What things beyond the star-gulfs lurk and leer.
Dark Lord of Averoigne—whose windows stare
On pits of dream no other gaze could bear!
To Edward John Moreton Drax Plunkett,
Eighteenth Baron Dunsany
As when the sun above a dusky wold
Springs into sight, and turns the gloom to gold,
Lights with his magic beams the dew-deck’d bow’rs,
And wakes to life the gay responsive flow’rs;
So now o’er realms where dark’ning dulness lies,
In solar state see shining Plunkett rise!
Monarch of Fancy! whose ethereal mind
Mounts fairy peaks, and leaves the throng behind;
Whose soul untainted bursts the bounds of space,
And leads to regions of supernal grace;
Can any praise thee with too strong a tone,
Who in this age of folly gleam’st alone?
Thy quill, Dunsany, with an art divine
Recalls the gods to each deserted shrine;
From mystic air a novel pantheon makes,
And with new spirits fills the meads and brakes;
With thee we wander thro’ primeval bow’rs,
For thou hast brought earth’s childhood back, and ours!
How leaps the soul, with sudden bliss increas’d,
When led by thee to lands beyond the East!
Sick of this sphere, in crime and conflict old,
We yearn for wonders distant and untold;
O’er Homer’s page a second time we pore,
And rack our brains for gleams of infant lore:
But all in vain—for valiant tho’ we strive
No common means these pictures can revive.
Then dawns Dunsany with celestial light,
And fulgent visions break upon our sight:
His barque enchanted each sad spirit bears
To shores of gold, beyond the reach of cares.
No earthly trammels now our thoughts may chain;
For childhood’s fancy hath come back again!
What glitt’ring worlds now wait our eager eyes!
What roads untrodden beckon thro’ the skies!
Wonders on wonders line the gorgeous ways,
And glorious vistas greet the ravish’d gaze;
Mountains of clouds, castles of crystal dreams,
Ethereal cities and Elysian streams;
Temples of blue, where myriad stars adore
Forgotten gods of aeons gone before!
Such are thine arts, Dunsany, such thy skill,
That scarce terrestrial seems thy moving quill;
Can man, and man alone, successful draw
Such scenes of wonder and domains of awe?
Our hearts, enraptur’d, fix thy mind’s abode
In high Pegāna; hail thee as a god;
And sure, can aught more high or godlike be
Than such a fancy as resides in thee?
Delighted Pan a friend and peer perceives
As thy sweet music stirs the sylvan leaves;
The Nine, transported, bless thy golden lyre,
Approve thy fancy, and applaud thy fire;
Whilst Jove himself assumes a brother’s tone,
And vows the pantheon equal to his own.
Dunsany, may thy days be glad and long;
Replete with visions, and atune with song;
May thy rare notes increasing millions cheer,
Thy name beloved, and thy mem’ry dear!
’Tis thou who hast in hours of dulness brought
New charms of language, and new gems of thought;
Hast with a poet’s grace enrich’d the earth
With aureate dreams as noble as thy birth.
Grateful we name thee, bright with fix’d renown,
The fairest jewel in Hibernia’s crown.
Unda; or, The Bride of the Sea
Respectfully Dedicated with Permission to MAURICE WINTER MOE, Esq.
A Dull, Dark, Drear, Dactylic Delirium in Sixteen Silly, Senseless, Sickly Stanzas
“Ego, canus, lunam cano.”
—Maevius Bavianus
Black loom the crags of the uplands behind me;
Dark are the sands of the far-stretching shore.
Dim are the pathways and rocks that remind me
Sadly of years in the lost nevermore.
Soft laps the ocean on wave-polish’d boulder;
Sweet is the sound and familiar to me.
Here, with her head gently bent to my shoulder,
Walk’d I with Unda, the Bride of the Sea.
Bright was the morn of my youth when I met her,
Sweet as the breeze that blew in o’er the brine.
Swift was I captur’d in Love’s strongest fetter,
Glad to be hers, and she glad to be mine.
Never a question ask’d I where she wander’d,
Never a question ask’d she of my birth:
Happy as children, we thought not nor ponder’d,
Glad with the bounty of ocean and earth.
Once when the moonlight play’d soft ’mid the billows,
High on the cliff o’er the waters we stood,
Bound was her hair with a garland of willows,
Pluck’d by the fount in the bird-haunted wood.
Strangely she gaz’d on the surges beneath her,
Charm’d by the sound or entranc’d by the light.
Then did the waves a wild aspect bequeath her,
Stern as the ocean and weird as the night.
Coldly she left me, astonish’d and weeping,
Standing alone ’mid the regions she bless’d:
Down, ever downward, half gliding, half creeping,
Stole the sweet Unda in oceanward quest.
Calm grew the sea, and tumultuous beating
Turn’d to a ripple, as Unda the fair
Trod the wet sands in affectionate greeting,
Beckon’d to me, and no longer was there!
Long did I pace by the banks where she vanish’d:
High climb’d the moon, and descended again.
