diff options
| -rw-r--r-- | .gitattributes | 3 | ||||
| -rw-r--r-- | 37213-8.txt | 1389 | ||||
| -rw-r--r-- | 37213-8.zip | bin | 0 -> 19778 bytes | |||
| -rw-r--r-- | 37213-h.zip | bin | 0 -> 21431 bytes | |||
| -rw-r--r-- | 37213-h/37213-h.htm | 1820 | ||||
| -rw-r--r-- | 37213.txt | 1389 | ||||
| -rw-r--r-- | 37213.zip | bin | 0 -> 19749 bytes | |||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 |
9 files changed, 4614 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/37213-8.txt b/37213-8.txt new file mode 100644 index 0000000..69cf0c9 --- /dev/null +++ b/37213-8.txt @@ -0,0 +1,1389 @@ +The Project Gutenberg EBook of Reincarnations, by James Stephens + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Reincarnations + +Author: James Stephens + +Release Date: August 25, 2011 [EBook #37213] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK REINCARNATIONS *** + + + + +Produced by Al Haines + + + + + + + + + + +REINCARNATIONS + + +BY + +JAMES STEPHENS + +AUTHOR OF + +'THE CHARWOMAN'S DAUGHTER,' 'THE HILL OF VISION' + 'THE CROCK OF GOLD,' ETC. + + + + +MACMILLAN AND CO., LIMITED + +ST. MARTIN'S STREET, LONDON + +1918 + + + + +COPYRIGHT + + + + +TO + +ALICE STOPFORD GREEN + + + + +CONTENTS + + + Geoffrey Keating + Mary Hynes (after Raftery) + The Coolun do. + Peggy Mitchell do. + Nancy Walsh do. + The Red Man's Wife do. + Nancy Walsh do. + Anthony O'Daly do. + Mary Ruane do. + William O'Kelly do. + Sean O'Cosgair do. + The County Mayo do. + Eileen, Diarmuid and Teig (After O'Rahilly) + Honoro Butler and Lord Kenmare do. + Clann Cartie do. + The Land Of Fál (Anon.) + Inis Fál (after O'Rahilly) + Owen O'Néill (after Pierce Ferriter) + Egan O'Rahilly (after O'Rahilly) + Righteous Anger (after O'Bruadair) + The Weavers do. + Odell do. + The Apology do. + The Gang do. + The Geraldine's Cloak do. + Skim-Milk do. + Blue Blood do. + O'Bruaidar do. + Note + + + + + GEOFFREY KEATING + + O woman full of wiliness! + Although for love of me you pine, + Withhold your hand adventurous, + It holdeth nothing holding mine. + + Look on my head, how it is grey! + My body's weakness doth appear; + My blood is chill and thin; my day + Is done, and there is nothing here. + + Do not call me a foolish man, + Nor lean your lovely cheek to mine + O slender witch, our bodies can + Not mingle now, nor any time. + + So take your mouth from mine, your hand + From mine, ah, take your lips away! + Lest heat to will should ripen, and + All this be grave that had been gay. + + It is this curl, a silken nest, + And this grey eye bright as the dew, + And this round, lovely, snow-white breast + That draws desire in search of you. + + I would do all for you, meseems, + But this, tho' this were happiness! + I shall not mingle in your dreams, + O woman full of wiliness! + + + + + MARY HYNES + + She is the sky of the sun, + She is the dart + Of love, + She is the love of my heart, + She is a rune, + She is above + The women of the race of Eve + As the sun is above the moon. + + Lovely and airy the view from the hill + That looks down Ballylea; + But no good sight is good until + By great good luck you see + The Blossom of the Branches walking towards you + Airily. + + + + + THE COOLUN + + Come with me, under my coat, + And we will drink our fill + Of the milk of the white goat, + Or wine if it be thy will; + And we will talk until + Talk is a trouble, too, + Out on the side of the hill, + And nothing is left to do, + But an eye to look into an eye + And a hand in a hand to slip, + And a sigh to answer a sigh, + And a lip to find out a lip: + What if the night be black + And the air on the mountain chill, + Where the goat lies down in her track + And all but the fern is still! + Stay with me, under my coat, + And we will drink our fill + Of the milk of the white goat + Out on the side of the hill. + + + + + PEGGY MITCHELL + + As lily grows up easily, + In modest, gentle dignity + To sweet perfection, + So grew she, + As easily. + + Or as the rose that takes no care + Will open out on sunny air + Bloom after bloom, fair after fair, + Sweet after sweet; + Just so did she, + As carelessly. + + She is our torment without end, + She is our enemy and friend, + Our joy, our woe; + And she will send + Madness or glee + To you and me, + And endlessly. + + + + + NANCY WALSH + + I, without bite or sup, + If thou wert fated for me, + I would up + And would go after thee + Through mountains. + + A thousand thanks from me + To God have gone, + Because I have not lost my senses to thee, + Though it was hardly I escaped from thee, + O ringleted one! + + + + + THE RED MAN'S WIFE + + Then she arose + And walked in the valley + In her fine clothes. + + After great fire + Great frost + Comes following. + + Turgesius was lost + By the daughter of Maelsheachlin + The King. + + By Grainne, + Of high Ben Gulbain in the north, + Was Diarmuid lost. + + The strong sons of Ushna, + Who never submitted, + They fell by Deirdre. + + + + + NANCY WALSH + + It is not on her gown + She fears to tread; + It is her hair + Which