Thursday 14 March 2019

Hawk Roosting- Ted Hughes

Hawk Roosting - Ted Hughes (1930-1998)

From: Lupercal (1960)


I sit in the top of the wood, my eyes closed.
Inaction, no falsifying dream
Between my hooked head and hooked feet:
Or in sleep rehearse perfect kills and eat.

The convenience of the high trees!
The air's buoyancy and the sun's ray
Are of advantage to me;
And the earth's face upward for my inspection.

My feet are locked upon the rough bark.
It took the whole of Creation
To produce my foot, my each feather:
Now I hold Creation in my foot

Or fly up, and revolve it all slowly -
I kill where I please because it is all mine.
There is no sophistry in my body:
My manners are tearing off heads -

The allotment of death.
For the one path of my flight is direct
Through the bones of the living.
No arguments assert my right:

The sun is behind me.
Nothing has changed since I began.
My eye has permitted no change.
I am going to keep things like this.

Considering the snail - Thom Gunn

Considering The Snail - Thom Gunn (1929-2004)


From: My Sad Captains (1961)


The snail pushes through a green
night, for the grass is heavy
with water and meets over
the bright path he makes, where rain
has darkened the earth’s dark. He
moves in a wood of desire,

pale antlers barely stirring
as he hunts. I cannot tell
what power is at work, drenched there
with purpose, knowing nothing.
What is a snail’s fury? All
I think is that if later

I parted the blades above
the tunnel and saw the thin
trail of broken white across
litter, I would never have
imagined the slow passion
to that deliberate progress.

Friday 8 March 2019

Mental Cases- Wilfred Owen

Mental Cases

Who are these? Why sit they here in twilight?
Wherefore rock they, purgatorial shadows,
Drooping tongues from jaws that slob their relish,
Baring teeth that leer like skulls’ tongues wicked?
Stroke on stroke of pain,—but what slow panic,
Gouged these chasms round their fretted sockets?
Ever from their hair and through their hand palms
Misery swelters. Surely we have perished
Sleeping, and walk hell; but who these hellish? 

—These are men whose minds the Dead have ravished.
Memory fingers in their hair of murders,
Multitudinous murders they once witnessed.
Wading sloughs of flesh these helpless wander,
Treading blood from lungs that had loved laughter.
Always they must see these things and hear them,
Batter of guns and shatter of flying muscles,
Carnage incomparable and human squander
Rucked too thick for these men’s extrication.

Therefore still their eyeballs shrink tormented
Back into their brains, because on their sense
Sunlight seems a bloodsmear; night comes blood-black;
Dawn breaks open like a wound that bleeds afresh
—Thus their heads wear this hilarious, hideous,
Awful falseness of set-smiling corpses.
—Thus their hands are plucking at each other;
Picking at the rope-knouts of their scourging;
Snatching after us who smote them, brother,
Pawing us who dealt them war and madness.

Sailing to Byzantium - W. B. Yeats





W
illiam Butler Yeats (1865-1939) was born in Dublin. His father was a lawyer and a well-known portrait painter. Yeats was educated in London and in Dublin, but he spent his summers in the west of Ireland in the family’s summer house at Connaught. The young Yeats was very much part of the fin de siècle in London; at the same time he was active in societies that attempted an Irish literary revival. His first volume of verse appeared in 1887, but in his earlier period his dramatic production outweighed his poetry both in bulk and in import. Together with Lady Gregory he founded the Irish Theatre, which was to become the Abbey Theatre, and served as its chief playwright until the movement was joined by John Synge. His plays usually treat Irish legends; they also reflect his fascination with mysticism and spiritualism. The Countess Cathleen (1892), The Land of Heart’s Desire (1894), Cathleen ni Houlihan (1902), The King’s Threshold (1904), and Deirdre (1907) are among the best known.

