Chapter I: Shall Not Die for Thee (3)

Is there a great green commonwealth of Thought
Which ranks the yearly pageant, and decides
How Summer's royal progress shall be wrought,
By secret stir which in each plant abides?
Does rocking daffodil consent that she,
The snowdrop of wet winters, shall be first?
Does spotted cowslip with the grass agree
To hold her pride before the rattle burst?
And in the hedge what quick agreement goes,
When hawthorn blossoms redden to decay,
That Summer's pride shall come, the Summer's rose,
Before the flower be on the bramble spray?
Or is it, as with us, unresting strife,
And each consent a lucky gasp for life?

FOOTNOTES:

[17] From _The Story of a Round-House_ by John Masefield. Copyright, 1913, by The Macmillan Company. Reprinted by permission of the publishers.

[18] From _Good Friday and Other Poems_ by John Masefield. Copyright, 1916, by The Macmillan Company. Reprinted by permission of the publishers.

_Lord Dunsany_

Edward John Moreton Drax Plunkett, Lord Dunsany, was born July 24, 1878, and was educated at Eton and Sandhurst. He is best known as an author of fantastic fairy tales and even more fantastic plays. _The Gods of the Mountain_ (1911) and _The Golden Doom_ (1912) are highly dramatic and intensely poetic. _A Night at an Inn_ (1916) is that peculiar novelty, an eerie and poetical melodrama.

Dunsany's prime quality is a romantic and highly colored imagination which is rich in symbolism. After the World War, in which the playwright served as captain in the Royal Innis-killing Fusiliers, Dunsany visited America and revised the reissue of his early tales and prose poems collected in his _The Book of Wonder_.

SONGS FROM AN EVIL WOOD

I

There is no wrath in the stars,
They do not rage in the sky;
I look from the evil wood
And find myself wondering why.

Why do they not scream out
And grapple star against star,
Seeking for blood in the wood
As all things round me are?

They do not glare like the sky
Or flash like the deeps of the wood;
But they shine softly on
In their sacred solitude.

To their high, happy haunts
Silence from us has flown,
She whom we loved of old
And know it now she is gone.

When will she come again,
Though for one second only?
She whom we loved is gone
And the whole world is lonely.

And the elder giants come
Sometimes, tramping from far
Through the weird and flickering light
Made by an earthly star.

And the giant with his club,
And the dwarf with rage in his breath,
And the elder giants from far,
They are all the children of Death.

They are all abroad to-night
And are breaking the hills with their brood,--
And the birds are all asleep
Even in Plug Street Wood!

II

Somewhere lost in the haze
The sun goes down in the cold,
And birds in this evil wood
Chirrup home as of old;

Chirrup, stir and are still,
On the high twigs frozen and thin.
There is no more noise of them now,
And the long night sets in.

Of all the wonderful things
That I have seen in the wood
I marvel most at the birds
And their wonderful quietude.

For a giant smites with his club
All day the tops of the hill,
Sometimes he rests at night,
Oftener he beats them still.

And a dwarf with a grim black mane
Raps with repeated rage
All night in the valley below
On the wooden walls of his cage.

III

I met with Death in his country,
With his scythe and his hollow eye,
Walking the roads of Belgium.
I looked and he passed me by.

Since he passed me by in Plug Street,
In the wood of the evil name,
I shall not now lie with the heroes,
I shall not share their fame;

I shall never be as they are,
A name in the lands of the Free,
Since I looked on Death in Flanders
And he did not look at me.

