No More Learning

Then he caught,
seeing the fire in my eyes,
my fire, my fever, perhaps,
for he leaned
with the purple wine
stained in his sleeve,
and said this:
"Did you ever think
a girl's mouth
caught in a kiss
is a lily that laughs? "

I had not.
I saw it now
as men must see it forever afterwards;
no poet could write again,
"the red-lily,
a girl's laugh caught in a kiss;"
it was his to pour in the vat
from which all poets dip and quaff,
for poets are brothers in this.

So I saw the fire in his eyes,
it was almost my fire
(he was younger)
I saw the face so white;
my heart beat,
it was almost my phrase,
I said, "surprise the muses,
take them by surprise;
it is late,
rather it is dawn-rise,
those ladies sleep, the nine,
our own king's mistresses. "

A name to rhyme,
flowers to bring to a name,
what was one girl faint and shy,
with eyes like the myrtle
(I said: "her underlids
are rather like myrtle"),
to vie with the nine?

Let him take the name,
he had the rhymes,
"the rose, loved of love,"
"the lily, a mouth that laughs,"
he had the gift,
"the scented crocus,
the purple hyacinth,"
what was one girl to the nine?

He said:
"I will make her a wreath;"
he said:
"I will write it thus:
_'I will bring you the lily that laughs,
I will twine
with soft narcissus, the myrtle,
sweet crocus, white violet,
the purple hyacinth and, last,
the rose, loved of love,
that these may drip on your hair
the less soft flowers,
may mingle sweet with the sweet
of Heliodora's locks,
myrrh-curled. '_"

(He wrote myrrh-curled,
I think, the first. )

I said:
"they sleep, the nine,"
when he shouted swift and passionate:
"_that_ for the nine!
Above the mountains
the sun is about to wake,
_and to-day white violets
shine beside white lilies
adrift on the mountain side;
to-day the narcissus opens
that loves the rain_. "

I watched him to the door,
catching his robe
as the wine-bowl crashed to the floor,
spilling a few wet lees
(ah, his purple hyacinth! );
I saw him out of the door,
I thought:
there will never be a poet,
in all the centuries after this,
who will dare write,
after my friend's verse,
"a girl's mouth
is a lily kissed. "




TOWARD THE PIRAEUS


_Slay with your eyes, Greek,
men over the face of the earth,
slay with your eyes, the host,
puny, passionless, weak. _

_Break, as the ranks of steel
broke of the Persian host:
craven, we hated them then:
now we would count them Gods
beside these, spawn of the earth. _

_Grant us your mantle, Greek;
grant us but one
to fright (as your eyes) with a sword,
men, craven and weak,
grant us but one to strike
one blow for you, passionate Greek. _


I

You would have broken my wings,
but the very fact that you knew
I had wings, set some seal
on my bitter heart, my heart
broke and fluttered and sang.

You would have snared me,
and scattered the strands of my nest;
but the very fact that you saw,
sheltered me, claimed me,
set me apart from the rest.

Of men--of _men_ made you a god,
and me, claimed me, set me apart
and the song in my breast, yours, yours forever--
if I escape your evil heart.


II

I loved you:
men have writ and women have said
they loved,
but as the Pythoness stands by the altar,
intense and may not move;

till the fumes pass over;
and may not falter nor break,
till the priest has caught the words
that mar or make
a deme or a ravaged town;

so I, though my knees tremble,
my heart break,
must note the rumbling,
heed only the shuddering
down in the fissure beneath the rock
of the temple floor;

must wait and watch
and may not turn nor move,
nor break from my trance to speak
so slight, so sweet,
so simple a word as love.


III

What had you done
had you been true,
I can not think,
I may not know.

What could we do
were I not wise,
what play invent,
what joy devise?

What could we do
if you were great?
(Yet were you lost,
who were there, then,
to circumvent
the tricks of men? )

What can we do,
for curious lies
have filled your heart,
and in my eyes
sorrow has writ
that I am wise.