After 1910, Yeats’s dramatic art took a sharp turn toward a highly poetical, static, and esoteric style. His later plays were written for small audiences; they experiment with masks, dance, and music, and were profoundly influenced by the Japanese Noh plays. Although a convinced patriot, Yeats deplored the hatred and the bigotry of the Nationalist movement, and his poetry is full of moving protests against it. He was appointed to the Irish Senate in 1922. Yeats is one of the few writers whose greatest works were written after the award of the Nobel Prize. Whereas he received the Prize chiefly for his dramatic works, his significance today rests on his lyric achievement. His poetry, especially the volumes The Wild Swans at Coole (1919), Michael Robartes and the Dancer (1921), The Tower (1928), The Winding Stair and Other Poems (1933), and Last Poems and Plays (1940), made him one of the outstanding and most influential twentieth-century poets writing in English. His recurrent themes are the contrast of art and life, masks, cyclical theories of life (the symbol of the winding stairs), and the ideal of beauty and ceremony contrasting with the hubbub of modern life.


Sailing to Byzantium

BY WILLIAM BUTLER YEATS
I

That is no country for old men. The young
In one another's arms, birds in the trees,
—Those dying generations—at their song,
The salmon-falls, the mackerel-crowded seas,
Fish, flesh, or fowl, commend all summer long
Whatever is begotten, born, and dies.
Caught in that sensual music all neglect
Monuments of unageing intellect.


II

An aged man is but a paltry thing,
A tattered coat upon a stick, unless
Soul clap its hands and sing, and louder sing
For every tatter in its mortal dress,
Nor is there singing school but studying
Monuments of its own magnificence;
And therefore I have sailed the seas and come
To the holy city of Byzantium.


III

O sages standing in God's holy fire
As in the gold mosaic of a wall,
Come from the holy fire, perne in a gyre,
And be the singing-masters of my soul.
Consume my heart away; sick with desire
And fastened to a dying animal
It knows not what it is; and gather me
Into the artifice of eternity.


IV

Once out of nature I shall never take
My bodily form from any natural thing,
But such a form as Grecian goldsmiths make
Of hammered gold and gold enamelling
To keep a drowsy Emperor awake;
Or set upon a golden bough to sing
To lords and ladies of Byzantium
Of what is past, or passing, or to come.

W. B. Yeats, “Sailing to Byzantium” from The Poems of W. B. Yeats: A New Edition, edited by Richard J. Finneran. Copyright 1933 by Macmillan Publishing Company, renewed © 1961 by Georgie Yeats. Reprinted with the permission of A. P. Watt, Ltd. on behalf of Michael Yeats.
Source: The Collected Poems of W. B. Yeats (1989)
From: https://www.poetryfoundation.org/poems/43291/sailing-to-byzantium   for educational purpose.

Wednesday 6 March 2019

The Hollow Men - T. S. Eliot

Thomas Stearns Eliot (1888-1965)