_Edward Thomas_

Edward Thomas, one of the little-known but most individual of modern English poets, was born in 1878. For many years before he turned to verse, Thomas had a large following as a critic and author of travel books, biographies, pot-boilers. Hating his hack-work, yet unable to get free of it, he had so repressed his creative ability that he had grown doubtful concerning his own power. It needed something foreign to stir and animate what was native in him. So when Robert Frost, the New England poet, went abroad in 1912 for two years and became an intimate of Thomas's, the English critic began to write poetry. Loving, like Frost, the _minutiae_ of existence, the quaint and casual turn of ordinary life, he caught the magic of the English countryside in its unpoeticized quietude. Many of his poems are full of a slow, sad contemplation of life and a reflection of its brave futility. It is not disillusion exactly; it is rather an absence of illusion. _Poems_ (1917), dedicated to Robert Frost, is full of Thomas's fidelity to little things, things as unglorified as the unfreezing of the "rock-like mud," a child's path, a list of quaint-sounding villages, birds' nests uncovered by the autumn wind, dusty nettles--the lines glow with a deep and almost abject reverence for the soil.

Thomas was killed at Arras, at an observatory outpost, on Easter Monday, 1917.

IF I SHOULD EVER BY CHANCE

If I should ever by chance grow rich
I'll buy Codham, Cockridden, and Childerditch,
Roses, Pyrgo, and Lapwater,
And let them all to my elder daughter.
The rent I shall ask of her will be only
Each year's first violets, white and lonely,
The first primroses and orchises--
She must find them before I do, that is.
But if she finds a blossom on furze
Without rent they shall all for ever be hers,
Codham, Cockridden, and Childerditch,
Roses, Pyrgo and Lapwater,--
I shall give them all to my elder daughter.

TALL NETTLES

Tall nettles cover up, as they have done
These many springs, the rusty harrow, the plough
Long worn out, and the roller made of stone:
Only the elm butt tops the nettles now.

This corner of the farmyard I like most:
As well as any bloom upon a flower
I like the dust on the nettles, never lost
Except to prove the sweetness of a shower.

FIFTY FAGGOTS

There they stand, on their ends, the fifty faggots
That once were underwood of hazel and ash
In Jenny Pinks's Copse. Now, by the hedge
Close packed, they make a thicket fancy alone
Can creep through with the mouse and wren. Next Spring
A blackbird or a robin will nest there,
Accustomed to them, thinking they will remain
Whatever is for ever to a bird.
This Spring it is too late; the swift has come,
'Twas a hot day for carrying them up:
Better they will never warm me, though they must
Light several Winters' fires. Before they are done
The war will have ended, many other things
Have ended, maybe, that I can no more
Foresee or more control than robin and wren.

COCK-CROW

Out of the wood of thoughts that grows by night
To be cut down by the sharp axe of light,--
Out of the night, two cocks together crow,
Cleaving the darkness with a silver blow:
And bright before my eyes twin trumpeters stand,
Heralds of splendour, one at either hand,
Each facing each as in a coat of arms:--
The milkers lace their boots up at the farms.

_Seumas O'Sullivan_

James Starkey was born in Dublin in 1879. Writing under the pseudonym of Seumas O'Sullivan, he contributed a great variety of prose and verse to various Irish papers. His reputation as a poet began with his appearance in _New Songs_, edited by George Russell ("A. E."). Later, he published _The Twilight People_ (1905), _The Earth Lover_ (1909), and _Poems_ (1912).

PRAISE

Dear, they are praising your beauty,
The grass and the sky:
The sky in a silence of wonder,
The grass in a sigh.

I too would sing for your praising,
Dearest, had I
Speech as the whispering grass,
Or the silent sky.

These have an art for the praising
Beauty so high.
Sweet, you are praised in a silence,
Sung in a sigh.

_Ralph Hodgson_

This exquisite poet was born in Northumberland about 1879. One of the most graceful of the younger word-magicians, Ralph Hodgson will retain his freshness as long as there are lovers of such rare and timeless songs as his. It is difficult to think of any anthology of English poetry compiled after 1917 that could omit "Eve," "The Song of Honor," and that memorable snatch of music, "Time, You Old Gypsy Man." One succumbs to the charm of "Eve" at the first reading; for here is the oldest of all legends told with a surprising simplicity and still more surprising freshness. This Eve is neither the conscious sinner nor the Mother of men; she is, in Hodgson's candid lines, any young, English country girl--filling her basket, regarding the world and the serpent itself with a mild and childlike wonder.