tumbles down + And strays + About her ways + That she must care. + + And she lives nigh this place: + The dead would rise + If they could see her face; + The dead would rise + Only to hear her sing: + But death is blind, and gives not ear nor eye + To anything. + + We would leave behind + Both wife and child, + And house and home; + And wander blind, + And wander thus, + And ever roam, + If she would come to us + In Erris. + + Softly she said to me-- + Be patient till the night comes, + And I will go with thee. + + + + + ANTHONY O'DALY + + Since your limbs were laid out + The stars do not shine, + The fish leap not out + In the waves. + On our meadows the dew + Does not fall in the morn, + For O'Daly is dead: + Not a flower can be born, + Not a word can be said, + Not a tree have a leaf; + Anthony, after you + There is nothing to do, + There is nothing but grief. + + + + + MARY RUANE + + The sky-like girl whom we knew! + She dressed herself to go to the fair + In a dress of white and blue; + A white lace cap, and ribbons white + She wore in her hair; + She does not hear in the night + Her mother crying for her, + Where, + Deep down in the sea, + She rolls and lingers to and fro + Unweariedly. + + + + + WILLIAM O'KELLY + + The Protecting Tree + Of the men of the land of Fál! + What aileth thee, + And why is it that all + About thee grieves? + + Alas, O Tree of the Leaves! + Here is thy rhyme: + Thy bloom is lightened; + And if thy fruit be withered + Thy root hath not tightened + At the same time. + + Not since the Gael was sold + At Aughrim. Not since to cold, + Dull death went Owen Roe; + Not since the drowning of Clann Adam in the days of Noe + Brought men to hush, + Has such a tale of woe come to us + In such a rush. + + The true flower of the blood of the place is fallen: + The true clean-wheat of the Gael is reaped. + + Destruction be upon Death, + For he has come and taken from our tree + The topmost blackberry! + + + + + SEAN O'COSGAIR + + Pity it was that you should ever stand + In ship or boat, + Or that you went afloat + Inside that ship! + + The lusty steps you took! + The ways and journeys you knew how to wend + From London back to Beltra, + And this end! + + You who could swim so well! + What time you sported in the lifting tides + The girls swam out to you, and held your sides + When they were weary, for they knew they were + Safe, because you were there. + + Your little-mother thought that this was true + (And so she made no stir + Till you were found), + Although an hundred might be drownéd, you + Would come back safe to her, + And not be drowned! + + + + + THE COUNTY MAYO + + Now with the coming in of the spring the days will stretch a bit, + And after the Feast of Brigid I shall hoist my flag and go, + For since the thought got into my head I can neither stand nor sit + Until I find myself in the middle of the County of Mayo. + + In Claremorris I would stop a night and sleep with decent men, + And then go on to Balla just beyond and drink galore, + And next to Kiltimagh for a visit of about a month, and then + I would only be a couple of miles away from Ballymore. + + I say and swear my heart lifts up like the lifting of a tide, + Rising up like the rising wind till fog or mist must go, + When I remember Carra and Gallen close beside, + And the Gap of the Two Bushes, and the wide plains of Mayo. + + To Killaden then, to the place where everything grows that is best, + There are raspberries there and strawberries there and all that + is good for men; + And if I were only there in the middle of my folk my heart could rest, + For age itself would leave me there and I'd be young again. + + + + + EILEEN, DIARMUID AND TEIG + + Be kind unto these three, O King! + For they were fragrant-skinned, cheerful and giving; + Three stainless pearls, three of mild, winning ways, + Three candles sending forth three pleasant rays, + Three vines, three doves, three apples from a bough, + Three graces in a house, three who refused nohow + Help to the needy, three of slenderness, + Three memories for the companionless, + Three strings of music, three deep holes in clay, + Three lovely children who loved Christ alway, + Three mouths, three hearts, three minds beneath a stone; + Ruin it is! three causes for the moan + That rises everywhere now they are gone: + Be kind, O King, unto this two and one! + + + + + HONORO BUTLER AND LORD KENMARE (1720) + + In bloom and bud the bees are busily + Storing against the winter their sweet hoard + That shall be rifled ere the autumn be + Past, or the winter comes with silver sword + To fright the bees, until the merry round + Tells them that sweets again are to be found. + + The lusty tide is flowing by in ease, + Telling of joy along its brimming way; + Far in its waters is an isle of trees + Whereto the sun will go at end of day, + As who in secret place and dear is hid, + And scarce can rouse him thence tho' he be chid. + + Now justice comes all trouble to repair, + And cheeks that had been wan are coloured well, + The untilled moor