Grey broke the dawn till the sad night was banish’d,
Still ach’d my soul with its infinite pain.
All the wide world have I search’d for my darling,
Scour’d the far deserts and sail’d distant seas.
Once on the wave while the tempest was snarling,
Flash’d a fair face that brought quiet and ease.
Ever in restlessness onward I stumble,
Seeking and pining, scarce heeding my way.
Now have I stray’d where the wide waters rumble,
Back to the scene of the lost yesterday.
Lo! the red moon from the ocean’s low hazes
Rises in ominous grandeur to view.
Strange is its face as my tortur’d eye gazes
O’er the vast reaches of sparkle and blue.
Straight from the moon to the shore where I’m sighing
Grows a bright bridge, made of wavelets and beams.
Frail may it be, yet how simple the trying;
Wand’ring from earth to the orb of sweet dreams.
What is yon face in the moonlight appearing;
Have I at last found the maiden that fled?
Out on the beam-bridge my footsteps are nearing
Her whose sweet beckoning hastens my tread.
Currents surround me, and drowsily swaying,
Far on the moon-path I seek the sweet face.
Eagerly hasting, half panting, half praying,
Forward I reach for the vision of grace.
Murmuring waters about me are closing,
Soft the sweet vision advances to me:
Done are my trials; my heart is reposing
Safe with my Unda, the Bride of the Sea.
Epilogue
As the rash fool, a prey of Unda’s art,
Drown thro’ the passion of his f
ever’d heart,
So are our youth, inflam’d by tempters fair,
Bereft of reason and the manly air.
How sad the sight of Strephon’s virile grace
Turn’d to confusion at his Chloë’s face,
And e’er Pelides, dear to Grecian eyes,
Sulking for loss of his thrice-cherish’d prize.
Brothers, attend! If cares too sharply vex,
Gain rest by shunning the destructive sex!
Waste Paper
A Poem of Profound Insignificance
Πἀντα γἐλως καἱ πἀντα κὀνις καἱ πἀντα τὁ μηδἐν
Out of the reaches of illimitable light
The blazing planet grew, and forc’d to life
Unending cycles of progressive strife
And strange mutations of undying light
And boresome books, than hell’s own self more trite
And thoughts repeated and become a blight,
And cheap rum-hounds with moonshine hootch made tight,
And quite contrite to see the flight of fright so bright
I used to ride my bicycle in the night
With a dandy acetylene lantern that cost $3.00
In the evening, by the moonlight, you can hear those darkies singing
Meet me tonight in dreamland . . . BAH
I used to sit on the stairs of the house where I was born
After we left it but before it was sold
And play on a zobo with two other boys.
We called ourselves the Blackstone Military Band
Won’t you come home, Bill Bailey, won’t you come home?
In the spring of the year, in the silver rain
When petal by petal the blossoms fall
And the mocking birds call
And the whippoorwill sings, Marguerite.
The first cinema show in our town opened in 1906
At the old Olympic, which was then call’d Park,
And moving beams shot weirdly thro’ the dark
And spit tobacco seldom hit the mark.
Have you read Dickens’ American Notes?
My great-great-grandfather was born in a white house
Under green trees in the country
And he used to believe in religion and the weather.
“Shantih, shantih, shantih” . . . Shanty House
Was the name of a novel by I forget whom
Published serially in the All-Story Weekly
Before it was a weekly. Advt.
Disillusion is wonderful, I’ve been told,
And I take quinine to stop a cold
But it makes my ears ring . . . always ring . . .
Always ringing in my ears . . .
It is the ghost of the Jew I murdered that Christmas day
Because he played “Three O’Clock in the Morning” in the flat above me.
Three O’Clock in the morning, I’ve danc’d the whole night through,
Dancing on the graves in the graveyard
Where life is buried; life and beauty
Life and art and love and duty
Ah, there, sweet cutie.
Stung!
Out of the night that covers me
Black as the pit from pole to pole
I never quote things straight except by accident.
Sophistication! Sophistication!
You are the idol of our nation
Each fellow has
Fallen for jazz
And we’ll give the past a merry razz
Thro’ the ghoul-guarded gateways of slumber
And fellow-guestship with the glutless worm.
Next stop is 57th St.—57th St. the next stop.
Achilles’ wrath, to Greece the direful spring,
And the Governor-General of Canada is Lord Byng
Whose ancestor was shot or hung,
I forget which, the good die young.
Here’s to your ripe old age,
Copyright, 1847, by Joseph Miller,
Entered according to act of Congress
In the office of the librarian of Congress
America was discovered in 1492
This way out.
No, lady, you gotta change at Washington St. to the Everett train.
Out in the rain on the elevated
Crated, sated, all mismated.
Twelve seats on this bench,
How quaint.
In a shady nook, beside a brook, two lovers stroll along.
Express to Park Ave., Car Following.
No, we had it cleaned with the sand blast.
I know it ought to be torn down.
Before the bar of a saloon there stood a reckless crew,
When one said to another, “Jack, this message came for you.”