Hodgson's verses, full of the love of all natural things, a love that goes out to

"an idle rainbow
No less than laboring seas,"

were originally brought out in small pamphlets, and distributed by _Flying Fame_.

EVE

Eve, with her basket, was
Deep in the bells and grass,
Wading in bells and grass
Up to her knees.
Picking a dish of sweet
Berries and plums to eat,
Down in the bells and grass
Under the trees.

Mute as a mouse in a
Corner the cobra lay,
Curled round a bough of the
Cinnamon tall....
Now to get even and
Humble proud heaven and
Now was the moment or
Never at all.

"Eva!" Each syllable
Light as a flower fell,
"Eva!" he whispered the
Wondering maid,
Soft as a bubble sung
Out of a linnet's lung,
Soft and most silverly
"Eva!" he said.

Picture that orchard sprite;
Eve, with her body white,
Supple and smooth to her
Slim finger tips;
Wondering, listening,
Listening, wondering,
Eve with a berry
Half-way to her lips.

Oh, had our simple Eve
Seen through the make-believe!
Had she but known the
Pretender he was!
Out of the boughs he came,
Whispering still her name,
Tumbling in twenty rings
Into the grass.

Here was the strangest pair
In the world anywhere,
Eve in the bells and grass
Kneeling, and he
Telling his story low....
Singing birds saw them go
Down the dark path to
The Blasphemous Tree.

Oh, what a clatter when
Titmouse and Jenny Wren
Saw him successful and
Taking his leave!
How the birds rated him,
How they all hated him!
How they all pitied
Poor motherless Eve!

Picture her crying
Outside in the lane,
Eve, with no dish of sweet
Berries and plums to eat,
Haunting the gate of the
Orchard in vain....
Picture the lewd delight
Under the hill to-night--
"Eva!" the toast goes round,
"Eva!" again.

TIME, YOU OLD GIPSY MAN

Time, you old gipsy man,
Will you not stay,
Put up your caravan
Just for one day?

All things I'll give you
Will you be my guest,
Bells for your jennet
Of silver the best,
Goldsmiths shall beat you
A great golden ring,
Peacocks shall bow to you,
Little boys sing,
Oh, and sweet girls will
Festoon you with may.
Time, you old gipsy,
Why hasten away?

Last week in Babylon,
Last night in Rome,
Morning, and in the crush
Under Paul's dome;
Under Paul's dial
You tighten your rein--
Only a moment,
And off once again;
Off to some city
Now blind in the womb,
Off to another
Ere that's in the tomb.

Time, you old gipsy man,
Will you not stay,
Put up your caravan
Just for one day?

THE BIRDCATCHER

When flighting time is on, I go
With clap-net and decoy,
A-fowling after goldfinches
And other birds of joy;

I lurk among the thickets of
The Heart where they are bred,
And catch the twittering beauties as
They fly into my Head.

THE MYSTERY

He came and took me by the hand
Up to a red rose tree,
He kept His meaning to Himself
But gave a rose to me.

I did not pray Him to lay bare
The mystery to me,
Enough the rose was Heaven to smell,
And His own face to see.

_Harold Monro_

The publisher of the various anthologies of Georgian Poetry, Harold Monro, was born in Brussels in 1879. He describes himself as "author, publisher, editor and book-seller." Monro founded The Poetry Bookshop in London in 1912, a unique establishment having as its object a practical relation between poetry and the public, and keeping in stock nothing but poetry, the drama, and books connected with these subjects. His quarterly _Poetry and Drama_ (discontinued during the war and revived in 1919 as _The Monthly Chapbook_), was in a sense the organ of the younger men; and his shop, in which he has lived for the last seven years except while he was in the army, became a genuine literary center.

Of Monro's books, the two most important are _Strange Meetings_ (1917) and _Children of Love_ (1919). "The Nightingale Near the House," one of the loveliest of his poems, is also one of his latest and has not yet appeared in any of his volumes.

