Goodbye, Michelle, my little one;
You gave me love and helped me find the sun,
And every time that I was down
You would always come around
And get my feet back on the ground.
Goodbye, Michelle, it's hard to die
When all the birds are singing in the sky;
Now that the spring is in the air,
With the flowers everywhere,
I wish that we could both be there!
I will arise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made:
Nine bean-rows will I have there, a hive for the honeybee,
And live alone in the bee-loud glade.
And I shall have some peace there, for peace comes dropping slow
Dropping from the veils of the morning to where the cricket sings.
Who can prove
Wit to be witty when with deeper ground
Dulness intuitive declares wit dull?
Put the saddle on the mare,
For the wet winds blow;
There's winter in the air,
And autumn all below.
For the red leaves are flying
And the red bracken dying,
And the red fox lying
Where the oziers grow.
Put the bridle on the mare,
For my blood runs chill;
And my heart, it is there,
On the heather-tufted hill,
With the gray skies o'er us,
And the long-drawn chorus
Of a running pack before us
From the find to the kill.
Then lead round the mare,
For it's time that we began,
And away with thought and care,
Save to live and be a man,
While the keen air is blowing,
And the huntsman holloing,
And the black mare going
As the black mare can.
That is no country for old men. The young
In one another's arms, birds in the trees
—Those dying generations—at their song,
The salmon-falls, the mackerel-crowded seas,
Fish, flesh, or fowl, commend all summer long
Whatever is begotten, born, and dies.
Caught in that sensual music all neglect
Monuments of unaging intellect.
Be patient. Our Playwright may show
In some fifth act what this wild Drama means.
Maggy and Milly and Molly and May
went down to the beach (to play one day)
and Maggie discovered a shell that sang
so sweetly she couldn't remember her troubles, and
Milly befriended a stranded star
whose rays five languid fingers were;
and Molly was chased by a horrible thing
which raced sideways while blowing bubbles: and
May came home with a smooth round stone
as small as a world and as large as alone.
For whatever we lose (like a you or a me)
its always ourselves we find in the sea.
May she be granted beauty and yet not
Beauty to make a stranger's eye distraught,
Or hers before a looking-glass, for such,
Being made beautiful overmuch,
Consider beauty a sufficient end,
Lose natural kindness and maybe
The heart-revealing intimacy
That chooses right, and never find a friend.
Your soul was lifted by the wings today
Hearing the master of the violin:
You praised him, praised the great Sabastian too
Who made that fine Chaconne; but did you think
Of old Antonio Stradivari? - him
Who a good century and a half ago
Put his true work in that brown instrument
And by the nice adjustment of its frame
Gave it responsive life, continuous
With the master's finger-tips and perfected
Like them by delicate rectitude of use.
That plain white-aproned man, who stood at work
Patient and accurate full fourscore years,
Cherished his sight and touch by temperance,
And since keen sense is love of perfectness
Made perfect violins, the needed paths
For inspiration and high mastery.
No simpler man than he; he never cried,
"why was I born to this monotonous task
Of making violins?" Or flung them down
To suit with hurling act well-hurled curse
At labor on such perishable stuff.
Hence neighbors in Cremona held him dull,
Called him a slave, a mill-horse, a machine.
Naldo, a painter of eclectic school,
Knowing all tricks of style at thirty-one,
And weary of them, while Antonio
At sixty-nine wrought placidly his best,
Making the violin you heard today -
Naldo would tease him oft to tell his aims.
"Perhaps thou hast some pleasant vice to feed -
the love of louis d'ors in heaps of four,
Each violin a heap - I've naught to blame;
My vices waste such heaps. But then, why work
With painful nicety?"
Antonio then:
"I like the gold - well, yes - but not for meals.
And as my stomach, so my eye and hand,
And inward sense that works along with both,
Have hunger that can never feed on coin.
Who draws a line and satisfies his soul,
Making it crooked where it should be straight?
Antonio Stradivari has an eye
That winces at false work and loves the true."
Then Naldo: "'Tis a petty kind of fame
At best, that comes of making violins;
And saves no masses, either. Thou wilt go
To purgatory none the less."
But he:
"'Twere purgatory here to make them ill;
And for my fame - when any master holds
'Twixt chin and hand a violin of mine,
He will be glad that Stradivari lived,
Made violins, and made them of the best.
The masters only know whose work is good:
They will choose mine, and while God gives them skill
I give them instruments to play upon,
God choosing me to help him.
" What! Were God
at fault for violins, thou absent? "
" Yes;
He were at fault for Stradivari's work. "
" Why, many hold Giuseppe's violins
As good as thine. "
" May be: they are different.
His quality declines: he spoils his hand
With over-drinking. But were his the best,
He could not work for two. My work is mine,
And, heresy or not, if my hand slacked
I should rob God - since his is fullest good -
Leaving a blank instead of violins.
I say, not God himself can make man's best
Without best men to help him.
'Tis God gives skill,
But not without men's hands: he could not make
Antonio Stradivari's violins
Without Antonio. Get thee to thy easel. "
When have I last looked on
The round green eyes and the long wavering bodies
Of the dark leopards of the moon?
All the wild witches, those most noble ladies,
For all their broom-sticks and their tears,
Their angry tears, are gone.