IV

If I had been a boy,
I would have worshiped your grace,
I would have flung my worship
before your feet,
I would have followed apart,
glad, rent with an ecstasy
to watch you turn
your great head, set on the throat,
thick, dark with its sinews,
burned and wrought
like the olive stalk,
and the noble chin
and the throat.

I would have stood,
and watched and watched
and burned,
and when in the night,
from the many hosts, your slaves,
and warriors and serving men
you had turned
to the purple couch and the flame
of the woman, tall like cypress tree
that flames sudden and swift and free
as with crackle of golden resin
and cones and the locks flung free
like the cypress limbs,
bound, caught and shaken and loosed,
bound, caught and riven and bound
and loosened again,
as in rain of a kingly storm
or wind full from a desert plain.

So, when you had risen
from all the lethargy of love and its heat,
you would have summoned me, me alone,
and found my hands,
beyond all the hands in the world,
cold, cold, cold,
intolerably cold and sweet.


V

It was not chastity that made me cold nor fear,
only I knew that you, like myself, were sick
of the puny race that crawls and quibbles and lisps
of love and love and lovers and love's deceit.

It was not chastity that made me wild but fear
that my weapon, tempered in different heat,
was over-matched by yours, and your hand
skilled to yield death-blows, might break.

With the slightest turn--no ill-will meant--
my own lesser, yet still somewhat fine-wrought
fiery-tempered, delicate, over-passionate steel.




CONRAD AIKEN




SEVEN TWILIGHTS


I

The ragged pilgrim, on the road to nowhere,
Waits at the granite milestone. It grows dark.
Willows lean by the water. Pleas of water
Cry through the trees. And on the boles and boughs
Green water-lights make rings, already paling.
Leaves speak everywhere. The willow leaves
Silverly stir on the breath of moving water,
Birch-leaves, beyond them, twinkle, and there on the hill,
And the hills beyond again, and the highest hill,
Serrated pines, in the dusk, grow almost black.
By the eighth milestone on the road to nowhere
He drops his sack, and lights once more the pipe
There often lighted. In the dusk-sharpened sky
A pair of night-hawks windily sweep, or fall,
Booming, toward the trees. Thus had it been
Last year, and the year before, and many years:
Ever the same. "Thus turns the human track
Backward upon itself, I stand once more
By this small stream. . . " Now the rich sound of leaves,
Turning in air to sway their heavy boughs,
Burns in his heart, sings in his veins, as spring
Flowers in veins of trees; bringing such peace
As comes to seamen when they dream of seas.
"O trees! exquisite dancers in gray twilight!
Witches! fairies! elves! who wait for the moon
To thrust her golden horn, like a golden snail,
Above that mountain--arch your green benediction
Once more over my heart. Muffle the sound of bells,
Mournfully human, that cries from the darkening valley;
Close, with your leaves, about the sound of water:
Take me among your hearts as you take the mist
Among your boughs! " . . . Now by the granite milestone,
On the ancient human road that winds to nowhere,
The pilgrim listens, as the night air brings
The murmured echo, perpetual, from the gorge
Of barren rock far down the valley. Now,
Though twilight here, it may be starlight there;
Mist makes elfin lakes in the hollow fields;
The dark wood stands in the mist like a somber island
With one red star above it. . . . "This I should see,
Should I go on, follow the falling road,--
This I have often seen. . . . But I shall stay
Here, where the ancient milestone, like a watchman,
Lifts up its figure eight, its one gray knowledge,
Into the twilight; as a watchman lifts
A lantern, which he does not know is out. "