“It may be from a sweetheart, boys,” said someone in the crowd,
And here the words are missing . . . but Jack cried out aloud:
“It’s only a message from home, sweet home,
From loved ones down on the farm
Fond wife and mother, sister and brother. . . .”
Bootleggers all and you’re another
In the shade of the old apple tree
’Neath the old cherry tree sweet Marie
The Conchologist’s First Book
By Edgar Allan Poe
Stubbed his toe
On a broken brick that didn’t shew
Or a banana peel
In the fifth reel
By George Creel
It is to laugh
And quaff
It makes you stout and hale,
And all my days I’ll sing the praise
Of Ivory Soap
Have you a little T. S. Eliot in your home?
The stag at eve had drunk his fill
The thirsty hart look’d up the hill
And craned his neck just as a feeler
To advertise the Double-Dealer.
William Congreve was a gentleman
O art what sins are committed in thy name
For tawdry fame and fleeting flame
And everything, ain’t dat a shame?
Mah Creole Belle, ah lubs yo’ well;
Aroun’ mah heart you hab cast a spell
But I can’t learn to spell pseudocracy
Because there ain’t no such word.
And I says to Lizzie, if Joe was my feller
I’d teach him to go to dances with that
Rat, bat, cat, hat, flat, plat, fat
Fry the fat, fat the fry
You’ll be a drug-store by and by.
Get the hook!
Above the lines of brooding hills
Rose spires that reeked of nameless ills,
And ghastly shone upon the sight
In ev’ry flash of lurid light
To be continued.
No smoking.
Smoking on four rear seats.
Fare win return to 5¢ after August 1st
Except outside the Cleveland city limits.
In the ghoul-haunted woodland of Weir
Strangers pause to shed a tear;
Henry Fielding wrote Tom Jones.
And cursed be he that moves my bones.
Good night, good night, the stars are bright
I saw the Leonard-Tendler fight
Farewell, farewell, O go to hell.
Nobody home
In the shantih.
The Wood
They cut it down, and where the pitch-black aisles
Of forest night had hid eternal things,
They scal’d the sky with tow’rs and marble piles
To make a city for their revellings.
White and amazing to the lands around
That wondrous wealth of domes and turrets rose;
Crystal and ivory, sublimely crown’d
With pinnacles that bore unmelting snows.
And through its halls the pipe and sistrum rang,
While wine and riot brought their
scarlet stains;
Never a voice of elder marvels sang,
Nor any eye call’d up the hills and plains.
Thus down the years, till on one purple night
A drunken minstrel in his careless verse
Spoke the vile words that should not see the light,
And stirr’d the shadows of an ancient curse.
Forests may fall, but not the dusk they shield;
So on the spot where that proud city stood,
The shuddering dawn no single stone reveal’d,
But fled the blackness of a primal wood.
Essays: The Allowable Rhyme
“Sed ubi plura nitent in carmine, non ego paucis
Offendar maculis.”
—Horace.
The poetical tendency of the present and of the preceding century has been divided in a manner singularly curious. One loud and conspicuous faction of bards, giving way to the corrupt influences of a decaying general culture, seems to have abandoned all the proprieties of versification and reason in its mad scramble after sensational novelty; whilst the other and quieter school, constituting a more logical evolution from the poesy of the Georgian period, demands an accuracy of rhyme and metre unknown even to the polished artists of the age of Pope.
The rational contemporary disciple of the Nine, justly ignoring the dissonant shrieks of the radicals, is therefore confronted with a grave choice of technique. May he retain the liberties of imperfect or “allowable” rhyming which were enjoyed by his ancestors, or must he conform to the new ideals of perfection evolved during the past century? The writer of this article is frankly an archaist in verse. He has not scrupled to rhyme “toss’d” with “coast”, “come” with “Rome”, or “home” with “gloom” in his very latest published efforts, thereby proclaiming his maintenance of the old-fashioned poets as models; but sound modern criticism, proceeding from Mr. Rheinhart Kleiner and from other sources which must needs command respect, has impelled him here to rehearse the question for public benefit, and particularly to present his own side, attempting to justify his adherence to the style of two centuries ago.
The earliest English attempts at rhyming probably included words whose agreement is so slight that it deserves the name of mere “assonance” rather than that of actual rhyme. Thus in the original ballad of “Chevy-Chase”, we encounter “King” and “within” supposedly rhymed, whilst in the similar “Battle of Otterbourne” we behold “long” rhymed with “down”, “ground” with “Agurstonne”, and “name” with “again”. In the ballad of “Sir Patrick Spense”, “morn” and “storm”, and “deep” and “feet” are rhymed. But the infelicities were obviously the result not of artistic negligence, but of plebeian ignorance, since the old ballads were undoubtedly the careless products of a peasant minstrelsy. In Chaucer, a poet of the Court, the allowable rhyme is but infrequently discovered, hence we may assume that the original ideal in English verse was the perfect rhyming sound.
The Complete H.P. Lovecraft Collection (Xist Classics) Page 216