is comely, and the air + Hath a great round of song from bird in dell, + And bird on wing and bird on forest tree, + And from each place and space where bird may be. + + The languid are made strong, the strong grow stronger, + There is no grievance here, and no distress, + The woeful are not woeful any longer, + The rose hath put on her a finer dress, + And every girl to bloom adds bloom again, + And every man hath heart beyond all men. + + For the Star of Munster, Pearl of the Golden Bough, + Comes joyfully this day of days to wed + Her choice of all whom fame hath loved till now, + And who chose her from all that love instead: + The Joy of the Flock, the Bud of the Branch is she, + Crown of the Irish Pride and Chivalry. + + He is a chief and prince, well famed is he, + The love of thousands unto him does run; + And all days were before and all will be, + He was and will be loved by every one; + And she and he be loved by all no less + Who courage love, and love, and loveliness. + + The nobles of the province take their wine, + And drink a merry health to groom and bride; + They shall be drunken ere the sun decline, + And all their merrymaking lay aside + In deep, sweet sleep that seals a merry day + Until the dawn, when they shall ride away, + + Leaving those two who now are one behind. + O Moon! pour on the silence all thy beams, + And for this night be beautiful and kind; + Weave in their sleep thy best and dearest dreams; + And fortune them in their own land to be + Safe from all evil chance, and from all enmity. + + + + + CLANN CARTIE + + My heart is withered and my health is gone, + For they who were not easy put upon, + Masters of mirth and of fair clemency, + Masters of wealth and gentle charity, + They are all gone. Mac Caura Mor is dead, + Mac Caura of the Lee is finished, + Mac Caura of Kanturk joined clay to clay + And gat him gone, and bides as deep as they. + + Their years, their gentle deeds, their flags are furled, + And deeply down, under the stiffened world, + In chests of oaken wood are princes thrust, + To crumble day by day into the dust + A mouth might puff at; nor is left a trace + Of those who did of grace all that was grace. + + O Wave of Cliona, cease thy bellowing! + And let mine ears forget a while to ring + At thy long, lamentable misery: + The great are dead indeed, the great are dead; + And I, in little time, will stoop my head + And put it under, and will be forgot + With them, and be with them, and thus be not: + Ease thee, cease thy long keening, cry no more: + End is, and here is end, and end is sore, + And to all lamentation be there end: + If I might come on thee, O howling friend! + Knowing that sails were drumming on the sea + Westward to Eiré, and that help would be + Trampling for her upon a Spanish deck, + I'd ram thy lamentation down thy neck. + + + + + THE LAND OF FÁL + + If all must suffer equally, and pay + In equal share for that sin wrought by Eve, + O Thou, if Thou wilt deign to answer, say: + Why are the poor tormented? why made grieve + The innocent? why are the free enslaved? + Why have the wicked peace tho' void of ruth? + Why are there none to pity, when, dismayed, + And sick with fear, the lamb bleats to the tooth + That tears him down? why is the cry unheard + Of lonely anguish? why, when the land of Fál + Had loved Thee long and well, was she not spared + The ruin that hath stamped her under all + That mourn and die? + + + + + INIS FÁL + + Now may we turn aside and dry our tears, + And comfort us, and lay aside our fears, + For all is gone--all comely quality, + All gentleness and hospitality, + All courtesy and merriment is gone; + Our virtues all are withered every one, + Our music vanished and our skill to sing: + Now may we quiet us and quit our moan, + Nothing is whole that could be broke; no thing + Remains to us of all that was our own. + + + + + OWEN O'NÉILL + + If poesy have truth at all, + If some great lion of the Gael + Shall rule the lovely land of Fál; + O yellow mast and roaring sail! + Carry the leadership for me, + Writ in this letter, o'er the sea + To great O'Néill. + + + + + EGAN O'RAHILLY + + Here in a distant place I hold my tongue; + I am O'Rahilly: + When I was young, + Who now am young no more, + I did not eat things picked up from the shore. + The periwinkle, and the tough dogfish + At even-time have got into my dish! + The great, where are they now! the great had said-- + This is not seemly, bring to him instead + That which serves his and serves our dignity-- + And that was done. + + I am O'Rahilly: + Here in a distant place I hold my tongue, + Who once said all his say, when he was young! + + + + + RIGHTEOUS ANGER + + The lanky hank of a she in the inn over there + Nearly killed me for asking the loan of a glass of beer: + May the devil grip the whey-faced slut by the hair, + And beat bad manners out of her skin for a year. + + That parboiled imp, with the hardest jaw you will see + On virtue's path, and a voice that would rasp the dead, + Came roaring and raging the minute she