The Project Gutenberg eBook of Dream-Songs for the Belovèd, by Eleanor Farjeon

BY
ELEANOR FARJEON
(Author of "Pan-Worship")

The Orpheus Press
3, Amen Corner, Paternoster Row, E.C.
Spring , 1911

By the same Author

Pan-Worship ( a book of verses ), published by
Elkin Mathews , 1908.

2s. 6d. net.

Unuttered songs fly round my thoughts like birds,

And aerially, above an earth of words,

Imagined music on my spirit showers

From azure-feathered throat and golden tongue.

Most dear, of the many songs I cannot sing

Yours is the bird of heavenliest wing

Whose sunward flight beyond my following towers

And leaves me with an impotent harp unstrung.

And yet the shadow of my song for you

Falls on my heart forever as a dew,

Or the dim-breathing soul of evening flowers

That love the delicate light of stars still young.

These lesser songs that all who listen may hear

Shall we call yours for a day, most dear, most dear?—

Knowing there is one other, only ours,

For ever singing, and for ever unsung.

They said it was a lone land, a land of many sorrows,

Grey weeping waters and a strip of golden sand,

Loss and desolation and the washing out of footsteps

That dare to treat the narrow golden peril of the sand.

They said it was a fire-land, a land of flaming passions,

The sun like a molten rose in burning sapphire skies,

And never sound nor stir save of hearts that beat their way there

Like southron birds whose wings seek the blue of burning skies.

But I have found a still land of neither pain nor passion,

No loss because no giving there, no gain since no desire,

And the great silent light of the Belovèd's spirit brooding

With the soul of all time there, made empty of desire.

Even as between the silence of the sea

And rounded silver miracle of the moon

A little dew is drawn upon the night

To dwell there like the image of a cloud:

So from the silence of the darkest hour

The light that is a miracle in my soul

Distils the presence of the Well-Belov'd

And I possess the image in him of God.

I seem to walk as a shadow in Love's shadow,

I seem to have always known what love might be

And beyond knowledge passed to the great tranquillity.

I seem to have gained the light without the longing,

For lo! even as the smoking rose-torch came

Within my hands, red flame turned smokeless silver flame.

Now in my dreams I tread an asphodel meadow

Where move the lovers out of the dreamful past.

"Dead lovers, how is it with you?"

"It is well at last,

Sister," reply their eyes about me thronging,

And all the phantoms of that immortal flight

Carry their torches still, and all the flames are white.

Often, so often, you walk in the cool dim thoughts of me,

Though you may never know how often and where,

And a dream like a little lantern unknowing have given to me—

Between my two hands as I sit I hold it there

And never will let it again go out of the hands of me.

For it may be that once you will let me wander the thoughts of you

By a chance, for a moment, and then you will see me bear

The fast-held lantern-light of the dream that was given by you

Since I never will let it go ... will you know? will you care

That the light I bear in my hands came out of the hands of you?

If by the Messengers of Sleep

I should be told that you had died

I do not think that I would weep.—

For you it only were to glide

Out of the shallows into the deep;

For me—how could such tidings shake

The thin clear crystal of my dream,

Mine past the breath of the earth to break?

Till some bright breath from the Supreme

Keen-singing shatters it awake,

Whether you linger here or there

Still in the groves of trance I lean,

While on the hushed and heavenly air

The moon of your spirit floats serene

And makes my twilight softly fair.

For from the shallows or the deep

Beyond the ports of tranquil death

I know some word of you will creep

Nightly on the mysterious breath

Of the white Messengers of Sleep.

Love the God at last has unclouded his eyes....

"Newcomer, what are these things that you bear unto me?"

"Songs, the flower and fruit of my wondering heart,

All the creating I have to offer to you."

"Nothing may be created of you in my house,

Drift your little singing away on the wind.

You cannot hang me about with a music of sighs,

You cannot deck me with roseal vapours of song,

Shape sweet words in a garland to circle my brows

Or make a jewel of speech to be worn in my bosom.

"Out of soft rain of tears and glamour of joy

Iris-arcs though you weave for your heart's-delight,

Bring me no luminous dream of the saffron and gold,

Bring me no dews of the emerald flame of the grass,

Bring me no vanishing fires of the poppy and rose,

No melting mirage of heavenly hyacinth light,

For I take nothing of colour of those who are mine.

"I it is colour my chosen ones, never they me,

I am not theirs to possess, they are mine, they are mine.

Did you believe I was given to you as a gift,

Something to treasure and care for and handle and clothe?

Lo! it is you are my gift to be treasured and clothed,

Fashion no garments for me, mine has fallen on you.

"How should men colour me? sing me? array me in light?

How should they think me, conceive me, endow me with form?

