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POEMS FROM OVER THE TEACUPS

TO THE ELEVEN LADIES

WHO PRESENTED ME WITH A SILVER LOVING CUP ON THE TWENTY-NINTH OF AUGUST, M DCCC LXXXIX

“Who gave this cup?” The secret thou wouldst steal
Its brimming flood forbids it to reveal:
No mortal's eye shall read it till he first
Cool the red throat of thirst.
If on the golden floor one draught remain,
Trust me, thy careful search will be in vain;
Not till the bowl is emptied shalt thou know
The names enrolled below.
Deeper than Truth lies buried in her well
Those modest names the graven letters spell
Hide from the sight; but wait, and thou shalt see
Who the good angels be
Whose bounty glistens in the beauteous gift
That friendly hands to loving lips shall lift:
Turn the fair goblet when its floor is dry,—
Their names shall meet thine eye.
Count thou their number on the beads of Heaven:
Alas! the clustered Pleiads are but seven;
Nay, the nine sister Muses are too few,—
The Graces must add two.
“For whom this gift?” For one who all too long
Clings to his bough among the groves of song;
Autumn's last leaf, that spreads its faded wing
To greet a second spring.
Dear friends, kind friends, whate'er the cup may hold,
Bathing its burnished depths, will change to gold:
Its last bright drop let thirsty Mænads drain,
Its fragrance will remain.
Better love's perfume in the empty bowl
Then wine's nepenthe for the aching soul;
Sweeter than song that ever poet sung,
It makes an old heart young!

THE PEAU DE CHAGRIN OF STATE STREET

How beauteous is the bond
In the manifold array
Of its promises to pay,
While the eight per cent it gives
And the rate at which one lives
Correspond!
But at last the bough is bare
Where the coupons one by one
Through their ripening days have run,
And the bond, a beggar now,
Seeks investment anyhow,
Any where!

CACOETHES SCRIBENDI

If all the trees in all the woods were men;
And each and every blade of grass a pen;
If every leaf on every shrub and tree
Turned to a sheet of foolscap; every sea
Were changed to ink, and all earth's living tribes
Had nothing else to do but act as scribes,
And for ten thousand ages, day and night,
The human race should write, and write, and write,
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Till all the pens and paper were used up,
And the huge inkstand was an empty cup,
Still would the scribblers clustered round its brink
Call for more pens, more paper, and more ink.

THE ROSE AND THE FERN

Lady, life's sweetest lesson wouldst thou learn,
Come thou with me to Love's enchanted bower:
High overhead the trellised roses burn;
Beneath thy feet behold the feathery fern,—
A leaf without a flower.
What though the rose leaves fall? They still are sweet,
And have been lovely in their beauteous prime,
While the bare frond seems ever to repeat,
“For us no bud, no blossom, wakes to greet
The joyous flowering time!”
Heed thou the lesson. Life has leaves to tread
And flowers to cherish; summer round thee glows;
Wait not till autumn's fading robes are shed,
But while its petals still are burning red
Gather life's full-blown rose!

I LIKE YOU AND I LOVE YOU

I like you met I love you, face to face;
The path was narrow, and they could not pass.
I like you smiled; I love you cried, Alas!
And so they halted for a little space.
“Turn thou and go before,” I love you said,
“Down the green pathway, bright with many a flower;
Deep in the valley, lo! my bridal bower
Awaits thee.” But I like you shook his head.
Then while they lingered on the span-wide shelf
That shaped a pathway round the rocky ledge,
I like you bared his icy dagger's edge,
And first he slew I love you,—then himself.

LA MAISON D'OR

(BAR HARBOR)

From this fair home behold on either side
The restful mountains or the restless sea:
So the warm sheltering walls of life divide
Time and its tides from still eternity.
Look on the waves: their stormy voices teach
That not on earth may toil and struggle cease.
Look on the mountains: better far than speech
Their silent promise of eternal peace.

TOO YOUNG FOR LOVE

Too young for love?
Ah, say not so!
Tell reddening rosebuds not to blow!
Wait not for spring to pass away,—
Love's summer months begin with May!
Too young for love?
Ah, say not so!
Too young? Too young?
Ah, no! no! no!
Too young for love?
Ah, say not so,
While daisies bloom and tulips glow!
June soon will come with lengthened day
To practise all love learned in May.
Too young for love?
Ah, say not so!
Too young? Too young?
Ah, no! no! no!

THE BROOMSTICK TRAIN; OR, THE RETURN OF THE WITCHES

[_]

If there are any anachronisms or other inaccuracies in this story, the reader will please to remember that the narrator's memory is liable to be at fault, and if the event recorded interests

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him, will not worry over any little slips or stumbles.

The terrible witchcraft drama of 1692 has been seriously treated, as it well deserves to be. The story has been told in two large volumes by the Rev. Charles Wentworth Upham, and in a small and more succinct volume, based upon his work, by his daughter-in-law, Caroline E. Upham.