looked at me, + And threw me out of the house on the back of my head! + + If I asked her master he'd give me a cask a day; + But she, with the beer at hand, not a gill would arrange! + May she marry a ghost and bear him a kitten, and may + The High King of Glory permit her to get the mange. + + + + + THE WEAVERS + + Many a time your father gave me aid + When I was down, and now I'm down again: + You mustn't take it bad or be dismayed + Because I say, young folk should help old men + And 'tis their duty to do that: Amen! + + I have no cows, no sheep, no cloak, no hat, + For those who used to give me things are dead + And my luck died with them: because of that + I won't pay you a farthing, but, instead, + I'll owe you till the dead rise from the dead. + + A farthing! that's not much, but, all the same, + I haven't half a farthing, for that grand + Big idiot called Fortune rigged the game + And gave me nothing, while she filled the hand + Of every stingy devil in the land. + + You weave, and I: you shirts: I weave instead + My careful verse--but you get paid at times! + The only rap I get is on my head: + But should it come again that men like rhymes + And pay for them, I'll pay you for your shirt. + + + + + ODELL + + My mind is sad and weary thinking how + The griffins of the Gael went over the sea + From noble Eiré, and are fighting now + In France and Flanders and in Germany. + + If they, 'mid whom I sported without dread, + Were home I would not mind what foe might do, + Or fear tax-man Odell would seize my bed + To pay the hearth-rate that is overdue. + + I pray to Him who, in the haughty hour + Of Babel, threw confusion on each tongue, + That I may see our princes back in power, + And see Odell, the tax-collector, hung. + + + + + THE APOLOGY + + Do not be distant with me, do not be + Angry because I drank deep of your wine, + But treat that laughing matter laughingly + Because I am a poet, and incline + By nature and by art to jollity. + + Always I loved to see, I will aver, + The good red tide lip at the flagon's brim, + Sitting half fool and half philosopher, + Chatting with every kind of her and him, + And shrugged at sneer of money-gatherer. + + Often enough I trudge by hedge and wall, + Too often there's no money in my purse, + Nor malice in my mind ever at all, + And for my songs no person is the worse + But I who give all of my store to all. + + If busybody spoke to you of it, + Say, kindly man, if kindly man do live: + The poet only takes his sup and bit, + And say: It is no great return to give + For his unstinted gift of verse and wit. + + + + + THE GANG + + Our fathers must have sinned: we pay for it! + Through them the base-born tribe that sold their king + Sneaked into power, and in high places sit, + And do their will and wish in everything; + For they may rob and kill, grieve and disgrace + All who are left alive of Eiver's race. + + They seized with daring guile on rank and pelf, + And swore that they would never bend a knee + Unto the king: they robbed the Church herself: + They stole our princes' lands, and o'er the sea + They packed those princes, or drove them away + To barren rocks and fields that have no clay. + + That spawn of base mechanics! who could ne'er, + Though Doomsday came, by any art be made + Noble, are noble now, and have no care: + Snugly they sit and safe and unafraid + In stately places, proud as if the mud + And slime that swills their veins were princes' blood. + + Let us be wise and wary of that gang! + When they seem friendly know they have much wit, + And if it come that any man shall hang, + This neck will go unchoked, that nose unslit, + For, be things wry and crooked and to guess, + Those twisters are at home in twistiness. + + We know now what their plottings were about, + And how they planned, and what they meant to win; + 'Twas God, not us, that took their tangles out, + For no sleek eel inside an oily skin + Could slip with more address from harm than they + Can slip from punishment and get away. + + When trouble came it was their plan to get + Our friends into the boat they meant to leave, + And there was some one left to pay their debt, + And they were free again to lie and thieve: + So they could put the feet of the man they'd rob + Into the boots of the one that did the job. + + If burnt child does truly dread the flame, + If wounded soldier shrinks again to see + A steel point sloping to him, let the same + Experience teach our chiefs that they may be + Crafty in meeting craft, and may beware + Of brewer's bees and buzzers everywhere. + + Unto the Mind which pardons sin I pray, + I pray to Him who did permit our woe + But halted our destruction, that to-day + Kindness and love and trust and inward glow + Of vision light our hearts with light divine, + So that we know our way until the end of time. + + + + + THE GERALDINE'S CLOAK + + I will not heed the message which you bring: + That lovely lady gave her cloak to us, + And who'd believe she'd give away a thing + And ask it back again?