Thomas Stearns Eliot was born in St. Louis, Missouri,  on September 26, 1888. He lived in St. Louis during the first eighteen years of his life and attended Harvard University. In 1910, he left the United States for the Sorbonne, having earned both undergraduate and masters degrees and having contributed several poems to the Harvard Advocate.
After a year in Paris, he returned to Harvard to pursue a doctorate in philosophy, but returned to Europe and settled in England in 1914. The following year, he married Vivienne Haigh-Wood and began working in London, first as a teacher, and later for Lloyd’s Bank.
It was in London that Eliot came under the influence of his contemporary Ezra Pound, who recognized his poetic genius at once, and assisted in the publication of his work in a number of magazines, most notably “The Love Song of J. Alfred Prufrock” in Poetry in 1915. His first book of poems, Prufrock and Other Observations, was published in 1917, and immediately established him as a leading poet of the avant-garde. With the publication of The Waste Land in 1922, now considered by many to be the single most influential poetic work of the twentieth century, Eliot’s reputation began to grow to nearly mythic proportions; by 1930, and for the next thirty years, he was the most dominant figure in poetry and literary criticism in the English-speaking world.
As a poet, he transmuted his affinity for the English metaphysical poets of the seventeenth century (most notably John Donne) and the nineteenth century French symbolist poets (including Baudelaire and Laforgue) into radical innovations in poetic technique and subject matter. His poems in many respects articulated the disillusionment of a younger post–World War I generation with the values and conventions—both literary and social—of the Victorian era. As a critic also, he had an enormous impact on contemporary literary taste, propounding views that, after his conversion to orthodox Christianity in the late thirties, were increasingly based in social and religious conservatism. His major later poetry collections include Ash Wednesday (1930) and Four Quartets(1943); his books of literary and social criticism include The Sacred Wood (1920), The Use of Poetry and the Use of Criticism (1933), After Strange Gods (1934), and Notes Towards the Definition of Culture (1940). Eliot was also an important playwright, whose verse dramas include Murder in the CathedralThe Family Reunion, and The Cocktail Party.
He became a British citizen in 1927; long associated with the publishing house of Faber & Faber, he published many younger poets, and eventually became director of the firm. After a notoriously unhappy first marriage, Eliot separated from his first wife in 1933, and remarried Valerie Fletcher in 1956. T. S. Eliot received the Nobel Prize for Literature in 1948. He died in London on January 4, 1965.



The Complete Poems and Plays (1952)
Four Quartets (1943)
Burnt Norton (1941)
The Dry Salvages (1941)
East Coker (1940)
Old Possum’s Book of Practical Cats (1939)
Ash Wednesday (1930)
Poems, 1909–1925 (1925)
The Waste Land (1922)
Poems (1919)
Prufrock and Other Observations (1917)
Prose
The Three Voices of Poetry (1954)
Poetry and Drama (1951)
Notes Towards the Definition of Culture (1949)
The Classics and The Man of Letters (1942)
The Idea of a Christian Society (1940)
Essays Ancient and Modern (1936)
Elizabethan Essays (1934)
The Use of Poetry and the Use of Criticism (1933)
After Strange Gods (1933)
John Dryden (1932)
Thoughts After Lambeth (1931)
Tradition and Experimentation in Present-Day Literature (1929)
Dante (1929)
For Lancelot Andrews (1928)
Andrew Marvell (1922)
The Sacred Wood (1920)
Drama
The Confidential Clerk (1953)
The Cocktail Party (1950)
The Family Reunion (1939)
Murder in the Cathedral (1935)
The Rock (1934)
Sweeney Agonistes (1932)

Selected Bibliography
Poetry
Collected Poems (1962)
Religious Drama: Mediaeval and Modern (1954)
The Elder Statesman (1958)

From: https://www.poets.org/poetsorg/poet/t-s-eliot
The Hollow Men (1925)
by 
T.S. Eliot


Mistah Kurtz - he dead.

A penny for the Old Guy


I

We are the hollow men
We are the stuffed men
Leaning together
Headpiece filled with straw. Alas!
Our dried voices, when
We whisper together
Are quiet and meaningless
As wind in dry grass
or rats' feet over broken glass
In our dry cellar

Shape without form, shade without colour,
Paralysed force, gesture without motion;

Those who have crossed
With direct eyes, to death's other kingdom
Remember us - if at all - not as lost
Violent souls, but only
As the hollow men
The stuffed men.
Picture

II

Eyes I dare not meet in dreams
In death's dream kingdom
These do not appear:
There, the eyes are
Sunlight on a broken column
There, is a tree swinging
And voices are
In the wind's singing
More distant and more solemn
Than a fading star.

Let me be no nearer
In death's dream kingdom
Let me also wear
Such deliberate disguises
Rat's coat, crowskin, crossed staves
In a field
Behaving as the wind behaves
No nearer -

Not that final meeting
In the twilight kingdom
Picture


III

This is the dead land
This is cactus land
Here the stone images
Are raised, here they receive
The supplication of a dead man's hand
Under the twinkle of a fading star.

