form must be mine alone.
C. M. RICE.
KING'S COLLEGE,
CAMBRIDGE.
1 Feb., 1915.
iv
CONTENTS
\_The same Poem will be found under the same ntitnber in both
Parti of the book.~\
No.
1. WISHING
2. WHY SHOULD MAN BE VAIN
3. REQUIESCAT -
4. A FRAGMENT -
5. LINES LEFT AT MR. THEODORE
HOOK'S
6. THE OCEAN
7. I'D BE A BUTTERFLY
8. MY EPITAPH -
9. A SUMMER INVOCATION -
10. AN EXPOSTULATION
11. NURSE'S SONG
12. THE PIPER
13. THE SHEPHERD ...
14. LOVE AND FRIENDSHIP
15. SHEPHERD BOY'S SONG
16. A JACOBITE TOAST -
17. SONNET ON THE CASTLE OF
CHILLON - ...
18. SONG. TO A HEBREW MELODY
19. THE BATTLE OF HOHEN-
LINDEN
20. To THE EVENING STAR
21. DISDAIN RETURNED
22. SHE is NOT FAIR TO OUTWARD
VIEW -
23. ANSWER TO A CHILD'S
QUESTION -
24. THE KNIGHT'S TOMB
25. SOMETHING CHILDISH, BUT
VERY NATURAL -
26. THE GOLDEN FARMER -
Allingham, Wtn.
Anon.
Arnold, Matthew
Barbaiild, Anna L.
Barham, Richard H.
Barton, Bernard
Bayly, Thomas H.
Beazley, Samuel
Bennett, Wm. Cox
Bickerstaff, Isaac
Blake, Wm.
Bronte, Emily
Bunyan, John
Byrom, J.
Byron, Lord
Campbell, Thomas
Carew, T.
Coleridge, Hartley
Coleridge, S. T.
Collins, John
No.
27. THE POPLAR FIELD
28. A WET SHEET AND A FLOWING
SEA
29. MAY-DAY
30. COUNSEL TO GIRLS
31. To DAFFODILS
32. THE NIGHT-PIECE -
33. VIOLETS -->---
34. PACK, CLOUDS, AWAY ! -
35. THE DEATH-BED
36. REMEMBRANCES -
37. JENNY KISSED ME -
38. THE ARCTIC EXPLORER'S
WIDOW -
39. SEVEN TIMES ONE
40. To CELIA
41. MY LITTLE DOLL -
42. THE THREE FISHERS
43. HESTER -
44. TWENTY YEARS HENCE -
45. ALLAN WATER
46. To ALTHEA, FROM PRISON
47. BABY
48. KATHALEEN NY-HOULAHAN
49. LEARNING
50. WISDOM AND FOLLY
51. SONG ON A MAY MORNING
52. BELIEVE ME, IF ALL THOSE
ENDEARING YOUNG CHARMS
53. THE HARP THAT ONCE -
54. LOVE AND HATE
55. OH ! BREATHE NOT HIS NAME
56. SHE is FAR FROM THE LAND
57. ON A FLY DRINKING OUT OF
HIS Cup
58. THE OAK AND THE BEECH
59. THE CONTENTED MAN -
Cowper, Wm.
Cunningham, A .
Heber, Reginald
Her rick, R.
Hey wood, Thomas
Hood, T.
Hunt, Leigh
Ingclow, Jean
Jonson, Ben
Kings ley, C,
La tub, Charles
Landor, W. S.
Lewis, M. G.
Lovelace, Richard
MacDonald, George
Mangan, J. C.
Milton, John
Moore, Thomas
Oldys, Wm.
Peacock, T. L.
Pope, Alexander
No.
60. THE DYING CHRISTIAN TO HIS
SOUL ------
61. AN ITALIAN SONG -
62. MELANCHOLY -
63. A WISH -----
64. WHEN I AM DEAD -
65. PHYLLIS -----
66. FCLL FATHOM FIVE
67. HARK ! HARK ! THE LARK
68. To LADY ANNE HAMILTON
69. CONSTANCY -
70. LOVE AND DEBT -
71. BREAK, BREAK, BREAK -
72. SONG FROM "THE PRINCESS"
73. THE MANLY HEART
74. THE BURIAL OF SIR JOHN
MOORE
75. THE LOST LOVE -
76. THE RAINBOW -
77. SHE WAS A PHANTOM OF
DELIGHT ....
Pope. Alexander
Rogers, Samuel
Rossetti, C.G.
Sedley, Sir C.
Shakespeare, W.
Spencer, Hon. W. R.
Suckling, Sir John
Tennyson, Alfred, Lord
Wither, George
Wolfe, C.
Wordsworth, Wt;i.
PHONETIC INTRODUCTION
' I A HE notation employed in this book is that of the
International Phonetic Association. All the
symbols used are included in the following tables :
CONSONANTS.
pet kid
bed gown
morning
we yield little
roller
faith's shield
leave these pleasures
^p
Italics in the nomic column denote the sounds
indicated.
The Consonant is once used, in No. 19 1 . It is
unvoiced j_, often heard in the English pure and huge,
which are pronounced p^ua and h^uids, and regularly
in the Scottish nicht, ni'ct.
Voiceless
P
t
k
Voiced
b
d
g
Nasal
m
n
q
Vowel, Liquid
w
j
i
Roll
-
r
-
Hisses
f
9 s
$
Buzzes
V
z
5
1 The use of the name mjuini^ for myn$on is quite
indefensible, but I have found it almost universal among
educated speakers in Cambridge.
VOWELS.
i i: u u:
c 99: o
ae e A o oi
a a
Key Words.
pit peat pull pool
pet paper purr pole
pat pair pun pot port
pie papa
Key Words in Phonetic Notation.
pit pi:t pul pu:l
pet peipg pg: poul
paet peg p.vn pgt po:t
pai papa:
_' denotes an accent or stress on the syllable following
j_ after a vowel denotes that it is long; and, in the
cases of i, 9, o, and u^ that it is tense also.
j after a vowel denotes that it is half-long.
A vowel distinguished thus 5, is to be pronounced
with nasal resonance. This sign is only once used in
No. 17. It is foreign to standard, but one of the dis-
tinguishing marks of typical American-English, and is
very common in French, as in non, no.
A vowel distinguished thus je,J),J(, is not to be very
highly characterised, o, for instance, represents a sound
between o and 9. As a rule, the full vowel may be
used in slow, the indeterminate a in rapid reading. At
intermediate rates, intermediate vowels will be heard.
Symbols in brackets, ( ), indicate sounds which may
be inserted or omitted. Here also much depends on
the pace of utterance ; in slow declamatory speech
insert, in rapid reading omit, these optional sounds.
In the case of the word and, the final d may almost
always be omitted without departure from standard,
except before a vowel ; but send or 911 d is always more
correct, from an elocutionary point of view, than sen or
on, and has, therefore, always been written, except in
cases where the style is so colloquial that it might sound
pedantic. In the case of final r_, followed by initial h,
where both are in brackets, one is to be pronounced and
the other omitted. In No. 8, line 4, for instance, we
must say either " hwearevo hi went " or "hwsgreyari
went."
Concerning the consonants, it is interesting to note
how universally the first three sounds taught to a child
are those whose articulation on the lips is plainly visible,
papa, baba, mama. After these come tata, dada, nana
in which the movement of the tip of the tongue can
be shewn rather less plainly. The three plosives,
whose articulation at the back of the tongue cannot be
shewn at all, do not enter into baby-talk. Indeed rj,
never occurring in English as an initial, presents great
difficulty even to experienced speakers ; and a very
useful tongue exercise is to learn to isolate it. This
can be done by pronouncing a word ending in ip, and
repeating the last movement, (thus sirp-rja) until the jp
can be said alone.
The sounds t, d, and n, are made in standard English
by the articulation of the tongue with the hard palate
about half an inch behind the teeth. This sound has
very frequently to be acquired by foreigners learning
the language, who are accustomed to the very similar
sounds produced with a more forward articulation, such
as is heard in the form of English spoken in Ireland in
such words as train, ladder. Dialect stories usually
indicate this pronunciation by th ; but the sounds are as
distinct from_6 and 8 as they are from t and d_, and are
correctly indicated in phonetic notation by tt-rein, ladha,
h being the indication of a tongue further forward than
is usual. In some languages both forms of these con-
sonants appear, in which case no difficulty is experienced
in differentiating them. Where one has to be substituted
for the other, it is well to practise an exaggerated form,
either with the tongue inverted or approaching 6 and S.
Note the double character of L At the beginning of
the word little it is a pure consonant, at the end almost
a vowel. We have not thought it necessary to dif-
ferentiate these two uses by means of a diacritic, as
is sometimes done. Where the syllabic ^ is required,
it will be found much easier than the consonantal.
The same is true for m, n, and rj. In No. 1, verse 3,
for instance, the words ga:dn and paidn, though they
contain only one vowel each, have to be made disyllabic
by humming the n ;, but it will be difficult to
produce the word satisfactorily by any other means.
The two sounds classed with 1 differ from it by being
consonantal forms of vowels, not liquid consonants; for
then, therefore, if we desire to indicate that they are to
be syllabic, we can use the vowel symbols, u and i.
The sound r_ demands special attention from English
students. There is a present-day tendency to eliminate
the roll altogether from speech. In a previous work 1
we have referred to this, and instanced the word soio
for sorer, as a typical corruption ; but lately we have
heard a still more glaring example, from the mouth of a
clergyman of unimpeachable educational antecedents,
endjoieO for endureth. The effect upon a nicely-trained
ear of the 136th Psalm, repeated with the burthen to
each verse fo; hiz maisi cndjoieQ fo' evo, can be better
imagined than described. Since this degraded pronun-
ciation has started as an affectation among well-educated
people, it is particularly dangerous. There was a similar
tendency some 20 or 30 years ago to convert final 13 into
n. Fortunately, the nomic alphabet provided symbols
by means of which this affectation could be pilloried in
the humorous papers, and it was killed by ridicule.
The same remedy is not available in the case before us ;
" Voice Production with the Aid of Phonetics,'
Heffer, 1912.
and it behoves all teachers of English who value the
purity of our language to combat uncompromisingly the
neglect of the roll, which is unquestionably a beautiful
speech-sound, and cannot be eliminated without aesthetic
loss. For this reason we have frequently inserted (r) at
the ends of lines, as in No. 7, verse 1, where it might
have been omitted ; and with English students its pro-
nunciation should be insisted on.
The hisses and buzzes present difficulties both to
foreign and native speakers of English. To foreigners
the sounds and 5 have frequently to be acquired from
the beginning, not occurring in the native language.
(French and German, for instance, do not possess them.)
They can be arrived at by attempting to say zis sisl
v.-ith the tongue protruding between the teeth at the
beginning of each word. The result will be Sis 6isl.
The difficulty for Englishmen lies in producing a pure
buzz without allowing it to degenerate into a hiss. The
word sins, for example, as generally pronounced, is far
more like sins than sinz, though not quite the same as
since', it might be indicated phonetically by sims. This
is an elocutionary mistake that ought always to be
corrected. Mr. \Ym. Shakespeare writes in " The Art
of Singing " concerning the buzzes : " If they are not
pronounced sufficiently, which occurs very often in the
singing and elocution of the present day, the result is
that we cannot tell what the singer or actor is saying.
When they are sufficiently sustained, the singing is
warmed and illumined with a glow, for their euphony
is not only a source of charm, but their presence ensures
great freedom in the production of the voice. The rigid
singer or actor fails to soften his lines with these
mellifluous sounds, and suffers perforce harsh and
sibilant tones to prevail." When the buzzes do not
come easily, and perfectly pure, repeat hi: IAVIZ; 8:i;
many times ; and go on to a verse of poetry containing
many final buzzes, such as No. 46, verse 4, repeating it
with all of these lengthened ad lib. The acquisition of
the buzzes is not a pleasant exercise ; but it must be
undertaken by all who wish to make their speech as
musical as possible.
The vowels of English appear simpler than they are.
Foreign students may, of course, find some entirely new
to them. This is especially likely to be the case with
fe and A. Something may be done towards the ac-
quisition of a new vowel by practising a gradual
movement of the tongue between the familiar positions
on either side of that required, and making a stop half-
way ; but viva voce teaching is absolutely necessary
for a satisfactory result. English students, familiar, as
they are, with every sound on the table, will find great
difficulty in prolonging such as never occur long in con-
versation, and should learn to lengthen i, e, ae, a, A, o, o,
and u as readily as en or _o: .
But the main difficulty of the English language, both
to foreign and native students, lies in the diphthongs,
which are its 'most distinguishing feature, ai, au, ei, so,
ou, oi, and _o!9 are pronounced in conversation so quickly
that the Englishman forgets that they contain two
sounds, and looks upon them as pure vowels.
Foreigners who wish to acquire his pronunciation
must, therefore, practise each of these until its two
component parts are blended into one sound, pronounced
entirely on the movement between the two vowel
positions without any perceptible pause on either. The
Englishman's difficulty is the opposite of this, and does
not confront him until he leaves colloquial speech for
the higher flights of elocution or singing. Now he will
have to be more deliberate ; but the movement must be
no slower ; all prolongation must be on the first member
of the diphthong, generally one of those vowels above
mentioned as never occurring long in conversation. He
must, therefore, practise by starting to pronounce a
word beginning with one of them (such as isle, ale, oil),
changing his mind as the sound begins, and continuing
to vocalise through a mouth held carefully in a constant
position. It cannot be too strongly emphasised that his
pronunciation of his own language will not be perfect
until he can both distinguish the component parts of all
its diphthongs, and produce each one separately, dis-
tinctly, and deliberately.
1.
WISHING.
'rin-'tir) ! ai 'wi$ ai war a 'primrouz,
8 1>rait jelo 'primrouz 'blouirj in 5a 'sprig !
5a 'stuipiq 'bauz a'b.vv mi(:),
5a 'wondriq 'bi: ta 'l.vv mi(:),
8a 'fain and 'mos ta Tcri:p a'kros
end 5i 'elm-tri: far aua 'kiq !
'nei, 'nei! ai 'wi$ ai war an 'elm-tri:,
a 'greit lofti 'elm-tri:, wi<5 'grim li:vz 'gei !
5a 'windz wud 'set 5am "daman 1 ,
5a 's.vn and 'mu:n$ain 'glams in,
8a 'ba:dz wud 'hauz a'm.vrj 5a 'bauz,
and 'swiitli 'siq !
'ou 'nou ! ai 'wij ai war a 'robin,
a 'robin o:r a 'litl ren, 'e\Tihw=a ta 'gou,
9ru: 'forest, 'fi:ld, o: 'ga:dn,
and 'a:sk nou 'li:v o: 'pa:dn,
til 'winta 'k-vmz wi5 'aisi '0Amz
ta 'r.vfl Ap aua 'win.
'wel, 'tel ! 'hwsa Jud ai 'flai tu:,
'hwsa gou ta 'sli:p in 5a 'da:k wud o: 'del?
bi'fo:r a 'dei woz 'ouvo,
'houm 'kAmz 5a 'rouva,
fo: 'niASaz 'kis 'swi:ta '5is
'eni 'A5a 'Girj !
. ALLINGHAM (18241839).
Common mis-pronunciation, for the sake of the
rhyme. Standard: damsiij or diensin.
2.
WHY SHOULD MAN BE VAIN?
sez 'pleitou, 'hwai $ud 'maen bi 'vein
sins 'bauntjas 'hevn (h)az 'meid im grcit 1 ?
hwai 'luk wi5 'inso'lant dis'dein
on '<5ouz An'dekt wi3 'welG o: 'steit?
keen 'splendid 'roubz o: 'bedz ov 'daun,
o: 'kostli 'dsemz ta 'dek 5o 'feia(r),
keen 'oil 5a 'gloiriz ov 8 'kraun
giv 'he!6, o:r 'i:z 8a 'brau ov 'ks:a(r) 1
'septod 'kin, 5o 'ba:5end 'sleiv,
5a 'hAmbl 'tend 5a 'ho:ti 'dai :
'rit$, 8a 'pu:a, 5a 'beis, 5a 'breiv
in 'dAst wi'Saut dis'tinkjon 'lai !
sa:t$ 5a 'tuimz hwea 'monaks 'rest,
hu: 'WAHS 5a 'greitest 'taitlz 'bo:(a)(r),
'we!9 and 'gloiri '5ei po'zest,
and 'oil 6s8r 'onaz a nou 'mo:(a)(r).
sou 'glaidz 5a 'miitjo 'Gru: 5a 'skai
ond 'spredz o'lorj a 'gildid 'trein ;
bAt 'hwen its 'Joit livd 'bju:tiz 'dai,
di'zolvz ta 'koman 'ear a'gein ;
sou 'tiz wi5 'AS, mai 'djouvjal 'soulz !
let 'freri(d)$ip 'rein hwail 'hia wi 'stei ;
lets 'kraun aua 'd.^oiz wi5 flouiij 'boulz,
hwen 'dsouv AS 'koilz wi 'mAst a'wei.
ANON.
3.
REQUIESCAT.
'stru: on ha: 'rouziz, 'rouziz,
aind 'nevar a 'sprei 5v 'jur.
in 'kwaiet '$i: ri'pouziz :
a: ! 'wud S&t 'ai did 'tu:.
ha: 'ma:e 5a 'wa:ld ri'kwaiod :
Ji 'bei5d it in 'smailz ov 'gli:.
bit (h)a:(r) 'ha:t waz 'taiad, 'taiod,
and 'nau 5e(i) 'let ha: 'bi:.
ha: 'laif woz 'toniin, 'ta:nirj,
in 'meiziz ov 'hi:t and 'saund,
b.it fo 'pi:s ha: 'soul waz 'ja:nin,
aend 'nau pi:s 'laeps ha: 'raund
ha: 'kaebind, 'aempl 'spirit,
it 'fl.vtad and 'feild fo 'bre0.
tu-'nait it 'd.vO in'herit
8a 'va:sti 'ho:l ov 'deG.
MATTHEW ARNOLD (1822188^).
4.
A FRAGMENT.
'laif ! ai 'nou not 'hwot 5au 'ait,
bXt 'nou Sat '5au and 'ai m.\st 'pa:t ;
and 'hwen, o:(r) 'hau, o:(r) 'hwea wi 'met,
ai 'oun, tii 'mi:z a 'siikret 'jet.
'laif ! wi (h)iev bim 'lorj tii'geSa
6ru: 'plezant 'send 6ru: 'klaudi 'we5a ;
tiz 'ha:d ta 'pait hwen 'frendz a 'dia
pai'haeps twil 'ko(:)st a 'sai, a 'tia ;
ban 'still a'wei, giv 'litl 'womijj,
't$u:z Sain 'oun 'taim ;
'sei nat gud 'nait, bXt 'in SAHI 'braita 'klaim
'bid mi: gud 'momiij.
ANNA L. BARBAULD (17431825).
5.
LINES LEFT AT MR. THEODORE HOOK'S
HOUSE IN JUNE, 1834.
sez 'dik and 'ai
war a 'seilirj 'bai
at 'fulam 'brids, ai 'kokt mi 'ai,
and sez 'ai : " tvd'zuks !
" 5saz '0i:ado: 'huks,
"hu:z 'sejirjz and 'duiiqz meik 's.vtS priti 'buks."
"ai 'wAncb." sez 'ai,
stil "ki:piij mi 'ai
on 5a 'haus, "if (h)i:z 'in ai $ud 'laik 1 ta 'trai.' 1
wi8 iz 'a:(o)r on iz 'ni:,
sez 'dik, sez '(}.
' 'fa:5o, so'pouz ju 'le:ud and 'si: ! "
"hwot 'leind aend 'si:/'
sez 'ai to 'hi:*,
" to'geSa ! hwai 'dik, hwai 'hau kan 6aet nbi:?"*
and mai 'komikal '&in,
hu: iz 'fond ov 'tin,
ai '6o:t wud ov 'split iz 'saidz ot 8a 'PAH.
sou wi: 'rouz to '$o:(a)(r),
ond 'noks at 5o 'do:(a)(r)
hwen 'wiljam, a 'maen aiv si:n 'o:fn bi'fo:(a)(r),
meiks 'ansar and 'seiz 3 ,
ma:stoz 'gon in a 'Jeiz
*' ko:ld a 'homnibas*, 'dro:n bai a 'kApl a(v) 1)eiz.
sou 'ai sez '6en,
d.5Ast 'lend mi a 'pen M ;
ai 'wil, so/' sez 'wiljam, polaitest av 'men ;
sou, 'haeviij nou 'kaid, 8i:z po'etikal T>rcjinz
a 8a 'reko:d ai 'li:v av mai 'duiinz and 'sejinz.