Mine is the thought, the conception none other's than mine,

You and the children of men are the birth I bring forth,

Not within you do I enter, you enter in me.

"All is expressed for you finally here in my heart.

Struggle no more to express me. My silences sing."

Love of the light compels the lark to sing

And brims his tiny body with a spark;

The nightingale draws music from a spring

Out of the bosom of the belovèd dark;

But on man's twofold nature God has breathed

The double soul of beauty like a spell,

And dark in light or light in darkness sheathed

His spirit still must sing the miracle.

More than my sons that day my fathers were mighty within me!

Walking the Past alone nothing I found there unknown.

Time like a whirlwind blew where I stood by the Tree of the Ages:

Boughs that in years did abound scattered their burthen aground,

Till in immense liberation divinely austere and familiar,

Naked of over-ripe fruit, knew I the Stem and the Root.

Under the hand of the Sculptor, the carver of visible music,

Felt I an infinite Truth, saw I immutable Youth.

Out of the marble a sparkle of motion and delicate gesture

Even as a rose unsheathed blossom-like started and breathed:

Even as animate light, a tremulous prism, made captive

Once in an æon whose spark leaps to us out of the dark.

Swift on a wonderful rapture upswung, the eternal procession

Joined I by some great right sharing the ages' delight.

Deathless singing there sounded and there moved life unarrested,

I was the body and soul, I was the part and the whole.

I was that boy's fine strength restraining his quivering charger,

Ay, and the nostril's fire quickened by curbèd desire.

I was this rhythmic strain of melodic, ineffable beauty

Maidenly garments reveal singing from shoulder to heel.

Well I remember how once when my sandal-latchet was loosened,

While the procession delayed, stooping the knot I re-made.

Greater and less was I than the flower divinely unconscious,

Golden Youth flowing by scarce asking Whither and Why:

I was both seed and fruit of it: I was the beast sacrificial,

Garlanded ignorance led forth to be glorious dead:

Also the elders within whose bosoms the torchlight of duty

Mellowed by Service and Time burned in aloofness sublime:

More than these things! the thing they aspired to, the ultimate Godhead,

Like a half-realised dream lifting to clasp the Supreme,

Crown and star of this Life-Stream endlessly singing and dancing

Till it attain the Most High, Knowledge and Wisdom was I!

Pheidias! under thy hand the unquenchable spark that Myself is,

Man and his Father and Son, all indissolubly one,

After great labour of years at last grew a visible wonder

Where men a-gaze at the shrine finally know them divine.

Ay! though To-morrow become the Wind in the Tree of the Ages,

Dust of my body to spread wide with the dust of the dead,

In thy golden procession eternally singing and dancing,

Let what may be the rest, stand I for ever expressed.

Out of the fog-banks dank and yellow,

As I groped like a soul alone,

The shadow lurched of a drunken fellow,

Blasphemous, ragged, and then was gone.

Swift the shape of a stranger-woman—

Soft-shod maidenhood? draggled quean?

Only I know it was something human—

Passed, and was as it had not been.

Claspèd lovers with footfall muffled

Faded by ere I caught their bloom,

Whimpering urchins unmothered shuffled

Up from the desolate murky womb.

Shadows on shadows the lone way haunted

Where one shadow the more, I stole,

Each with a soul I must take for granted—

But how to be aware of the soul?

Just the shapes of my fellow-creatures,

Dim and fitful as ghosts at dawn,

Lacking the life-pulse, void of features,

Self-encompassed, adrift, withdrawn.

Sisters! brothers! remote procession!

I would love and be loved of you,

Give myself for your whole possession,

Take yourselves as my human due:—

But my steps were as yours made noiseless

That none may know how we go and come:—

But you were all created voiceless

Even as I was fashioned dumb.

Each in his fogbound isolation

Who shall know how the other yearns?

Till some flash of a new Creation

Through this smoke with a clear flame burns,

And the world is man's for resistless brotherhood

Of hands grown warm and of shining brows,

And the world is woman's for mighty motherhood,

And life is lived in a common house.

It was the middle of the spring

I saw three girls dance in a ring.

One was golden as the day,

Around her neck bright tresses lay.

One as hazel-nuts was brown

And to her feet her hair fell down.

One was black as midnight sky,

Her locks were like a crown piled high.

"Sweetings, shall I with ye fling?

It is the middle of the spring."

I heard the three together sing:

"No man shall break our dancing-ring."

"Sweetings, that ye cannot tell—

Unkind sweetings, fare ye well."

Then each a mocking kiss did blow:

"Give us presents ere you go."

"You that the morning-glow outvie

For all my gift shall take a sigh.

To you that like the ebbing year

In russet go I give a tear.

With you that seem of night to weave

Your grace a broken heart I leave."

Then as from them I turned my feet

I listened how they laughèd sweet:

And "Fare you well," their laughter ran,

"Broken-hearted gentleman."