Is it like this
In death's other kingdom
Waking alone
At the hour when we are
Trembling with tenderness
Lips that would kiss
Form prayers to broken stone.
Picture


IV

The eyes are not here
There are no eyes here
In this valley of dying stars
In this hollow valley
This broken jaw of our lost kingdoms

In this last of meeting places
We grope together
And avoid speech
Gathered on this beach of this tumid river

Sightless, unless
The eyes reappear
As the perpetual star
Multifoliate rose
Of death's twilight kingdom
The hope only
Of empty men.
Picture


V

Here we go round the prickly pear
Prickly pear prickly pear
Here we go round the prickly pear
At five o'clock in the morning.

Between the idea
And the reality
Between the motion
And the act
Falls the Shadow

For Thine is the Kingdom

Between the conception
And the creation
Between the emotion
And the response
Falls the Shadow

Life is very long

Between the desire
And the spasm
Between the potency
And the existence
Between the essence
And the descent
Falls the Shadow

For Thine is the Kingdom

For Thine is
Life is
For Thine is the

This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but with a whimper. 




Notes:
1. Mistah Kurtz: a character in Joseph Conrad's "Heart of Darkness."
2. A...Old Guy: a cry of English children on the streets on Guy Fawkes Day, November 5, when they carry straw effigies of Guy Fawkes and beg for money for fireworks to celebrate the day. Fawkes was a traitor who attempted with conspirators to blow up both houses of Parliament in 1605; the "gunpowder plot" failed.
3. Those...Kingdom: Those who have represented something positive and direct are blessed in Paradise. The reference is to Dante's "Paradiso". 
4. Eyes: eyes of those in eternity who had faith and confidence and were a force that acted and were not paralyzed.
5. crossed stave: refers to scarecrows
6. tumid river: swollen river. The River Acheron in Hell in Dante's "Inferno". The damned must cross this river to get to the land of the dead.
7. Multifoliate rose: in dante's "Divine Comedy" paradise is described as a rose of many leaves.
8. prickly pear: cactus
9. Between...act: a reference to "Julius Caesar" "Between the acting of a dreadful thing/And the first motion, all the interim is/Like a phantasma or a hideous dream."
10. For...Kingdom: the beginning of the closing words of the Lord's Prayer. © by owner. provided at no charge for educational purposes

Influence: Received and Gained

The Heart of Darkness was written and said to be referenced to several pieces of works in literature, but the first two lines in the poem directly allude to Kurtz from Heart of Darkness and to Guy Fawkes, an attempted arsonist of the English house of Parliament, "Mistah Kurtz - he dead" and "A penny for the Old Guy" respectively. The entire poem resembles that exactly of Kurtz, Marlow, and the other characters portrayed in the novella. It states much of the same themes and messages of the book, and the question of moral seems to be the common theme among the film, book, and the poem. The poem is timeless and is still referenced to today's society of men working in the corporate industry. 


In a scene in Apocalypse Now, Kurtz is reading Eliot's work towards the end of the film along with his other books ranging from the Holy Bible to The Golden Bough. Besides the adaptation from the novel, Coppola uses the idea of incorporating the poem into the film not just as a theme, but using the physical prose as a line in the film. This shows not only the importance of the poem to the film, but the personal level of relatability that was able to be had on Colonel Kurtz from the film. Indeed, the poem is about his character portrayed from the version of the book. 

"Shape without form, shade without colour, 
Paralysed force, gesture without motion"

"This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but with a whimper"

Wednesday 20 February 2019

The Scholar Gypsy - Matthew Arnold

The Scholar-Gipsy


BY MATTHEW ARNOLD

The Scholar Gipsylyric poem by Matthew Arnold, published in Poems (1853). It is a masterful handling of the 10-line stanza that John Keats used in many of his odes. The poem’s subject is a legendary Oxford scholar who gives up his academic life to roam the world with a band of Gypsies, absorbing their customs and seeking the source of their wisdom. The poem is filled with vivid descriptions of the countryside around Oxford.