RICHARD H. BARHJLM (17881845).
(Thomas Ingoldsby.)
1 Or 'iud laik
Bad grammar, deliberately used in ballads.
Pronunciation forced, to make rhyme. Usually
sez, as in next stanza.
Vulgar form of 'omnibas.
6.
THE OCEAN.
'bjuitiful, SAb'laim, and 'gloirjos ;
'maild, mai'dsestik, 'foumirj, 'friz,
'ouva 'taim it'self vik'toirjas,
'ov i'tamiti !
'SAH, and 'mum, and 'sta:z Jain 'o:(a) 5i:,
'si: 5ai 'saifes 'eb and 'flou ;
'jet a' tempt not 'tu iks'ploi(a) 5ii
'in 5ai 'saundles 'dep6s bi'lou.
'hwe5a 'mominz 'splendoz 'sti:p 5i:
'wi5 8a 'reinbouz 'glouirj 'greis,
'tempests 'rauz, o: 'neiviz 'swi:p 5i:,
'tiz b.vt 'fo:r a 'mouments 'speis.
'a:9 ha: 'vaeliz ?end ha: 'mauntenz,
'mo:tl 'msenz bi'hests o(u)'bei ;
'5ai An'fseSomabl 'fauntenz
'skof hiz 'sa:t$, and 'skom hiz 'swei.
'sAtJ a:t '5au stjui'pendas 'ouS(a)n !
'bAt, if 'ouva'hwelmd bai '5i:,
'kosn wi: 'Oiijk, wi'Saut i'mou$(a)n,
'hwot mASt '5ai kri'eito 'bi: 1
BERNARD BARTON (17841849).
I'D BE A BUTTERFLY.
'aid bi: 9 'bAtaflai, Hbom in a 'baua(r)
hwsa 'rouziz and 'liliz and 'vaiolets 'mi:t :
'rouvig for 'eva from 'flaua ta 'flaua(r),
and 'kisiq oil Hb.vdz Sat d 'priti and 'swi:t !
'aid neva 'laengwij fa 'we!9, o: fa 'paua(r) ;
'aid neva 'sai ta si: 'sleivz set mai 'fi:t :
'aid bi: a 'bAtaflai 'ba:n in a 'baua(r),
'kisiq o:l 'bAdz Sat a 'priti and 'swi:t.
'ou kud ai 'pilfa Sa 'wand av a 'feari,
'aid haev a 'pear av Souz 'bjuitiful 'wirjz ;
5ea 'sAma deiz 'raembl iz 'spo:tiv and 'eari,
5ei 'sli:p in a 'rouz hwen 5a 'naititjgeil siqz.
'5ouz hu: (h)tvv 'welG m!ist bi 'watjful and 'wgari;
'pauar, alas ! no:t bit 'mizari 'brinz !
'aid bi: a 'bAtaftai, 'spo:tiv and 'eari,
'rokt in a 'rouz hwen 5a 'naitingeil 'siijz !
'hwot Sou ju 'tel mi i:t$ 'gei litl 'rouva
'Brinks from 5a 'bre9 av 5a 'fa:st a:tam 'dei !
'Juali tiz 'beta hwen 'sAmar iz 'ouva
ta 'dai hwen a:l 'fsa 9inz d 'feidirj a'wei.
'sAm in laifs 'winta mei 'tail ta dis'kAva
'mi:nz av pro'kjuarirj a 'wiari di'lei
'aid bi: a 'bAtaflai ; 'liviij a 'rouva,
'dajirj hwen 'fsa 6iqz d 'feidiq a'wei !
THOMAS H. BAYLY (17971839).
8.
MY EPITAPH.
hwen aim 'ded, on mai 'tuimstoun ai 'houp 6ei wil 'sei,
hia 'laiz en ould 'felo, Sa 'fou av o:l 'kea(r) ;
wiS 5a 'dsuis 9V Sa 'greip hi: wud 'moisn iz 'klei,
and, hwea'reva(r) (h)i 'went, frolik 'folod im '5ea(r).
wi5 5a 'JArj (h)i wud 'la:f,
wi5 5i 'ould (h)i wud 'kwa:f,
end 'bsenij a'fair oil 'treisiz ev 'soro ;
ould 'dserom wud 'sei
" 5ou 5e 's,vn siijks te'dei,
it iz 'seitn te 'raiz Ap sez 'geili te'moro."
a 'snouz ev ould 'eids nau mei 'hwaitn (h)iz 'brau,
it 'neva bai 'glu:m waz a 'moumant o:a'ka:st ;
hiz 'eids, laik 8a 'sAiiset 5ot 'gliimz on AS 'nau,
tjeist a'wei wi5 its 'braitnes 5a 'klaudz ta 8a 'la:st.
wi5 ba 'JAq (h)i wud 'la:f,
wi5 5i 'ould (h)i wud 'kwaif,
and 'bsenij a' fair o:l 'treisiz av 'soro;
ould 'dserom wud 'sei
" Sou 5a 'sAn sinks ta'dei,
it iz 'saitn ta 'raiz AP xz 'geili ta'moro."
SAMUEL BEAZLEY (1786 1851).
9.
A SUMMER INVOCATION.
ou, 'dsentl, 'dsentl, 's.vma 'rein,
let 'not 89 'silv9 'lili 'pain,
89 'druipirj 'lili 'pain in 'vein
to 'fi:l 8set 'dju:i 't.vtj 9v 'Sain
t9 'driijk 8ai 'frejnes 'WADS a'gein
ou, 'dsentl, 'dsentl 'SAIHO 'rein !
in 'hi:t 5o 'lsin(d)skeip 'kwiv(9)riij 'laiz ;
89 'kaetl 'paent bi'ui:9 89 'tri: ;
Oru: 'pa:tjiq 'eor 9nd 'po:pl 'skaiz
8i 'a:0 luks 'AP in 'vein, f5 '8i: ;
fo '5i: fo: '8i: it 'luks in 'vein,
ou, 'dsentl, 'dsentl 'SAIM 'rein !
8au, 9nd 'brim 89 'medo 'striimz,
9nd 'so:fn 'oil 89 'hilz wi8 'mist,
ou 'foiliq 'dju: ! from 'bginiij 'dri:mz
bai '8ii Jael 'hg:b 9nd 'flaug bi 'kist ;
a-nd '918 Ja>l 'bles 8i: 'jet a'gein,
ou 'dsentl, 'dsentl 'sAni9 'rein !
WM. Cox BENNETT (18201895).
10.
AN EXPOSTULATION.
Wen 'leit ai a'temptid jo: 'piti t9 'mu:v,
hwot 'meid ju so(u) 'def t9 mai 'pregz ?
p9:(r)'haeps it wgz 'rait t9 di'sembl jo(:) '!AV,
bAt 'hwai did ju 'kik mi daun'steoz?
ISAAC BICKERSTAFF (1735 18121).
11.
NURSE'S SONG.
hwen Sa 'voisiz ov 'tjildren d 'ho:d on 5a 'grim
aind 'laifiij iz 'hold on 5a 'hil,
mai 'ha:t iz set 'rest wi'bin mai 'brest,
send 'evri9irj 'els iz 'stil.
5en 'kAm houm, mai 't$ildren, 5a 'SAH iz gon 'daun,
send 5a 'dju:z ov 'nait a'raiz,
kAm, 'kAm, liiv o:f 'plei, ond 'let AS a'wei
til 5o 'momiij a'piaz in 5o 'skaiz.
nou, 'nou, let AS 'plei, fo:r it 'iz jet 'dei,
nd wi: 'kasnot 'gou ta 'sli:p;
bi'saidz in 5o 'skai So 'litl boidz 'flai,
send 5o 'hilz cir oil 'kAvod wi9 '$i:p.
wel, 'wel, gou and 'plei til Sa 'lait feidz a'wei,
send 'Sen gou 'houm ta 'bed.
o"a 'litl wAnz 'lept and 'Jautid and 'lci:ft,
aand 'oil 5a 'hilz eko(u)'ed.
WM. BLAKE (17571827).
12.
THE PIPER.
'paipiij 'daun 5a 'vseliz 'waild,
'paipitj 'sorjz ov 'plezant 'gli:,
'on a 'klaud ai 'soj a 'tjaild,
hi: 'laifirj 'sed to 'mi: :
10
'' 'paip a 'soij a'baut a 'ls:m "
'sou ai 'paipt wi5 'men 'tjia.
' 'paipa, 'paip 5aet 'sorj a'ge(i)n;"
'sou ai 'paipt ; hid) 'wept ta 'hia.
" 'drop 5ai 'paip, 5ai 'haepi 'paip,
"'sirj <5ai 'soijz ov 'haepi 't$ia";
'sou ai 'saerj 5a 'seim a'ge(i)n,
'hwail hi(:) 'wept wi5 'd&i ta 'hia.
"'l^aipa, 'sit 5i: 'daun and 'rait
' 'in a 'buk Siiet 'oil mei 'ri:d
'sou hi(:) 'vaenijt from mai 'sait ;
'a?nd ai 'pl.vkt a 'holo 'ri:d.
'send ai 'meid a 'ruaral 'pen,
'send ai 'steind 5a 'wo:ta 'klia(r),
'y&nd ai 'rout mai 'haepi 'sorjz,
'evri 't$aild mei 'd5oi ta 'hia(r).
WM. BLAKE.
13.
THE SHEPHERD.
hau 'swiit iz 5a 'Jepadz swi:t 'lot ;
from 5a 'mom tu 5i 'iivnirj (h)i(:) 'streiz;
hi: Ja^l 'folo (h)iz $i:p o:l 5a 'dei,
and (h)iz 't.vij Jail bi 'filed wi5 'preiz.
fo(r) (h)i 'hiaz 5a le:mz 'inosant 'ko:l,
and (h)i 'hiaz 5a ju:z 'tenda ri'plai ;
hi: iz 'wotjful hwail '5ei cir in 'pi:s,
fo 5ei 'nou hwen 5sa 'Jepad iz 'nai.
11
14.
LOVE AND FRIENDSHIP.
'!AV iz 'laik 5o 'waild rouz-'braia ;
'freri(d)$ip 'laik 5o 'holi 'tri:.
8a 'holi iz 'da:k hwen 5a 'rouz-braia 'blu:mz,
bAt 'hwit$ wil 'bluim moust 'konstoentli 1
3a 'waild rouz-'braiar iz 'swi:t in 'spriij,
its 'sAma 'blosomz 'sent 5i 'sa(r) ;
jet 'weit til 'winta 'kAmz a'gein,
iV-nd 'hu: Avil 'ko:l 5o 'waild 'braia 'feo(r) ?
n 'skoin 5a 'sili 'rouz-ri:6 'nau,
tend 'dek 6ii 'wi5 fo 'holiz 'Jim,
hwen di'semba 'blaits 8ai 'brau,
hi(:) 'stil mei 'li:v 8ai 'ga:la?nd 'grim.
EMILY BRONTE (18181848).
15.
SHEPHERD BOY'S SONG.
'hi: 5ot iz 'daiin ni:dz 'fio nou 'foil ;
'hi: 5ot iz 'lou nou 'praid ;
'hi: fiat iz 'hAmbl 'eva 'Jsel
ha)v 'god ta 'bi: hiz 'gaid.
'ai a-m kon'tent wi5 'hwot ai 'haev,
'litl 'bi: it o: 'mAtJ ;
.send, 'lo:d, kon'tentment 'stil ai 'kreiv,
bi'koz 8au 'seivest 'sAtJ.
12
'fulnes to 'sAtJ a 'ba:d(e)n 'iz,
<5at 'gou on 'pilgrim'eids :
hid 'litl, 'aend hia'raifta 'blis,
iz 'best from 'eid$ tu 'eid3.
JOHN Bux VAN (16281688).
16.
A JACOBITE TOAST.
god 'bles Sa 'kiij ! ai 'mi:n 5a 'fei0s di'fenda ;
god 'bles (nou 'harm in 'blesiij !) 5a pri'tenda !
b.Xt 'hu: pri'tendor 'iz, o: 'hu: 5a 'kiij,
god 'bles AS 'oil! Saets 'kwait o'n.v5a '9in.
J. BYKOM (16921763).
17.
SONNET ON THE CASTLE OF CHILLON.
ii'ta'.nol 'spirit ov 5o 'tjeinles 'maind !
'braitiist in 'd.vndsanz, 'libati, 5au 'a:t
fo '5so 5ai haebi'teij^n iz 5a 'ha:t
5a 'ha:t hwitj 'Lvv av '5i: aloun k*n 'baind ;
and 'hwen 5ai 's.vnz ta 'fetaz ci kan'saind,
ta 'fetaz, send 5a 'daemp voilts 'deiles 'glu:m,
Sea 'kAiitri 'konkaz wi5 5aa 'ma:tadu:m
end 'fri:damz 'feim faindz 'wirjz on 'evri 'waind.
13
'ii:jo ! 5ai 'priz(a)n iz o 'houli 'pleis
end 5ai se:d 'flo:(a)r on 'o:lta, 'fo: twoz 'trod,
An'til hiz vcri 'steps (h)av 'left a 'treis
'worn oz if '5ai 'kould 'peivment war a 'sod,
bai 'boniva ! mei 'n.vn Souz maiks e'feis !
fo: '5ei a'piil from 'tirani tii 'god.
LORD BYRON (17881824).
18.
SONG, TO A HEBREW MELODY.
'SAII ov 5a 'sliiples ! 'melankoli 'sta: !
hu:z 'tiaful 'bi:m glouz 'tremjiilasli 'fa:,
8;'0t '^oust 8a 'dcnknes '5au kifenst not dis'p 1,
hau 'laik a:t '5au tii 'doi ri'membad 'wel !
sou 'gliimz c5a 'pa:st, 5a 'lait ov A^O 'deiz,
hwitj '$ainz, bXt 'wo:mz not 'wi5 its pauales 'reiz ;
a 'nait-bi:m 'soro 'wotJeG tii bi'hould,
dis'tinkt bXt 'distant 'klio, bXt, on, hau 'kould.
LORD BYRON.
19.
THE BATTLE OF HOHENLINDEN.
on 'linden, 'hwen 80 'SAII woz 'lou,
o:l 'bUdles 'lei 5i An'trcdon 'snou
a-nd 'da:k ;V-z 'winta 'woz 8a 'flou
ov 'i:za, 'rouliij 'raepidli.
14
b.vt 'linden 'Joud a'nA^a 'sa.it,
'hwen 89 drAm 'bi:t a?t 'ded ov 'nait,
ko'mamdir) 'faiaz 5'v 'de0 ta 'lait
5a 'daiknes '5v ha: 'simari.
bai 'to:tj and 'trAmpet 'faist a'reid
i:tj 'ho:sma?n 'dru: (h)iz 'bsetl 'blcid,
and 'fjuarias 'e\Ti 'tjaidsa 'neid,
ta 'dsoin 5a 'dredful 'rev(a)lri.
Sen 'Juk 5a 'hilz, wi6 'OAnda 'i ivn ;
<5en 'rA$t 5a 'sti:d ta 'baetl 'drivn ;
send 'lauda 5an 5a 'boults av 'he\Ti
'fa: 'flje$t 5a 'red a'tilari.
Ixvt 'reda 'jet 5aet 'lait Jail 'glou,
on 'lindenz 'hilz 5v 'steined 'snou ;
and 'bUdija 'jet 5a 'torent 'flou
5v 'i:za, '
tiz 'mo:n ; bAt 'skeas jon 'leval '
ka?n 'pias 5a 'wo:klaud 'rouliij 'd
hwta 'fjuarias 'fraijk and 'faiari '
'iaut in 5ea 'sAlf(a)ras 'kaenopi.
8a 'k'Ambiet 'di:panz. 'on ji: 'breiv !
hu: "rAj ta 'gloiri 'o: 5a 'greiv !
'\veiv mjuinig ! 'o:l 5ai 'baenaz 'weiv,
and 'tjaids wiQ 'o:l 5ai 'Jivabri!
'fju:, 'fju: Jsel 'pa:t hwsa 'meni 'milt!
5a 'snou Jsel 'bi: 5sa 'waindiij-'Jiit,
and 'avri 'ta:f bi'ni:9 Sea 'fiit
Jail 'bi: a 'souldsaz 'sep(a)lka !
THOMAS CAMPBELL (1777 1844).
20.
TO THE EVENING STAR
'sta: 5t 'briijest 'houm 5a 'bi:,
and 'setst 8a 'wiari 'leib(o)ra 'fri: !
if 'eni 'sta: Jed 'pi:s, tiz '5au,
5ifet 'sendst it 'from a'bAV,
a'piariij 'hwen hevnz 'breG and 'bran
d 'swi:t sez 'ha:z wi '!AV.
tii 5a lAkz'juariant 'skaiz,
'hwailst 5a 'le:n(d)skeips 'oudoz 'raiz,
hwailst 'fa:r-o:f 'louirj 'ha:dz d(r) 'ha:d,
and 'sorjz, hwen 'toil iz 'dAn,
from 'kotidsiz hu:z 'smouk An'staid
ka:lz 'jelo(u) 'in 5a 'SAIL
'sta:r ov '!AVZ so:ft 'intavjuiz
'paitid 'Uvaz 'on 5i: 'mju:z ;
'5sa ri'membrjiensar in 'hevn
ov 'Griliij 'vauz 5au 'a:t,
'tu: di'lijas tii bi 'rivn
bai 'ssbsens 'from 5a 'ha:t
THOMAS CAMPBELL.
16
21.
DISDAIN RETURNED.
'hi: Sat 'Lvvz a 'rouzi 't$i:k,
'o:r a 'koral 'lip ad'maiaz
'o: from 'sta:-laik 'aiz d.v6 'si:k
'fju:al 'tu me(i)n'tein (h)iz 'faiaz ;
'sez ould 'taim meiks '8i:z di'kei,
'sou hiz 'fleimz mXst 'weist a'wei.
'b.vt 3 'smu:5 and 'stedfast 'maind,
'd3entl 'Oo:ts and 'ka:m di'zaiaz.
'baits wi5 'iikwal '!AV kom'baind
'kindl 'neva 'dajirj 'faiaz :
'hwsa 5i:z 'a: not, 'ai dis'paiz
'Lvvli 'tjiiks o(:) 'lips o(:)r 'aiz.
T. CAREW (1595 16391).
22.
SHE IS XOT FAIR TO OUTWARD VIEW.
Ji: 'iz not 'fea tu 'autwad "vju:
SDZ 'meni 'meidenz 'bi: ;
ha: 'Lvvlines ai 'neva 'nju:
Xn'til Ji 'smaild on 'mi:,
ou 'Sen ai 'so: har 'ai waz 'brait,
a 'wel av '!AV, a 'spriij av 'lait.
17
bit 'nau ha: 'luks a 'koi ond 'kould
tii 'main 5ei 'nsa ri'plai,
and 'jet ai 'si:s not tii bi'hould
6a 'lAV-lait 'in (h)a:r 'ai :
ha: 'veri 'fraunz a 'feara 'fa:
'smailz ov '.v5a 'meidenz 'a:.
HARTLEY COLERIDGE (1796 1849).
23.
ANSWER TO A CHILD'S QUESTION,
du: ju 'a:sk hwot 5a 'ba:dz sei? 5e 'spaero, 8a
'dAV,
8a 'linit and '0rA$ sei, " ai 'Lvv, and ai 'Lw ! "
in 5a 'winta 5ea 'sailent, 5a 'w(a)ind iz so(u) 'stroij ;
hwot it 'sez ai dount 'nou, bXt it 'sinz a laud
'son.
bAt 'gri:n li:vz, send 'blosomz, tend 'sAni wo:m
'we5a(r),
nd 'siijirj send 'Uviij o:l 'kAm bs:k tii'ge6a(r),
bXt 5a 'laik iz sou 'brimful ov 'gleidnes and '!AV,
Sa 'grim fuldz bi'lou (h)im, 5a 'blu: skai a'bAv,
Sset (h)i(:) 'sinz, and (h)i(:) 'sinz, a>nd for 'eva sinz
'hi:
"ai 'L\v m(a)i '!AV, a'lid m(a)i '!AV IAVZ 'mi:."
S. T. COLERIDGE (17721834).
18
2-4.
THE KNIGHT'S TOMB.
'hwear iz 5a 'greiv ov sar 'a:6ar o'kelin?
'hwea me(i) Sa 'greiv ov <5aet 'gud maen 'bi: ?
bai Sa 'said av a 'sprig, on 89 'brest ov he'lvelin.
'.vnda 5a 'twigz av a 'JAIJ 'ba:t$ 'tri: !