II

Now by the wall of the ancient town I lean
Myself, like ancient wall and dust and sky,
And the purple dusk, grown old, grown old in heart.
Shadows of clouds flow inward from the sea.
The mottled fields grow dark. The golden wall
Grows gray again, turns stone again, the tower,
No longer kindled, darkens against a cloud.
Old is the world, old as the world am I;
The cries of sheep rise upward from the fields,
Forlorn and strange; and wake an ancient echo
In fields my heart has known, but has not seen.
"These fields"--an unknown voice beyond the wall
Murmurs--"were once the province of the sea.
Where now the sheep graze, mermaids were at play,
Sea-horses galloped, and the great jeweled tortoise
Walked slowly, looking upward at the waves,
Bearing upon his back a thousand barnacles,
A white acropolis . . . " The ancient tower
Sends out, above the houses and the trees,
And the wide fields below the ancient walls,
A measured phrase of bells. And in the silence
I hear a woman's voice make answer then:
"Well, they are green, although no ship can sail them. . . .
Sky-larks rest in the grass, and start up singing
Before the girl who stoops to pick sea-poppies.
Spiny, the poppies are, and oh how yellow!
And the brown clay is runneled by the rain. . . . "
A moment since, the sheep that crop the grass
Had long blue shadows, and the grass-tips sparkled:
Now all grows old. . . . O voices strangely speaking,
Voices of man and woman, voices of bells,
Diversely making comment on our time
Which flows and bears us with it into dusk,
Repeat the things you say! Repeat them slowly
Upon this air, make them an incantation
For ancient tower, old wall, the purple twilight,
This dust, and me. But all I hear is silence,
And something that may be leaves or may be sea.


III

When the tree bares, the music of it changes:
Hard and keen is the sound, long and mournful;
Pale are the poplar boughs in the evening light
Above my house, against a slate-cold cloud.
When the house ages and the tenants leave it,
Cricket sings in the tall grass by the threshold;
Spider, by the cold mantel, hangs his web.
Here, in a hundred years from that clear season
When first I came here, bearing lights and music,
To this old ghostly house my ghost will come,--
Pause in the half-light, turn by the poplar, glide
Above tall grasses through the broken door.
Who will say that he saw--or the dusk deceived him--
A mist with hands of mist blow down from the tree
And open the door and enter and close it after?
Who will say that he saw, as midnight struck
Its tremulous golden twelve, a light in the window,
And first heard music, as of an old piano,
Music remote, as if it came from the earth,
Far down; and then, in the quiet, eager voices?
". . . Houses grow old and die, houses have ghosts--
Once in a hundred years we return, old house,
And live once more. " . . . And then the ancient answer,
In a voice not human, but more like creak of boards
Or rattle of panes in the wind--"Not as the owner,
But as a guest you come, to fires not lit
By hands of yours. . . . Through these long-silent chambers
Move slowly, turn, return, and bring once more
Your lights and music. It will be good to talk. "


IV

"This is the hour," she said, "of transmutation:
It is the eucharist of the evening, changing
All things to beauty. Now the ancient river,
That all day under the arch was polished jade,
Becomes the ghost of a river, thinly gleaming
Under a silver cloud. . . . It is not water:
It is that azure stream in which the stars
Bathe at the daybreak, and become immortal. . . . "
"And the moon," said I--not thus to be outdone--
"What of the moon? Over the dusty plane-trees
Which crouch in the dusk above their feeble lanterns,
Each coldly lighted by his tiny faith;
The moon, the waxen moon, now almost full,
Creeps whitely up. . . . Westward the waves of cloud,
Vermilion, crimson, violet, stream on the air,
Shatter to golden flakes in the icy green
Translucency of twilight. . . . And the moon
Drinks up their light, and as they fade or darken,
Brightens. . . . O monstrous miracle of the twilight,
That one should live because the others die! "
"Strange too," she answered, "that upon this azure
Pale-gleaming ghostly stream, impalpable--
So faint, so fine that scarcely it bears up
The petals that the lantern strews upon it,--
These great black barges float like apparitions,
Loom in the silver of it, beat upon it,
Moving upon it as dragons move on air. "
"Thus always," then I answered,--looking never
Toward her face, so beautiful and strange
It grew, with feeding on the evening light,--
"The gross is given, by inscrutable God,
Power to beat wide wings upon the subtle.
Thus we ourselves, so fleshly, fallible, mortal,
Stand here, for all our foolishness, transfigured:
Hung over nothing in an arch of light
While one more evening like a wave of silence
Gathers the stars together and goes out. "