--'tis fabulous! + + My parting from her gave me cause to grieve, + For she, that I was poor, had misty eyes; + If some Archangel blew it I'd believe + The message which you bring, not otherwise. + + I do not say this just to make a joke, + Nor would I rob her, but, 'tis verity, + So long as I could swagger in a cloak + I never cared how bad my luck could be. + + That lady, all perfection, knows the sting + Of poverty was thrust deep into me: + I don't believe she'd do this kind of thing, + Or treat a poet less than daintily. + + + + + SKIM-MILK + + A small part only of my grief I write; + And if I do not give you all the tale + It is because my gloom gets some respite + By just a small bewailing: I bewail + That I with sly and stupid folk must bide + Who steal my food and ruin my inside. + + Once I had books, each book beyond compare, + But now no book at all is left to me, + And I am spied and peeped on everywhere, + And my old head, stuffed with latinity, + And with the poet's load of grave and gay + Will not get me skim-milk for half a day. + + Wild horse or quiet, not a horse have I, + But to the forest every day I go + Bending beneath a load of wood, that high! + Which raises on my back a sorry row + Of raw, red blisters; so I cry, alack, + The rider that rides me will break my back. + + Ossian, when he was old and near his end, + Met Patrick by good luck, and he was stayed; + I am a poet too and seek a friend, + A prop, a staff, a comforter, an aid, + A Patrick who will lift me from despair, + In Cormac Uasal Mac Donagh of the golden hair. + + + + + BLUE BLOOD + + We thought at first, this man is a king for sure, + Or the branch of a mighty and ancient and famous lineage-- + That silly, sulky, illiterate, black-avised boor + Who was hatched by foreign vulgarity under a hedge. + + The good men of Clare were drinking his health in a flood, + And gazing with me in awe at the princely lad, + And asking each other from what bluest blueness of blood + His daddy was squeezed, and the pa of the da of his dad? + + We waited there, gaping and wondering, anxiously, + Until he'd stop eating and let the glad tidings out, + And the slack-jawed booby proved to the hilt that he + Was lout, son of lout, by old lout, and was da to a lout! + + + + + O'BRUAIDAR + + I will sing no more songs: the pride of my country I sang + Through forty long years of good rhyme, without any avail; + And no one cared even as much as the half of a hang + For the song or the singer, so here is an end to the tale. + + If a person should think I complain and have not got the cause, + Let him bring his eyes here and take a good look at my hand, + Let him say if a goose-quill has calloused this poor pair of paws + Or the spade that I grip on and dig with out there in the land? + + When the great ones were safe and renowned and were rooted and tough, + Though my mind went to them and took joy in the fortune of those, + And pride in their pride and their fame, they gave little enough, + Not as much as two boots for my feet, or an old suit of clothes. + + I ask of the Craftsman that fashioned the fly and the bird, + Of the Champion whose passion will lift me from death in a time, + Of the Spirit that melts icy hearts with the wind of a word, + That my people be worthy, and get, better singing than mine. + + I had hoped to live decent, when Ireland was quit of her care, + As a bailiff or steward perhaps in a house of degree, + But my end of the tale is, old brogues and old britches to wear, + So I'll sing no more songs for the men that care nothing for me. + + + + +NOTE + +This book ought to be called Loot or Plunder or Pieces of Eight or +Treasure-Trove, or some name which would indicate and get away from its +source, for although everything in it can be referred to the Irish of +from one hundred to three hundred years ago the word translation would +be a misdescription. There are really only two translations in it, +Keating's "O Woman full of Wiliness" and Raftery's "County Mayo." Some +of the poems owe no more than a phrase, a line, half a line, to the +Irish, and around these scraps I have blown a bubble of verse and made +my poem. In other cases, where the matter of the poem is almost +entirely taken from the Irish, I have yet followed my own instinct in +the arrangement of it, and the result might be called new poems. My +first idea was to make an anthology of people whom long ago our poets +had praised, so that, in another language and another time, these +honoured names might be heard again, even though in my own terms and +not in the historic context. I did not pursue this course, for I could +not control the material which came to me and which took no heed of my +plan and was just as interesting. It would therefore be a mistake to +consider that these verses are representative of the poets by whom they +are inspired. In the case of David O'Bruadair this is less true than +in any of the others, but, even in his case, although I have often +conveyed his matter almost verbatim, the selection is not +representative of the