<5i 'ouk Sat in 's.vma waz 's^~i:t tii 'hiar,
and 'r.vsld its 'li:vz in 5a 'fo:l av 8a 'jiar,
and 'h\nsld and 'ro:(a)d in 8a 'winter a'loun,
iz 'gon, and 5a 'ba:t$ in its 'sted iz 'groun
5a 'naits 'bounz d 'd.vst,
and (h)iz 'gud 'said 'r.vst ;
hiz 'soul iz 'wi5 5a 'seints ai 'tr.vst.
S. T. COLERIDGE
25.
SOMETHING CHILDISH BUT VERY NATURAL.
'if ai haed 'b.vt tu: 'litl 'wiijz,
and 'wear a 'litl 'fe5(a)ri 'baid,
tu 'ju: aid 'flai, m(a)i 'dia(r) !
b.vt '0o:ts laik '5i:z tir 'aidl 'Oiijz,
and 'ai 'stei 'hia(r).
bXt 'in mai 'sli:p ta 'ju: ai 'flai :
aim 'o:lw(e)iz '\\-i5 ju 'in m(a)i 'sh'ip,
8a 'waild iz 'o:l w.\nz 'oun.
bXt 'Sen w.vn 'weiks, and 'hwear tern 'ai?
'oil, 'o:l a'loun.
19
sliip 'steiz not '5ou o 'monak 'bidz :
so(u) ai 'lAv to Veik so 'breik ev 'dei :
fo(i) 'Sou m(a)i 'sliip bi 'gon,
jet, 'hwail tiz 'daik, w An 'J A ts wXnz 'lidz,
end 'stil 'dri:mz 'on.
S. T. COLEKIDGE.
THE GOLDEN FARMER.
'hwail aim 'blest wi8 'he!9 ond 'plenti,
'let mi 'liv a 'd 3 oli, d 3 oli 'dog;
'fojr 9 Z 'blaiS 8z 'faiv 9n 'twenti
'8ru; S 9 ' W9: ld a i 'wij t 9 'd 3 og.
a?z fo 'greitg 'fouks o: 'ritJ 9 (r)
'hwail ai 'pei bouG 'skot 9 nd 'lot,
and in'd 3 oi mai 'frend send 'pit$ 9 (r),
'aiv 9 'kiijdom 'in 9 'kot.
'floks 9 nd 'h 9 :dz in 'fiildz, oil 'nai 'tur,
'kom 9 nd 'klou V9 , 'bimz 9 nd 'pi:s,
and in 'hen jad, 'pond ond 'stai 'tu:,
'pigz ond 'poultri, 'dAks ond 'gi:s.
'hwail mai 'farm SAS 'kAts 9 'dJ 'tu:,
'pug fouks 'deili 'leib(o)rirj 'ont,
Hu(:) jlau, 'sou, 9 nd 'ri:p, 9n d '0r*J 'tu:-
'ail bi 'Grsejt if '5ei Jl 'wont.
20
hi: hu 'stiks (h)iz 'naif in 'roust 'mi:t
tend fo 'nAmbaz 'haez ta 'ka:v,
'mei 5a 't$a:l Sa 'hwipiij 'poust 'mi:t,
'if hi: 'st.vfs and 'lets Sem 'staiv.
aend hwen 'ai, laik 'neiba 'skwiizam,
'plot an 'ski:m, 83 'po:(a) ta 'drein,
'o: wi5 'baedsa 'dsoin, ta 'fli:s am,
'mi: f(o)r a 'roug in 'grein.
'hi: fo '5aet hu: 'tilz and
'nau mei 'la:f, bXt 'hwen ould 'skrsetj
'spredz (h)iz 'net fo '$a:ks an 'vAlt^az,
'hwot a 'swo:m hi:l 'hsev ta 'kaetj !
'hi:ps av 'grein 5en 'let 8am 'ho:(a)d AP ;
'hi:ps av 'welG hwail 'Qei kaunt 'o:(a)(r),
'o:l 8a 'tresaz 'ai (h)av 'sto:(a)d Ap
'a: 5a 'blesiijz 'ov 8a 'po:(a)(r).
JOHN COLLINS (d. 1808).
27.
THE POPLAR FIELD.
<5a 'poplaz ci 'feld, fea'wel ta Sa 'Jeid,
snd 8a 'hwispariq 'saundz av 5a 'ku:l kolo'neid ;
6a 'w(a)indz plei nou 'longar and 'sir) in 8a 'liivz,
noir 'u:z on (h)iz 'buzom 5sar 'imids ri'si:vz.
twelv 'ja:z (h)av i'lapst sins ai 'la:st tuk a 'vju:
ov mai 'feivorit 'fi:ld, and 8a 'baerjk hwea 8ei 'gru: ;
;V-nd 'nau in 5a 'gra:s, bi'hould 5ei a 'leid,
*nd Qa 'tri: iz mai 'si:t, Sat WAUS 'lent mi o '$eid.
21
5a 'blsekba:d (h)oz 'fled tu a'nASa ri'triit,
hwsa Sa 'heizlz a'foid (h)im a 'skrim from 5a 'hi:t,
send 5a 'si:n, hwga(r) (h)iz 'melodi 'tjcnmd mi bi'fo:(a),
ri'zaundz wi5 (h)iz 'swiit-flouirj 'diti nou 'mo: (a).
mai 'fjuidsitiv 'ja:z ar oil 'heistiij a'wei,
ond 'ai mAst sa 'log lai az 'louli az '5ei,
wi5 a 'ta:f on m(a)i 'brest, and a 'stoun ot m(a)i 'hed,
ear a'nASa SAtJ 'grouv Ja-1 a'raiz in its 'sted.
tiz a 'sait tu in'geids mi(:), if 'eniGiq 'keen,
ta 'mjuiz on 5a 'perijiij 'plesaz av 'msDn ;
5o(u) (h)iz 'laif bi: a 'dri:m, hiz in'dsoiments, ai 'si:,
htev a 'biiir) les 'djuarabl 'i:v(o N n San 'hi:.
WM. COWPER (17311800).
28.
A WET SHEET AND A FLOWING SEA.
a 'wet 'U:t and a 'flouiij 'si:,
a 'wind 5at 'foloz 'fa:st
and 'filz 5a 'hwait and 'rAsliij 'seil
ond 'bendz 5o 'gaelont 'ma:st ;
send 'bendz 5a 'gaelont 'ma:st, mi 'boiz,
hwail 'laik 5i 'i:gl 'fri:
o'wei 5a 'gnd Jip 'flaiz, and 'li:vz
ould 'ingland 'on 5a 'ii:.
22
'ou for 9 'so(:)ft and dsentl 'wind!
ai 'hiar a 'fsa WAII 'krai ;
bit 'giv ta 'mi: 5a 'suoiriij 'bri:z
and 'hwait weivz 'hi'.virj 'hai ;
send 'hwait weivz 'hhvirj 'hai, mi 'laedz.
5a 'gud Sip 'tait and 'fri:
5a 'wa:ld av 'wo:taz 'iz aua 'houm,
and 'meri 'men ct 'wi:.
5saz 'tempest 'in jon 'homed 'mu:n,
and 'laitnirj 'in jon 'klaud ;
bit 'ha:k 5a 'mjuizik, 'mserinaz !
5a 'wind iz 'paipiq 'laud ;
5a 'wind iz 'paipiq 'laud, mi 'boiz,
5a 'laitnirj 'flse$iz 'fri:
hwail Sa 'holou 'ouk aua 'paeles 'iz,
aua 'heri'tid3 5a 'si:.
A. CUNNINGHAM (17841842).
29.
MAY -DAY.
'kwim ov 'frej 'flauaz
hu:m 'va:nal 'sta:z o'bei,
'brig 5ai wo:m 'Jauaz,
'brirj 5ai 'dsimjal 'rei.
in 'neitjaz 'grimest 'liv(a)ri 'drest
di'send on 'a:9s iks'pektant 'brest,
tu 'a:9 and 'hevn a 'welkam 'rest,
8au 'meri 'mAn0 ov 'roei !
23
'ma:k ! 'hau wi 'mi:t 8i:
set 'do:n ov 'dju:i 'dei !
'ha:k 'hau wi 'griit 8i:
'wi8 aug 'raundi'lei !
hwail 'oil 80 'gudli '6irjz 8aet 'bi:
in '9:6 end 'sor ond 'sempl 'si:
a 'weikirj 'AP tii 'welkam '5i:,
8au 'meri 'niAnG ov 'mei !
'floks 'on 89 'mauntenz,
9nd 'bg:dz X'pon 5s9 'sprei,
'tri:, 't9:f, ond 'fauntenz
'o:l hould 'holi'dei ;
ond '!AV, 89 'laif ov 'liviq '6inz,
IAV 'weivz (h)iz 'toitj ond 'klaeps (h)iz 'winz,
9nd 'laud ond 'waid 8ai 'prciziz 'sirjz,
8au 'meri 'niAnG ov 'mei.
REGINALD HEBER (17831826).
30.
COUNSEL TO GIRLS.
'rouzbAdz 'hwail ji(:) 'mei,
ould 'taim iz 'stil a-'flajir) :
9nd '5is seim 'flaua 59t 'smailz to'dei
to'moro 'wil bi 'dajiij.
89 'gloirios 'laemp ov 'hevn, 89 'SAH,
89 'haio 'hi:z a-'getirj
89 'suing 'wil (h)iz 'reis bi 'rAn,
'hi:z t9 'setin.
24
Saet 'eids iz 'best hwitj 'iz <5a 'faist
hwen 'ju:9 and 'bL\d d '\vo:ma ;
bXt 'biiirj 'spent, 5a 'wa:s, aend 'waist
taimz, 'stil sXk'siid 89 'fo:ma.
5an 'bi: not 'koi, bXt 'ju:z jo 'taim;
aend 'hwail ji(:) 'mei, gou 'maeri;
fo: 'haeviij 'loist bXt 'WAUS jo 'praim,
ju 'mei for 'eva 'taeri.
R. HERRICK (15911674).
31.
TO DAFFODILS.
fee 'daefo'dilz, wi(:) 'wi:p to 'si:
ju(:) 'heist a'wei so(u) 'sum ;
sez 'jet 5i 'a:li 'raizirj 'SAH
hsez 'not ae'teind (h)iz 'nu:n :
'stei, 'stei
Xn'til Sa 'heisnirj 'dei
ha?z 'FAH
'bAt to Qi 'i:van'soq ;
send 'haeviq 'preid tu'geSa, 'wi:
wil 'gou wi5 'ju: a'lorj !
25
'wi: (h);ev io:t 'taim to 'stei, sez 'ju:
wi(i) 'haev aez '$o:t a 'sprig,
SBZ 'kwik a 'grouG to 'mi:t di'kei,
aez 'ju: o:r 'eni'Girj,
'wi: 'dai
&z 'jo:(a)r auaz 'du: ; and 'drai
a'wei
'laik ta Sa 'sAmaz 'rein,
o:r 'sez Sa 'pailz ov 'momiq 'dju:,
'nea ta bi 'faund a'gein.
ROBERT HERRICK.
32.
THE NIGHT-PIECE.
bar 'aiz 5a 'glou-wa:m 'lend '5i:,
8a 'Juitiij 'staiz se'tend 5i: ;
and 5a 'litl 'elvz oil'sou,
hu:z 'litl 'aiz 'glou
laik 8a 'spa:ks 5v 'faia, bi'frend '5
nou 'wil-6-5a-'wisp mis'lait '5i:,
no: 'sneik o: 'slou-wa:m 'bait '5i: ;
bit 'on, 'on 5ai 'wei,
not 'meikiq a 'stei,
sins 'goust 5(s)az 'nAn tu a'frait '
let 'not 5a 'da:k 5i: 'kAmba ;
'hwot 5ou 5a 'mu:n dAz 'skmbo?
6a 'sta:z ov 5a 'nait
wil 'lend 5i(:) 5g(a) 'lait,
laik 'teipaz 'kli:a, wiSaut 'nA
5en, 'dsuilja, let mi 'wu: 61:.
SAS, '5AS, tu 'kAm An'tu: mi: ;
*nd 'hwen ai 'mi:t
5ai 'silv(a)ri 'fi:t,
mai 'soul ail 'pa:(a)r iu'tu: 5i:.
ROBERT HERRICK.
33.
VIOLETS.
'welkam, 'meidz 9v 'ona !
'ju: du 'brirj
'in 5a 'sprig,
'send 'weit a'pon (h)a.
'Ji: hae9 'va:d3inz 'meni,
'frej and 'fea;
'jet ju(:) 'ea 1
'mai(a) 'swi:t 5an 'eni.
'jua <5a 'meidan 'pouziz ;
'aend so(u) 'greist,
'tu bi 'pleist
'fa: (a) 'daemask 'rouziz.
'jet, Sou '5AS ri'spektid,
'bai and 'bai
'ji: du(:) 'lai
'pu:a 'gailz neg'lektid.
ROBERT HERRICK.
1 Provincial pronunciation. Modern standard a(r).
27
34.
PACK, CLOUDS, AWAY!
'peek, klaudz, a'wei ! and 'welkam, 'dei !
wi5 'nait wi 'bamij 'soro(u) :
'swiit eo, blo(u) 'so(:)ft ! 'maunt, la:k, a'lo(:)ft !
tii 'bid. mai "l.w gud-'moro(u) ;
'winz from 5o 'waind, tii 'pli:z ha: 'maind,
'noutz from 5a 'la:k ail 'boro(u).
'ba:d, 'pruin 8ai 'wirj ! 'naitiq'geil, 'siij !
tii 'giv mai 'l.w gud-'moro(u).
tii 'giv mai 'l.w gud-'moro(u),
'nouts from 6am 'o:l ail 'boro(u).
'weik from 5ai 'nest, 'robin red'brest !
'sin, baidz, in 'evri 'f.vro(u) !
'send from i:t$ 'hil let 'mjuizik '$ril
'giv mai fsa '!AV gud-'moro(u).
'blaekbaid and 'Qr\l, in 'evri 'bA$ ',
'stsa 2 , linit, 'amd kok-'spaero(u),
ju(:) 'priti 'elvz a'niArjst jo(:)(a)'selvz
'siq mai fsa 'Lw gud-'moro(u) !
tii 'giv mai 'Lw gud-'moro(u),
'siq baidz in 'evri 'fAro(u).
THOMAS HEYWOOD (d. 1649?).
Modern standard bu$. a Another name for stailiij.
28
35.
THE DEATH-BED.
wi: 'wotjt ha: 'briiSiq '6ru: 5a 'nait,
ha 'bri:5ing 'so(:)ft and 'lou,
'gez in ha(:) 'brest Sa 'weiv ov 'laif
kept 'hiivirj 'tu: and 'frou !
so(u) 'sailentli wil 'siimd ta 'spilk
so(u) 'slouli 'muivd a'baut !
'sez wi: (h)ad 'lent (h)a: 'ha:f aua 'pauaz
tu 'i:k ha: 'livirj 'aut!
aua 'veri 'houps bi'laid aua 'fiaz,
aua 'fiaz aua 'houps bi'laid
wi: '6o:t (h)a: 'dajiq 'hwen Ji 'slept,
and 'sliipiij 'hwen Ji 'daid !
fo 'hwen 8a 'mo:n keim, 'dim and 'saed,
and 'tjil wi5 'a:li 'Jauaz,
ha: 'kwaiet 'ailidz 'klouzd Ji(:) 'haed
a'nA5a 'mom 5aen 'auaz.
T. HOOD (17991845).
36.
REMEMBRANCES.
ai ri'memba(r), ai ri'memba
6a 'haus hwsar ai waz 'bo:n,
5a 'litl 'windo, 'hwea 5a 'SAU
keim 'piipiq 'in aet 'mo:n :
29
hi(z) 'nevg 'keim a 'wirjk tui 'sum,
no: 'broit tu: 'lorj 9 'dei,
bXt 'nau ai 'o:fn 'wij 89 'nait
haed 'bo:n mai 'bre9 g'wei !
ai ri'memba(r), ai ri'memba
89 'rouziz, red and 'hwait,
$9 'vaiolets, 9nd 89 'lili-kAps,
8ouz 'flaugz moid ov 'lait !
89 'lailaks, hwga 89 'robin bilt,
ond 'hwea mai 'br.vSa 'set
89 la'bamgm on (h)iz 'b9:0dei :
89 'tri: iz 'liviij 'jet !
ai ri'memb9(r), ai ri'memba
'hwear ai ju:s(t) tii 'swiij,
end '6o:t 5i 69 mXst 'r.\S sez 'fre$
tii 'swolo(u)z on 89 'win.
mai 'spirit flu: in 'fe8g(:)z '8en,
8tct 'iz so(u) 'hevi 'nau ;
a'nd 'sAni9 'pu:lz kiid 'haidli 'ku:l
89 'fiivar on mai 'brau !
ai ri'memboCr), ai ri'memba
89 'fg: tri:z, 'da:k ond 'hai ;
ai 'ju:st tg 0ii]k 8sg 'slenda 'tops
w(s)g 'klous age(i)nst 89 'skai :
'it waz 9 tjaildij 'ignorgns :
bit 'nau tiz litl 'dsoi
tii 'nou aim 'fo:89r 'o:f from 'hevn
8iien 'hwen ai woz 9 'boi.
THOMAS HOOD.
30
37.
JEXNY KISSED MK
'dsini 'kist mi 'hwen wi 'met
'ds.vmpir) from Sa 'tjsa Si 'saet in ;
'taim, ju '6i:f ! hu(:) 'Lvv ta 'get
'swiits intii jo(:) 'list, put 'Saet in.
'sei aim 'wiari, 'sei aim 'saed ;
'sei Sat 'he!0 and 'we!0 (h)av 'mist mi(:) ;
'sei aim 'grouir) 'ould, bXt 'scd
'd5ini 'kist mi(:).
LEIGH HUNT (17841859).
38.
THE AECTIC EXPLORER'S WIDOW.
hwen 'spcero(u)z 'bild and Sa 'li:vz breik 'fo:6,
mai 'ould soro(u) 'weiks and 'kraiz,
for ai 'nou 5(e)ar iz 'do:n in 8a 'fa:, fa: 'no:0,
send 8 'skailet 'sAn d.v9 'raiz ;
laik a 'skailet 'fliis 5a 'snou-fi:ld 'spredz,
.'end 5i 'aisi 'faunts r-vn 'fri:,
nd 8a 'ba:gz bi'giu tii 'ban Sea 'hedz,
tend 'pl.vnds send 'seil in 89 'si:.
ou mai 'lo(:)st IAV, a?nd mai 'oun, oun 'Lvv,
and mai '!AV Sat 'Lvvd mi(:) 'sou!
iz 5(s)a 'nevar a 't$iijk in Sa 'wa:ld a'bAv
hwea Sei 'lisn fo(:) 'wadz from bi'lou 1
nei, ai 'spouk WAUS, send ai "griivd Si: 'so:(a)(r),
ai ri'membar 'o:l Sat ai 'sed,
'nau Sau (wi)lt 'hia mi: no 'ma:(a) nou 'mo:(a)(r)
til Sa 'si: givz 'AP ha: 'ded.
31
5au didst 'set 5ai 'fut on 5a 'Jip, and 'seil
tii 5i 'ais-fi:ldz rend 5a 'snou;
8au wa(:)t 'ss:d, fo(:) 5ai '!AV did 'no:t a' veil,
send 5i 'end ai 'kud not 'nou.
'hau kud ai 'tel ai $iid '!AV 5i: tii'dei,
hu:m 'Sset dei ai 'held not 'dia(r)?
'hau kud ai 'nou ai $iid 'j A v fti: a'wei
hwen ai 'did not '!AV 8i: a'nio(r) ?
wi: Jol 'wo:k nou 'moi(o) 9ru: 5o 'sod(e)n 'plein
wi5 5o 'feidid 'bents o:(a)'spred ;
wi: Jol 'stsmd nou 'moi(o) bai 5a 'si:8irj 'mein
hwail 6"a 'da:k rssk 'draivz o:(o)'hed ;
wi: Jal 'pa:t nou 'mo:(a)r in 5a 'w(a)ind and 89 'rein
hwea 5ai 'la:st fso'wel woz 'sed ;
bAt pa'hseps ai Jol 'mi:t 5i: and 'nou Si: a'gein
hwen 5a 'si: givz 'Ap ho: 'ded.
JEAN INGELOW (18201897).
39.
SEVEN TIMES ONE.