V

Now the great wheel of darkness and low clouds
Whirs and whirls in the heavens with dipping rim;
Against the ice-white wall of light in the west
Skeleton trees bow down in a stream of air.
Leaves, black leaves and smoke, are blown on the wind;
Mount upward past my window; swoop again;
In a sharp silence, loudly, loudly falls
The first cold drop, striking a shriveled leaf. . . .
Doom and dusk for the earth! Upward I reach
To draw chill curtains and shut out the dark,
Pausing an instant, with uplifted hand,
To watch, between black ruined portals of cloud,
One star,--the tottering portals fall and crush it.
Here are a thousand books! here is the wisdom
Alembicked out of dust, or out of nothing;
Choose now the weightiest word, most golden page,
Most somberly musicked line; hold up these lanterns,--
These paltry lanterns, wisdoms, philosophies,--
Above your eyes, against this wall of darkness;
And you'll see--what? One hanging strand of cobweb,
A window-sill a half-inch deep in dust . . .
Speak out, old wise-men! Now, if ever, we need you.
Cry loudly, lift shrill voices like magicians
Against this baleful dusk, this wail of rain. . . .
But you are nothing! Your pages turn to water
Under my fingers: cold, cold and gleaming,
Arrowy in the darkness, rippling, dripping--
All things are rain. . . . Myself, this lighted room,
What are we but a murmurous pool of rain? . . .
The slow arpeggios of it, liquid, sibilant,
Thrill and thrill in the dark. World-deep I lie
Under a sky of rain. Thus lies the sea-shell
Under the rustling twilight of the sea;
No gods remember it, no understanding
Cleaves the long darkness with a sword of light.


VI

Heaven, you say, will be a field in April,
A friendly field, a long green wave of earth,
With one domed cloud above it. There you'll lie
In noon's delight, with bees to flash above you,
Drown amid buttercups that blaze in the wind,
Forgetting all save beauty. There you'll see
With sun-filled eyes your one great dome of cloud
Adding fantastic towers and spires of light,
Ascending, like a ghost, to melt in the blue.
Heaven enough, in truth, if you were there!
Could I be with you I would choose your noon,
Drown amid buttercups, laugh with the intimate grass,
Dream there forever. . . . But, being older, sadder,
Having not you, nor aught save thought of you,
It is not spring I'll choose, but fading summer;
Not noon I'll choose, but the charmed hour of dusk.
Poppies? A few! And a moon almost as red. . . .
But most I'll choose that subtler dusk that comes
Into the mind--into the heart, you say--
When, as we look bewildered at lovely things,
Striving to give their loveliness a name,
They are forgotten; and other things, remembered,
Flower in the heart with the fragrance we call grief.