But shoulder-over I did call:

"Dance on, ye scornful sweetings all.

"When I am lost in shadows grey

My gifts ye shall not fling away.

"While still the spring beneath your feet

Flows green your ring shall stand complete.

"But when the year begins to turn

My gifts to use ye well shall learn.

"And one shall sigh and one shall weep

And one shall crave eternal sleep."

It was the middle of the spring

I saw three girls dance in a ring.

One was a yellow rose new-blown,

One as hazel-nuts was brown,

One she wore a midnight crown.

(My heart is still a-hungering.)

Hither when I see to stray

Her pink dress

With her flock round it prest

As she were a rose in snow:

Then my heart within my breast

Like a lamb to and fro

On a hill of green doth play

For happiness.

Meward when I hear her sing

And impress

All sweet airs that do flow

Round her head with airs more sweet:

Little songs my heart doth blow,

Gay and glad, half-complete,

Like the snatches piped by spring

For happiness.

There are no trees so eloquent with wind

As poplars in the moon-mist of the dusk

When like a spirit that has slipt the husk

Among their heavenly crests its breath is thinned.

Their talk is of such high strange mysteries

They must commune in whispers lest weak men

Ere they are ripe for knowledge snatch again

The secret God has given to the trees.

About the house go terrible winds in flight,

Out of the hiss and wash of sleepless seas

Half-drowning voices scream wild messages

Into the hungry belly of the night,

And icy-breasted clouds conceal the white

Souls of the stars, and in their bosoms freeze

The citadel of the moon, to whom gaunt trees

Stretch desperate arms that seem to pray for light.

Even so in me the elemental war

Strives fiercely to obliterate the heights,

And while the faint flesh staggers up the steeps

The naked spirit cries upon its star

That somewhere dwells among the eternal lights

Beyond this dreadful battle of the deeps.

Delicate tangle of beauty that flows from the bowl of the May-green wood

Leading the lingering heart out of love in a transport to tremulous tears,

When the West wind runs a luminous wave through your bells and your sensitive spears

It is earth I behold a light with a heavenly mood:

Blue fires, blue floods, that shimmer and swim in a haze in the heart of the wood.

I have seen innocent beauty that made my spirit to laugh aloud

As joy danced over my soul like light that travels a fine-rippled sea;

I have seen awfullest beauty that struck into dumbness the senses of me

As under its folded wings my spirit lay bowed;

But you seal no terrible silence, nor chime the laughter that echoes aloud.

Wonder and worship and gladness and tenderest grief are for you who dream

Out of the earth like a lost blue cloud from the azure spheres of sleep,

Where our bodiless souls are the clustering stars that whirl and revolve and leap

Round the orb of a nameless light in an endless stream.

Oh beauty! the colour of vision is yours and you spring from the seeds of dream.

And heaven I know is expressed in you because you were loved of a God,

You are nourished by tears of celestial dew because from his hand flew death,

And your quivering singing loveliness was born of his quivering breath

That sighed its twilight of sorrows into the sod:

For the heart of the lover you wreathed of old was the heart of the Singing God.

Distantly out of the Era of Gold that dims the glass of to-day

You shine in the shape of the beautiful boy the Great Ones adored and destroyed:

The wind in a passion of longing arose from his jealous unsatisfied void

And the sun came down in a passion of worship to play—

And the soul of the form their passions made dust is the flower of the world to-day.

Oh measureless beauty conceived of the sorrow and love of the Lord of Light!

Oh swift brief beauty that died before your Spring accomplished its prime!

Divinest death for you, the divinely-beloved, was it less than sublime?—

Oh, rather than die by my enemy's hand in the night,

I would die by the hand of my lover-God at play in a splendour of light!

O Never-Known, it may be Never-to-Know,

You are the murmur of colour in the East

When upon twilit clouds faint ghosts of sunset

Sigh from the Western rose-gardens.

Or the thin rippled tune

Of imperceptible Æolian harps

Swept by a wind out of the misty sphere

Just higher than the summit of the soul—

Music half-heard, song uncontainable.

Or you are violets whispering in the dark.

You are unshapen in the eyes of me,

But in my breast I carry all the breath

And sound and colour of you, Never-Known,

It may be Never-to-Know.

I will go riding, riding! away from the cities of men!

Into the heart of freedom I will hurl myself with the free!

I will race on the sun-swept mountains, I will dive through the rock-hewn glen,

I will cleave between hills billowing green like the surge of the sea!

( Never shalt thou go riding! but live as man says man must,

Or if thou flee to the open thou shalt find thy spirit to fail,

And shrink as thou treadest the levels where the path has been beaten in dust

From the glory that thrills the heaven-high hills, and the dark of the vale. )

I will go sailing, sailing! on waters that leave no track,

I will follow the path of the sunglow to the ultimate line of light,

I will plunge where the ocean-giants upcurl their hollows of black,

I will take the way of the wind-blown spray in the dread of the night!