5eaz nou dju: 'left on 5o 'deiziz-ond 'klouva,
5(s)oz nou rein 'left in 'hevn :
aiv 'sed mai 'sevn taimz 'ouvor ond 'ouva,
'sevn taimz 'wAn ci 'sevn.
ai om 'ould, sou 'ould ai kan 'rait a 'leto ;
mai 'bo:9dei 'lesnz a 'dAn ;
5a 'leimz plei 'o:lw(e)iz, 8e(i) 'nou no(u) 'beta ;
8e(i) ar 'ounli 'WAH taimz '
32
ou 'mu:n ! in 5a 'nait ai av 'si:n ju 'seilig
and 'Jainir) so(u) 'raund and 'lou ;
ju(:) wa 'brait! a: 'brait! bXt JD(:) 'lait iz 'feilirj
ju(:) 9 'n.vGig 'nau bXt a 'bou.
ju: 'mu:n, haev ju 'd.vn s.vmOiij 'roij iu 'hevn
Sat 'god haz 'hidn jo(:) 'feis?
ai 'houp if ju 'haev ju wil 'sum bi(:) fo(:)'givn,
and 'Sain a'ge(i)n in jo(:) 'pleis.
on 'velvet 'bi:, jo(:)r a 'dAsti 'felo,
ju:v 'paudad jo(:) 'legz wi5 'gould !
on 'breiv ma:J 'msarib.vdz, 'rit$ and 'jelo,
'giv mi jo(:) 'mAiii to 'hould !
ou 'koLvmbain, 'oup(a)n jo(:) 'fouldid 'rsepa,
hwsa 'tu: tmn 'ta:tl-d.vvz 'd\vel !
ou 'kukupaint, 'toul mi 5a 'pa:pl 'klaepa
5at 'haerjz in jo(:) 'klia grim 'bel !
tend 'Sou mi jo(:) 'nest wi(5) Sa 'j.vq WAUZ 'in it ;
ai 'wil not 'sti:l 5am a'wei ;
ai am 'ould! ju me(i) 'trAst mi:, 'linit, 'linit
ai (a)m 'sevn taimz 'WAU ta'dei.
JEAN INGELOW
33
40.
TO CELIA.
'drirjk tu mi: 'ounli 'wi5 Sain 'aiz.
9nd 'ai wil 'pleds wiS 'main ;
'o: li:v 9 'kis bAt 'in 89 'k.\p
and 'ail not 'a:sk fo 'wain.
89 '0o:st Sgt 'from 89 'soul dA0 'raiz
dA0 'disk 9 'drink di'vain ;
bAt 'mait ai 'ov dsouvz 'nekta 'SAP,
ai 'wud not 'tjeins fo 'Sain.
ai 'sent 5i: 'leit 9 'rouzi 'ri:9,
'not so(u) niAtJ 'on(o)rir) '8ii
'aez giviq 'it 9 'houp Sot 'Ssor
it 'kud not 'wiM:)d 'bi: :
bXt '8au Seor'on didst 'ounli 'bri:5
ond 'sentst it 'bsik t9 'mij
'sins hwen it 'grouz, ond 'smelz, ai 'swsa,
'not ov it'self, bAt '5i: !
BEN JONSON (15731637).
41.
MY LITTLE DOLL.
ai 'WAHS hsed 9 'swiit litl 'dol, 'diaz,
89 'pritiest 'dol in 89 'wgild ;
hg(:) 'tjiiks W9 so(u) 'red 9nd so(u) 'hwait,
ond (h)g(O 'heo wgz so(u) 't$a:minli 'lojld.
34
bXt ai 'b(:)st mai 'pua litl 'dol, 'diaz,
iiez ai 'pleid in Sa 'hi:9 w\n 'dei ;
and ai 'kraid fo 'mo: (a) San a 'wi:k, 'diaz,
bit ai 'neva kud 'faind hwea $i(:) 'lei.
ai 'faund mai 'pua litl 'dol, 'dioz,
<ez ai 'pleid in Sa 'hi:9 w.vn 'dei :
fouks 'sei $i: iz 'teribli 'tSeuKtgd, 'diaz,
fo(r) ha(:) 'peint iz 'o:l wo$t a'wei,
and bar 'ci:m trodn 'o:f bai Sa 'kauz, 'diaz,
and (h)a(r) 'hea not 5a 'liist bit 'ka:ld :
jet for 'ould seiks 'seik Ji: iz 'stil, 'diaz
Qa 'pritiest 'dol in 5a 'wa:ld.
C. KINGSLEY (18191875).
42.
THE THREE FISHERS.
On": 'fijaz went 'seiliij a'wei to (5a 'west,
a'wei ta Sa 'west sez 5a 's.vn went 'daun ;
i:tj '6o:t an 5a 'wumien hu: 'l.vvd (h)im 5a 'best,
;iend 5a 'tjildren stud 'wot$iij Sam 'aut 5v (5a 'taun :
fo(:) 'men m.vst 'wa:k, *nd 'wimin mAst 'wi:p,
and 8(e)az 'litl tu 'a:n, and 'meni ta 'ki:p,
Sou 5a 'ha:bo-'ba: bi 'mounin.
6ri: 'waivz saet 'AP in 8a 'laitbaus 'taua(r),
and 'trimd 5a 'laemps sez 5a 'SAU went 'daun,
and 5e(i) 'lukt set 5a 'skwo:l, and 5e(i) 'lukt set 8a 'Jaua(r)
and <5a 'nait rtek keim 'roulir) .vp, 'raegid and 'braun;
bXt 'men mist 'wa:k, a"-nd 'wimin mist 'wi:p,
Sou 'sto:mz bi(:) 'sAdn, and 'wo:taz 'di:p,
and 5a 'ha:b->'ba: bi 'mounin.
35
6ri: 'koipsiz lei 'aut on 5a 'Jainirj 'sssndz,
in 5a 'momiq 'gli:m aiz 89 'taid went 'daun,
and 5a 'wimen a 'wot$iij and 'riniij 5ea 'hemdz
fo(:) 'Souz hu(:) wil 'neva kAm 'houm ta 5a 'taun.
fo(:) 'men mXst 'walk, a-nd 'wimin mXst 'wi:p,
and 89 'sumar its 'ouva, 5a 'su:na tii 'sliip,
and gud-'bai ta 5a 'ba:r and its 'mounin.
CHARLES KINGSLEY.
43.
HESTER.
hwen 'meidenz 'sAtJ ivz 'hesta 'dai,
5sa 'pleis ji(:) mei not "wel sa'plai,
'8ou ji(:) a'mAq a '6auzand 'trai,
wiS 'vein in'deva(r).
a 'mAn0 o(:) 'moi(a) hse9 'Si: bi(:)n 'ded,
jet 'ksenot 'ai bai 'fo:s bi(:) 'led
tii 'Giijk X'pon 5a 'wa:mi 'bed
send 'ha: tu'geSa(r).
a 'spriiji 'mouj(a)n 'in ha(i) 'geit,
a 'raiziij 'step did 'indi'keit
ov 'praid an(d) 'dsoi nou 'koman 'reit,
5sct 'flA$t ha(:) 'spirit,
ai 'nou not 'bai hwot 'neim bi'said
ai '$sel it 'ko:l: 'if tvvoz not 'praid,
'it waz a 'dsoi tii 'Saet a'laid,
Ji: 'did in'herit.
36
lia: 'pe:(a)rents 'held Sa 'kweika 'ru:l,
hwit$ 'd.v9 5a 'hjuiman 'fiilirj 'ku:l,
bit 'Ji: waz 'treind in 'neit$az 'sku:l
'neitja(r) (h)9d 'blest (h)a(r).
Q 'weikiq 'ai, a 'prajig 'maind,
Q 'ha:t Sset 'staiz, iz 'ha:d tu 'baind,
'ho:ks kim 'salt ji(:) 'kaenot 'blaind,
ji(:) 'kud not 'heste(r).
mai 'spraitli 'neibo, 'gon bi'fo:(a)(r)
tii '5at An-'noun and 'saileut '$01(9) (r),
'$ael wi(:) not 'mi:t aez 'hiatu'fo:(a)(r)
SAm 'sAma 'mo:nin,
'hwen from 5ai 't^iaful 'aiz a 'rei
hae9 'strAk a 'blis Xpon Sa 'del,
a 'blis Qaet wud not 'gou a'wei,
a 'svri:t fo:(a)'wo:nin.
CHARLES LAMB (1775 1834).
TWENTY YEARS HENCE.
'twenti ja:z 'hens mai 'aiz me(i) 'gi-ou
if 'not kwait 'dim, jet 'ra:8a 'sou ;
til 'jo:z from 'A&OZ 5ei Jal 'nou
'twenti ja:z 'hens.
'twenti ja:z 'hens Sou it me(i) 'hsep
Sat 'ai bi 'ko:ld ta 'teik a 'naep
"in a ku:l 'sel hwsa 'OAnda 'klsep
waz 'neva 'hard.
37
5ea 'bri:S bXt 'oi(a) mai 'a:t$ av 'gra:s
9 "not tu: 'ssidli 'said " a'lais,"
and 'ai $al 'ksetj, 'sa ju: kaen 'pens,
5set 'wirjed 'wa:d.
W. S. LANDOR (17751864),
45.
ALLAN WATEK.
on 8a 'bsenks ov 'aelaen 'wo:ta,
hwan Sa 'swi:t spriq 'taim did 'foil,
woz 5a 'milaz 'lAvli 'doita,
'fearest ov 5em "oil.
fo(:)(r) (h)iz 'braid a 'souldsa 'so:t
send a 'winiq 'tArj heed 'hi:,
on 8a 'baenks ov 'selyen 'woita
so(u) 'gei aiz 'Si:.
on 8a 'bsenks ov 'aelaen 'wo:ta,
hwen braun 'o:tXm 'spred hiz 'sto:(a)(r),
5sar ai 'so: 5a 'milaz 'do:to,
'bAt Ji(0 'smaild no(u) 'mo:(a)(r).
fo(:) 8a 'sAma 'gri:f (h)aed 'bro:t (h)o,
send 8a 'souldsa 'fo:ls woz 'hi:,
on 5a 'bsenks ov 'selsen 'wo:ta,
so(u) 'se:d sez 'Ji:.
on 8a 'baenks ov 'seliien 'woita,
hwen 5a 'winta 'snou fel 'fa:st,
'stil woz 'si:n 5a 'milaz 'do:ta,
'tjilirj 'blu: 5a 'bla:st.
38
bAt 5a 'milaz 'L\vli 'do:ta
bou9 from 'kould and 'kea woz 'fri:,
on 5a 'baerjks ov 'selsen "wo: to
'5ear a 'ko:s lei '$i:.
M. G. LEWIS (17751818)
46.
TO ALTHEA, FROM PRISON.
hwen 'Lvv wi5 'Ankou'fained 'wiijz
'hovaz wi'Sin mai 'geits,
and 'mai di'vain ael'Siia 'brirjz
tu 'hwispar 'set 5a 'greits ;
'hwen ai lai 'tseqgld 'in ha: 'hsa(r)
and 'feta(:)d 'tu ha(i)r 'ai,
6a 'baidz 5at 'wonton 'in 5i 'ea(r)
nou 'nou SAtJ 'libati.
hwen 'flouirj 'kAps TAH 'swiftli 'raund
wi5 'nou ae'lejiq teimz 1
aua 'ksales 'hedz wi5 'rouziz 'kraund
aua 'ha:ts wi5 'loi(j)al 'fleimz;
hwen '9a:sti 'griif in 'wain wi(:) 'sti:p,
hwen 'he!9s and 'drarfts gou 'fri:
'fi$iz Sat 'tipl 'in 5a 'di:p
nou 'nou SAt^ 'libati.
1 The river on which London stands. Modern
standard : temz.
M
hwen 'linet-'laik kon'fained, 'ai
wi9 '$rila 'Grout Jol 'sir)
5o 'swiitnes, 'maisi, 'msedsesti
ond 'gloiriz ov m(a)i 'kirj ;
'hwen ai $ol 'vois a'laud hau 'gud
hi: 'iz, hau 'greit $ud 'bi:,
en'laidsed 'w(a)indz Sat 'kail 5a 'flud 1
nou 'nou sAt$ 'libati.
stoun 'wo:lz du(:) 'not a 'prizn 'meik,
no(:)r 'aion 'ba:z o 'keids ;
maindz 'inosent ond 'kwaiat 'teik
'5aet fo(:)r on 'hoimi'teids :
if 'ai haev 'friidom 'in mai 'Lvv,
ond 'in mai 'soul m 'fri:,
a'loun, 5at 'so:(o)r a'bAv,
i SAt$ 'liboti.
RICHARD LOVELACE (16181658).
47.
BABY.
'hwea did ju 'kAra from, 'beibi 'dio(r) ?
'aut ov 8i 'cvrihwear 'intu 'hia(r).
'hweo did ju 'get 5ouz 'aiz so(u) 'blui?
'aut ov 5a 'skai aez ai keim '0ru:.
1 Modern standard : fLvd.
40
'hwot meiks So 'lait in Sem 'spaikl and 'spin?
ov 5a 'stairi 'spaiks left 'in.
'hwea did ju 'get Saet 'litl 'tia(r) 1
ai 'faund it 'weitiq hwen ai got 'hio(r).
'hwot meiks jo: 'fored so(u) 'smu:5 ond 'hai ?
Q so(:)ft he:nd 'stroukt it a>z ai went 'bai.
'hwot meiks jo: 't$i:k laik a wo:m hwait 'rouz ?
ai 'so: SAmGiij 'beta 6n eniwAn 'nouz.
'hwens keim 5set '0ri:-ko:nad 'smail ov 'blisl
6ri: 'eindselz 'geiv mi(:) itt 'WADS a 'kis.
'hwga did ju 'get 5is 'po:li 'ia(r) 1
^od 'spouk, and 'it keim 'aut tu 'hia(r).
'hwea did ju 'get 5ouz 'a:mz and 'hsindz?
IAV meid itself intii 'bondz and 'bemdz.
'fi:t, hwens did 'ju: kvm, ju 'da:liij '6inz?
from Qa 'seim 'boks ez 5i 'eindselz 'wiijz.
'hau did 5ei 'o:l dsAst 'kAm to bi 'ju:?
god '6o:t abaut 'mi:, and 'sou ai 'gru:.
bXt 'hau did ju 'kAm tu 'AS, ju 'dia(r)?
god 0o:t abaut 'ju:, and 'sou ai m 'hia(r).
GEORGE MACDONALD (18241905).
41
48.
KATHALEEN NY-HOULAHAN.
(A Jacobite relic from the Irish.)
"log 5ei pain in 'wiari 'wou, Sa 'noublz ov aua 'lemd,
'log 5ei wonda 'tu: and 'frou, pros'kraibd, aleis ! and
'be:nd ;
'filstles, 'hausles, 'oiltales, Sei 'bsa 5i 'ekzailz "brsmd ;
bXt 5sa 'houp iz in 3a 'kAmirj-tui ov 'kaSalim ni-
'huilahan 1 !
'6ink ha: riot a 'gsistli 'haeg, tu: 'hidias ta bi 'sim,
'ko:l ha: not An'siimli 'neimz, aua 'maetSles 'ka9ali:n ;
'JAIJ Ji: iz, and 'fea \\\ iz, send 'wud bi 'kraund a 'kwi:n,
wsa 5a 'kinz SAH at 'houm hia wi9 'ka0ali:n ni-
'hu:lahan !
'swi:t and 'maild wud luk ha: 'feis, ou 'nAn so(u) swi:t
and 'maild,
'kud Ji 'krA$ 5a 'fouz bai 'hu:m ha: 'bju:ti iz ri'vaild ;
'wulen "plsedz wud 'greis ha'self and 'roubz av 'silk ha:
'tjaild,
if 5a 'kiijz sAn wa 'liviij hia wi9 'kaGalim ni-'hu:lahan !
'so:a dis'greis it 'iz ta 'si: 5i 'a:bitres av '6rounz
'vaesal tu a 'saeksonim ov 'kould send 'saeples 'bounz !
'bitar 'sengwij 'rinz aua 'soulz wi5 hevi 'saiz and
'grounz
wi: 'weit 5a JATJ di'livarar av 'ka9ali:n ni-'hu:lahan !
1 One of the names used in poetry to represent
Ireland. The pronunciation is that of an educated
Irishman. English equivalent : kae9;Jeli:n ni hulaehaen.
42
"let AS prei tii 'him hu: houldz laifs 'isju(:)z in (h)iz
'hg:ndz
Turn hu: fo:md 5a 'maiti gloub, wi5 "oil its '6auzand
'ls:ndz ;
gaidirj <5om wi0 'si:z end mauntenz, 'rivaz di:p and
'stre:ndz,
tu 'ka:st a luk av 'piti apon 'ka0ali:n ni-'hu:lahan !
'hu hu: ouva 'se:ndz and vreivz led 'izreiel a'loq
'hi: hu: fed, wi5 'he\Tili bred, 5aet 'tjouzan traib and
'Grog
'hi: hu: stud bai 'mouziz, hwen (h)iz 'fouz wa fias and
'stroij
mei 'hi: Sou fo:9 hiz 'mait in seiviij 'kaGalim ni-
1iu:lahan
J. C. MANGAN (1803-49).
49.
LEARNING.
(Front the Ottoman.)
'si: hau Souz 'wa:ldz Sat 'roul a'fai
si'rimli 'bi:m on w.vn a'nA^a !
6ea 'nouhwea 'ba:nz a 'SAU o: 'sta:
bAt 'helps ta 't^ia SAm 'da:ka '
wudst '5au, ou 'maen, bi(:) 'gud aend 'waiz,
Jea 'SAS 8ai 'lait amAr) Sai 'neiboz :
in 'givirj, not in 'ho:(a)din, laiz
5a 'tru:ist 'mi:d ov 'la:ninz 'leiboz !
J. C. MANGAN.
43
50.
WISDOM AND FOLLY.
'5ei hui gou 'fo:0, &nd 'fain&li 'win
8ea 'wei ta Sa 'tempi av 'tru:0 bai 'eroz
'mAltiplaid '
'Qei a: 5a '
'5ei hu: stop 'Jo:t fo 'laif set SAm 'in
on 5a 'said ov 5a 'roud sei 'moumasiz, 'maemonz,
o: 'kju:pidz,
'8ei a: 89 'stjuipidz !
J. C. MANGAN.
51.
SONG ON A MAY MOKNING.
nau 8a brait momir) sta:, deiz h
UAHIZ damsiq from 5i i:st, a>nd li:dz wi8 ha
8a flauari mei, hu: from (h)a: grim Inep 9rouz
8a jelo kauslip send 5a peil primrouz.
heil, bauntjas mei, 5set dA0 inspaia(r)
ma:6, aend ju:9, send wo:m dizaia(r) ;
wudz and grouvz tir ov 8ai dresiij,
hil and deil dA6 boust 8ai blesiq ;
SAS wi: sal(j)u:t 5i: wi5 auar a:li son,
.&nd welkam 5i:, a?nd wij bis lorj.
JOHN MILTON (16081674).
44
52.
BELIEVE ME, IF ALL THOSE ENDEARING
YOUNG CHARMS.
bi'lirv mi(:), if 'oil 5ouz in'diarirj j.vrj 'tjarmz,
hwitj ai 'geiz on so(u) 'fondli tu'dei,
w(s)a to 'tjeinds bai tu'moro(u), and 'flirt in mai 'a:mz,
laik 'feari gifts 'feidiij a'wei,
San Avudst 'stil bi(:) a'do:(a)d, aez Sis 'moumant 5au 'a:t,
let 5ai 'lAvlines 'feid aez it 'wil,
send a'raund 89 dia 'rurin i:tj 'wij 5v mai 'ha:t
wud in'twain itself 'va:dantli 'stiL
it 'iz not hAvail 'bju:ti and 'ju:9 d Sain 'oun,
and 5ai 'tjiiks Anpro'feind bai a 'tia,
Sat 5a 'faivor and 'fei6 OA- a 'soul kaen bi 'noun,
tu hAvitJ 'taim \ril b'it 'meik 5i: mo:(a) 'dia ;
nou, 5a 'ha:t 5*t (h)az 'truili Lvrd 'neva fo'gets,
bXt sez 'trurli Lvvz 'on ta 5a 'klouz,
aez 5a 's.vn-flaua 'ta:nz on ha: 'god hwen (h)i 'sets
Sa seim 'luk hA\-itJ $i 'ta:nd hwen (h)i 'rouz.
THOMAS MOORE (17791852).
53.
THE HARP THAT ONCE.