THE NIGHTINGALE NEAR THE HOUSE

Here is the soundless cypress on the lawn:
It listens, listens. Taller trees beyond
Listen. The moon at the unruffled pond
Stares. And you sing, you sing.

That star-enchanted song falls through the air
From lawn to lawn down terraces of sound,
Darts in white arrows on the shadowed ground;
And all the night you sing.

My dreams are flowers to which you are a bee
As all night long I listen, and my brain
Receives your song; then loses it again
In moonlight on the lawn.

Now is your voice a marble high and white,
Then like a mist on fields of paradise,
Now is a raging fire, then is like ice,
Then breaks, and it is dawn.

EVERY THING

Since man has been articulate,
Mechanical, improvidently wise,
(Servant of Fate),
He has not understood the little cries
And foreign conversations of the small
Delightful creatures that have followed him
Not far behind;
Has failed to hear the sympathetic call
Of Crockery and Cutlery, those kind
Reposeful Teraphim
Of his domestic happiness; the Stool
He sat on, or the Door he entered through:
He has not thanked them, overbearing fool!
What is he coming to?

But you should listen to the talk of these.
Honest they are, and patient they have kept;
Served him without his Thank you or his Please ...
I often heard
The gentle Bed, a sigh between each word,
Murmuring, before I slept.
The Candle, as I blew it, cried aloud,
Then bowed,
And in a smoky argument
Into the darkness went.

The Kettle puffed a tentacle of breath:--
"Pooh! I have boiled his water, I don't know
Why; and he always says I boil too slow.
He never calls me 'Sukie, dear,' and oh,
I wonder why I squander my desire
Sitting submissive on his kitchen fire."

Now the old Copper Basin suddenly
Rattled and tumbled from the shelf,
Bumping and crying: "I can fall by myself;
Without a woman's hand
To patronize and coax and flatter me,
I understand
The lean and poise of gravitable land."
It gave a raucous and tumultuous shout,
Twisted itself convulsively about,
Rested upon the floor, and, while I stare,
It stares and grins at me.

The old impetuous Gas above my head
Begins irascibly to flare and fret,
Wheezing into its epileptic jet,
Reminding me I ought to go to bed.

The Rafters creak; an Empty-Cupboard door
Swings open; now a wild Plank of the floor
Breaks from its joist, and leaps behind my foot.
Down from the chimney, half a pound of Soot
Tumbles and lies, and shakes itself again.
The Putty cracks against the window-pane.

A piece of Paper in the basket shoves
Another piece, and toward the bottom moves.
My independent Pencil, while I write,
Breaks at the point: the ruminating Clock
Stirs all its body and begins to rock,
Warning the waiting presence of the Night,
Strikes the dead hour, and tumbles to the plain
Ticking of ordinary work again.

You do well to remind me, and I praise
Your strangely individual foreign ways.
You call me from myself to recognize
Companionship in your unselfish eyes.
I want your dear acquaintances, although
I pass you arrogantly over, throw
Your lovely sounds, and squander them along
My busy days. I'll do you no more wrong.

Purr for me, Sukie, like a faithful cat.
You, my well trampled Boots, and you, my Hat,
Remain my friends: I feel, though I don't speak,
Your touch grow kindlier from week to week.
It well becomes our mutual happiness
To go toward the same end more or less.
There is not much dissimilarity,
Not much to choose, I know it well, in fine,
Between the purposes of you and me,
And your eventual Rubbish Heap, and mine.

STRANGE MEETINGS

If suddenly a clod of earth should rise,
And walk about, and breathe, and speak, and love,
How one would tremble, and in what surprise
Gasp: "Can you move?"

I see men walking, and I always feel:
"Earth! How have you done this? What can you be?"
I can't learn how to know men, or conceal
How strange they are to me.