( Never shalt thou go sailing! but still in the cities of men

Thou shalt spin thy thread of existence in a pattern not thine own,

Or lost on the desolate waters thy heart shall sicken again,

For what man bears his burden who dares be adrift and alone? )

I will go flying, flying! and scale the steeps of the air

To play with lightning and gather a cloud from the molten noon,

I will find the source of the streams of the sun to lave my feet and my hair,

And stoop to drink at the brimming brink of the wells of the moon!

( Never shalt thou go flying! but stay in thy agelong bond

And stifle the starting pinions that scorn the way of the feet,

Or if thy wild young folly still dreams to compass what lies beyond

When thou clasp a cloud thou shalt find it thy shroud and thy winding-sheet. )

Words and the body always have been much pain to me,

Little fetters and drags on immensities

Never to be defined. I am done with these.

Meanings of silence suddenly all grow plain to me.

Something still may sing like a joyous flute in me

Out of the life that dares to be voiced aloud,

But speech no more shall swathe like a burial-shroud

Things unencompassable now eloquent-mute in me.

My knowledge is, that I am one

That never will behold the sun,

But only on his image look

As a veiled thing that scarcely stirs

Under the silent pool-waters,

Or tossed beneath a restless brook,

Blurred light from blinding glory spun.

That I shall never feel the sweep

Of pinions from my shoulders leap,

Golden and beautiful and strong

To whirl me higher than heaven and all

Its stars, till there is nothing else

But a great glitter of air, and song

Out of the mouths of a wheeling throng

Which has found, and chants like a triumph-call,

The Miracle of miracles.

Only, a little dead-gold feather

Came drooping once through the misty weather

Into my hands, all frayed and fine;

And underneath my breast as it clings

Whenever I feel it feebly stirred

My soul imagines a blaze of wings,

They are of neither angel nor bird,

That at the sun's bright passionate springs

Beat up a splendour constantly

And make wherever they flash and fly

A fiery wind in the over-ether.

Mirage and shadows, these are mine.

I saw a man, an old, old man,

The oldest man I ever did see—

Well! I am very nearly five,

And he was twice as old as me.

His eyes were much too old for sight,

His ears were much too old to hear,

His beard it was all tangled and white,

His old hands shook with a sort of fear.

He had a kind of twiggy broom

As though he had a room to mind,

Yet he was not in any room

But all among the blowy wind.

I saw him stoop to gather things—

He had not very far to stoop—

Leaves that had scattered like the wings

Of dead moths flying in a troop,

And little broken sticks beside

Where flowers and berries used to hang—

I wonder where the music died

Of all the birds that in them sang?—

There were some feathers on the ground,

And silky dried-up curls of flow'rs,

And he went stooping round and round

And gathering these things for hours.

I stood and watched and asked him why,

But still he groped about the mold

And never made the least reply

Because his ears were much too old.

He got his broom and swept and swept

A pile as round as any cup—

If I'd been littler I'd have wept

To see him sweeping summer up.

But I just stood and watched him there,

And presently he didn't sweep,

When there was nothing anywhere

But summer lying in a heap.

And then the old man found a light

And stooped above the darling mound,

And little dancing flames grew bright ...

He burned up summer on the ground!

But oh! there was the sweetest smell—

And yet the smell was sorry too—

Much sweeter than I ever could tell,

Of all the things I ever knew.

You could smell every kind of tree

And every kind of flower there is,

And wet weeds rather like the sea—

And something else as well as this.

It was—I don't know what it was!—

The sweetest, sorriest smell of all.

It crept in smoke-rings over the grass,

And hung, and would not rise or fall.

I think the old man must have known

What smell it was, but would not say.

He shuffled slowly off alone

When summer all was burned away.

One day when I'm a very old man

Perhaps I'll be as wise as he ...

But I am not quite five, you know,

And he was twice as old as me.

It was the longest August

And the weariest September

That ever I remember,

That ever I remember!

All the tedious summer

I toiled among the city

Where nothing fresh and sweet was

Or cool or kind or pretty.

Empty all the streets were,

Every house was lonely,

Nothing human moved there

Saving me, me only.

I saw little white things,

Things with dreadful faces—

No, they were not children

In the empty places.

Haggard, haggard tired things

Crossed my gaze and froze it—

Men and women never

Looked so, and God knows it.

Somewhere, men and women—

All the children, somewhere!

If I asked the heavens

The heavens only dumb were.

Oh, the city pave-stones,

Common, hard and dusty,

Like ignoble grave-stones

Of high hopes gone rusty.