Sa 'ha:p 5&t 'WAUS 6ru: 'tcnraz 'hoilz
5a 'soul ov 'mjuizik 'Jed,
nau 'hsenz sez 'mju:t on 'tairaz 'woilz
&z if 5aet 'soul w(s)a 'fled.
sou 'sliips Sa 'praid ov 'fomia 'deiz,
sou 'gloiriz '6ril iz 'o:o(r),
anid 'ha:ts, Sat 'WAHS bi:t 'hai fo 'preiz,
nau 'fi:l 5set 'PA!S no(u) 'mo:a(r).
nou 'mo:(a) tii 'tjiifs and 'leidiz 'brait
5a 'ha:p ov 'ta:ra 'swelz :
5a 'ko:d aloun, 5a-t 'breiks wt 'nait,
its 'teil ov 'ruiin 'telz.
SAS 'friidam 'nau so(u) seldom 'weiks
Qi 'ounli 'Grob Ji(:) 'givz
iz 'hwen SAm 'ha:t in'dignant 'breiks,
txi 'Jou Sat 'stil Ji(:) 'livz.
THOMAS MOORE.
54.
LOVE AND HATE.
hwen ai 'Lvvd ju(:), ai 'kamt bAt a'lau
ai hsed 'meni on 'ekskwizit 'minit :
bAt 5a 'sko:n Sot ai 'fi:l fo ju 'nau
hseG iivon mo: 'lAkziiri 'in it !
4G
SAS 'hweSa wear 'on o: wear 'o:f,
's.vm 'witjari si:mz tu a'weit ju ;
ta '!AV ju iz plezant i'nAf,
bAt 'o:u ! tiz di'lijas tu 'heit ju.
THOMAS MOORE.
55.
OH! BREATHE NOT HIS NAME.
ou ! bri:S not hiz 'neim, let it 'sliip in Sa 'jeid
hwsa 'kould and An'onad hiz 'reliks d leid :
'se:d, 'sailent, and 'da:k, bi: Sa 'tiaz 8*t wi: 'Jed,
sez 5a 'nait-dju: Sat 'foilz on 5a 'grais o:a(r) (h)iz 'bed.
bXt 5a 'nait-dju: 5at 'foilz, Sou in 'sailens it '^viips,
Jael 'braitn wi5 'va:dj(u)a 8a 'greiv hwsa(r) (h)i(:) 'sli:ps;
and 5a 'tia Sat wi 'Jed, Sou in 'shkret it 'roulz,
Jael 'loq ki:p (b)iz 'memori 'grim in aua 'soulz.
THOMAS MOORE.
56.
SHE IS FAR FROM THE LAND.
Ji: iz 'fa: from Sa 'le:nd hwsa ha: 'JAq hiaro(u) 'sli:ps,
send 'lAvaz a 'raund ha: 'sajiq :
bAt 'kouldli Ji 'ta:nz from Ssa 'geiz, iiend '\\*i:ps,
fo(:) ha: 'ha:t in hiz 'greiv iz 'lajin.
Ji(:) 'sirjz Sa waild 'soijz ov ha: 'dia neitiv 'pleinz,
evri 'nout hwitj hi: 'Lvvd a'weikirj ;
a: ! 'lit! Sei 'Gink, hu: di'lait in (h)a: 'streinz,
hau Sa 'ha:t av Sa 'minstrel iz 'breikin.
47
hi: (h)ad 'livd fo(r) (h)iz '!AV, fo(r) (h)iz 'kAntri hi(:) 'daid,
5ei war 'oil Saet ta 'laif (h)yed in'twaind (h)im ;
no: 'sum Jael 5a 'tiaz ov (h)iz 'kAntri bi 'draid,
no: 'log wil (h)iz '!AV stei bi'haind (h)im.
ou ! 'meik ha(:)r a 'greiv hwea 5a 'sAnbismz 'rest,
hwen Sei 'promis a 'glo:rias 'moro ;
5eil 'Jain o:a ha(:) 'sli:p, laik a 'smail from 5a 'west,
from (h)a(:)r 'oun lAvd 'ailand ov 'soro.
THOMAS MOORE.
57.
ON A FLY DRINKING OUT OF HIS CUP.
'bizi, '0a:sti, 'kjuarias 'flai !
'driijk wi5 mi:, and 'driijk a>z ai.
'fri:li 'welkam tu mai 'kAp,
'kudst 5au 'sip and sip it 'Ap :
'meik 5a 'moust ov 'laif ju 'mei ;
'laif iz 'Jo:t and 'wsaz a'wei.
'bou0 a'laik ci 'main and 'Sain,
'heis(a)nir) 'kwik ta 5ea di'klain.
'Sainz a 'sAma, 'main no(u) 'mo:(a)(r),
'Sou ri'pi:ted ta 6ri:'sko:(a)(r).
'6ri:sko:(a) 'sAmaz, 'hwen Sea 'gon,
wil a'piar az '$o:t az 'won 1 .
Wai. OLDYS (16961761).
1 Modern standard : WAH.
48
58.
THE OAK AXD THE BEECH.
fa 5a 'tenda 'biitj and 5a 'saeplig 'ouk,
Sat 'grou bai 5a 'Jaxiowi 'ril,
ju me(i) 'k.vt daun 'bou0 at a 'sirjgl 'strouk,
ju me(i) 'k.\.t daun 'hwitj ju 'wil.
b.\t 'Sis ju mXst 'nou, Sat az 'log az 5ei 'grou,
hwotsou'eva 'tjeinds me(i) 'bi:,
ju ksen 'neva 'tirtj aiSar 'ouk o: 'bi:tj
ta bi 'o:t bit a 'griinvrud 'tri:.
T. L. PEACOCK (17851866).
59.
THE CONTENTED MAN.
"haepi 5a 'maen huu 'wij and 'ksar
a 'fju: p'ta:n(a)l 'eikaz 'baund,
kon'tent ta 'bri:5 (h)iz 'neitiv 'ear
'in (h)iz oun 'graund.
hu:z 'ha:dz wi5 'milk, hu:z 'fiildz wi8 'bred,
hu:z 'floks sX'plai (h)im 'wi5 ae'taia(r) ;
hu:z 'tri:z in 's.vma 'ji:ld (h)im 'Jeid,
in 'winta 'faia(r).
'blest hu: kfien 'Ankon'&amdli 'faind
'auaz, 'deiz, and 'ja:z slaid 'so(:)ft a'wei
in 'helG av 'badi, 'pi:s av 'maind,
'kwaiet bai 'dei,
49
saund 'sli:p bai 'nait ; 'stAdi and 'i:z
ta'gefta 'mikst, swiit 'rekri'eijan
end 'inosens, hwit$ 'moust dA0 'pli:z
wi5 'medi'teijan-
'5AS let mi 'liv An'sim, An'noun ;
SAS, 'Anlo'inentid, 'let mi 'dai ;
'sti:l from 5a 'woild, and 'not o 'stoun
'tel hwsar ai 'lai.
ALEXANDER POPE (16881744).
60.
THE DYING CHRISTIAN TO HIS SOUL.
'vait(a)l 'spaik ov 'hevnli 'fleim !
'kwit, ou, 'kwit Sis 'mo:t(o)l 'freim !
'tremblirj, 'houpin, 'lirjg(a)rin, 'flajirj,
'ou 5o 'pein, 5a 'blis ov 'dajiq !
'si:s, fond 'neitja, 'sirs 5ai 'straif,
ond 'let mi(:) 'laengwij 'intu 'laif.
'ha:k ! 5ei 'hwispa(r) ! 'eindsels 'sei,
'sista 'spirit, 'kAm a'wei.
'hwot iz '5is iieb'soibz mi(:) 'kwait,
'stiilz mai 'sensiz, '^Ats mai 'sait,
'draunz mai 'spirits, 'droiz mai 'bre9]
'tel mi(j), mai 'soul, kaen 'Sis bi(i) 'deG 1 ?
50
$a 'wa:ld ri'siidz : it 'disa'piaz !
'hevn 'oup(a)nz 'on mai 'aiz ! mai 'iaz
wi9 'saundz se'raefik 'rig :
'lend, 'lend jo: 'wirjz ! ai 'maunt ! ai 'flai !
ou 'greiv ! 'hwear iz 5ai 'viktori ?
ou 'de6 ! 'hwear iz 5ai 'stirj ?
ALEXANDER POPE.
61.
AX ITALIAN SONG
'diar iz mai 'litl 'neitiv 'veil ;
5a 'rin-dAv 'bildz and 'ma:ma(:)z '5sa(r);
'klous ta mai 'kot $i(:) 'telz ha(:) 'teil
tu 'evri 'parsir) 'vilid5a(r).
5a 'skwirel 'li:ps fram 'tri: ta 'tri:,
and '$elz (h)iz 'nAte aet 'libati(i).
in 'orin^-'grouvz and 'ma:tl-'bauaz,
5at 'bri:5 a 'geil ov 'freigraens 'raund,
ai 'tja:m 5a 'feari 'futid 'auaz
wi5 'mai Lvvd 'l(j)u:ts ro'maentik 'saund;
o: 'kraunz av 'li^rj 'loral 'wi:v,
fo '5ouz 5at 'win 5a 'reis aet 'i:v.
?a 'Jepa(:)dz 'horn aet 'breik ov 'dei
5a 'bsele(i) 'damst in 'twailait 'gleid,
^5a 'kaenzo'net and 'raunde'lei
'SAT) in 5a 'sailent 'gri:n-wud 'Jeid ;
^i:z 'simpl 'dsoiz, 6at 'neva 'feil,
iai'l 'baind mi(:) 'tu mai 'neitiv 'veil
SAMUEL ROGERS (17621855).
51
G2.
MELANCHOLY.
'gou ju(i) me(i) 'koil it 'msednes, 'foli,
ju '$<el not 't$eis mai 'gluim a'wei ;
Seaz 'sAt$ a 't$a:m in 'melaen'koli,
ai 'wud not, if ai 'kud, bi(:) 'gei.
'ou, if ju 'nju: fta 'pensiv '
Sot 'filz mai 'buzom hwen ai 'sai,
ju(:) 'wud not 'rob mi(:) ov a 'treso
'monaks a(:) tu: 'pu(i)o t9 'bai.
SAMUEL ROGERS,
63.
A WISH.
'main bi: o 'kot bi'said 5a 'hil ;
9 'bi:-haivz 'liAm Ja'l 'su:8 mai 'io ;
a 'wiloui 'bruk, Sot 'tomz a 'mil,
wi5 'meni a 'foil $&1 'linga 'nia.
5a 'swolo(u) 'o:ft, bi'ni:9 mai '
Jsel 'twita from ha(:) 'klei-bilt 'nest ;
'o(:)ft JiSel 5a 'pilgrim 'lift 5a 'IsetJ,
and '$sa mai 'mill, a 'welkam 'gest.
a'raund mai 'aivid 'po:tj Jfftl 'spriij
iitj freigraint 'flauo Sat 'driijks 5a 'dju:;
and 'luisi, ivt ha(:) 'hwi:l, Jael 'siij
in 'rAset 'gaun and 'eipron 'blui.
52
$9 'vilids 'tte'.tj, a'mArj 5a 'tri:z,
hweg 'fg:st au9 'maerids 'vauz wa 'givn,
wi5 'meri 'pi:lz Jael 'swel 89 'briiz,
end 'point wi9 'teipa 'spaia tu 'hevn.
SAJIUEL ROGERS.
64.
WHEN I AM DEAD.
"hwen ai a-ni 'ded, mai 'diarest,
sir) 'nou se:d 'soijz fo 'mi: ;
"plaint 5au nou 'rouziz ftt mai 'bed,
no: 'Jeidi 'saipres 'tri: :
'bi: 5a gri:n 'gra:s a'b.vv mi(:)
wi9 'Sauaz and 'dju:drops 'wet :
'aend if 5au 'wilt, ri'mcmbaCr),
ond 'if 5au 'wilt fo(:)'get.
ai '\*1 not 'si: 80 '$sedo(u)z,
ai 'Jael not 'fi:l 83 'rein ;
ai '$<el not 'hia 5a 'naitiqgeil
siij 'on, jez 'if in 'pein :
and 'driimirj '6ru: 89 'twailait
5at 'd.vG not 'raiz no: 'set,
'haspli ai 'mei ri'mcmboCr),
and 'haepli 'mei fo(:)'get.
C. G. ROSETTI (18301894).
53
65.
PHYLLIS.
'fills iz mai 'ounli '
'feiGles 'sez 5a 'w(a)indz o: 'siiz,
'sAmtaimz 'kAnirj, 'sAmtaimz 'koi,
'jet Ji(:) 'neva 'feilz to 'pliiz :
'if wi5 a 'fraun
ai 'sem ka:st 'daun,
'philis, 'smailirj
'aend bi'gailir),
'mciks mi(:) 'hsepia 5sen bi'fo:(a)(r).
'Sou, a'lais! tu: 'leit ai 'faind
'nA9irj 'kaen h9(:) 'fs(:)nsi 'fiks ;
'jet 89 'moument 'Ji: iz 'kaind
'ai fo(:)'giv (h)9r 'oil (h)a: 'triks,
hwitj '5ou ai 'si:
ai 'ka:nt get 'frii :
'Jii di'si:vii],
'ai bi'liivirj,
'hwot ni:d '!AVOZ 'wi$ fo: 'mo:(9)(r)
SIR C. SEDLEY (16391 1701).
66.
FULL FATHOM FIVE.
ful 'faeSom 'faiv 5ai 'fa:5a 'laiz ;
'ov (h)iz 'bounz d 'koral 'meid :
'Souz d 'pa:lz 5a?t 'wsa(r) (h)iz 'aiz :
'nA0in 'ov (h)im 'Saet d\9 'feid
d\Q 'sAfar a sii-'tjeinds
'intu 'sAmGiij 'ritj and 'streinds.
'si:-nimfs 'auali 'rir| hiz 'nel :
'hark! nau ai 'hia Sam, 'dirj-'doij, 1>el.
W. SHAKESPEARE (15641616),
67.
HARK! HARK! THE LARK.
ha:k! 'ha:k! 5a 'la:k set 'hevnz geit 'siijz,
xnd 'fiibXs 'ginz a'raiz,
hi(z) 'stiidz tu 'waitar t Souz 'sprinz
on 'tjaelist 'flauaz 5at 'laiz.
aend 'wirjkiq 'meari-'bAdz bi'gin
tu 'oup Sea 'goulden 'aiz;
wi5 'evri'eirj 8wt 'priti 'bin 1
mai 'leidi 'swi:t a'raiz ;
araiz, araiz.
^'M. SHAKESPEARE.
1 Archaic form. Modern -. iz .
5-5
68.
TO LADY ANNE HAMILTON.
tu: 'leit ai 'steid! fo(:)'giv 89 'kraim,
An'hiidid 'flu: 5i 'auoz;
hau 'noizles 'fo:lz 5o 'fut ov 'taim,
5at 'ounli 'tredz on 'flauoz.
hwot 'ai wi9 'klior a'kaunt ri'maiks
5i 'ebirj ov (h)iz 'gla:s,
h\ven 'oil its 'seindz a 'daiomond 'sparks,
Sot 'daezl sez 5ei 'pens'?
a: ! 'hui to 'soubo 'mesoment
taimz 'heepi 'swijtnes 'briijz,
hwen 'baidz ov 'pserodais (h)av 'lent
5ea 'pluimids fo(r) (h)iz 'wiqz 1
HON. W. K. SPENCER (17701834).
69.
CONSTANCY
'aut X'pon it, 'ai (h)ov '
'0ri: houl 'deiz tu'gcba(r);
"xnd aJm 'laik to 'Liv 0ri: 'mo:(o)r,-
'if it 'pruiv fain 'we5o(r).
'taim Siel 'moult a'wci (h)iz 'wiijz,
'so(r) (h)i '$fel dis'kAvo(r)
'in 5o houl waid 'wo: Id a'gein
's.vtj 9 'konstont 'lAVo(r).
56
'bAt 5a 'spait ont 1 'iz, nou 'preiz
iz 'dju: a'toil ta 'mi: ;
'!AV wi5 'mi: ha>d 'meid nou 'stciz
haed it 'eni 'bim bXt 'Ji:.
'hsed it 'cni 'bi:n bXt '$i:,
'send 5set 'veri 'feis,
r 8so(r) (h)ad 'bi:n a-t 'li:st, ea '8is,
a 'dAzn 'in (h)a: 'pleis.
Sm JOHN SUCKLING (16081641).
70.
LOVE AND DEBT.
5eaz 'WAH ri'kwest ai 'meik tu 'him
hu: 'sits 5a 'klaudz a'bAV :
3at 'ai wa 'feali 'aut av 'det,
'z ai am 'aut av 'Lvv.
'Sen f5 ta 'dci:ns, ta 'driijk, and 'sin,
'ai $iid bi 'veil 'wiliij ;
ai 'Jud not 'ou WAH 'laes a 'Ids,
nor 'eni 'roug WAII
tiz 'ounli 'bi:iij in '!AV, o: 'det,
5ot 'ix)bz AS ov aua 'rest,
and 'hi: 5at iz kwait 'aut av 'bou9,
5v 'o:l 5a 'wa:ld iz 'blest.
1 Abbreviated form of Apon it.
57
hii si:z Sa 'gouldan 'eids, hwear'in
'oil 6irjz wa 'fri: end 'koman ;
hii 'i:ts, hi: 'driijks, hi: 'teiks iz 'rest
9nd 'fia:z no: 'maen, no: 'wuman.
SIR JOHN SUCKLING.
71.
BREAK, BREAK, BREAK.
'breik, 'breik, 'breik,
on Sai 'kould grei 'stounz, ou 'si: !
send ai 'wud Sat mai 'tArj kud 'Ata
Sa 'Sorts Sat a'raiz in 'mi:.
o:u 'wel fa Sa 'fijamanz 'boi,
Sat (h)i 'Jauts wiS iz 'sistar at 'plei!
o:u 'wel fa Sa 'seilo 'laed,
Sat (h)i 'sirjz in iz 'bout on Sa 'bei !
and Sa 'steitli '$ips gou 'on
ta Sea 'heivn 'Anda Sa 'hii ;
bAt 'ou fa Sa 'tAt$ av a 'vaenijt 'he:nd,
and Sa 'saund av a 'vois Sat iz 'stil !
'breik, 'breik, 'breik,
at Sa 'fut av Sai 'krsegz, ou 'si: !
bXt Sa 'tendo 'greis av a 'dei Sat iz 'ded
wil 'neva kAm 'bs:k ta 'mi:.
ALFRED, LORD TENNYSON (1809 92).
72.
SONG FROM "THE PRINCESS."
fia 'splendo 'f5:lz on 'ka:sl 'wo:lz
and 'snowi 's.vmits 'ould in 'sto:ri :
5a 'log lait 'Jeiks a'kro(:)s 5a 'leiks
aend <5a waild 'kaetaraekt 'liips in 'glo:ri.
'blo:u, 'bju:gl, 'bloiu, 'set 5a waild 'ekouz 'flajin,
'blo:u, 'bju:gl; 'a:nsar, 'ekouz, 'dajin, 'da'jirj, 'daijin.
ou 'ha:k, ou 'hia(r) ! hau '0in and 'klia(r),
send 'Oina, Tcliara, 'fa:5a 'gowiq !
ou 'swiit and 'fa: from 'klif and 'ska:
5a 'ho:nz ov 'elflemd 'feintli 'blowirj !
'blom, let Xs 'hia 5a 'parpl 'glenz ri'plajiij,
'blo:u, 'bju:gl ; 'a:nsar, 'ekouz, 'dajin, 'da-jin, 'da:jirj.
ou 'Uv, Sei 'dai in 'jon ritj 'skai,
8ei 'feint on 'hil o: 'fi:ld o: 'riva(r):
'auar 'ekouz 'roul from 'soul ta 'soul,
asnd 'grou fo(:)r 'evar 'aend fo(:)r 'eva(r).
'blo:u, 'bju:gl, 'blo:u, 'set 5a waild 'ekouz 'flajin,
send 'a:nsar, 'ekouz, 'ainsa, 'dajirj, 'da'jin, 'daijin.
ALFRED, LORD TENNYSON.
59
73.
THE MANLY HEART.
'$ael ai, 'weistiij 'in dis'pea,
'dai bi'ko(:)z 9 'wumanz 'fsa1
'o: mai 't$i:ks meik 'peil wi9 'kea
'koz 1 a'n.v5oz 'rouzi 'ea(r) 2 ?
'bi: \\ 'fearo '5a>n Qa 'del
'o: 5a 'flauari 'miidz in 'mei
'if $i(:) 'bi: not 'sou to 'mi:
'hwot ksor 'ai liau 'feo $i 'bi: ]
'Sael mai 'fuilij 'ha:t bi 'paind
'koz 1 ai 'si: a 'wumon 'kaind ;
'o:r a 'wel dis'pouzed 'neitja
'd.^oined 'wi5 a 'Lvvli 'feit^a 3 ?