VII

In the long silence of the sea, the seaman
Strikes twice his bell of bronze. The short note wavers
And loses itself in the blue realm of water.
One sea-gull, paired with a shadow, wheels, wheels;
Circles the lonely ship by wave and trough;
Lets down his feet, strikes at the breaking water,
Draws up his golden feet, beats wings, and rises
Over the mast. . . . Light from a crimson cloud
Crimsons the sluggishly creeping foams of waves;
The seaman, poised in the bow, rises and falls
As the deep forefoot finds a way through waves;
And there below him, steadily gazing westward,
Facing the wind, the sunset, the long cloud,
The goddess of the ship, proud figurehead,
Smiles inscrutably, plunges to crying waters,
Emerges streaming, gleaming, with jewels falling
Fierily from carved wings and golden breasts;
Steadily glides a moment, then swoops again.
Carved by the hand of man, grieved by the wind;
Worn by the tumult of all the tragic seas,
Yet smiling still, unchanging, smiling still
Inscrutably, with calm eyes and golden brow--
What is it that she sees and follows always,
Beyond the molten and ruined west, beyond
The light-rimmed sea, the sky itself? What secret
Gives wisdom to her purpose? Now the cloud
In final conflagration pales and crumbles
Into the darkening waters. Now the stars
Burn softly through the dusk. The seaman strikes
His small lost bell again, watching the west
As she below him watches. . . . O pale goddess
Whom not the darkness, even, or rain or storm,
Changes; whose great wings are bright with foam,
Whose breasts are cold as the sea, whose eyes forever
Inscrutably take that light whereon they look--
Speak to us! Make us certain, as you are,
That somewhere, beyond wave and wave and wave,
That dreamed-of harbor lies which we would find.




TETELESTAI


I

How shall we praise the magnificence of the dead,
The great man humbled, the haughty brought to dust?
Is there a horn we should not blow as proudly
For the meanest of us all, who creeps his days,
Guarding his heart from blows, to die obscurely?
I am no king, have laid no kingdoms waste,
Taken no princes captive, led no triumphs
Of weeping women through long walls of trumpets;
Say rather I am no one, or an atom;
Say rather, two great gods in a vault of starlight
Play ponderingly at chess; and at the game's end
One of the pieces, shaken, falls to the floor
And runs to the darkest corner; and that piece
Forgotten there, left motionless, is I. . . .
Say that I have no name, no gifts, no power,
Am only one of millions, mostly silent;
One who came with lips and hands and a heart,
Looked on beauty, and loved it, and then left it.
Say that the fates of time and space obscured me,
Led me a thousand ways to pain, bemused me,
Wrapped me in ugliness; and like great spiders
Dispatched me at their leisure. . . . Well, what then?
Should I not hear, as I lie down in dust,
The horns of glory blowing above my burial?


II

Morning and evening opened and closed above me:
Houses were built above me; trees let fall
Yellowing leaves upon me, hands of ghosts,
Rain has showered its arrows of silver upon me
Seeking my heart; winds have roared and tossed me;
Music in long blue waves of sound has borne me
A helpless weed to shores of unthought silence;
Time, above me, within me, crashed its gongs
Of terrible warning, sifting the dust of death;
And here I lie. Blow now your horns of glory
Harshly over my flesh, you trees, you waters!
You stars and suns, Canopus, Deneb, Rigel,
Let me, as I lie down, here in this dust,
Hear, far off, your whispered salutation!
Roar now above my decaying flesh, you winds,
Whirl out your earth-scents over this body, tell me
Of ferns and stagnant pools, wild roses, hillsides!
Anoint me, rain, let crash your silver arrows
On this hard flesh! I am the one who named you,
I lived in you, and now I die in you.
I, your son, your daughter, treader of music,
Lie broken, conquered. . . . Let me not fall in silence.


III

I, the restless one; the circler of circles;
Herdsman and roper of stars, who could not capture
The secret of self; I who was tyrant to weaklings,
Striker of children; destroyer of women; corrupter
Of innocent dreamers, and laugher at beauty; I,
Too easily brought to tears and weakness by music,
Baffled and broken by love, the helpless beholder
Of the war in my heart of desire with desire, the struggle
Of hatred with love, terror with hunger; I
Who laughed without knowing the cause of my laughter, who grew
Without wishing to grow, a servant to my own body;
Loved without reason the laughter and flesh of a woman,
Enduring such torments to find her! I who at last
Grow weaker, struggle more feebly, relent in my purpose,
Choose for my triumph an easier end, look backward
At earlier conquests; or, caught in the web, cry out
In a sudden and empty despair, "Tetelestai! "
Pity me, now! I, who was arrogant, beg you!
Tell me, as I lie down, that I was courageous.
Blow horns of victory now, as I reel and am vanquished.
Shatter the sky with trumpets above my grave.