Oh, the arid, breathless

Days devoid of rumour.

Oh, the tedious, deathless,

Hateful, humdrum summer ...

I walked out with a leaden brain

And a heart half-wild—

And suddenly I saw

A Child.

She had brown hands and brown bare knees

And a glorious golden skin

And eyes overlaid with sun on the sea

And laughter's heart within.

She stamped along the pavement

With hard and happy feet,

I was not done with gazing

Till she out-raced the street.

A Child! One Child! But next day,

Oh, next day there were two !

And half-a-score to follow,

And so the legion grew.

Children! Children! Children!

Come straight from where God is,

All the ocean's rhythm

Rocking in their bodies,

All the sea-scent, field-scent

Blowing from their tresses,

In their glad free glances

All that Earth expresses,

Sun-kissed, wind-kissed,

Rain-kissed bands,

Sand-yellow, sturdy legs,

Flower-dabbled hands,

Eyes so shining, such loud voices,

Such hard, happy feet!

Holiday-homing children

Flowing through the street.

Laughter's heart beat in

The last week of September—

The sweetest I remember!

What light was in me once unguarded was

And any wind could blow it any way,

A flame in tatters, with all moods for laws,

Wildest at midnight, pallidest by day.

A fire too tossed for comfort to the cold,

A gleam too blurred for guidance to the dark,

Shifting caprice of red and blue and gold

Flickering wanly from the troubled spark;

And other times a curl of azure smoke,

Like the last puff of incense that is seen

To vanish from the brazier, rose to cloak

The light until I feared it never had been.

But now the crystal-clear white globe of peace

Has closed my spirit in, that it may burn

Steadily to the stars, and henceforth cease

The wandering way of any wind to turn.

My body having encountered with a soul,

Be it my body's care to cherish whole

The thing it holds in trust, nor once deny

Ears to receive its faintest ghostly cry,

Nor count the large advantage of the hour

Aught in the scale beside the tiniest flower

Breathed of the spirit, nor make dim its eyes

To simple truths with things the world names wise.

Knowing too well my body's great unworth

Such essence to contain and clothe with earth,

I dare not be unworthier than I must

Lest this my soul be clogged with this my dust,

And that wherefor I owe most gratitude

Shall in the end the caging clay elude,

More soiled and more despoiled, more dragged and sad

Than was the thing from God my body had.

Even as flame consumes its husk of coal

The self must be consumèd by the soul

Till liberate from ash it leaps again,

Light seeking light, beyond the vision of men,

All that is counted I being cast adrift

Before the universe in me can lift

Up to its level of divinity:

Since therefore it has once befallen me

Wondrously for a little space to be

The vessel to whose charge the highest is given,

Pure as I may I'll render it to heaven.

A sea that shimmers on the brink of light,

Emerging over shadow-boundaries

Silverly on a sleeping silver shore:

Phantom-land still, still silent mystery,

Strewn with wan visions of the fading moon,

Whereon the wave that wakens barely breathes.

Which gathering soon its sweet surrendering dreams

Offers them to the yet invisible fire

That sends its fore-glow from below the rim,

Till they aspire in little golden vapours

And flicker to the pure and passionless skies,

The colour of pale melted sapphires—so

These driftings of the ocean's moon-trance mount,

And through the morning, briefly luminous,

Waver, and cease, above a brightening tide.

Then lo! the swift shrill flight of sudden gulls,

Up-circling whiteness sprayed against the blue,

The sweep of silver breasts and wheeling wings

That flash across the newly-risen sun

And cleaving through the dazzle of the day

Vanish like light dissolved in greater light

Or music drowned in heavenlier music.

Here lie I in the underworld of trees,

Over my head I have a wave of leaves

Through whose loose shimmering weave of mysteries

The rays of heaven come in yellow sheaves

Till every leaf is like an amber lamp

Lit at the very source of golden light;

The netted green has drawn the sun's own stamp

And myriad tiny suns are in my sight,

While such a radiant harmony, on wings

I hear but see not, seems my world to throng

I could believe the only voice that sings

Is of the leafage sparkling into song.

To-day within my soul I may contain

As much melodic light as one fine leaf

Receives from heaven and gives out again

Into an underworld grown dim with grief.

It means so little to you

To sing a note as you pass,

To smile your thanks to the day

For donning its cloudless blue

And then to go your way,

And leave behind in the grass

The print of your little shoe

Or a petal dropt from your rose

And your touch on the vine that grows

Over my cottage door:

It is nothing at all to you.

But to me, it is alms to the poor,

And the light of day to the blind,

And hope to the desolate;

Though you never have once glanced through

The window where, half-defined,

Half-hidden, I watch and wait—

For it means so little to you.