_T. M. Kettle_

Thomas M. Kettle was born at Artane County, Dublin, in 1880 and was educated at University College, where he won the Gold Medal for Oratory. His extraordinary faculty for grasping an intricate problem and crystallizing it in an epigram, or scoring his adversaries with one bright flash, was apparent even then. He was admitted to the bar in 1905 but soon abandoned the law to devote himself to journalism, which, because of his remarkable style, never remained journalism in his hands. In 1906 he entered politics; in 1910 he was re-elected for East Tyrone. Even his bitterest opponents conceded that Tom Kettle (as he was called by friend and enemy) was the most honorable of fighters; they acknowledged his honesty, courage and devotion to the cause of a United Ireland--and respected his penetrating wit. He once spoke of a Mr. Healy as "a brilliant calamity" and satirized a long-winded speaker by saying, "Mr. Long knows a sentence should have a beginning, but he quite forgets it should also have an end."

"An Irish torch-bearer" (so E. B. Osborn calls him), Kettle fell in action at Ginchy, leading his Fusiliers in September, 1916. The uplifted poem to his daughter was written shortly before his death.

TO MY DAUGHTER BETTY, THE GIFT OF GOD

In wiser days, my darling rosebud, blown
To beauty proud as was your mother's prime,
In that desired, delayed, incredible time,
You'll ask why I abandoned you, my own,
And the dear heart that was your baby throne,
To dice with death. And oh! they'll give you rhyme
And reason: some will call the thing sublime,
And some decry it in a knowing tone.
So here, while the mad guns curse overhead,
And tired men sigh with mud for couch and floor,
Know that we fools, now with the foolish dead,
Died not for flag, nor King, nor Emperor,--
But for a dream, born in a herdsman's shed,
And for the secret Scripture of the poor.

_Alfred Noyes_

Alfred Noyes was born at Staffordshire, September 16, 1880. He is one of the few contemporary poets who have been fortunate enough to write a kind of poetry that is not only saleable but popular with many classes of people.

His first book, _The Loom of Years_ (1902), was published when he was only 22 years old, and _Poems_ (1904) intensified the promise of his first publication. Swinburne, grown old and living in retirement, was so struck with Noyes's talent that he had the young poet out to read to him. Unfortunately, Noyes has not developed his gifts as deeply as his admirers have hoped. His poetry, extremely straightforward and rhythmical, has often degenerated into cheap sentimentalities and cheaper tirades; it has frequently attempted to express programs and profundities far beyond Noyes's power.

What is most appealing about his best verse is its ease and heartiness; this singer's gift lies in the almost personal bond established between the poet and his public. People have such a good time reading his vivacious lines because Noyes had such a good time writing them. Rhyme in a thumping rhythm seems to be not merely his trade but his morning exercise. Noyes's own relish filled and quickened glees and catches like _Forty Singing Seamen_ (1907), the lusty choruses in _Tales of the Mermaid Tavern_ (1913), and the genuinely inspired nonsense of the earlier _Forest of Wild Thyme_ (1905).

The least popular work of Noyes is, as a unified product, his most remarkable performance. It is an epic in twelve books of blank verse, _Drake_ (1908), a glowing pageant of the sea and England's drama upon it. It is a spirited echo of the maritime Elizabethans; a vivid and orchestral work interspersed with splendid lyric passages and brisk songs. The companion volume, an attempted reconstruction of the literary phase of the same period, is less successful; but these _Tales of the Mermaid Tavern_ (which introduce Shakespeare, Marlowe, Drayton, Raleigh, Ben Jonson, and other immortals) are alive and colorful, if somewhat too insistently rollicking and smoothly lilting.

His eight volumes were assembled in 1913 and published in two books of _Collected Poems_ (Frederick A. Stokes Company).

SHERWOOD

Sherwood in the twilight, is Robin Hood awake?
Grey and ghostly shadows are gliding through the brake;
Shadows of the dappled deer, dreaming of the morn,
Dreaming of a shadowy man that winds a shadowy horn.

Robin Hood is here again: all his merry thieves
Hear a ghostly bugle-note shivering through the leaves,
Calling as he used to call, faint and far away,
In Sherwood, in Sherwood, about the break of day.