'bi: Ji(:) 'mi:ka, 'kaindo, '5aeii
'ta:tl 'd.vv o: 'peli'ksen 4 ,
'if $i(:) 'bi: not 'sou ta 'mi:
'hwot ksor 'ai hau 'kaind \\ 'bi: 1
}1 a 'wumonz 'va:tju(:)z 'mu:v
'mi: ta 'perij fo(:) ho(:) 'luv?
'o: ha(:) 'merits 'vselju 'noun
'meik mi(:) 'kwait fo(:)'get m(a)i 'oun ?
'l)i: Ji(:) wi(5) (5*t 'gudnes 'blest
'hwitj me(i) 'gein ha: 'neim ov 'best ;
'if $i(:) 'si:m not 'sAt$ ta 'mi:
'hwot kear 'ai hau 'gud \\ 'bi:?
1 Abreviated from bikoz.
Archaic form. Modern standard: a(r).
Archaic form. Modern standard: fi:t$a(r).
Pronunciation forced. Standard: 'pelikan.
60
'koz 1 ha: 'foitjon 'si:mz tu: 'hai,
'Ju-1 ai 'plei Sa 'fail and 'dai?
'Souz Sat 'bear a 'noubl 'maind,
'hwea Sei 'wont av 'ritjiz 'faiud,
'Sink hwot 'wiS Sam 'Sei \Aud 'du:
'hui wi'Saut 5am 'dsa ta Vu: :
'send, Xn'les Saet 'maind ai 'si:,
'hwot kear 'ai Sou 'greit Ji 'bi:?
'gi-eit o: 'gud o: 'kaind o: 'fsa(r),
'ai wil 'nsa Sa 'mo: dis'psa(r) ;
'if Ji(:) 'l.vv mi(:), '5is bi'li:v,
'ai wil 'dai sa 'Ji: Jal 'gri:v;
'if Ji(:) 'slait mi(:) 'hwen ai 'wu:
'ai kten 'sko:n, and 'let (h)a: 'gou ;
'fo:r if 'Ji: bi(:) 'not fo(:) 'mi:,
'hwot kear 'ai fo(:) 'hu:m Ji 'bi:?
GEORGE WITHER (15881667).
74.
THE BURIAL OF SIR JOHN MOORE.
not a 'dr.vm waz 'ha:d, not a 'fjumorol 'nout,
az hiz 'ko:s ta Sa 'raempa:ts wi(:) 'h.vrid ;
not a 'sould5a dis'tjaidsd hiz 'feawel 'Jot,
o:a Sa 'greiv hwear aua 'hi(:)arou wi(:) 'berid.
wi: 'berid (h)im 'da:kli at 'ded av 'nait,
Sa 'sodz wiS aua 'beionets 'toniin,
bai So 'str.vgliij 'mu:nbi:mz 'misti 'lait,
and Sa 'laenta(:)n 'dimli 'ba:nin.
Abreviated from biko(:)z.
61
nou 'juisles 'kofin in'klouzd (h)iz 'brest,
not in '$i:t o:r in 'Jraud wi(:) 'waund (h)ira ;
bAt (h)i(:) 'lei laik a 'worio 'teikirj (h)iz 'rest,
(h)iz 'ma:$al 'klouk a'raund (h)im.
'fju: and '$o:t wa 80 'prsiaz wi(i) 'sed,
and wi(:) 'spouk not a 'wa:d ov 'soro(u) ;
bAt wi(:) 'stedfastli 'geizd on Sa 'feis Sat WQZ 'ded,
and wi(i) 'bitali '6o:t ov 5a 'moro(u).
wi: '6o:t az wi(:) 'holo(u)d (h)iz 'naero 'bed,
and 'smu:5d daun (h)iz 'lounli 'pilo(u),
5at 5a 'fou and 5a 'streindsa wud 'tred o:a(r) (h)iz 'hed,
ind 'wij fair a'wei on 5a 'bilo(u).
'laitli 5eil 'toik ov 5a 'spirit 5ats 'gon,
and 'o:a(r) (h)iz kould 'ae^iz Ap'breid (h)im,
bAt 'litl hi:l rek, if <5ei 'let (h)im sliip 'on
in 5a 'greiv hwsar a 'brit(a)n (h)az leid '(h)ira.
bAt 'ha:f av aua 'hevi 'ta:sk waz 'dAn,
hwen 5a 'klok strAk 5i 'aua fo ri'taiariq ;
send wi(i) 'ha:d 5a 'distant and 'rsendom 'gAn
Sat 5a 'fou woz 'sAlenli 'faiariq.
'slouli and 'se:dli wi(:) 'leid (h)im 'daun,
from 5a 'fi:ld av (h)iz 'feim fre$ and 'go:ri ;
jvi(i) 'kaivd not a 'lain, and wi(l) 'reizd not o 'stoun
bXt wi(:) 'left (h)im a'loun wi5 (h)iz 'gloiri !
C WOLFE (17911823).
62
75.
THE LOST LOVE.
Ji(:) 'dwelt a'm.vq 5i An'trod(a)n 'weiz
bi'said 5a 'sprinz av 'd.vv ;
9 'meid 'hu:m 83 wa 'DAD ta 'preiz,
and 'veri 'fju: ta 'Lvv.
o 'vaiolet 'bai a 'mosi 'stoun
ha:f 'hidn from 5i 'ai !
'fear az a 'sta:, hwen 'ounli 'WAH
iz 'Jainirj in 5a 'skai.
Ji(:) 'livd An-'noun, and 'fju: kud 'nou
hwen 'lu:si 'si:st ta 'bi: ;
'bAt Ji: iz in ha: 'greiv, aend 'ou!
5a 'difarans ta 'mi: !
WM. WORDSWORTH (17701850).
76.
THE RAINBOW.
mai 'ha:t li:ps 'AP hwen ai bi'hould
a 'reinbou in 5a 'skai :
'sou woz it 'hwen mai 'laif bi'gam ;
'sou iz it 'nau ai ?em a 'maen;
'sou bi: it 'hwen ai Jael grou 'ould,
'o: let mi 'dai !
5a 'tjaild iz 'fa:5ar ov 8a 'maen ;
aend 'ai kud 'wi$ mai 'deiz tu 'bi:
baund 'i:tj tu 'i:tj bai n8etj(a)ral 'paieti.
WJL WORDSWORTH.
63
77.
SHE WAS A PHANTOM OF DELIGHT.
'$i: woz 9 'fsentom ov 'dilait
hwen 'fo:st $i 'gliimd X'pon mai 'sait ;
o 'lAvli 'sepo'riSon, 'sent
tii 'bi: 9 'mouments 'omoment ;
ho(:)r 'aiz xz 'stcuz ov 'twailait 'fso ;
laik 'twailaits 'tu: ho: 'd.vski 'hso ;
bXt 'oil 9inz 'els a'baut ho: 'dro:n
from 'mei-taim ond So 't$ioful 'do:n.
o 'damsirj 'Jeip, on 'imids 'gei,
tii 'homt, tii 'stcntl, ond 'wei-'lei.
ai 'so: hor opon 'nioro 'vju:
o 'spirit, jet o 'wumon 'tu: !
ho: 'haus(h)ould 'mouKa)nz 'lait ond 'fri:,
ond 'steps ov 'voidsin 'liboti ;
o 'kauntena-ns in 'hwitS did 'mi:t
s\vi:t 'rekoidz, 'promisiz &z 'svvi:t ;
o 'kriztjo not tu: 'brait o: 'gud
fo(:) 'hjuimon 'neitjoz 'deili 'fu:d,
fo(:) 'tremsient 'soroz, 'simpl 'wailz,
'preiz, 'bleim, '!AV, 'kisiz, 'tioz, ond 'smailz.
asnd 'nau ai 'si: wi5 'ai ser'im
80 veri 'p.vls ov 5o ma'Sim ;
o 'bi:iij bri:Qir| '9o:tful 'bre9,
o 'trsevlo bitwiin 'laif ond 'de9 ;
5o 'ri:zn 'fo:m, 5o 'temporet 'wil,
en'djuorens, 'fo:(o)sait, 'stren9, ond 'skil ;
o 'poifikt 'wumon, 'noubli 'pls:nd,
tii 'wo:n, tii 'kAmfot, send ko'memd:
&nd 'jet o 'spirit 'stil, ond 'brait,
wi9 'sAm9ir| ov sen'dselik 'lait.
WM. WORDSWORTIL
64
Short English Poems
C. M. RICE
ORTHOGRAPHIC TEXT
1.
WISHING.
RING-TING ! I wish I were a Primrose,
A bright yellow Primrose blowing in the Spring !
The stooping boughs above me,
The wandering bee to love me,
The fern and moss to keep across,
And the Elm-tree for our King !
Nay nay ! I wish I were an Elm-tree,
A great lofty Elm-tree, with green leaves gay !
The winds would set them dancing,
The sun and moonshine glance in,
The Birds would house among the boughs,
And sweetly sing !
O-no ! I wish I were a Robin,
A Robin or a little Wren, everywhere to go !
Through forest, field or garden,
And ask no leave or pardon,
Till Winter comes with icy thumbs
To ruffle up our wing.
Well tell ! Where should I fly to,
Where go to sleep in the dark wood or dell?
Before the day was over,
Home comes the rover,
For Mother's kiss sweeter this
Than any other thing !
WILLIAM ALLIXGHAM (1824 1889).
2.
WHY SHOULD MAK BE VAIN :-
SAYS Plato, why should man be vain
Since bounteous heaven has made him great?
Why look with insolent disdain
On those undecked with wealth or state?
Can splendid robes or beds of down,
Or costly gems to deck the fair,
Can all the glories of a crown
Give health, or ease the brow of care ?
69
The sceptred king, the burthen'd slave,
The humble, and the haughty, die :
The rich, the poor, the base, the brave,
In dust without distinction lie !
Go, search the tombs where monarchs rest,
Who once the greatest titles bore,
The wealth and glory they possessed,
And all their honours, are no more !
So glides the meteor through the sky,
And spreads along a gilded train ;
But when its short-lived beauties die,
Dissolves to common air again ;
So 'tis with us, my jovial souls !
Let friendship reign while here we stay ;
Let's crown our joys with flowing bowls,
When Jove us calls we must away.
ANON.
3.
REQUIESCAT,
STREW on her roses, roses,
And never a spray of yew.
In quiet she reposes :
Ah ! would that I did too.
Her mirth the world required :
She bathed it in smiles of glee.
But her heart was tired, tired,
And now they let her be.
Her life was turning, turning,
In mazes of heat and sound.
But for peace her soul was yearning,
And now peace laps her round.
Her cabined, ample spirit,
It fluttered and failed for breath.
To-night it doth inherit
The vasty Hall of Death.
MATTHEW ARNOLD (18221888).
70
4.
A FRAGMENT.
LIFE ! I know not what thou art,
But know that thou and I must part ;
And when, or how, or where we met,
I own to me's a secret yet.
Life ! we have been long together
Through pleasant and through cloudy weather;
'Tis hard to part when friends are dear
Perhaps 'twill cost a sigh, a tear;
Then steal away, give little warning,
Choose thine own time ;
Say not good night, but in some brighter clime
Bid me good morning.
ANNA L. BARBAULD (17431825).
LINES LEFT AT MR. THEODORE HOOK'S
HOUSE IN JUNE, 1834.
As Dick and I
Were a-sailing by
At Fulham bridge, I cock'd my eye,
And says I. ''Add-zooks!
There's Theodore Hook's,
Whose Sayings and Doings make such pretty books.
"I wonder," says I,
Still keeping my eye
On the house, ''if he's in I should like to try" ;
With his oar on his knee,
Says Dick, says he,
" Father, suppose you land and see! "
"What land and sea,"
Says I to he,
" Together ! why Dick, why how can that be ? "
And my comical son,
Who is fond of fun,
I thought would have split his sides at the pun.
71
So we rows to shore,
And knocks at the door
When William, a man I've seen often before,
Makes answer and says.
" Master's gone in a chaise
Call'd a Jiomnibus, drawn by a couple of bays."
So I says then,
" Just lend me a pen " ;
"I will, sir," says William, politest of men;
So having no card, these poetical brayings,
Are the record I leave of my doings and sayings.
RICHARD H. BARHAM (1788 1845).
(Thomas Ingoldsby.)
6.
THE OCEAN.
BEAUTIFUL, sublime, and glorious ;
Mild, majestic, foaming, free
Over time itself victorious,
Image of eternity !
Sun, and moon, and stars shine o'er thce,
See thy surface ebb and flow !
Yet attempt not to explore thee
In thy soundless depths below.
Whether morning's splendours steep thee
With the rainbow's glowing grace,
Tempests rouse, or navies sweep thee,
'Tis but for a moment's space.
P^arth her valleys and her mountains,
Mortal man's behests obey ;
Thy unfathomable fountains
Scoff his search, and scorn his sway.
Such art thou stupendous ocean !
But, if overwhelmed by thee,
Can we think, without emotion,
What must thy Creator be?
BERNARD BARTON (17841849).
72
7.
I'D BE A BUTTERFLY.
I'D be a Butterfly born in a bower.
Where roses and lilies and violets meet :
Roving for ever from flower to flower,
And kissing all buds that are pretty and sweet ;
I'd never languish for wealth, or for power ;
I'd never sigh to see slaves at my feet :
I'd be a Butterfly born in a bower,
Kissing all buds that are pretty and sweet.
O could I pilfer the wand of a fairy,
I'd have a pair of those beautiful wings ;
Their summer days' ramble is sportive and airy.
They sleep in a rose when the nightingale sings.
Those who have wealth must be watchful and wary ;
Power, alas ! nought but misery brings !
I'd be a Butterfly, sportive and airy,
Rock'd in a rose when the nightingale sings.
What, though you tell me each gay little rover
Shrinks from the breath of the first autumn day !
Surely 'tis better when summer is over
To die when all fair things are fading away.
Some in life's winter may toil to discover
Means of procuring a weary delay
I'd be a Butterfly ; living, a rover,
Dying when fair things are fading away !
THOMAS H. BAYLY (1797-1839).
8.
MY EPITAPH.
WHEN I'm dead, on my tomb-stone I hope they will say
Here lies an old fellow, the foe of all care :
With the juice of the grape he would moisten his clay,
And, wherever he went, frolic follow'd him there.
With the young he would laugh,
With the old he would quaff,
And banish afar all traces of sorrow :
Old Jerome would say
" Though the sun sinks to-day,
It is certain to rise up as gaily to-morrow."
Tho' the snows of old age now may whiten his brow,
It never by gloom was a moment o'ercast ;
His age, like the sunset that gleams on us now,
Chased away with its brightness the clouds to the last.
With the young he would laugh,
With the old he would quaff,
And banish afar all traces of sorrow :
Old Jerome would say
" Tho' the sun sinks to-day,
It is certain to rise up as gaily to-morrow."
SAMUEL BEAZLEY (17861851).
9.
A SUMMER INVOCATION.
O, GENTLE, gentle summer rain,
Let not the silver lily pine,
The drooping lily pine in vain
To feel that dewy touch of thine
To drink thy freshness once again,
O, gentle, gentle summer rain!
In heat the landscape quivering lies ;
The cattle pant beneath the tree ;
Through parching air and purple skies
The earth looks up in vain for thee ;
For thee for thee, it looks in vain,
O gentle, gentle summer rain !
Come, thou, and brim the meadow streams,
And soften all the hills with mist,
O falling dew ! from burning dreams
By thee shall herb and flower be kissed ;
And earth shall bless thee yet again,
O gentle, gentle summer rain !
WM. Cox BENNETT (1820-1895).
10.
AN EXPOSTULATION.
WHEN late I attempted your pity to move,
What made you so deaf to niy prayers?
Perhaps it was right to dissemble your love,
But why did you kick me downstairs?
ISAAC BICKERSTAFF (173-51812?).
11.
NURSE'S SONG.
WHEN the voices of children are heard on the green
And laughing is heard on the hill,
My heart is at rest within my breast,
And everything else is still.
Then come home, my children, the sun is gone down,
And the dews of night arise ;
Come, come, leave off play, and let us away
Till the morning appears in the skies.
No, no, let us play, for it is yet day,
And we cannot go to sleep ;
Besides, in the sky the little birds fly.
And the hills are all cover'd with sheep.
Well, well, go and play till the light fades away,
And then go home to bed.
The little ones leap'd and shouted and laugh'd,
And all the hills echoed.
WM. BLAKE (17571827).
12.
THE PIPER.
PIPING down the valleys wild,
Piping songs of pleasant glee.
On a cloud I saw a child,
And he laughing said to me :
" 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 sang 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 vanished from my sight ;
And I plucked 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.
WM. BLAKE.
13.
THE SHEPHERD.
How sweet is the shepherd's sweet lot ;
From the morn to the evening he strays ;
He shall follow his sheep all the day,
And his tongue shall be filled with praise.
For he hears the lamb's innocent call,
And he hears the ewe's tender reply;
He is watchful while they are in peace,
For they know when their shepherd is nigh.
WM. BLAKE.
76
14.
LOVE AND FRIENDSHIP.
LOVE is like the wild rose-briar ;
Friendship like the holly-tree.
The holly is dark when the rose-briar blooms,
But which will bloom most constantly ?
The wild rose-briar is sweet in spring,
Its summer blossoms scent the air ;
Yet wait till winter comes again,
And who will call the wild briar fair?
Then scorn the silly rose-wreath now,
And deck thee with the holly's sheen,
That when December blights thy brow,
He still may leave thy garland green.
EMILY BRONTE (1818-1848).
15.
SHEPHERD BOY'S SONG.
HE that is down needs fear no fall :
He that is low no pride ;
He that is humble ever shall
Have God to be his Guide.
I am content with what I have,
Little be it or much :
And, Lord, contentment still I crave,
Because Thou savest such.
Fulness to such a burden is,
That go on pilgrimage :
Here little, and hereafter bliss,
Is best from age to age.
JOHX BUNYAN (1628 1688).
77
16.
A JACOBITE TOAST.
GOD bless the King ! I mean the Faith's Defender:
God bless (no harm in blessing!) the Pretender!
But who Pretender is, or who the King,
God bless us all! that's quite another thing.
J. BYROM (16921763).
17.
SONNET ON THE CASTLE OF CHILLON.
ETERNAL Spirit of the chainless Mind !
Brightest in dungeons, Liberty, thou art
For there thy habitation is the heart
The heart which love of Thee alone can bind ;
And when thy sons to fetters are consign'd,
To fetters, and the damp vault's day less gloom,
Their country conquers with their martyrdom,
And Freedom's fame finds wings on every wind.
Chillon ! thy prison is a holy place
And thy sad floor an altar, for 'twas trod,
Until his very steps have left a trace
Worn as if thy cold pavement were a sod,
By Bonnivard ! May none those marks efface !
For they appeal from tyranny to God.
LORD BYRON (17881824).
18.
SONG, TO A HEBREW MELODY.
SUN of the sleepless ! melancholy star !
Whose tearful beam glows tremulously far,
That show'st the darkness thou canst not dispel,
How like art thou to joy remembered well !
So gleams the past, the light of other days,
Which shines, but warms not with its powerless rays;
A night-beam Sorrow watcheth to behold,
Distinct, but distant clear, but, oh, how cold !
LORD BYRON.
78
19.
THE BATTLE OF HOHEXLINDEN.
ON Linden, when the sun was low,
All bloodless lay the untrodden snow ;
And dark as winter was the flow
Of Iser, rolling rapidly.
But Linden show'd another sight,
When the drum beat at dead of night,
Commanding fires of death to light
The darkness of her scenery-
By torch and trumpet fast array'd
Each horseman drew his battle-blade,
And furious every charger neigh'd,
To join the dreadful revelry.
Then shook the hills with thunder riven ;
Then rush'd the steed to battle driven;
And. louder than the bolts of heaven,
Far flash 'd the red artillery.
But redder yet that light shall glow,
On Linden's hills of stained snow;
And bloodier yet the torrent flow
Of Iser, rolling rapidly.
'Tis morn ; but scarce yon level sun
Can pierce the war-cloud rolling dun,
Where furious Frank and fiery Hun
Shout in their sulphurous canopy.
The combat deepens. On ye brave !
Who rush to glory or the grave !
Wave, Munich ! all thy banners wave !
And charge with all thy chivalry.
Few, few shall part where many meet !
The snow shall be their winding-sheet.
And every turf beneath their feet
Shall be a soldier's sepulchre !
THOMAS CAMPBELL (17771844).