(Source: https://www.britannica.com/topic/The-Scholar-Gipsy)


The Scholar-Gipsy

BY MATTHEW ARNOLD
Go, for they call you, shepherd, from the hill; 
Go, shepherd, and untie the wattled cotes! 
No longer leave thy wistful flock unfed, 
Nor let thy bawling fellows rack their throats, 
Nor the cropp'd herbage shoot another head. 
But when the fields are still, 
And the tired men and dogs all gone to rest, 
And only the white sheep are sometimes seen 
Cross and recross the strips of moon-blanch'd green. 
Come, shepherd, and again begin the quest! 

Here, where the reaper was at work of late— 
In this high field's dark corner, where he leaves 
His coat, his basket, and his earthen cruse, 
And in the sun all morning binds the sheaves, 
Then here, at noon, comes back his stores to use— 
Here will I sit and wait, 
While to my ear from uplands far away 
The bleating of the folded flocks is borne, 
With distant cries of reapers in the corn— 
All the live murmur of a summer's day. 

Screen'd is this nook o'er the high, half-reap'd field, 
And here till sun-down, shepherd! will I be. 
Through the thick corn the scarlet poppies peep, 
And round green roots and yellowing stalks I see 
Pale pink convolvulus in tendrils creep; 
And air-swept lindens yield 
Their scent, and rustle down their perfumed showers 
Of bloom on the bent grass where I am laid, 
And bower me from the August sun with shade; 
And the eye travels down to Oxford's towers. 

And near me on the grass lies Glanvil's book— 
Come, let me read the oft-read tale again! 
The story of the Oxford scholar poor, 
Of pregnant parts and quick inventive brain, 
Who, tired of knocking at preferment's door, 
One summer-morn forsook 
His friends, and went to learn the gipsy-lore, 
And roam'd the world with that wild brotherhood, 
And came, as most men deem'd, to little good, 
But came to Oxford and his friends no more. 

But once, years after, in the country-lanes, 
Two scholars, whom at college erst he knew, 
Met him, and of his way of life enquired; 
Whereat he answer'd, that the gipsy-crew, 
His mates, had arts to rule as they desired 
The workings of men's brains, 
And they can bind them to what thoughts they will. 
"And I," he said, "the secret of their art, 
When fully learn'd, will to the world impart; 
But it needs heaven-sent moments for this skill." 

This said, he left them, and return'd no more.— 
But rumours hung about the country-side, 
That the lost Scholar long was seen to stray, 
Seen by rare glimpses, pensive and tongue-tied, 
In hat of antique shape, and cloak of grey, 
The same the gipsies wore. 
Shepherds had met him on the Hurst in spring; 
At some lone alehouse in the Berkshire moors, 
On the warm ingle-bench, the smock-frock'd boors 
Had found him seated at their entering, 

But, 'mid their drink and clatter, he would fly. 
And I myself seem half to know thy looks, 
And put the shepherds, wanderer! on thy trace; 
And boys who in lone wheatfields scare the rooks 
I ask if thou hast pass'd their quiet place; 
Or in my boat I lie 
Moor'd to the cool bank in the summer-heats, 
'Mid wide grass meadows which the sunshine fills, 
And watch the warm, green-muffled Cumner hills, 
And wonder if thou haunt'st their shy retreats. 

For most, I know, thou lov'st retired ground! 
Thee at the ferry Oxford riders blithe, 
Returning home on summer-nights, have met 
Crossing the stripling Thames at Bab-lock-hithe, 
Trailing in the cool stream thy fingers wet, 
As the punt's rope chops round; 
And leaning backward in a pensive dream, 
And fostering in thy lap a heap of flowers 
Pluck'd in shy fields and distant Wychwood bowers, 
And thine eyes resting on the moonlit stream. 

