Orpheus with his lute made trees,
And the mountain tops that freeze,
Bow themselves when he did sing:
To his music plants and flowers
Ever sprung; as sun and showers
There had made a lasting spring.
Every thing that heard him play,
Even the billows of the sea,
Hung their heads, and then lay by.
In sweet music is such art,
Killing care and grief of heart
Fall asleep, or hearing, die.
What is your substance, whereof are you made,
That millions of strange shadows on you tend?
Since every one hath, every one, one shade,
And you, but one, can every shadow lend.
Describe Adonis, and the counterfeit
Is poorly imitated after you;
On Helen's cheek all art of beauty set,
And you in Grecian tires are painted new.
Speak of the spring and foison of the year:
The one doth shadow of your beauty show,
The other as your bounty doth appear;
And you in every blessèd shape we know.
"With sacrifice before the rising morn
Vows have I made by fruitless hope inspired;
And from the infernal Gods, 'mid shades forlorn
Of night, my slaughtered Lord have I required:
Celestial pity I again implore; —
Restore him to my sight — great Jove, restore!"
O Goddess! hear these tuneless numbers, wrung
By sweet enforcement and remembrance dear,
And pardon that thy secrets should be sung
Even into thine own soft-conched ear:
Surely I dreamt to-day, or did I see
The winged Psyche with awaken'd eyes?
I wander'd in a forest thoughtlessly,
And, on the sudden, fainting with surprise,
Saw two fair creatures, couched side by side
Why should I blame her that she filled my days
With misery, or that she would of late
Have taught to ignorant men most violent ways,
Or hurled the little streets upon the great,
Had they but courage equal to desire?
What could have made her peaceful with a mind
That nobleness made simple as a fire,
With beauty like a tightened bow, a kind
That is not natural in an age like this,
Being high and solitary and most stern?
Why, what could she have done, being what she is?
Was there another Troy for her to burn?
We have had our lives.
The reservoir visible
In the window beside our elbows, and the willow
Branches trailing at our stop
Are the nature we leave
Behind us gladly, since it has no place
For all we have recently learned: that sex
Is temporary, help
Ours to hand down now, and materials science
Not the only kind. We thank
Calm, careful Minerva, goddess
Of adults, who for so many years took us
From the forests and highlands
We come, we come;
From the river-girt islands,
Where loud waves are dumb
Listening to my sweet pipings.
The wind in the reeds and the rushes,
The bees on the bells of thyme,
The birds on the myrtle bushes,
The cicale above in the lime,
And the lizards below in the grass,
Were as silent as ever old Tmolus was,
With favoring winds, o'er sunlit seas,
We sailed for the Hesperides,
The land where golden apples grow;
But that, ah! that was long ago.
How far, since then, the ocean streams
Have swept us from that land of dreams,
That land of fiction and of truth,
The lost Atlantis of our youth!
Whither, ah, whither? Are not these
The tempest-haunted Orcades,
Where sea-gulls scream, and breakers roar,
And wreck and sea-weed line the shore?
O Hymen king.
Hymen, O Hymen king,
what bitter thing is this?
what shaft, tearing my heart?
what scar, what light, what fire
searing my eye-balls and my eyes with flame?
nameless, O spoken name,
king, lord, speak blameless Hymen.
Helen achieves the difficult task of translating a symbol in time, into timeless-time or hieroglyph or ancient Egyptian time. She knows the script, she says, but we judge that this is intuitive or emotional knowledge, rather than intellectual. In any case, a night-bird swooped toward them, in their first encounter on the beach. To Achilles, lately arrived from Troy and the carnage of battle, this is a "carrion creature," but Helen would banish these memories. She says she is "instructed," she is enchanted, rather.