79
20.
TO THE EVENING STAR.
STAB that bringest home the bee,
And sett'st the weary labourer free !
If any star shed peace, 'tis thou,
That send'st it from above,
Appearing when heaven's breath and brow
Are sweet as hers we love.
Come to the luxuriant skies,
Whilst the landscape's odours rise,
Whilst far off lowing herds are heard,
And songs, when toil is done,
From cottages whose smoke unstirred
Curls yellow in the sun.
Star of love's soft interviews,
Parked lovers on thee muse ;
Their remembrancer in heaven
Of thrilling vows thou art,
Too delicious to be riven
By absence from the heart.
THOMAS CAMPBELL.
21.
DISDAIN RETURNED.
HE that loves a rosy cheek,
Or a coral lip admires,
Or from star-like eyes doth seek
Fuel to maintain his fires ;
As old Time makes these decay,
So his flames must waste away.
But a smooth and steadfast mind,
Gentle thoughts, and calm desires,
Hearts with equal love combined,
Kindle never-dying fires;
Where these are not, I despise
Lovely cheeks, or lips, or eyes.
T. CAREW (1595?-1639?).
80
22.
SHE IS NOT FAIR TO OUTWARD VIEW.
SHE is not fair to outward view,
As many maidens be :
Her loveliness I never knew,
Until she smiled on me ;
Oh, then I saw her eye was bright
A well of love, a spring of light.
But now her looks are coy and cold
To mine they ne'er reply,
And yet I cease not to behold
The love-light in her eye ;
Her very frowns are sweeter far
Than smiles of other maidens are.
HARTLEY COLERIDGE (17961849).
23.
ANSWER TO A CHILD'S QUESTION.
Do you ask what the birds say? The sparrow, the dove,
The linnet, and thrush say, "I love, and I love! "
lu the winter they're silent, the wind is so strong ;
What it says I don't know, but it sings a loud song.
But green leaves and blossoms and sunny warm weather,
And singing and loving all come back together.
But the lark is so brimful of gladness and love.
The green fields below him, the blue sky above,
That he siugs, and he sings, and for ever sings he,
" I love my Love, and my Love loves me.
S. T. COLERIDGE (17721834).
24.
THE KNIGHT'S TOMB.
WHERE is the grave of Sir Arthur O'Kellyn
Where may the grave of that good man be ?
By the side of a spring on the breast of Helvellyn,
Under the twigs of a young birch tree .'
81
The oak that in summer was sweet to hear,
And russled its leaves in the fall of the year,
And whistled and roared in the winter alone,
Is gone and the birch in its stead is grown.
The Knight's bones are dust,
And his good sword rust;
His soul is with the saints, I trust.
S. T. COLERIDGE.
25.
SOMETHING CHILDISH BUT VERY NATURAL.
IF I had but two little wings
And were a little feathery bird,
To you I'd fly, my dear !
But thoughts like these are idle things,
And I stay here.
But in my sleep to you I fly :
I'm always with you in my sleep !
The world is all one's own.
But then one wakes, and where am I?
All, all alone.
Sleep stays not, though a monarch bids :
So I love to wake ere break of day :
For though my sleep be gone,
Yet while 'tis dark, one shuts one's lids,
And still dreams on.
S. T. COLERIDGE.
26.
THE GOLDEN FARMER.
WHILE I'm blest with health and plenty,
Let me live a jolly, jolly dog ;
For as blythe as flve-and twenty,
Thro' the world I wish to jog.
82
As for greater folks or richer,
While I pay both scot and lot,
And enjoy my friend and pitcher,
I've a kingdom in a cot !
Flocks and herds in fields, all nigh too.
Corn and clover, beans and pease,
And in hen yard, pond and stye too,
Pigs and poultry, ducks and geese.
While my farm thus cuts a dash too,
Poor folks daily labouring on't,
Who plow, sow, and reap, and thrash too,
I'll be thrash'd if they shall want.
He who sticks his knife in roast meat.
And for numbers has to carve,
May the churl the whipping-post meet,
If he stuffs and lets them starve.
And when I, like Neighbour Squeezum,
Plot and scheme the poor to drain,
Or with Badger join, to fleece 'em,
Badger me for a rogue in grain.
He for that who tills and cultures,
Now may laugh, but when Old Scratch
Spreads his net for sharks and vultures,
What a swarm he'll have to catch !
Heaps of grain then let them hoard up:
Heaps of wealth while they count o'er,
All the treasures I have stored up
Are the Blessings of the Poor!
JOHN COLLINS (d. 180S).
27.
THE POPLAK FIELD.
THE poplars are felled, farewell to the shade,
And the whispering sound of the cool colonnade
The winds play no longer and sing in the leaves.
Nor Ouse on his bosom their image receives.
Twelve years have elapsed, since I last took a view
Of my favourite field, and the bank where they grew ;
And now in the grass behold they are laid,
And the tree is my seat, that once lent me a shade.
The blackbird has fled to another retreat,
Where the hazels afford him a screen from the heat ;
And the scene, where his melody charmed me before,
Kesounds with his sweet-flowing ditty no more.
My fugitive years are all hasting away,
And I must ere long lie as lowly as they ;
With a turf on my breast, and a stone at my head,
Ere another such grove shall arise in its stead.
'Tis a sight to engage me, if anything can,
To muse on the perishing pleasures of man ;
Though his life be a dream, his enjoyments, I see,
Have a being less durable even than he.
WM. COWPER (17311800).
28.
A WET SHEET AND A FLOWING SEA.
A WET sheet and a flowing sea,
A wind that follows fast,
And fills the white and rustling sail,
And bends the gallant mast ;
And bends the gallant mast, my boys,
While, like the eagle free,
Away the good ship flies, and leaves
Old England on the lee.
O for a soft and gentle wind !
I heard a fair one cry ;
But give to me the snoring breeze
And white waves heaving high ;
And white waves heaving high, my lads,
The good ship tight and free
The world of waters is our home,
And merry men are we.
84
There's tempest in yon horned moon,
And lightning in yon cloud ;
And hark the music mariners !
The wind is piping loud;
The wind is piping loud, my boys,
The lightning flashes free
While the hollow oak our palace is,
Our heritage the sea.
A. CUNNINGHAM a7s4 1842).
29.
MAY-DAY.
QUEEN of fresh flowers
Whom vernal stars obey,
Bring thy warm showers,
Bring thy genial ray.
In Nature's greenest livery drest
Descend on earth's expectant breast,
To earth and heaven a welcome rest,
Thou merry month of May !
Mark! how we meet thee
At dawn of dewy day !
Hark how we greet thee,
With our roundelay!
While all the goodly things that be
In earth and air and ample sea
Are waking up to welcome thee !
Thou merry month of May !
Flocks on the mountains,
And birds upon their spray,
Tree, turf, and fountains,
All hold holiday :
And Love, the life of living things,
Love waves his torch and claps his wings,
And loud and wide thy praises sings,
Thou merry month of May !
REGINALD HEBER (1763 1826 1 .
8-5
COUNSEL TO GIRLS.
GATHER ye rose-buds while ye may,
Old Time is still a-flying ;
And this same flower that smiles to-day,
To-morrow will be dying.
The glorious lamp of heaven, the Sun,
The higher he's a-getting,
The sooner will his race be run,
And nearer he's to setting.
That age is best, which is the first,
When youth and blood are warmer
But being spent, the worse, and worst
Times still succeed the former.
Then be not coy, but use your time,
And while you may, go marry :
For having lost but once your prime,
You may for ever tarry.
R. HERRICK (15911674).
TO DAFFODILS.
FAIR daffodils, we weep to see
You haste away so soon ;
As yet the early rising sun
Has not attained his noon :
Stay, stay
Until the hastening clay
Has run
But to the evensong ;
And having prayed together, we
Will go with you along !
86
We have short time to stay, as you
We have as short a spring,
As quick a growth to meet decay,
As you or anything.
We die
As your hours do : and dry-
Away,
Like to the summer's rain,
Or as the pearls of morning dew.
Ne'er to be found again.
ROBERT HERRICK.
32.
THE NIGHT-PIECE.
HER eyes the glow-worm lend thee,
The shooting stars attend thee ;
And the elves also,
Whose little eyes glow,
Like the sparks of fire, befriend thee.
No will-o'-th'-wisp mis-light thee,
Nor snake nor slow- worm bite thee ;
But on, on thy way,
Not making a stay,
Since ghost there's none to affright thee.
Let not the dark thee cumber ;
What tho' the moon does slumber,
The stars of the night
Will lend thee their light.
Like tapers clear, without number.
Then, Julia, let me woo thee,
Thus, thus to come unto me :
And when I shall meet
Thy silv'ry feet,
My soul I'll pour into thee.
ROBERT HERRICK.
87
33.
VIOLETS.
WELCOME, maids of honour!
You do bring
In the Spring,
And wait upon her.
She hath virgins many,
Fresh and fair ;
Yet you are
More sweet than any.
You're the maiden posies ;
And so graced,
To be placed
Tore damask roses.
Yet, though thus respected,
By and by
Ye do lie,
Poor girls, neglected.
ROBERT HERRICK.
PACK, CLOUDS, AWAY!
PACK, Clouds, away ! and welcome, day !
With night we banish sorrow :
Sweet air, blow soft ! mount, lark, aloft !
To give my Love good-morrow ;
Wings from the wind, to please her mind,
Notes from the lark, I'll borrow.
Bird, prune thy wing ! nightingale, sing !
To give my Love good-morrow.
To give my Love good-morrow,
Notes from them all I'll borrow.
88
Wake from thy nest, robin redbreast !
Sing, birds, in every furrow !
And from each hill let music shrill
Give my fair love good-morrow.
Blackbird and thrush in every bush
Stare, linnet, and cock-sparrow,
You pretty elves amongst yourselves
Sing my fair Love good-morrow !
To give my Love good-morrow,
Sing, birds, in every furrow !
THOMAS HEYWOOD (d. 1649 ?).
35.
THE DEATH BED.
WE watch 'd her breathing thro' the night
Her breathing soft and low,
As in her breast the wave of life
Kept heaving to and fro.
So silently we seeni'd to speak,
So slowly moved about,
As we had lent her half our powers
To eke her living out.
Our very hopes belied our fears,
Our fears our hopes belied
We thought her dying when she slept,
And sleeping when she died.
For when the morn came dim and sad
And chill with early showers,
Her quiet eyelids closed she had
Another morn than ours.
T. HOOD (1799-1845).
36.
EEMEMBRANCES.
I REMEMBER, I remember,
The house where I was born,
The little window, where the sun
Came peeping in at morn :
89
He never came a wink too soon,
Nor brought too long a day,
But now I often wish the night
Had borne my breath away !
I remember, I remember,
The roses, red and white,
The violets and the lily-cups,
Those flowers made of light !
The lilacs, where the robin built,
And where my brother set
The laburnum on his birthday :
The tree is living yet !
I remember, I remember,
Where I was used to swing,
And thought the air must rush as fresh,
To swallows on the wing.
My spirit flew in feathers then,
That is so heavy now ;
And summer pools could hardly cool
The fever on my brow !
I remember, I remember,
The fir-trees dark and high ;
I used to think their slender tops
Were close against the sky :
It was a childish ignorance :
But now, 'tis little joy
To know I'm further off from heaven
Than when I was a boy.
THOMAS HOOD.
37.
JENNY KISS'D ME.
JENNY kiss'd me when we met,
Jumping from the chair she sat in ;
Time, you thief ! who love to get
Sweets into your list, put that in.
Say I'm weary, say I'm sad;
Say that health and wealth have miss'd me ;
Say I'm growing old, but add
Jenny kiss'd me !
LEIGH HUNT (17841859).
90
THE ARCTIC EXPLORER'S WIDOW.
WHEN sparrows build, and the leaves break forth.
My old sorrow wakes and cries,
For I know there is dawn in the far, far north.
And a scarlet sun doth rise ;
Like a scarlet fleece the snow-field spreads,
And the icy founts run free,
And the bergs begin to bow their heads,
And plunge, and sail in the sea.
O my lost love, and my own, own love,
And my love that loved me so !
Is there never a chink in the world above
Where they listen for words from below?
Nay, I spoke once, and I grieved thee sore,
I remember all that I said,
And now thou wilt hear me no more no more
Till the sea gives up her dead.
Thou didst set thy foot on the ship, and sail
To the ice-fields and the snow ;
Thou wert sad, for thy love did nought avail,
And the end I could not know :
How could I tell I should love thee to-day,
Whom that day I held not dear?
How could I know I should love thee away
When I did not love thee anear?
We shall walk no more through the sodden plain
With the faded bents o'erspread ;
We shall stand no more by the seething main
While the dark wrack drives o'erhead ;
We shall part no more in the wind and the rain.
Where thy last farewell was said ;
But perhaps I shall meet thee and know thee again
When the sea gives up her dead.
JEAN INGELOW (18201897).
91
39.
SEVEN TIMES ONE.
THERE'S no dew left on the daisies and clover,
There's no rain left in heaven :
I've said my ' seven times' over and over,
Seven times one are seven.
I am old, so old, I can write a letter ;
My birthday lessons are done ;
The lambs play always, they know no better ;
Ihey are only one times one.
moon! in the night I have seen you sailing
And shining so round and low ;
You were bright ! ah bright ! but your light is failing
You are nothing now but a bow.
You moon, have you done something wrong in heaven
That God has hidden your face?
1 hope if you have you will soon be forgiven,
And shine again in your place.
O velvet bee, you're a dusty fellow,
You've powdered your legs with gold !
O brave marsh marybuds, rich and yellow,
Give me your money to hold !
O columbine, open your folded wrapper,
Where two twin turtle-doves dwell !
cuckoopint, toll me the purple clapper
That hangs in your clear green bell !
And show me your nest with the young ones in it ;
I will not steal them away ;
1 am old! you may trust me, linnet, linnet
I am seven times one to-day.
JEAN INGELOW.
92
40.
TO CELIA.
DRINK to me only Avith thine eyes,
And I will pledge with mine ;
Or leave a kiss but in the cup
And I'll not ask for wine.
The thirst that from the soul doth rise
Doth ask a drink divine ;
But might I of Jove's nectar sup.
I would not change for thine.
I sent thee late a rosy wreath,
Not so much honouring thee
As giving it a hope that there
It could not wither 'd be :
But thou thereon didst only breathe
And sent'st it back to me ;
Since when it grows, and smells, I swear,
Not of itself, but thee !
BEX JONSOX (1573 -1637).
41.
MY LITTLE DOLL.
I ONCE had a sweet little doll, dears,
The prettiest doll in the world ;
Her cheeks were so red and so white, dears,
And her hair was so charmingly curled.
But I lost my poor little doll, dears,
As I played in the heath one day ;
And I cried for her more than a week, dears,
But I never could find where she lay.
I found my poor little doll, dears,
As I played in the heath one day :
Folks say she is terribly changed, dears,
For her paint is all washed away,
And her arm trodden off by the cows, dears,
And her hair not the least bit curled :
Yet. for old sakes' sake she is still, dears,
The prettiest doll in the world.
C. KlNGSLEY (18191875).
93
42.
THE THREE FISHERS.
THEEE fishers went sailing away to the West,
Away to the West as the sun went down ;
Each thought on 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 harbour-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 night rack came rolling up, ragged and brown ;
But men must work, and women must weep,
Though storms be sudden, and waters deep,
And the harbour-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 home to the town.
For men must work, and women must weep,
And the sooner it's over, the sooner to sleep,
And good-bye to the bar and' its moaning.
CHARLES KINGSLEY.
43.
HESTER.
WHEN maidens such as Hester die,
Their place ye may not well supply,
Though ye among a thousand try,
With vain endeavour.
A month or more hath she been dead,
Yet cannot I by force be led
To think upon the wormy bed,
And her together.
94
A springy motion in her gait,
A rising step did indicate
Of pride and joy no common rate.
That flushed her spirit.
I know not by what name beside
I shall it call: if 'twas not pride,
It was a joy to that allied,
She did inherit.
Her parents held the Quaker rule,
Which doth the human feeling cool,
But she was train'd in Nature's school,
Nature had blest her.
A waking eye, a prying mind,
A heart that stirs, is hard to bind,
A hawk's keen sight ye cannot blind,
Ye could not Hester.
My sprightly neighbour, gone before
To that unknown and silent shore,
Shall we not meet as heretofore,
Some summer morning.
When from thy cheerful eyes a ray
Hath struck a bliss upon the clay.
A bliss that would not go away.
A sweet forewarning ?
CHARLES LAMB (17751834).
44.
TWENTY YEARS HENCE.
TWENTY years hence my eyes may grow,
If not quite dim, yet rather so,
Still yours from others they shall know
Twenty years hence.
Twenty years hence, tho' it may hap
That I be call'd to take a nap
In a cool cell where thunder-clap
Was never heard,
95
There breathe hut o'er my arch of grass
A not too-sadly sigh'd Alas,
And I shall catch, ere you can pass,
That winged word.
W. S. LANDOR (17751864).
45.
ALLAN WATER.
ON the banks of Allan Water,
When the sweet spring time did fall,
Was the miller's lovely daughter,
Fairest of them all.
For his bride a soldier sought her,
And a winning tongue had he,
On the banks of Allan Water,
None so gay as she.
On the banks of Allan Water,
When brown autumn spread his store,
There I saw the miller's daughter,
But she smiled no more.
For the summer grief had brought her,
And the soldier false was he,
On the banks of Allan Water,
None so sad as she.
On the banks of Allan Water,
When the winter snow fell fast,
Still was seen the miller's daughter,
Chilling blew the blast.
But the miller's lovely daughter,
Both from cold and care was free,
On the banks of Allan Water,
There a corse lay she.
M. G. LEWIS (17751818).
96
46.
TO ALTHEA. FROM PRISON.
WHEN Love with unconflned wings
Hovers within my gates,
And my divine Althea brings
To whisper at the grates;
When I lie tangled in her hair
And fetter 'd to her eye,
The birds that wanton in the air
Know no such liberty.
When flowing cups run swiftly round
With no allaying Thames,
Our careless heads with roses crown'd,
Our hearts with loyal flames ;
When thirsty grief in wine we steep,
When healths and draughts go free
Fishes that tipple in the deep
Know no such liberty.
When, linnet-like confined, I
With shriller throat shall sing
The sweetness, mercy, majesty
And glories of my king;
When I shall voice aloud how good
He is, how great should be,
Enlarged winds, that curl the flood,
Know no such liberty.
Stone walls do not a prison make,
Nor iron bars a cage :
Minds innocent and quiet take
That for an hermitage :
If I have freedom in my love,
And in my soul am free,
Angels alone, that soar above,
Enjoy such liberty.
RICHARD LOVELACE (16181659).
97
47.
BABY.
WHERE did you come frora, baby dear ?
Out of the everywhere into here.
Where did you get those eyes so blue ?
Out of the sky as I came through.
What makes the light in them sparkle and spin?
Some of the starry twinkles left in.
Where did you get that little tear?
I found it waiting when I got here.
What makes your forehead so smooth and high?
A soft hand stroked it as I went by.
What makes your cheek like a warm white rose?
I saw something better than anyone knows.
Whence came that three-cornered smile of bliss ?
Three angels gave me at once a kiss.
Where did you get this pearly ear?
God spoke, and it came out to hear.
Where did you get those arms and hands ?
Love made itself into bonds and bands.
Feet, whence did you come, you darling things?
From the same box as the angels' wings.
How did they all just come to be you?
God thought about me, and so I grew.
But how did you come to us, you dear ?
God thought about you, and so I am here.
GEORGE MACDONALD (1824 1905).
98
48.
KATHALEEN NY-HOULAHAN.
facobite relic from the Irish.)
LONG they pine in weary woe. the nobles of our land,
Long they wander to and fro, proscribed, alas ! and banned ;
Feastless, houseless, altarless, they bear the exile's brand :
But their hope is in the coming-to of Kathaleen Ny-
Houlahan !
Think her not a ghastly hag, too hideous to be seen,
Call her not unseemly names, our matchless Kathaleen :
Young she is, and fair she is, and would be crowned a queen,
Were the king's son at home here with Kathaleen
Ny-Houlahan!
Sweet and mild would look her face, O none so sweet and
mild,
Could she crush the foes by whom her beauty is reviled ;
Woollen plaids would grace herself and robes of silk her
child,
If the king's son were living here with Kathaleen Ny-
Houlahan !
Sore disgrace it is to see the Arbitress of thrones,
Vassal to a Saxoneen of cold and sapless bones !
Bitter anguish wrings our souls with heavy sighs and groans
We wait the Young Deliverer of Kathaleen Ny-Hou-
lahan !