Merry, merry England has kissed the lips of June:
All the wings of fairyland were here beneath the moon;
Like a flight of rose-leaves fluttering in a mist
Of opal and ruby and pearl and amethyst.

Merry, merry England is waking as of old,
With eyes of blither hazel and hair of brighter gold:
For Robin Hood is here again beneath the bursting spray
In Sherwood, in Sherwood, about the break of day.

Love is in the greenwood building him a house
Of wild rose and hawthorn and honeysuckle boughs;
Love it in the greenwood: dawn is in the skies;
And Marian is waiting with a glory in her eyes.

Hark! The dazzled laverock climbs the golden steep:
Marian is waiting: is Robin Hood asleep?
Round the fairy grass-rings frolic elf and fay,
In Sherwood, in Sherwood, about the break of day.

Oberon, Oberon, rake away the gold,
Rake away the red leaves, roll away the mould,
Rake away the gold leaves, roll away the red,
And wake Will Scarlett from his leafy forest bed.

Friar Tuck and Little John are riding down together
With quarter-staff and drinking-can and grey goose-feather;
The dead are coming back again; the years are rolled away
In Sherwood, in Sherwood, about the break of day.

Softly over Sherwood the south wind blows;
All the heart of England hid in every rose
Hears across the greenwood the sunny whisper leap,
Sherwood in the red dawn, is Robin Hood asleep?

Hark, the voice of England wakes him as of old
And, shattering the silence with a cry of brighter gold,
Bugles in the greenwood echo from the steep,
_Sherwood in the red dawn, is Robin Hood asleep?_

Where the deer are gliding down the shadowy glen
All across the glades of fern he calls his merry men;
Doublets of the Lincoln green glancing through the May,
In Sherwood, in Sherwood, about the break of day;

Calls them and they answer: from aisles of oak and ash
Rings the _Follow! Follow!_ and the boughs begin to crash;
The ferns begin to flutter and the flowers begin to fly;
And through the crimson dawning the robber band goes by.

_Robin! Robin! Robin!_ All his merry thieves
Answer as the bugle-note shivers through the leaves:
Calling as he used to call, faint and far away,
In Sherwood, in Sherwood, about the break of day.

THE BARREL-ORGAN

There's a barrel-organ carolling across a golden street
In the City as the sun sinks low;
And the music's not immortal; but the world has made it sweet
And fulfilled it with the sunset glow;
And it pulses through the pleasures of the City and the pain
That surround the singing organ like a large eternal light;
And they've given it a glory and a part to play again
In the Symphony that rules the day and night.

And now it's marching onward through the realms of old romance,
And trolling out a fond familiar tune,
And now it's roaring cannon down to fight the King of France,
And now it's prattling softly to the moon.
And all around the organ there's a sea without a shore
Of human joys and wonders and regrets;
To remember and to recompense the music evermore
For what the cold machinery forgets ...

Yes; as the music changes,
Like a prismatic glass,
It takes the light and ranges
Through all the moods that pass;
Dissects the common carnival
Of passions and regrets,
And gives the world a glimpse of all
The colours it forgets.

And there _La Traviata_ sighs
Another sadder song;
And there _Il Trovatore_ cries
A tale of deeper wrong;
And bolder knights to battle go
With sword and shield and lance,
Than ever here on earth below
Have whirled into--a dance!--

Go down to Kew in lilac-time, in lilac-time, in lilac-time;
Go down to Kew in lilac-time (it isn't far from London!)
And you shall wander hand in hand with love in summer's wonderland;
Go down to Kew in lilac-time (it isn't far from London!)

The cherry-trees are seas of bloom and soft perfume and sweet perfume,
The cherry-trees are seas of bloom (and oh, so near to London!)
And there they say, when dawn is high and all the world's
a blaze of sky
The cuckoo, though he's very shy, will sing a song for London.

The nightingale is rather rare and yet they say you'll hear him there
At Kew, at Kew in lilac-time (and oh, so near to London!)
The linnet and the throstle, too, and after dark the long halloo
And golden-eyed _tu-whit, tu-whoo_ of owls that ogle London.