poet. One side only, and that the least, is +shown, for a greater pen than mine would be necessary if that tornado +of rage, eloquence, and humour were to be presented; but the poems +which I give might almost be taken as translations of one side of his +terrific muse. + +As regards Egan O'Rahilly a similar remark is necessary. No pen and no +language but his own could even distantly indicate a skill and melody +which might be spoken of as one of the wonders of the world. I have +done exactly as I pleased with his material. + +From Antoine O'Raftery I have taken more than from any of the others, +and have in nearly every instance treated his matter so familiarly that +a lover of Raftery (and who, having read a verse of his, does not love +him?) might not know I was indebted to this poet for my songs. His +work is different from that of Keating, O'Rahilly, or O'Bruadair, for +these were learned men, and were writing out of a tradition so hoary +with age and so complicated in convention that only learned and subtle +minds could attempt it. I have wondered would Keating or O'Rahilly +have been very scornful of Raftery's work? I think they might have +been angry at such an ignorance of all the rules, and would probably +have torn the paper on which his poems were written, and sat down to +compose a satire which would have raised blisters on that poor, blind, +wandering singer, the master of them all. + +In two of the poems which I tried to translate from Raftery I have +completely failed. Against one of them I broke an hundred pens in +vain; and in the other, "The County Mayo," I have been so close to +success and so far from succeeding that I may mourn a little about it. +The first three verses are not bad, but the last verse is the +completest miss: the simplicity of the original is there, its music is +not, and in the last two lines the poignance, which should come on the +reader as though a hand gripped at his heart, is absent. The other +failure I have not printed because I could get no way on it at all: it +would not even begin to translate. This is Raftery's reply to the man +who did not recognise him as he fiddled to a crowd, and asked "who is +the musician?" + + I am Raftery the poet, + Full of hope and love, + My eyes without sight, + My mind without torment, + + Going west on my journey + By the light of my heart, + Tired and weary + To the end of the road. + + Behold me now + With my back to a wall, + Playing music + To empty pockets. + +See Douglas Hyde's _Life of Raftery_. + +Dissimilar as these poets are from each other in time, education, and +temperament, they are alike in that they were all poor men, so poor +that there was often little difference between them and beggars. They +all sing of their poverty: Keating as a fact to be recorded among other +facts, O'Rahilly in a very stately and bitter complaint, and Raftery as +in the quotation above; but O'Bruadair lets out of him an unending, +rebellious bawl which would be the most desolating utterance ever made +by man if it was not also the most gleeful. + + + + +THE END + + + + +_Printed by_ R. & R. CLARK, LIMITED, _Edinburgh_. + + + + + + +BY JAMES STEPHENS + +The Charwoman's Daughter. Cr. 8vo. 4s. 6d. net. + +The Crock of Gold. Cr. 8vo. 6s. net. + +Here are Ladies. Cr. 8vo. 6s. net. + +The Demi-Gods. Cr. 8vo. 6s. net. + +Songs from the Clay. Poems. Cr. 8vo. 4s. 6d. net. + +The Adventures of Seumas Beg: The Rocky Road to Dublin. Cr. 8vo. 4s. +6d. net. + + + +SOME NEW BOOKS + +Moments of Vision and Miscellaneous Verses. By THOMAS HARDY. Cr. 8vo. +6s. net. + +Per Amica Silentia Lunae. By WILLIAM BUTLER YEATS. Cr. 8vo. 4s. 6d. +net. + +Whin: A volume of Poems. By WILFRID WILSON GIBSON, author of +"Livelihood." Cr. 8vo. 3s. 6d. net. + +Poems. By RALPH HODGSON. Fifth Impression. Fcap. 8vo. 3s. 6d. net. + +Karma. A Re-incarnation Play in Prologue, Epilogue, and Three Acts. +By ALGERNON BLACKWOOD and VIOLET PEARN. Cr. 8vo. + +Twenty: A volume of Poems. By STELLA BENSON, author of "I Pose." Cr. +8vo. + + + +BY SIR RABINDRANATH TAGORE + +Lover's Gift and Crossing. Cr. 8vo. 5s. net. + +Mashi and other Stories. Cr. 8vo. 5s. net. + + + + +LONDON: MACMILLAN AND CO., LTD. + + + + + + + + + + + +End of the Project Gutenberg EBook of Reincarnations, by James Stephens + +*** END OF THIS PROJECT GUTENBERG EBOOK REINCARNATIONS *** + +***** This file should be named 37213-8.txt or 37213-8.