Let us pray to Him who holds Life's issues in His hands
Him who formed the mighty globe, with all its thousand
lands;
Girding them with seas and mountains, rivers deep, and
strands,
To cast a look of pity upon Kathaleen Ny-Houlahan !
He, who over sands and waves led Israel along
He, who fed, with heavenly bread, that chosen tribe and
throng
He, who stood by Moses, when his foes were fierce and
strong
May He show forth His might in saving Kathaleen
Ny-Houlahan !
J. C. MANGAX (ls03-49).
93
49.
LEARNING.
(From the Ottoman.)
SEE how those worlds that roll afar
Serenely beam on one another !
There nowhere burns a sun or star
But helps to cheer some darker brother.
Wouldst thou, O man, be good and wise,
Share thus thy light among thy neighbours ;
In giving, not in hoarding, lies
The truest meed of learning's labours.
J. C. MANGAN.
50.
WISDOM AND FOLLY.
THEY who go forth and finally win
Their way to the temple of truth by error's multiplied
They are the sages !
They who stop short for life at some inn
On the side of the road say Momus's, Mammon's, or
Cupid's,
They are the stupids.
J. C. MANGAN.
51.
SONG ON A MAY MORNING.
Now the bright morning star, Day's harbinger,
Comes dancing from the East, and leads with her
The flowery May, who from her green lap throws
The yellow cowslip and the pale primrose.
Hail, Bounteous May, that doth inspire
Mirth, and youth, and warm desire ;
Woods and groves are of thy dressing,
Hill and dale doth boast thy blessing;
Thus we salute thee with our early song,
And welcome thee, and wish thee long.
JOHN MILTON (16081674).
100
52.
BELIEVE ME, IF ALL THOSE ENDEARING YOUNG
CHARMS.
BELIEVE me, if all those endearing young charms,
Which I gaze on so fondly to-day,
Were to change by to-morrow, and fleet in my arms,
Like fairy-gifts fading away,
Thou wouldst still be ador'd, as this moment thou art,
Let thy loveliness fade as it will,
And around the dear ruin each wish of my heart
Would entwine itself verdantly still.
It is not while beauty and youth are thine own,
And thy cheeks unprofan'd by a tear
That the fervour and faith of a soul can be known,
To which time will but make thee more dear;
No, the heart that has truly lov'd never forgets,
But as truly loves on to the close,
As the sun-flower turns on her god, when he sets,
The same look which she tum'd when he rose.
THOMAS MOORE ^1779 1852).
THE HARP THAT ONCE.
THE harp that once through Tara's halls
The soul of music shed,
Now hangs as mute on Tara's walls
As if that soul were fled.
So sleeps the pride of former days,
So glory's thrill is o'er,
And hearts that once beat high for praise
Now feel that pulse no more.
No more to chiefs and ladies bright
The Harp of Tara swells ;
The cord alone that breaks at night
Its tale of ruin tells.
Thus Freedom now so seldom wakes,
The only throb she gives
Is when some heart indignant breaks
To show that still she lives.
THOMAS MOORE.
101
54.
LOVE AND HATE.
WHEN I loved you, I can't but allow
I had many an exquisite minute ;
But the scorn that I feel for you now
Hath even more luxury in it !
Thus, whether we're on or we're off,
Some witchery seems to await you ;
To love you is pleasant enough,
But oh ! 'tis delicious to hate you !
THOMAS MOORE.
55.
OH! BREATHE NOT HIS NAME.
OH ! breathe not his name, let it sleep in the shade,
Where cold and unhonour'd his relics are laid :
Sad, silent, and dark, be the tears that we shed,
As the night-dew that falls on the grass o'er his head.
But the night-dew that falls, though in silence it weeps,
Shall brighten with verdure the grave where he sleeps ;
And the tear that we shed, though in secret it rolls,
Shall long keep his memory green in our souls.
THOMAS MOORE.
56.
SHE IS FAR FROM THE LAND.
SHE is far from the land where her young hero sleeps,
And lovers are round her, sighing :
But coldly she turns from their gaze, and weeps,
For her heart in his grave is lying.
She sings the wild songs of her dear native plains,
Every note which he lov'd awaking ;
Ah ! little they think who delight in her strains,
How the heart of the Minstrel is breaking.
102
He had liv'd for his love, for his country he died,
They were all that to life had entwin'd him ;
Nor soon shall the tears of his country be dried,
Nor long will his love stay behind him.
Oh', make her a grave where the sunbeams rest,
When they promise a glorious morrow;
They'll shine o'er her sleep, like a smile from the West,
From her own lov'd island of sorrow.
THOMAS MOORE.
57.
ON A FLY DRINKING OUT OF HIS CUP.
BUSY, thirsty, curious Fly !
Drink with me, and drink as I :
Freely welcome to my cup,
Could' st thou sip, and sip it up.
Make the most of life you may ;
Life is short, and wears away.
Both alike are mine and thine,
Hast'ning quick to their decline :
Thine's a summer : mine's no more,
Though repeated to three-score :
Three-score summers, when they're gone
Will appear as short as one.
WM. OLDTS (16961761).
58.
THE OAK AND THE BEECH.
FOR the tender beech and the sapling oak,
That grow by the shadowy rill,
You may cut down both at a single stroke,
You may cut down which you will.
But this you must know, that as long as they grow,
Whatsoever change may be,
You can never teach either oak or beech
To be aught but a greenwood tree.
T. L. PEACOCK (17851866).
103
59.
THE CONTENTED MAN.
HAPPY the man, whose wish and care
A few paternal acres bound,
Content to breathe his native air
In his own ground.
Whose herds with milk, whose fields with bread,
Whose flocks supply him with attire,
Whose trees in summer yield him shade,
In winter fire.
Blest who can unconcern' dly find
Hours, days and years slide soft away.
In health of body, peace of mind,
Quiet by day,
Sound sleep by night ; study and ease,
Together mix'd ; sweet recreation,
And innocence, which most doth please,
With meditation.
Thus let me live, unseen, unknown ;
Thus unlamented let me die,
Steal from the world, and not a stone
Tell where I lie.
ALEXANDER POPE (16881744).
60.
THE DYING CHRISTIAN TO HIS SOUL.
VITAL spark of heavenly flame !
Quit, O, quit this mortal frame :
Trembling, hoping, lingering, flying,
Oh, the pain, the bliss of dying !
Cease, fond Nature, cease thy scrife,
And let us languish into life.
104
Hark ! they whisper ; angels say,
"Sister spirit, corue away."
What is this absorbs me quite ?
Steals iny senses, shuts my sight,
Drowns my spirit, draws my breath >
Tell me, my soul, can this be death?
The world recedes : it disappears !
Heaven opens on my eyes ! my ears
With sounds seraphic ring :
Lend, lend, your wings ! I mount ! I fly !
O Grave ! where is thy victory "?
O Death ! where is thy sting ?
ALEXANDER POPE.
61.
AN ITALIAN SONG.
DEAR is my little native vale,
The ring-dove builds and murmurs there ;
Close to my cot she tells her tale
To every passing villager;
The squirrel leaps from tree to tree,
And shells his nuts at liberty.
In orange groves and myrtle-bowers
That breathe a gale of fragrance round,
I charm the fairy-footed hours
With my loved lute's romantic sound ;
Or crowns of living laurel weave,
For those that win the race at eve.
The shepherd's horn at break of day,
The ballet danced in twilight glade,
The canzonet and roundelay
Sung in the silent greenwood shade
These simple joys, that never fail.
Shall bind me to my native vale.
SAMUEL ROGERS (1762 1855).
105
62.
MELANCHOLY.
Go you may call it madness, folly,
You shall not chase my gloom away ;
There's such a charm in melancholy,
I would not, if I could, be gay.
Oh, if you knew the pensive pleasure
That fills my bosom when I sigh,
You would not rob me of a treasure
Monarchs are too poor to buy.
SAMUEL ROGERS.
63.
A WISH.
MINE be a cot beside the hill ;
A beehive's hum shall soothe my ear;
A willowy brook that turns a mill
With many a fall, shall linger near.
The swallow, oft, beneath my thatch,
Shall twitter from her clay-built nest ;
Oft shall the pilgrim lift the latch,
And share my meal, a welcome guest.
Around my ivied porch shall spring,
Each fragrant flower that drinks the dew :
And Lucy, at her wheel, shall sing
In russet gown and apron blue.
The village-church among the trees,
Where first our marriage vows were given,
With merry peals shall swell the breeze
And point with taper spire to Heaven.
SAMUEL ROGERS.
106
64.
WHEN I AM DEAD.
WHEN I am dead, ray dearest,
Sing no sad songs for me ;
Plant thou no roses at my head,
Nor shady cypress tree :
Be the green grass above me
With showers and dewdrops wet :
And, if thou wilt, remember,
And, if thon wilt, forget.
I shall not see the shadows,
I shall not feel the rain ;
I shall not hear the nightingale
Sing on, as if in pain :
And dreaming through the twilight
That doth not rise nor set,
Haply I may remember,
And haply may forget.
C. G. ROSSETTI (18301894).
65.
PHYLLIS.
PHYLLIS is my only joy,
Faithless as the winds or seas,
Sometimes cunning, sometimes coy,
Yet she never fails to please ;
If with a frown
I am cast down,
Phyllis smiling,
And beguiling,
Makes me happier than before.
Though, alas! too late I find
Nothing can her fancy fix,
Yet the moment she is kind
I forgive her all her tricks :
Which though I see,
I can't get free,
She deceiving,
I believing,
What need lovers wish for more?
SIR C. SEDLEY (1639? 1701).
107
66.
FULL FATHOM FIVE.
FULL fathom five thy father lies ;
Of his bones are coral made ;
Those are pearls, that were his eyes :
Nothing of him that doth fade
But doth suffer a sea-change
Into something rich and strange.
Sea-nymphs hourly ring his knell :
Hark! now I hear them ding, dong, bell.
W. SHAKESPEARE (1564 1616).
67.
HARK! HARK! THE LARK.
HARK! hark! the lark at Heaven's gate sings,
And Phoebus 'gins arise,
His steeds to water at those springs
On chalic'd flowers that lies.
And winking Mary-buds begin
To ope their golden eyes ;
With everything that pretty bin :
My lady sweet, arise ;
Arise, arise.
WM. SHAKESPEARE.
TO LADY ANNE HAMILTON.
Too late I stay'd ! forgive the crime,
Unheeded flew the hours ;
How noiseless falls the foot of time,
That only treads on flowers !
What eye with clear account remarks
The ebbing of his glass,
When all its sands are diamond sparks,
That dazzle as they pass?
108
All ! who to sober measurement
Time's happy swiftness brings.
When birds of Paradise have lent
Their plumage for his wings ?
HON. W. R. SPENCER (17701834).
69.
CONSTANCY.
OUT upon it, I have loved
Three whole days together ;
And am like to love three more,
If it prove fine weather.
Time shall moult away his wings,
Ere he shall discover
In the whole wide world again
Such a constant lover.
But the spite on't is, no praise
Is due at all to me ;
Love with me had made no stays
Had it any been but she.
Had it any been but she,
And that very face,
There had been at least, ere this.
A dozen in her place !
SIR JOHN SUCKLING (16081641).
70.
LOVE AND DEBT.
THERE'S one request I make to Him
Who sits the clouds above :
That I were fairly out of debt,
As I am out of love.
109
Then for to dance, to drink, and sing,
I should be very willing ;
I should not owe one lass a kiss,
Nor any rogue one shilling.
'Tis only being in love, or debt,
That robs us of our rest,
And he that is quite out of both,
Of all the world is blest.
He sees the golden age, wherein
All things were free and common ;
He eats, he drinks, he takes his rest
And fears nor man nor woman.
SIR JOHN SUCKLING.
71.
BREAK, BREAK, BREAK.
BREAK, break, break,
On thy cold gray stones, O Sea !
And I would that my tongue could utter
The thoughts that arise in me.
O well for the fisherman's boy,
That he shouts with his sister at play !
O well for the sailor lad,
That he sings in his boat on the bay !
And the stately ships go on
To their haven under the hill ;
But O for the touch of a vanished hand,
And the sound of a voice that is still.
Break, break, break,
At the foot of thy crags, O Sea !
But the tender grace of a day that is dead
Will never come back to me.
ALFRED, LORD TENNYSON (180992).
110
72.
SONG FROM "THE PRINCESS."
THE splendour falls on castle walls
And snowy summits old in story :
The long light shakes across the lakes
And the wild cataract leaps in glory.
Blow, bugle, blow, set the wild echoes flying,
Blow, bugle ; answer, echoes, dying, dying, dying.
O hark, O hear ! how thin and clear,
And thinner, clearer, farther going !
O sweet and far from cliff and scar
The horns of Elfland faintly blowing !
Blow, let us hear the purple glens replying :
Blow, bugle ; answer, echoes, dying, dying, dying.
O love, they die in yon rich sky,
They faint on hill or field or river :
Our echoes roll from soul to soul,
And grow for ever and for ever.
Blow, bugle, blow, set the wild echoes flying,
And answer, echoes, answer, dying, dying, dying.
ALFRED, LORD TENNYSON.
73.
THE MANLY HEART.
SHALL I, wasting in despair,
Die because a woman's fair?
Or my cheeks make pale with care
'Cause another's rosy are?
Be she fairer than the day
Or the flowery meads in May
If she be not so to me
"What care I how fair she be?
Shall my foolish heart be pined
'Cause I see a woman kind ;
Or a well-disposed nature
Joined with a lovely feature?
Be she meeker, kinder, than
Turtle-dove or pelican,
If she be not so to me
\Vhat care I how kind she be?
Ill
Shall a woman's virtues move
Me to perish for her love ?
Or her merit's value known
Make me quite forget my own?
Be she with that goodness blest
Which may gain her name of Best ;
If she seem not such to me,
What care I how good she be?
'Cause her fortune seems too high,
Shall I play the fool and die ?
Those that bear a noble mind,
Where they want of riches find,
Think what with them they would do
Who without them dare to woo :
And unless that mind I see,
What care I tho' great she be ?
Great or good, or kind or fair,
I will ne'er the more despair ;
If she love me, this believe,
I will die ere she shall grieve ;
If she slight me when I woo,
I can ecorn, and let her go ;
For if she be not for me,
What care I for whom she be ?
GEORGE WITHER (15881667).
74.
THE BURIAL OF SIR JOHN MOORE.
NOT a drum was heard, not a funeral note,
As his corse to the ramparts we hurried ;
Not a soldier discharged his farewell shot,
O'er the grave where our hero we buried.
We buried him darkly, at dead of night,
The sods with our bayonets turning ;
By the struggling moonbeam's misty light,
And the lantern dimly burning.
112
No useless coffin enclosed his breast.
Not in sheet nor in shroud we wound him :
But he lay like a warrior taking his rest,
With his martial cloak around him.
Few and short were the prayers we said,
And we spoke not a word of sorrow :
But we steadfastly gazed on the face that was dead,
And we bitterly thought of the morrow.
We thought, as we hollowed his narrow bed,
And smoothed down his lonely pillow,
That the foe and the stranger would tread o'er his head,
And we far away on the billow !
Lightly they'll talk of the spirit that's gone,
And o'er his cold ashes upbraid him :
But little he'll reck, if they let him sleep on,
In the grave where a Briton has laid him.
But half of our heavy task was done
When the clock struck the hour for retiring :
And we heard the distant and random gun
That the foe was sullenly filing.
Slowly and sadly we laid him down,
From the field of his fame fresh and gory ;
We carved not a line, and we raised not a stone
But we left him alone with his glory.
C. WOLFE (17911823).
75.
THE LOST LOVE.
SHE dwelt among the untrodden ways
Beside the springs of Dove,
A maid whom there were none to praise,
And very few to love :
A violet by a mossy stone
Half hidden from the eye !
Fair as a star, when only one.
Is shining in the sky.
113
She lived unknown, and few could know
When Lucy ceased to be :
But she is in her grave, and, oh !
The difference to me !
WM. WORDSWORTH (17701850).
76.
THE RAINBOW.
MY heart leaps up when I behold
A rainbow in the sky :
So was it when my life began ;
So is it now I am a man ;
So be it when I shall grow old,
Or let me die !
The Child is father of the Man;
And I could wish my days to be
Bound each to each by natural piety.
WM. WORDSWORTH.
77.
SHE WAS A PHANTOM OF DELIGHT.
SHE was a Phantom of delight
When first she gleamed upon my sight ;
A lovely Apparition, sent
To be a moment's ornament;
His eyes as stars of Twilight fair;
Like Twilight's, too, her dusky hair ;
But all things else about her drawn
From May-time and the cheerful Dawn.
A dancing Shape, an Image gay,
To haunt, to startle, and way-lay.
114
I saw her upon nearer view,
A Spirit, yet a Woman too !
Her household motions light and free,
And steps of virgin liberty :
A countenance in which did meet
Sweet records, promises as sweet :
A Creature not too bright or good
For human nature's daily food ;
For transient sorrows, simple wiles,
Praise, blame, love, kisses, tears, and smiles.
And now I see with eye serene
The very pulse of the machine :
A Being breathing thoughtful breath,
A Traveller between life and death :
The reason firm, the temperate will.
Endurance, foresight, strength, and skill :
A perfect Woman, nobly planned.
To warn, to comfort, and command :
And yet a Spirit still, and bright,
With something of angelic light.
WM. WORDSWORTH.
115
INDEX OF FIRST LINES.
[The same poem will be found under the same number in both
parts of the book.]
No.
As Dick and I were a-sailing by -
A wet sheet and a flowing sea 28
Beautiful, sublime, and glorious ----- 6
Believe me, if all those endearing young charms 52
Break, break, break 71
Busy, thirsty, curious Fly!
Dear is my little native vale 61
Do you ask what the birds say ? - 23
Drink to me only with thine eyes - 40
Eternal Spirit of the chainless Mind ! - 17
Fair daffodils, we weep to see -
For the tender beech and the sapling oak -
Full fathom five thy father lies 66
Gather ye rose-buds while ye may - 30
God bless the King ! I mean the Faith's Defender 16
Go you may call it madness, folly - - 62
Happy the man, whose wish and care -9
Hark ! hark ! the lark at Heaven's gate sings 67
Her eyes the glow-worm lend thee - - 32
He that is down needs fear no fall - 15
He that loves a rosy cheek -
How sweet is the shepherd's sweet lot 13
I'd be a Butterfly born in a bower - 7
If I had but two little wings - 25
I once had a sweet little doll, dears 41
I remember, I remember - - 36
Jenny kiss'd me when we met
Life ! I know not what thou art - 4
Long they pine in weary woe, the nobles of our land - 48
Love is like the wild rose-briar - - - 14
117
No.
Mine be a cot beside the hill ... - - 63
My heart leaps up when I behold 76
Not a drum was heard, not a funeral note - 74
Now the bright morning star, Day's harbinger 51
O, gentle, gentle summer rain - - 9
Oh ! breathe not his name, let it sleep in the shade - 55
On Linden, when the sun was low - - 19
On the banks of Allan Water - 45
Out upon it, I have loved 69
Pack, Clouds, away ! and welcome, day ! 34
Phyllis is my only joy - 65
Piping down the valleys wild 12
Queen of fresh flowers - - 29
Ring-ting ! I wish I were a Primrose 1
Says Plato, why should man be vain - 2
See how those worlds that roll afar 49
Shall I, wasting in despair - 73
She dwelt among the untrodden ways - 75
She is far from the land where her young hero sleeps 56
She is not fair to outward view - 22
She was a Phantom of delight 77
Star that bringest home the bee - 20
Strew on her roses, roses - 3
Sun of the sleepless! melancholy star! 18
The harp that once through Tara's halls 53
The poplars are felled, farewell to the shade 27
There's no dew left on the daisies and clover 39
There's one request I make to Him 70
The splendour falls on castle walls 72
They who go forth and finally win 50
Three fishers went sailing away to the West 42
Too late I stay'd! forgive the crime 68
Twenty years hence my eyes may grow 44
Vital spark of heavenly flame ! 60
Welcome, maids of honour - 33
We watch'd her breathing thro' the night - 35
When I am dead, my dearest 64
118
No.
When I loved you, I can't but allow - -54
When I'm dead, on my tomb-stone I hope they will say - 8
When late I attempted your pity to move - 10
When Love with unconfined wings - 46
When maidens such as Hester die - 43
When sparrows build, and the leaves break forth - - 38
W 7 hen the voices of children are heard on the green - - 11
Where did you come from, baby dear? - - - - 47
Where is the grave of Sir Arthur O'Kellyn? - 24
While I'm blest with health and plenty - 26
119
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