IV

. . . Look! this flesh how it crumbles to dust and is blown!
These bones, how they grind in the granite of frost and are nothing!
This skull, how it yawns for a flicker of time in the darkness
Yet laughs not and sees not! It is crushed by a hammer of sunlight,
And the hands are destroyed. . . . Press down through the leaves of the
jasmine,
Dig through the interlaced roots--nevermore will you find me;
I was no better than dust, yet you cannot replace me. . . .
Take the soft dust in your hand--does it stir: does it sing?
Has it lips and a heart? Does it open its eyes to the sun?
Does it run, does it dream, does it burn with a secret, or tremble
In terror of death? Or ache with tremendous decisions? . . .
Listen! . . . It says: "I lean by the river. The willows
Are yellowed with bud. White clouds roar up from the south
And darken the ripples; but they cannot darken my heart,
Nor the face like a star in my heart! . . . Rain falls on the water
And pelts it, and rings it with silver. The willow trees glisten,
The sparrows chirp under the eaves; but the face in my heart
Is a secret of music. . . . I wait in the rain and am silent. "
Listen again! . . . It says: "I have worked, I am tired,
The pencil dulls in my hand: I see through the window
Walls upon walls of windows with faces behind them,
Smoke floating up to the sky, an ascension of seagulls.
I am tired. I have struggled in vain, my decision was fruitless,
Why then do I wait? with darkness, so easy, at hand! . . .
But to-morrow, perhaps. . . . I will wait and endure till
to-morrow! . . . "
Or again: "It is dark. The decision is made. I am vanquished
By terror of life. The walls mount slowly about me
In coldness. I had not the courage. I was forsaken.
I cried out, was answered by silence. . . . Tetelestai! . . . "


V

Hear how it babbles! --Blow the dust out of your hand,
With its voices and visions, tread on it, forget it, turn homeward
With dreams in your brain. . . . This, then, is the humble, the
nameless,--
The lover, the husband and father, the struggler with shadows,
The one who went down under shoutings of chaos! The weakling
Who cried his "forsaken! " like Christ on the darkening hilltop! . . .
This, then, is the one who implores, as he dwindles to silence,
A fanfare of glory. . . . And which of us dares to deny him!




EDNA ST. VINCENT MILLAY




EIGHT SONNETS


I

When you, that at this moment are to me
Dearer than words on paper, shall depart,
And be no more the warder of my heart,
Whereof again myself shall hold the key;
And be no more, what now you seem to be,
The sun, from which all excellencies start
In a round nimbus, nor a broken dart
Of moonlight, even, splintered on the sea;

I shall remember only of this hour--
And weep somewhat, as now you see me weep--
The pathos of your love, that, like a flower,
Fearful of death yet amorous of sleep,
Droops for a moment and beholds, dismayed,
The wind whereon its petals shall be laid.


II

What's this of death, from you who never will die?
Think you the wrist that fashioned you in clay,
The thumb that set the hollow just that way
In your full throat and lidded the long eye
So roundly from the forehead, will let lie
Broken, forgotten, under foot some day
Your unimpeachable body, and so slay
The work he most had been remembered by?

I tell you this: whatever of dust to dust
Goes down, whatever of ashes may return
To its essential self in its own season,
Loveliness such as yours will not be lost,
But, cast in bronze upon his very urn,
Make known him Master, and for what good reason.


III

I know I am but summer to your heart,
And not the full four seasons of the year;
And you must welcome from another part
Such noble moods as are not mine, my dear.
No gracious weight of golden fruits to sell
Have I, nor any wise and wintry thing;
And I have loved you all too long and well
To carry still the high sweet breast of spring.