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/7/2/1/37213/ + +Produced by Al Haines + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/37213-8.zip b/37213-8.zip Binary files differnew file mode 100644 index 0000000..f500e68 --- /dev/null +++ b/37213-8.zip diff --git a/37213-h.zip b/37213-h.zip Binary files differnew file mode 100644 index 0000000..f7465bb --- /dev/null +++ b/37213-h.zip diff --git a/37213-h/37213-h.htm b/37213-h/37213-h.htm new file mode 100644 index 0000000..6ca2a0a --- /dev/null +++ b/37213-h/37213-h.htm @@ -0,0 +1,1820 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<HTML> +<HEAD> + +<META HTTP-EQUIV="Content-Type" CONTENT="text/html; charset=ISO-8859-1"> + +<TITLE> +The Project Gutenberg E-text of Reincarnations, by James Stephens +</TITLE> + +<STYLE TYPE="text/css"> +BODY { color: Black; + background: White; + margin-right: 10%; + margin-left: 10%; + font-family: "Times New Roman", serif; + text-align: justify } + +P {text-indent: 4% } + +P.noindent {text-indent: 0% } + +P.t1 {text-indent: 0% ; + font-size: 200%; + text-align: center } + +P.t2 {text-indent: 0% ; + font-size: 150%; + text-align: center } + +P.t3 {text-indent: 0% ; + font-size: 100%; + text-align: center } + +P.t4 {text-indent: 0% ; + font-size: 80%; + text-align: center } + +P.t5 {text-indent: 0% ; + font-size: 50%; + text-align: center } + +P.poem {text-indent: 0%; + margin-left: 10%; } + +P.letter {text-indent: 0%; + margin-left: 10% ; + margin-right: 10% } + +P.footnote {text-indent: 0% ; + font-size: 80%; + margin-left: 10% ; + margin-right: 10% } + +P.finis { font-size: larger ; + text-align: center ; + text-indent: 0% ; + margin-left: 0% ; + margin-right: 0% } + +</STYLE> + +</HEAD> + +<BODY> + + +<pre> + +The Project Gutenberg EBook of Reincarnations, by James Stephens + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Reincarnations + +Author: James Stephens + +Release Date: August 25, 2011 [EBook #37213] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK REINCARNATIONS *** + + + + +Produced by Al Haines + + + + + +</pre> + + +<BR><BR> + +<P CLASS="t1"> +REINCARNATIONS +</P> + +<BR> + +<P CLASS="t3"> +BY +</P> + +<P CLASS="t2"> +JAMES STEPHENS +</P> + +<P CLASS="t4"> +AUTHOR OF +<BR> +'THE CHARWOMAN'S DAUGHTER,' 'THE HILL OF VISION'<BR> +'THE CROCK OF GOLD,' ETC.<BR> +</P> + +<BR><BR><BR> + +<P CLASS="t3"> +MACMILLAN AND CO., LIMITED +<BR> +ST. MARTIN'S STREET, LONDON +<BR> +1918 +</P> + +<BR><BR><BR> + +<P CLASS="t4"> +COPYRIGHT +</P> + +<BR><BR><BR> + +<P CLASS="t4"> +TO +</P> + +<P CLASS="t3"> +ALICE STOPFORD GREEN +</P> + +<BR><BR><BR> + +<P CLASS="t2"> +CONTENTS +</P> + +<BR> + +<PRE STYLE="font-size: 90%; margin-left: 10%"> +<A HREF="#P1">Geoffrey Keating</A> +<A HREF="#P3">Mary Hynes</A> (after Raftery) +<A HREF="#P4">The Coolun</A> do. +<A HREF="#P6">Peggy Mitchell</A> do. +<A HREF="#P8">Nancy Walsh</A> do. +<A HREF="#P9">The Red Man's Wife</A> do. +<A HREF="#P11">Nancy Walsh</A> do. +<A HREF="#P13">Anthony O'Daly</A> do. +<A HREF="#P14">Mary Ruane</A> do. +<A HREF="#P15">William O'Kelly</A> do. +<A HREF="#P17">Sean O'Cosgair</A> do. +<A HREF="#P19">The County Mayo</A> do. +<A HREF="#P21">Eileen, Diarmuid and Teig</A> (After O'Rahilly) +<A HREF="#P23">Honoro Butler and Lord Kenmare</A> do. +<A HREF="#P28">Clann Cartie</A> do. +<A HREF="#P31">The Land Of Fál</A> (Anon.) +<A HREF="#P33">Inis Fál</A> (after O'Rahilly) +<A HREF="#P34">Owen O'Néill</A> (after Pierce Ferriter) +<A HREF="#P35">Egan O'Rahilly</A> (after O'Rahilly) +<A HREF="#P37">Righteous Anger</A> (after O'Bruadair) +<A HREF="#P39">The Weavers</A> do. +<A HREF="#P41">Odell</A> do. +<A HREF="#P43">The Apology</A> do. +<A HREF="#P45">The Gang</A> do. +<A HREF="#P50">The Geraldine's Cloak</A> do. +<A HREF="#P52">Skim-Milk</A> do. +<A HREF="#P55">Blue Blood</A> do. +<A HREF="#P57">O'Bruaidar</A> do. +<A HREF="#chap02">Note</A> +</PRE> + +<BR><BR><BR> + +<A NAME="P1"></A> + +<H3 ALIGN="center"> + GEOFFREY KEATING +</H3> + +<P CLASS="poem"> +O woman full of wiliness!<BR> + Although for love of me you pine,<BR> +Withhold your hand adventurous,<BR> + It holdeth nothing holding mine.<BR> +</P> + +<P CLASS="poem"> +Look on my head, how it is grey!<BR> + My body's weakness doth appear;<BR> +My blood is chill and thin; my day<BR> + Is done, and there is nothing here.<BR> +</P> + +<P CLASS="poem"> +Do not call me a foolish man,<BR> + Nor lean your lovely cheek to mine<BR> +O slender witch, our bodies can<BR> + Not mingle now, nor any time.<BR> +</P> + +<P CLASS="poem"> +So take your mouth from mine, your hand<BR> + From mine, ah, take your lips away!<BR> +Lest heat to will should ripen, and<BR> + All this be grave that had been gay.<BR> +</P> + +<P CLASS="poem"> +It is this curl, a silken nest,<BR> + And this grey eye bright as the dew,<BR> +And this round, lovely, snow-white breast<BR> + That draws desire in search of you.<BR> +</P> + +<P CLASS="poem"> +I would do all for you, meseems,<BR> + But this, tho' this were happiness!<BR> +I shall not mingle in your dreams,<BR> + O woman full of wiliness!<BR> +</P> + +<BR><BR><BR> + +<A NAME="P3"></A> + +<H3 ALIGN="center"> +MARY HYNES<BR> +</H3> + +<P CLASS="poem"> +She is the sky of the sun,<BR> + She is the dart<BR> + Of love,<BR> +She is the love of my heart,<BR> +She is a rune,<BR> + She is above<BR> +The women of the race of Eve<BR> +As the sun is above the moon.<BR> +</P> + +<P CLASS="poem"> +Lovely and airy the view from the hill<BR> + That looks down Ballylea;<BR> +But no good sight is good until<BR> + By great good luck you see<BR> +The Blossom of the Branches walking towards you<BR> + Airily.