Skies that smile and slumber overspread with peace,

Quiet shores divinely hushed by kissing seas,

Corn-meads like the Mother's breast swelling and at ease,

All these hold me, fold me, that was not born of these.

I was born of the city's din

Where the World winds out and in

The endless ways man's hands do spin,

And men and women strive and sin

To win—I know not what to win.

Silver feet of twilight stepping from the East,

Golden wings of morning pointing to the South,

Globëd noon that half a-swoon

Discontains its ecstasy, spills its ineffable feast,

And flings about the shining air invisibly a wreath,

Scent of pine and flower and brine

Sweet and sweeter than the breath

Of the Belovèd's mouth.

O but O the city's mood

Restlessly divides my blood

Until the greater half doth crave

All at once to plunge and lave

Underneath the murky wave

And commingle with the flood:

And my brow desires the crown

Of the chimney-smoke-wreaths brown,

And my foot upon the pave

Aches to tramp it up and down

To the discord of the town.

Sunk in this large retirement where God's presence flows

And I can add no drop to His seas, no speck to His skies,

I might yield myself to His shadow for ever on my eyes

And the vision of Him for ever at peace in my peaceful soul,

Till one still-breathing dusk when the West was a golden rose

I might float out on the tides and over the Brim

To Him:—

And consummate the whole.

O but to touch the Brim

And never have sought to swim!

Out here God says all, does all. But there in the city's hum

Units, whereof I am, have their thing to do and say.

My individual note I would sing ere I go the Way.

Finite was I created. The Infinite strikes me dumb.

O changeless earth! O changeful world! I will arise!

Here stands the immutable Is. Yonder the Might Be lies.

What Is I cannot achieve, what Might Be perhaps I can

If but to my finite powers the Infinite give the nod:

All's possible here to God, all's possible there to Man,

And I was born in the city, I am Man, I am not God.

Night was warm and still,

Moon a dusky red,

Crickets chirped all up the hill,

And I wished me dead.

"For what use alive to be

And never live?" I said,

Lifting arms to let free

The plaits about my head.

"Have parents kind enow,

Lack nor roof nor bread,

Day goes I scarce know how

Till day be sped,

"Each drags by so like to each

Weighted with lead,

Always something needing speech

In my soul unsaid,

"Something in my soul unsung,

Something unfed—

Must be eased while still I'm young

And unwitherèd."

Crickets chirruped strangely shrill,

Smooth lay my bed,

Moon was hot upon the hill,

And I wished me dead.

Over garden and garth and meadow

Lo! I see a slipping shadow

Swift as any swallow—

Hist, strange shadow! I'll up and follow.

Neither meadow nor garth nor garden

Has in the sweet close nights its warden:

Oh, yet now I doubt me!

Eyes and whispers do seem about me.

Yet though the stars high-strewn, a litter

Of lights that shake for fear as they glitter,

All be lamps of danger—

I will speak with you, shadow-stranger!

Brown boy, brown boy,

What do you here

In the orchard all in rags

At midnight very near?

Brown boy, I never saw

Eyes so clear.

Brown boy, brown boy,

Bare are your feet—

Say I fetched the watch-dog out

Could they run fleet?

Brown boy, I never heard

Voice so sweet.

Brown boy, brown boy,

Where's your alarm?

Say I fetched my mother out

Sure you'd come to harm!

Brown boy, I never felt

Hands so warm.

Brown boy, brown boy,

Stealing's very wrong!

If I fetched my father out

Your skin weren't worth a song.

Brown boy, I never knew

Hearts beat so strong.

He said, three apples I came to steal,

Red and russet and golden peel,

For I've walked the day and never a meal.

Give me, he said, your russet hair

Once for my lips, and it's little I care

Though your apples rot as they ripen there.

Twice to save me, he said, from sin,

Give me your beautiful golden skin

That I may kiss it from forehead to chin.

Nay, and lest hunger still gnaw, he said,

Give me, belovèd, your mouth's dear red:

Though I starve in the dawn I will still be fed.

What's the road you travel

"Sand, chalk, and gravel,

Green grass and paving-stone,

Always alone.

"Hard and easy faring,

Freedom unsparing,

Where ant has crept or bird flown

To me is known.

"The sun's way, the rain's way,

Joy's way and pain's way,

As many ways as wind has blown

All are my own."

[Symbol: star]

Love, the future why weigh?

Your way is my way,

Neither grass nor city stone

Walk more alone.

Will not bitter faring

Better by sharing?

Every pain you've ever known

I'll make my own,

Beside you free of care foot,

Hungry and barefoot,

Glad, gay, great-hearted grown,

And never alone!

I know not whether I would laugh or weep,

Whether great sorrow or great gladness fill me,

Only that life has suddenly grown deep,

And from their dim and dreamful caverns springing

The golden-eyed imaginings of sleep

Like glorious birds given full freedom sweep

The world about our heads with strange wild singing ...