The delusion, commonly spoken of as if it belonged to Salem, was more widely diffused through the towns of Essex County. Looking upon it as a pitiful and long dead and buried superstition, I trust my poem will no more offend the good people of Essex County than Tam O'Shanter worries the honest folk of Ayrshire.

The localities referred to are those with which I am familiar in my drives about Essex County.

Look out! Look out, boys! Clear the track!
The witches are here! They've all come back!
They hanged them high,—No use! No use!
What cares a witch for a hangman's noose?
They buried them deep, but they would n't lie still,
For cats and witches are hard to kill;
They swore they should n't and would n't die,—
Books said they did, but they lie! they lie!
A couple of hundred years, or so,
They had knocked about in the world below,
When an Essex Deacon dropped in to call,
And a homesick feeling seized them all;
For he came from a place they knew full well,
And many a tale he had to tell.
They longed to visit the haunts of men,
To see the old dwellings they knew again,
And ride on their broomsticks all around
Their wide domain of unhallowed ground.
In Essex county there 's many a roof
Well known to him of the cloven hoof;
The small square windows are full in view
Which the midnight hags went sailing through,
On their well-trained broomsticks mounted high,
Seen like shadows against the sky;
Crossing the track of owls and bats,
Hugging before them their coal-black cats.
Well did they know, those gray old wives,
The sights we see in our daily drives:
Shimmer of lake and shine of sea,
Browne's bare hill with its lonely tree,
(It was n't then as we see it now,
With one scant scalp-lock to shade its brow;)
Dusky nooks in the Essex woods,
Dark, dim, Dante-like solitudes,
Where the tree-toad watches the sinuous snake
Glide through his forests of fern and brake;
Ipswich River; its old stone bridge;
Far off Andover's Indian Ridge,
And many a scene where history tells
Some shadow of bygone terror dwells,—
Of “Norman's Woe” with its tale of dread,
Of the Screeching Woman of Marblehead,
(The fearful story that turns men pale:
Don't bid me tell it,—my speech would fail.)
Who would not, will not, if he can,
Bathe in the breezes of fair Cape Ann,—
Rest in the bowers her bays enfold,
Loved by the sachems and squaws of old?
Home where the white magnolias bloom,
Sweet with the bayberry's chaste perfume,
Hugged by the woods and kissed by the sea!
Where is the Eden like to thee?
For that “couple of hundred years, or so,”
There had been no peace in the world below;
The witches still grumbling, “It is n't fair;
Come, give us a taste of the upper air!
We 've had enough of your sulphur springs,
And the evil odor that round them clings;
We long for a drink that is cool and nice,—
Great buckets of water with Wenham ice;
We 've served you well up-stairs, you know;
You 're a good old—fellow—come, let us go!”
I don't feel sure of his being good,
But he happened to be in a pleasant mood,—
As fiends with their skins full sometimes are,—
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(He 'd been drinking with “roughs” at a Boston bar.)
So what does he do but up and shout
To a graybeard turnkey, “Let 'em out!”
To mind his orders was all he knew;
The gates swung open, and out they flew.
“Where are our broomsticks?” the beldams cried.
“Here are your broomsticks,” an imp replied.
“They 've been in—the place you know—so long
They smell of brimstone uncommon strong;
But they 've gained by being left alone,—
Just look, and you'll see how tall they 've grown.”
“And where is my cat?” a vixen squalled.
“Yes, where are our cats?” the witches bawled,
And began to call them all by name:
As fast as they called the cats, they came:
There was bob-tailed Tommy and long-tailed Tim,
And wall-eyed Jacky and green-eyed Jim,
And splay-foot Benny and slim-legged Beau,
And Skinny and Squally, and Jerry and Joe,
And many another that came at call,—
It would take too long to count them all.
All black,—one could hardly tell which was which,
But every cat knew his own old witch;
And she knew hers as hers knew her,—
Ah, did n't they curl their tails and purr!
No sooner the withered hags were free
Than out they swarmed for a midnight spree;
I could n't tell all they did in rhymes,
But the Essex people had dreadful times.
The Swampscott fishermen still relate
How a strange sea-monster stole their bait;
How their nets were tangled in loops and knots,
And they found dead crabs in their lobster-pots,
Poor Danvers grieved for her blasted crops,
And Wilmington mourned over mildewed hops.
A blight played havoc with Beverly beans.—
It was all the work of those hateful queans!
A dreadful panic began at “Pride's,”
Where the witches stopped in their midnight rides,
And there rose strange rumors and vague alarms
'Mid the peaceful dwellers at Beverly Farms.
Now when the Boss of the Beldams found
That without his leave they were ramping round,
He called,—they could hear him twenty miles,
From Chelsea beach to the Misery Isles;
The deafest old granny knew his tone
Without the trick of the telephone.
“Come here, you witches! Come here!” says he,—
“At your games of old, without asking me!
I'll give you a little job to do
That will keep you stirring, you godless crew!”
They came, of course, at their master's call,
The witches, the broomsticks, the cats, and all;
He led the hags to a railway train
The horses were trying to drag in vain.
“Now, then,” says he, “you 've had your fun,
And here are the cars you 've got to run.
The driver may just unhitch his team,
We don't want horses, we don't want steam;
You may keep your old black cats to hug,
But the loaded train you 've got to lug.”
Since then on many a car you'll see
A broomstick plain as plain can be;
On every stick there 's a witch astride,—
The string you see to her leg is tied.
She will do a mischief if she can,
But the string is held by a careful man,
And whenever the evil-minded witch
Would cut some caper, he gives a twitch.
As for the hag, you can't see her,
But hark! you can hear her black cat's purr,
And now and then, as a car goes by,
You may catch a gleam from her wicked eye.
Often you 've looked on a rushing train,
But just what moved it was not so plain.
It could n't be those wires above,
For they could neither pull nor shove;
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Where was the motor that made it go
You could n't guess, but now you know.
Remember my rhymes when you ride again
On the rattling rail by the broomstick train!

