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Ranolf and Amohia

A dream of two lives. By Alfred Domett. New edition, revised
Domett, Alfred (1811-1887)

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RANOLF AND AMOHIA:
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VOLUME I.
  
PRELUDE.
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BOOK THE FIRST. THE SAILOR-STUDENT.
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Canto the First. The Sea-boy.
 I. 
I.
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II.
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III.
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IV.
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V.
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VI.
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VII.
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VIII.
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IX.
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Canto the Second. Will-o'-wisp-chasing.
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I.
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III.
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VIII.
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Canto the Third. From Wisp to Morass.
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III.
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VII.
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VIII.
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IX.
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Canto the Fourth. Terra Firma.
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XII.
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XIII.
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Canto the Fifth. Cloud-blowing.
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XIII.
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XIV.
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Canto the Sixth. Land-Life or Sea-Life?
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Canto the Seventh. The Shipwreck.
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I.
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III.
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V.
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BOOK THE SECOND. THE SOUTH-SEA VILLAGERS.
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Canto the First. The Rescue.
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II.
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III.
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IV.
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VII.
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VIII.
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IX.
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Canto the Second. The ‘Sounding Sea.’
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VI.
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Canto the Third. The Magician.
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VII.
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VIII.
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Canto the Fourth. A Woodland Jaunt.
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I.
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VIII.
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Canto the Fifth. The Legend of Tawhaki.
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VII.
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Canto the Sixth. Mythical Cosmogonies.
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Canto the Seventh. The Captive.
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VII.
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VIII.
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BOOK THE THIRD. ALL IN A SUMMER NIGHT.
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Canto the First. Miroa's Tidings.
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I.
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III.
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IV.
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VII.
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VIII.
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Canto the Second. The Song-cheered Swimming.
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I.
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II.
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III.
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IV.
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Canto the Third. The Star-lit Swimming.
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Canto the Fourth. Legends of the Spirit-Land.
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Canto the Fifth. Amohia at the Fountain.
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Canto the Sixth. Silence and Moonlight.
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Canto the Seventh. The Meeting.
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VOLUME II.
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BOOK THE FOURTH. A LATTER-DAY EDEN.
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Canto the First. Flight of the Lovers.
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XII.
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Canto the Second. Miroa's Story.
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Canto the Third. Love and Nature luxuriant.
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Canto the Fourth. Trees and the Tree-God.
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Canto the Fifth. The Fountain-Terraces.
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Canto the Sixth. A Geyser Yoked.
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Canto the Seventh. English Maidens.
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BOOK THE FIFTH. STILL IN EDEN.
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Canto the First. The Haunted Mountain.
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Canto the Second. Sports on the Lake.
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Canto the Third. The Cicada.
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Canto the Fourth. A loving Questioner.
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Canto the Fifth. A cheery Theorist.
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Canto the Sixth. Love beats Logic.
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Canto the Seventh. An airy Nest.
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BOOK THE SIXTH WAR.
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Canto the First. The Beleaguered Fortress.
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IV.
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Canto the Second. War needs Idealizing.
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Canto the Third. The grand Assault.
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VIII.
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Canto the Fourth. Fight between ‘Sounding Sea’ and ‘Angry Star.’
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Canto the Fifth. Love fed by War.
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Canto the Sixth. An old wrong avenged.
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VI.
  
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 VIII. 
VIII.
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Canto the Seventh. Death of the ‘Sounding Sea.’
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BOOK THE SEVENTH. SELF-SACRIFICE.
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Canto the First. Weariness.
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III.
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Canto the Second. A sad Resolve.
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Canto the Third. Death of the Magician.
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VII.
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Canto the Fourth. Where is Comfort?
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VII.
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Canto the Fifth. A Vision.
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Canto the Sixth. The Departure.
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V
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VIII.
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IX.
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X.
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Canto the Seventh. After-Experiences.
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VIII.
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XI.
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XII.

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II.

The spring was close beside the path
To that quick-bubbling crystal bath
Where Amohia rested; she
Could in the moonlit distance see
The cot and its karaka-tree,
And Ranolf now emerge, so clear,
Now in its shadow disappear.
And she had marked the little lad
Set off her way with heart how glad;
And when he neared her bright retreat,
That heart with high expectance beat.
Hard-by there grew in snowy bloom
Thickets of aromatic broom;
Within whose green impervious screen,
Stand but a yard, she ne'er were seen.
Into the copse she quickly slipped,
Three steps from where the fountain dripped.
There, breathless, stirless, on the watch,
She formed her little scheme—until
The thirsty lad had drunk his fill,
And held his calabash to catch
The water of the trickling spring.
Then in a warbling voice, low sweet and wild,
That intertwined with its harmonious plash,
The hidden Girl began to sing
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A ditty to the startled Child
About a “fountain” and “a calabash:”

1.

“Golden water! golden water!
Flowing freely, flowing ever,
Flowing since the World began;
What shall we pour it in—
Heedfully store it in?—
If your calabash be not quite clean—if any foulness begrime or besmutch it,
Oh you never will catch the clear rillet—it will shrink away as you touch it!

2.

“Golden water! golden water!
Flowing coyly, dried up never
Since Tumátau moulded Man;
Flowing so tamelessly,
Seeming so aimlessly!—
Would you catch it with hands unsteady, or a heart with passion fretted?
Would you guide it in spouts of flax-leaf as you please?—Oh, you'll only get wetted!”—
The Child, at first too terrified
Even to run away, stood there
Holding the calabash in air,
With cheeks all blanched—mouth gaping wide,
And eyes outstarting; reassured
A little now, he seemed to gain
Some heart to list the simple strain;
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But 'twas the voice that most allured,
And most his confidence secured.
Had not the Maid been ever known
And loved for that melodious tone?
And was it not at birth instilled,
That voice like Music? when they killed
In numbers at her name-day feast,
The Korimáko, sweetest bird
Of all that are in forest heard?
That so, with prayers of chanting priest,
The spirit of their sweetness might
Upon the happy Child alight,
And her maturing accents be
Unmatched for kindred melody?—
So, doubtful if to run or stay,
He stood—while she resumed her lay:

3.

“Crystal water! crystal water!
Glistening out, then disappearing;
Blinding those who wink and blink:
How to get near it, then?—
Forward, ne'er fear it, then!
Sharp eye and free step—no crawling or creeping sideways like a shellfish—
All else like an innocent Child—confiding—straightforward—unselfish!

4.

“Crystal water! crystal water!
Chilling often, often cheering,
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Numbing those who cease to drink:
How can we use it well?—
Drink and diffuse it well!
If in finely carved cisterns you try to enclose it securely—
Tiny monsters will breed there and wriggle—it will stagnate impurely.

5.

“Diamond water! diamond water!
Warbling to all tribes and ages,
Welling near us yet apart:
Who is it guards it so?
Watches and wards it so?—
If you fear any Spirit too much, you'll ne'er see it though flowing close by you—
But revere you no Spirit at all?—what you drink will but petrify you.

6.

“Diamond water! diamond water!
With still, lucent eye of Sages,
But with Childhood's open heart;
So may you light on it,
Thrive and grow bright on it!”—
Here Amohia from the thicket springing
Whisked from his hand the flask it clung to, singing.
“Though your calabash be battered, bruised,—yet fear not you to fill it,—
For the better 'twill hold, the fresher keep, this flitting, magical rillet.”
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