And then they land, and thou art seen no more!— 
Maidens, who from the distant hamlets come 
To dance around the Fyfield elm in May, 
Oft through the darkening fields have seen thee roam, 
Or cross a stile into the public way. 
Oft thou hast given them store 
Of flowers—the frail-leaf'd, white anemony, 
Dark bluebells drench'd with dews of summer eves, 
And purple orchises with spotted leaves— 
But none hath words she can report of thee. 

And, above Godstow Bridge, when hay-time's here 
In June, and many a scythe in sunshine flames, 
Men who through those wide fields of breezy grass 
Where black-wing'd swallows haunt the glittering Thames, 
To bathe in the abandon'd lasher pass, 
Have often pass'd thee near 
Sitting upon the river bank o'ergrown; 
Mark'd thine outlandish garb, thy figure spare, 
Thy dark vague eyes, and soft abstracted air— 
But, when they came from bathing, thou wast gone! 

At some lone homestead in the Cumner hills, 
Where at her open door the housewife darns, 
Thou hast been seen, or hanging on a gate 
To watch the threshers in the mossy barns. 
Children, who early range these slopes and late 
For cresses from the rills, 
Have known thee eyeing, all an April-day, 
The springing pasture and the feeding kine; 
And mark'd thee, when the stars come out and shine, 
Through the long dewy grass move slow away. 

In autumn, on the skirts of Bagley Wood— 
Where most the gipsies by the turf-edged way 
Pitch their smoked tents, and every bush you see 
With scarlet patches tagg'd and shreds of grey, 
Above the forest-ground called Thessaly— 
The blackbird, picking food, 
Sees thee, nor stops his meal, nor fears at all; 
So often has he known thee past him stray, 
Rapt, twirling in thy hand a wither'd spray, 
And waiting for the spark from heaven to fall. 

And once, in winter, on the causeway chill 
Where home through flooded fields foot-travellers go, 
Have I not pass'd thee on the wooden bridge, 
Wrapt in thy cloak and battling with the snow, 
Thy face tow'rd Hinksey and its wintry ridge? 
And thou has climb'd the hill, 
And gain'd the white brow of the Cumner range; 
Turn'd once to watch, while thick the snowflakes fall, 
The line of festal light in Christ-Church hall— 
Then sought thy straw in some sequester'd grange. 

But what—I dream! Two hundred years are flown 
Since first thy story ran through Oxford halls, 
And the grave Glanvil did the tale inscribe 
That thou wert wander'd from the studious walls 
To learn strange arts, and join a gipsy-tribe; 
And thou from earth art gone 
Long since, and in some quiet churchyard laid— 
Some country-nook, where o'er thy unknown grave 
Tall grasses and white flowering nettles wave, 
Under a dark, red-fruited yew-tree's shade. 

—No, no, thou hast not felt the lapse of hours! 
For what wears out the life of mortal men? 
'Tis that from change to change their being rolls; 
'Tis that repeated shocks, again, again, 
Exhaust the energy of strongest souls 
And numb the elastic powers. 
Till having used our nerves with bliss and teen, 
And tired upon a thousand schemes our wit, 
To the just-pausing Genius we remit 
Our worn-out life, and are—what we have been. 

Thou hast not lived, why should'st thou perish, so? 
Thou hadst one aim, one business, one desire; 
Else wert thou long since number'd with the dead! 
Else hadst thou spent, like other men, thy fire! 
The generations of thy peers are fled, 
And we ourselves shall go; 
But thou possessest an immortal lot, 
And we imagine thee exempt from age 
And living as thou liv'st on Glanvil's page, 
Because thou hadst—what we, alas! have not. 