TARTARUS

While in my simple gospel creed
That “God is Love” so plain I read,
Shall dreams of heathen birth affright
My pathway through the coming night?
Ah, Lord of life, though spectres pale
Fill with their threats the shadowy vale,
With Thee my faltering steps to aid,
How can I dare to be afraid?
Shall mouldering page or fading scroll
Outface the charter of the soul?
Shall priesthood's palsied arm protect
The wrong our human hearts reject,
And smite the lips whose shuddering cry
Proclaims a cruel creed a lie?
The wizard's rope we disallow
Was justice once,—is murder now!
Is there a world of blank despair,
And dwells the Omnipresent there?
Does He behold with smile serene
The shows of that unending scene,
Where sleepless, hopeless anguish lies,
And, ever dying, never dies?
Say, does He hear the sufferer's groan,
And is that child of wrath his own?
O mortal, wavering in thy trust,
Lift thy pale forehead from the dust!
The mists that cloud thy darkened eyes
Fade ere they reach the o'erarching skies!
When the blind heralds of despair
Would bid thee doubt a Father's care,
Look up from earth, and read above
On heaven's blue tablet, God is Love!

AT THE TURN OF THE ROAD

The glory has passed from the goldenrod's plume,
The purple-hued asters still linger in bloom:
The birch is bright yellow, the sumachs are red,
The maples like torches aflame overhead.
But what if the joy of the summer is past,
And winter's wild herald is blowing his blast?
For me dull November is sweeter than May,
For my love is its sunshine,—she meets me to-day!
Will she come? Will the ring-dove return to her nest?
Will the needle swing back from the east or the west?
At the stroke of the hour she will be at her gate;
A friend may prove laggard,—love never comes late.
Do I see her afar in the distance? Not yet.
Too early! Too early! She could not forget!
When I cross the old bridge where the brook overflowed,
She will flash full in sight at the turn of the road.
I pass the low wall where the ivy entwines;
I tread the brown pathway that leads through the pines;
I haste by the boulder that lies in the field,
Where her promise at parting was lovingly sealed.
Will she come by the hillside or round through the wood?
Will she wear her brown dress or her mantle and hood?
The minute draws near,—but her watch may go wrong;
My heart will be asking, What keeps her so long?
Why doubt for a moment? More shame if I do!
Why question? Why tremble? Are angels more true?
She would come to the lover who calls her his own
Though she trod in the track of a whirling cyclone!
I crossed the old bridge ere the minute had passed.
I looked: lo! my Love stood before me at last.
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Her eyes, how they sparkled, her cheeks, how they glowed,
As we met, face to face, at the turn of the road!

INVITÂ MINERVÂ

[_]

I find the burden and restrictions of rhyme more and more troublesome as I grow older. There are times when it seems natural enough to employ that form of expression, but it is only occasionally; and the use of it as a vehicle of the commonplace is so prevalent that one is not much tempted to select it as the medium for his thoughts and emotions. The art of rhyming has almost become a part of a high-school education, and its practice is far from being an evidence of intellectual distinction. Mediocrity is as much forbidden to the poet in our days as it was in those of Horace, and the immense majority of the verses written are stamped with hopeless mediocrity.

When one of the ancient poets found he was trying to grind out verses which came unwillingly, he said he was writing Invitâ Minervâ.

Vex not the Muse with idle prayers,—
She will not hear thy call;
She steals upon thee unawares,
Or seeks thee not at all.
Soft as the moonbeams when they sought
Endymion's fragrant bower,
She parts the whispering leaves of thought
To show her full-blown flower.
For thee her wooing hour has passed,
The singing birds have flown,
And winter comes with icy blast
To chill thy buds unblown.
Yet, though the woods no longer thrill
As once their arches rung,
Sweet echoes hover round thee still
Of songs thy summer sung.
Live in thy past; await no more
The rush of heaven-sent wings;
Earth still has music left in store
While Memory sighs and sings.
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