Though it do kill me,

Boy, I will love you, only so you will me....

Suppose no other night is like to this?

Suppose the coming light

Rives lance-like from the heart even of this night

Its mysteries?

You have put sudden bloom upon my soul,

And you have made to lift

My wingless spirit that did faintly drift

And saw no goal:

Have made me know the dazzle of a star

Crowns all this common earth

Which is a planet shooting light from birth

As yonder are.

These things, this bright new wisdom, could be given

Only of you to me:

The virtue's God's alone, who bade it be,

To unmake heaven:

So if you, sole destroyer, being sole giver,

Go ere you try your pow'rs,

All this may still be infinitely ours

To guard for ever.

Is morning in the sky?

Is not the moon still high?

A little wing of light

Flutters against the night.

You scarce have seen my face,

Your own's a shadowed place,

But your voice I still will know

In a million years or so,

Say Welcome to your breath

In some abyss of death,

Meet in the black eclipse

Of unborn worlds your lips,

Or know by its thrilling pain

This pulse of your heart again.

The moon is very low,

Soon all this grey will glow—

Go now, before the red,

And do not turn your head.

Three white swans flew in the sky

(Are you heeding, Wêland-Smith?)

Three white swans flew in the sky

Till they did a blue lake spy,

Then the three to earth did fly

And they laid their plumage by.

(Are you watchful, Wêland-Smith?)

When they stood of plumage bare

(What's your eye say, Wêland-Smith?)

When they stood of plumage bare

Three white maidens rose up there.

Earthly maids have not such rare

Rose-flushed limbs, such yellow hair,

Earthly maids are not so fair—

(What's your heart say, Wêland-Smith?)

These three maidens did begin

(What the ending, Wêland-Smith?)

These three maidens did begin

By the lakeside flax to spin,

And a low-hummed song did win

Thro' their threads all fine and thin,

Stealing, flashing out and in.

(Was it magic, Wêland-Smith?)

When the golden flax was spun

(Threads of fate for Wêland-Smith!)

When the golden flax was spun:

"Sisters," said the youngest one,

"See the ripples of the sun

Spinning where the waters run!

Let's unravel them till none

Rests to mock what we have done."

(Tense with hope lay Wêland-Smith.)

From the blue lake's flowery brim

(Still your breathing, Wêland-Smith!)

From the sweet lake's flowering brim

These three maids did dive and swim.

Oh, the flash of pearly limb

Visioned through the waters dim!

(Steal your moment, Wêland-Smith!)

Said the youngest Valkyr-Maid

(Did she hear you, Wêland-Smith?)

Said the youngest Valkyr-Maid:

"Sisters, I am grown afraid!

Three men hide within the shade—

Quick! before we be betrayed!"

(Quicker yet was Wêland-Smith.)

Three men stood upon the bank

(Egil, Slagfinn, Wêland-Smith)

Three men stood upon the bank,

In their hands the plumage lank.

"What prank's this?" the youngest drank

Breath to ask that triple rank.

Wêland said: "This is no prank."

(Strong and grave was Wêland-Smith.)

Egil lifted up his hand,

(Not as yet stirred Wêland-Smith)

Egil-Archer raised his hand,

Slagfinn only looked command,

And their maidens came to land,

And the four passed down the strand.

(Patient still was Wêland-Smith.)

Then the youngest of the brood,

(Ay, and fairest, Wêland-Smith!)

Then the fairest of the brood

Spoke to him from where she stood:

"Brown young Smith, your eyes are good—

Spare my immortal maidenhood."

But the swan-girl's melting mood

All the stronglier swayed and wooed

Every impulse of his blood

Till desire was at full flood—

('Ware of drowning, Wêland-Smith!)

"What reck I of prayer and plea?"

(So made answer Wêland-Smith.)

"What reck I of prayer and plea?

By this plumage held in fee,

Swan-girl, you belong to me,

Swan-girl, you shall follow me,

Ay, and be true wife to me."

(Warm of voice was Wêland-Smith.)

"Render me my white swan-wings!"

(Still she strove with Wêland-Smith.)

"Render me my white swan-wings

And I'll teach you cunning things

From the craft-wise fount that springs

Where iron Thor his hammer swings.

Smith, when your red anvil sings,

Fashioning you magic rings,

Swords for hero-happenings,

Crowns more meet for gods than kings—

You'll not grudge my white swan-wings."

(Plied she thuswise Wêland-Smith.)

"What reck I of promises?"

(So made answer Wêland-Smith.)

"What reck I of promises?

When I need such things as these

You shall teach me, if I please,

Wife of mine, upon your knees.

Mine you are beyond release."

(Firm of voice was Wêland-Smith.)