For early didst thou leave the world, with powers 
Fresh, undiverted to the world without, 
Firm to their mark, not spent on other things; 
Free from the sick fatigue, the languid doubt, 
Which much to have tried, in much been baffled, brings. 
O life unlike to ours! 
Who fluctuate idly without term or scope, 
Of whom each strives, nor knows for what he strives, 
And each half lives a hundred different lives; 
Who wait like thee, but not, like thee, in hope. 

Thou waitest for the spark from heaven! and we, 
Light half-believers of our casual creeds, 
Who never deeply felt, nor clearly will'd, 
Whose insight never has borne fruit in deeds, 
Whose vague resolves never have been fulfill'd; 
For whom each year we see 
Breeds new beginnings, disappointments new; 
Who hesitate and falter life away, 
And lose to-morrow the ground won to-day— 
Ah! do not we, wanderer! await it too? 

Yes, we await it!—but it still delays, 
And then we suffer! and amongst us one, 
Who most has suffer'd, takes dejectedly 
His seat upon the intellectual throne; 
And all his store of sad experience he 
Lays bare of wretched days; 
Tells us his misery's birth and growth and signs, 
And how the dying spark of hope was fed, 
And how the breast was soothed, and how the head, 
And all his hourly varied anodynes. 

This for our wisest! and we others pine, 
And wish the long unhappy dream would end, 
And waive all claim to bliss, and try to bear; 
With close-lipp'd patience for our only friend, 
Sad patience, too near neighbour to despair— 
But none has hope like thine! 
Thou through the fields and through the woods dost stray, 
Roaming the country-side, a truant boy, 
Nursing thy project in unclouded joy, 
And every doubt long blown by time away. 

O born in days when wits were fresh and clear, 
And life ran gaily as the sparkling Thames; 
Before this strange disease of modern life, 
With its sick hurry, its divided aims, 
Its heads o'ertax'd, its palsied hearts, was rife— 
Fly hence, our contact fear! 
Still fly, plunge deeper in the bowering wood! 
Averse, as Dido did with gesture stern 
From her false friend's approach in Hades turn, 
Wave us away, and keep thy solitude! 

Still nursing the unconquerable hope, 
Still clutching the inviolable shade, 
With a free, onward impulse brushing through, 
By night, the silver'd branches of the glade— 
Far on the forest-skirts, where none pursue, 
On some mild pastoral slope 
Emerge, and resting on the moonlit pales 
Freshen thy flowers as in former years 
With dew, or listen with enchanted ears, 
From the dark tingles, to the nightingales! 

But fly our paths, our feverish contact fly! 
For strong the infection of our mental strife, 
Which, though it gives no bliss, yet spoils for rest; 
And we should win thee from thy own fair life, 
Like us distracted, and like us unblest. 
Soon, soon thy cheer would die, 
Thy hopes grow timorous, and unfix'd thy powers, 
And thy clear aims be cross and shifting made; 
And then thy glad perennial youth would fade, 
Fade and grow old at last, and die like ours. 

Then fly our greetings, fly our speech and smiles! 
—As some grave Tyrian trader, from the sea, 
Descried at sunrise an emerging prow 
Lifting the cool-hair'd creepers stealthily, 
The fringes of a southward-facing brow 
Among the Ægæan Isles; 
And saw the merry Grecian coaster come, 
Freighted with amber grapes, and Chian wine, 
Green, bursting figs, and tunnies steep'd in brine— 
And knew the intruders on his ancient home, 

The young light-hearted masters of the waves— 
And snatch'd his rudder, and shook out more sail; 
And day and night held on indignantly 
O'er the blue Midland waters with the gale, 
Betwixt the Syrtes and soft Sicily, 
To where the Atlantic raves 
Outside the western straits; and unbent sails 
There, where down cloudy cliffs, through sheets of foam, 
Shy traffickers, the dark Iberians come; 
And on the beach undid his corded bales. 

Source: https://www.poetryfoundation.org/poems/43606/the-scholar-gipsy