Wherefore I say: O love, as summer goes,
I must be gone, steal forth with silent drums,
That you may hail anew the bird and rose
When I come back to you, as summer comes.
Else will you seek, at some not distant time,
Even your summer in another clime.


IV

Here is a wound that never will heal, I know,
Being wrought not of a dearness and a death
But of a love turned ashes and the breath
Gone out of beauty; never again will grow
The grass on that scarred acre, though I sow
Young seed there yearly and the sky bequeath
Its friendly weathers down, far underneath
Shall be such bitterness of an old woe.

That April should be shattered by a gust,
That August should be leveled by a rain,
I can endure, and that the lifted dust
Of man should settle to the earth again;
But that a dream can die, will be a thrust
Between my ribs forever of hot pain.


V

What lips my lips have kissed, and where, and why,
I have forgotten, and what arms have lain
Under my head till morning; but the rain
Is full of ghosts to-night, that tap and sigh
Upon the glass and listen for reply;
And in my heart there stirs a quiet pain,
For unremembered lads that not again
Will turn to me at midnight with a cry.

Thus in the winter stands the lonely tree,
Nor knows what birds have vanished one by one,
Yet knows its boughs more silent than before:
I cannot say what loves have come and gone;
I only know that summer sang in me
A little while, that in me sings no more.


VI

Euclid alone has looked on Beauty bare.
Let all who prate of Beauty hold their peace,
And lay them prone upon the earth and cease
To ponder on themselves, the while they stare
At nothing, intricately drawn nowhere
In shapes of shifting lineage; let geese
Gabble and hiss, but heroes seek release
From dusty bondage into luminous air.

O blinding hour, O holy, terrible day,
When first the shaft into his vision shone
Of light anatomized! Euclid alone
Has looked on Beauty bare. Fortunate they
Who, though once only and then but far away,
Have heard her massive sandal set on stone.


VII

Oh, oh, you will be sorry for that word!
Give back my book and take my kiss instead.
Was it my enemy or my friend I heard? --
"What a big book for such a little head! "
Come, I will show you now my newest hat,
And you may watch me purse my mouth and prink.
Oh, I shall love you still and all of that.
I never again shall tell you what I think.

I shall be sweet and crafty, soft and sly;
You will not catch me reading any more;
I shall be called a wife to pattern by;
And some day when you knock and push the door,
Some sane day, not too bright and not too stormy,
I shall be gone, and you may whistle for me.


VIII

Say what you will, and scratch my heart to find
The roots of last year's roses in my breast;
I am as surely riper in my mind
As if the fruit stood in the stalls confessed.
Laugh at the unshed leaf, say what you will,
Call me in all things what I was before,
A flutterer in the wind, a woman still;
I tell you I am what I was and more.

My branches weigh me down, frost cleans the air,
My sky is black with small birds bearing south;
Say what you will, confuse me with fine care,
Put by my word as but an April truth,--
Autumn is no less on me that a rose
Hugs the brown bough and sighs before it goes.




BIBLIOGRAPHY




BIBLIOGRAPHY

(The following lists include poetical works only)


AMY LOWELL

A Dome of Many-Colored Glass Houghton Mifflin Co. 1912

Sword Blades and Poppy Seed The Macmillan Company 1914

Men, Women and Ghosts The Macmillan Company 1916

Can Grande's Castle The Macmillan Company 1918

Pictures of the Floating World The Macmillan Company 1919

Legends Houghton Mifflin Co. 1921

Fir-Flower Tablets Houghton Mifflin Co. 1921


ROBERT FROST

A Boy's Will Henry Holt and Company 1914

North of Boston Henry Holt and Company 1915

Mountain Interval Henry Holt and Company 1916


CARL SANDBURG

Chicago Poems Henry Holt and Company 1916

Cornhuskers Henry Holt and Company 1918

Smoke and Steel Harcourt, Brace and Co. 1930

Slabs of the Sunburnt West Harcourt, Brace and Co. 1922


VACHEL LINDSAY

Rhymes to be Traded for Bread Privately Printed; 1912
Springfield, Ill.