For Noah hardly knew a bird of any kind that isn't heard
At Kew, at Kew in lilac-time (and oh, so near to London!)
And when the rose begins to pout and all the chestnut spires are out
You'll hear the rest without a doubt, all chorusing for London:--

_Come down to Kew in lilac-time, in lilac-time, in lilac-time;
Come down to Kew in lilac-time (it isn't far from London!)
And you shall wander hand in hand with love in summer's wonderland;
Come down to Kew in lilac-time (is isn't far from London!)_

And then the troubadour begins to thrill the golden street,
In the city as the sun sinks low;
And in all the gaudy busses there are scores of weary feet
Marking time, sweet time, with a dull mechanic beat,
And a thousand hearts are plunging to a love they'll never meet,
Through the meadows of the sunset, through the poppies and the wheat,
In the land where the dead dreams go.

Verdi, Verdi, when you wrote _Il Trovatore_ did you dream
Of the City when the sun sinks low,
Of the organ and the monkey and the many-coloured stream
On the Piccadilly pavement, of the myriad eyes that seem
To be litten for a moment with a wild Italian gleam
As _A che la morte_ parodies the world's eternal theme
And pulses with the sunset-glow?

There's a thief, perhaps, that listens with a face of frozen stone
In the City as the sun sinks low;
There's a portly man of business with a balance of his own,
There's a clerk and there's a butcher of a soft reposeful tone,
And they're all of them returning to the heavens they have known:
They are crammed and jammed in busses and--they're each of them alone
In the land where the dead dreams go.

There's a labourer that listens to the voices of the dead
In the City as the sun sinks low;
And his hand begins to tremble and his face is rather red
As he sees a loafer watching him and--there he turns his head
And stares into the sunset where his April love is fled,
For he hears her softly singing and his lonely soul is led
Through the land where the dead dreams go ...

There's a barrel-organ carolling across a golden street
In the City as the sun sinks low;
Though the music's only Verdi there's a world to make it sweet
Just as yonder yellow sunset where the earth and heaven meet
Mellows all the sooty City! Hark, a hundred thousand feet
Are marching on to glory through the poppies and the wheat
In the land where the dead dreams go.

So it's Jeremiah, Jeremiah,
What have you to say
When you meet the garland girls
Tripping on their way?
All around my gala hat
I wear a wreath of roses
(A long and lonely year it is
I've waited for the May!)
If any one should ask you,
The reason why I wear it is--
My own love, my true love is coming home to-day.

And it's buy a bunch of violets for the lady
(_It's lilac-time in London; it's lilac-time in London!_)
Buy a bunch of violets for the lady;
While the sky burns blue above:

On the other side the street you'll find it shady
(_It's lilac-time in London; it's lilac-time in London!_)
But buy a bunch of violets for the lady,
And tell her she's your own true love.

There's a barrel-organ carolling across a golden street
In the City as the sun sinks glittering and slow;
And the music's not immortal; but the world has made it sweet
And enriched it with the harmonies that make a song complete
In the deeper heavens of music where the night and morning meet,
As it dies into the sunset glow;

And it pulses through the pleasures of the City and the pain
That surround the singing organ like a large eternal light,
And they've given it a glory and a part to play again
In the Symphony that rules the day and night.

And there, as the music changes,
The song runs round again;
Once more it turns and ranges
Through all its joy and pain:
Dissects the common carnival
Of passions and regrets;
And the wheeling world remembers all
The wheeling song forgets.

Once more _La Traviata_ sighs
Another sadder song:
Once more _Il Trovatore_ cries
A tale of deeper wrong;
Once more the knights to battle go
With sword and shield and lance
Till once, once more, the shattered foe
Has whirled into--a dance!

_Come down to Kew in lilac-time, in lilac-time, in lilac-time;
Come down to Kew in lilac-time (it isn't far from London!)
And you shall wander hand in hand with Love in summer's wonderland,
Come down to Kew in lilac-time (it isn't far from London!)_