"Back I take all promise and pray'r!"

(Proudly faced she Wêland-Smith.)

"Back I take all promise and pray'r!

Hear, you worm of earth! that dare

With base cunning seek to snare

Me, a Valkyr of the air:

Such as I are slow to spare

Who our god-given rights impair—

Render me my plumage fair

Lest I blast you standing there!"

(Fiercely faced she Wêland-Smith.)

"What reck I of passion and pride?"

(So made answer Wêland-Smith.)

"What reck I of passion and pride?

Witless woman-words fly wide.

Woman, you are Wêland's bride,

'Shall come meekly to his side,

And he will not be denied."

(Stern of voice was Wêland-Smith.)

Thro' the lake the swan-girl white,

(Ah, be gentle, Wêland-Smith!)

Thro' the lake the swan-girl white

Slipped, and came with footfall light

Till beside him in full sight

Stood she beautiful and bright,

Saying with neither fear nor spite:

"I am here for your delight."

(So she greeted Wêland-Smith.)

"Nay, but hear me ere we go,

(As I love you, Wêland-Smith!)

Nay, but hear me ere we go

Hence to lay my godhead low

Since my lord will have it so.

Weigh the balance, lord, and know

That if we twain wedded show

All your streams of fate do flow

Henceforth from the tides of woe—

(Woe, O woe to Wêland-Smith!)

"Full seven years you shall me hold,

(Seven years' bliss for Wêland-Smith!)

Full seven years you shall me hold.

When the seventh year is told,

Like a parchment read and scrolled—

Ah, but, lord, inscribed in gold!—

That we may no more unfold

(Only think on, Wêland-Smith),

"I shall know a strange unrest,

(Dread the eighth year, Wêland-Smith!)

I shall know a strange unrest,

Be of old desires possessed,

Passionate to ride the crest

Of the storm, North, South, East, West—

Ay, and by your strong arm pressed

Win no sleep more on your breast.

(Sound tho' you sleep, Wêland-Smith.)

"In the ninth year I shall hear,

(Will you hear, too, Wêland-Smith?)

In the ninth year I shall hear

Iron Thor's thunder very near

Like a summons in my ear—

I shall leap for helm and spear

And shall pass in the ninth year!

Wêland! woe for Wêland! drear

Stands his future all too clear,

Yet I may not read it here.

Cast me from you, lord, with fear!

(I have warned you, Wêland-Smith.)"

"What reck I of hurt and harm?"

(Sweet of voice was Wêland-Smith.)

"What reck I of hurt and harm?

I hold you by a seven-years' charm,

My bride and my belovèd, warm

Within the hollow of my arm!"

( Go seven years happy, Wêland-Smith,

But Fate shall not be striven with. )

This series of books is being produced in connection with Orpheus , a quarterly magazine of mystical art. The magazine contains pictures, poems, articles and stories. At present (April, 1911) fourteen numbers have appeared, but the first three issues are out of print. Subscription (post free), 4/8 per annum.

*** END OF THE PROJECT GUTENBERG EBOOK DREAM-SONGS FOR THE BELOVÈD ***

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

Creating the works from print editions not protected by U.S. copyright law 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™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ 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™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org . If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate .

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org .

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

	PAGE
To My Mother	5
Dream-Songs for the Belovèd	7
In Love's House	13
Double Beauty	16
440 b.c.	17
Fogbound	21
The Dance-Ring	23
The Happy Shepherd	26
Poplars at Night	27
Sonnet	28
Wild Hyacinth	29
Never-Known	32
Revolt	33
Silence	35
My Knowledge Is—	36
The Last Week in September Child's Vision Man's Vision	38 41
New Light	44
Dedication	45
Morning-Vision	47
Underworld	48
A Song	49
Earth and the World	50
The Maid's Idyll	53
Wêland and the Swan-Girls	62

The Project Gutenberg eBook of Dream-Songs for the Belovèd

DREAM-SONGS
FOR THE BELOVÈD

CONTENTS

TO MY MOTHER

DREAM-SONGS FOR THE BELOVÈD

IN LOVE'S HOUSE

DOUBLE BEAUTY

440 B.C.

FOGBOUND

THE DANCE-RING

THE HAPPY SHEPHERD

POPLARS AT NIGHT

SONNET

WILD HYACINTH

NEVER-KNOWN

REVOLT

SILENCE

MY KNOWLEDGE IS—

THE LAST WEEK IN SEPTEMBER

NEW LIGHT

DEDICATION

MORNING-VISION

UNDERWORLD

A SONG

EARTH AND THE WORLD

THE MAID'S IDYLL

WÊLAND AND THE SWAN-GIRLS

PUBLISHER'S NOTE

Transcriber's Note

THE FULL PROJECT GUTENBERG LICENSE