General William Booth Enters Into Mitchell Kennerley 1913
Heaven

The Congo and Other Poems The Macmillan Company 1915

The Chinese Nightingale The Macmillan Company 1917

The Golden Whales of California The Macmillan Company 1920


JAMES OPPENHEIM

Monday Morning and Other Poems Sturgis & Walton Co. 1909

Songs for the New Age The Century Company 1914

War and Laughter The Century Company 1915

The Book of Self Alfred A. Knopf 1917

The Solitary B. W. Huebsch 1919

The Mystic Warrior Alfred A. Knopf 1921


ALFRED KREYMBORG

Mushrooms Alfred A. Knopf 1916

Plays for Poem-Mimes The Others Press 1918

Plays for Merry Andrews The Sunwise Turn 1920

Blood of Things Nicholas L. Brown 1921


SARA TEASDALE

Sonnets to Duse The Poet Lore Co. 1907

Helen of Troy G. P. Putnam's Sons 1911

Rivers to the Sea The Macmillan Company 1915

Love Songs The Macmillan Company 1917

Flame and Shadow The Macmillan Company 1920


LOUIS UNTERMEYER

The Younger Quire Moods Publishing Co. 1911

First Love Sherman French & Co. 1911

Challenge The Century Company 1914

"--and Other Poets" Henry Holt and Company 1916

The Poems of Heinrich Heine Henry Holt and Company 1917

These Times Henry Holt and Company 1917

Including Horace Harcourt, Brace and Co. 1919

The New Adam Harcourt, Brace and Co. 1920

Heavens Harcourt, Brace and Co. 1922


JOHN GOULD FLETCHER

Fire and Wine Grant Richards (London) 1913

The Dominant City Max Goschen (London) 1913

Fool's Gold Max Goschen (London) 1913

The Book of Nature Constable & Co. (London) 1913

Visions of the Evening Erskine Macdonald (London) 1913

Irradiations Houghton Mifflin Co. 1915

Goblins and Pagodas Houghton Mifflin Co. 1916

Japanese Prints The Four Seas Company 1918

The Tree of Life The Macmillan Company 1919

Breakers and Granite The Macmillan Company 1921


JEAN STARR UNTERMEYER

Growing Pains B. W. Huebsch 1918

Dreams Out of Darkness B. W. Huebsch 1921


H. D.

Sea Garden Houghton Mifflin Co. 1916

Hymen Henry Holt and Co. 1921


CONRAD AIKEN

Earth Triumphant The Macmillan Company 1914

Turns and Movies Houghton Mifflin Co. 1916

The Jig of Forslin The Four Seas Company 1916

Nocturne of Remembered Spring The Four Seas Company 1917

The Charnel Rose The Four Seas Company 1918

The House of Dust The Four Seas Company 1920

Punch: the Immortal Liar Alfred A. Knopf 1921


EDNA ST. VINCENT MILLAY

Renascence Mitchell Kennerley 1917

A Few Figs from Thistles Frank Shay 1920

The Lamp and the Bell Frank Shay 1921

Aria Da Capo Mitchell Kennerley 1921

Second April Mitchell Kennerley 1921





End of the Project Gutenberg EBook of American Poetry, 1922, by
Edna St. Vincent Millay and Robert Frost

*** END OF THIS PROJECT GUTENBERG EBOOK AMERICAN POETRY, 1922 ***

***** This file should be named 25880-8. txt or 25880-8. zip *****
This and all associated files of various formats will be found in:
http://www. gutenberg. org/2/5/8/8/25880/

Produced by David Starner, Huub Bakker, Stephen Hope and
the Online Distributed Proofreading Team at
http://www. pgdp. net (This book was produced from scanned
images of public domain material from the Google Print
project. )


Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you! ) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg. org/license).


Section 1.