<BR> +</P> + +<BR><BR><BR> + +<A NAME="P4"></A> + +<H3 ALIGN="center"> +THE COOLUN<BR> +</H3> + +<P CLASS="poem"> +Come with me, under my coat,<BR> + And we will drink our fill<BR> +Of the milk of the white goat,<BR> + Or wine if it be thy will;<BR> + And we will talk until<BR> +Talk is a trouble, too,<BR> + Out on the side of the hill,<BR> +And nothing is left to do,<BR> + But an eye to look into an eye<BR> +And a hand in a hand to slip,<BR> + And a sigh to answer a sigh,<BR> +And a lip to find out a lip:<BR> + What if the night be black<BR> +And the air on the mountain chill,<BR> + Where the goat lies down in her track<BR> + And all but the fern is still!<BR> + Stay with me, under my coat,<BR> +And we will drink our fill<BR> + Of the milk of the white goat<BR> +Out on the side of the hill.<BR> +</P> + +<BR><BR><BR> + +<A NAME="P6"></A> + +<H3 ALIGN="center"> +PEGGY MITCHELL<BR> +</H3> + +<P CLASS="poem"> +As lily grows up easily,<BR> +In modest, gentle dignity<BR> +To sweet perfection,<BR> +So grew she,<BR> +As easily.<BR> +</P> + +<P CLASS="poem"> +Or as the rose that takes no care<BR> +Will open out on sunny air<BR> +Bloom after bloom, fair after fair,<BR> +Sweet after sweet;<BR> +Just so did she,<BR> +As carelessly.<BR> +</P> + +<P CLASS="poem"> +She is our torment without end,<BR> +She is our enemy and friend,<BR> +Our joy, our woe;<BR> +And she will send<BR> +Madness or glee<BR> +To you and me,<BR> +And endlessly.<BR> +</P> + +<BR><BR><BR> + +<A NAME="P8"></A> + +<H3 ALIGN="center"> +NANCY WALSH<BR> +</H3> + +<P CLASS="poem"> +I, without bite or sup,<BR> + If thou wert fated for me,<BR> +I would up<BR> + And would go after thee<BR> +Through mountains.<BR> +</P> + +<P CLASS="poem"> +A thousand thanks from me<BR> + To God have gone,<BR> +Because I have not lost my senses to thee,<BR> +Though it was hardly I escaped from thee,<BR> + O ringleted one!<BR> +</P> + +<BR><BR><BR> + +<A NAME="P9"></A> + +<H3 ALIGN="center"> +THE RED MAN'S WIFE<BR> +</H3> + +<P CLASS="poem"> +Then she arose<BR> + And walked in the valley<BR> + In her fine clothes.<BR> +</P> + +<P CLASS="poem"> +After great fire<BR> + Great frost<BR> + Comes following.<BR> +</P> + +<P CLASS="poem"> +Turgesius was lost<BR> + By the daughter of Maelsheachlin<BR> + The King.<BR> +</P> + +<P CLASS="poem"> +By Grainne,<BR> + Of high Ben Gulbain in the north,<BR> + Was Diarmuid lost.<BR> +</P> + +<P CLASS="poem"> +The strong sons of Ushna,<BR> + Who never submitted,<BR> + They fell by Deirdre.<BR> +</P> + +<BR><BR><BR> + +<A NAME="P11"></A> + +<H3 ALIGN="center"> +NANCY WALSH<BR> +</H3> + +<P CLASS="poem"> +It is not on her gown<BR> +She fears to tread;<BR> +It is her hair<BR> +Which tumbles down<BR> +And strays<BR> +About her ways<BR> +That she must care.<BR> +</P> + +<P CLASS="poem"> +And she lives nigh this place:<BR> +The dead would rise<BR> +If they could see her face;<BR> +The dead would rise<BR> +Only to hear her sing:<BR> +But death is blind, and gives not ear nor eye<BR> +To anything.<BR> +</P> + +<P CLASS="poem"> +We would leave behind<BR> +Both wife and child,<BR> +And house and home;<BR> +And wander blind,<BR> +And wander thus,<BR> +And ever roam,<BR> +If she would come to us<BR> +In Erris.<BR> +</P> + +<P CLASS="poem"> +Softly she said to me—<BR> +Be patient till the night comes,<BR> +And I will go with thee.<BR> +</P> + +<BR><BR><BR> + +<A NAME="P13"></A> + +<H3 ALIGN="center"> +ANTHONY O'DALY<BR> +</H3> + +<P CLASS="poem"> +Since your limbs were laid out<BR> + The stars do not shine,<BR> +The fish leap not out<BR> + In the waves.<BR> +On our meadows the dew<BR> + Does not fall in the morn,<BR> +For O'Daly is dead:<BR> + Not a flower can be born,<BR> +Not a word can be said,<BR> + Not a tree have a leaf;<BR> +Anthony, after you<BR> + There is nothing to do,<BR> +There is nothing but grief.<BR> +</P> + +<BR><BR><BR> + +<A NAME="P14"></A> + +<H3 ALIGN="center"> +MARY RUANE<BR> +</H3> + +<P CLASS="poem"> +The sky-like girl whom we knew!<BR> + She dressed herself to go to the fair<BR> +In a dress of white and blue;<BR> +A white lace cap, and ribbons white<BR> + She wore in her hair;<BR> +She does not hear in the night<BR> +Her mother crying for her,<BR> + Where,<BR> + Deep down in the sea,<BR> +She rolls and lingers to and fro<BR> + Unweariedly.<BR> +</P> + +<BR><BR><BR> + +<A NAME="P15"></A> + +<H3 ALIGN="center"> +WILLIAM O'KELLY<BR> +</H3> + +<P CLASS="poem"> +The Protecting Tree<BR> + Of the men of the land of Fál!<BR> +What aileth thee,<BR> + And why is it that all<BR> +About thee grieves?<BR> +</P> + +<P CLASS="poem"> +Alas, O Tree of the Leaves!<BR> + Here is thy rhyme:<BR> +Thy bloom is lightened;<BR> +And if thy fruit be withered<BR> +Thy root hath not tightened<BR> + At the same time.<BR> +</P> + +<P CLASS="poem"> +Not since the Gael was sold<BR> +At Aughrim. Not since to cold,<BR> +Dull death went Owen Roe;<BR> +Not since the drowning of Clann Adam in the days of Noe<BR> + Brought men to hush,<BR> +Has such a tale of woe come to us<BR> + In such a rush.<BR> +</P> + +<P CLASS="poem"> +The true flower of the blood of the place is fallen:<BR> +The true clean-wheat of the Gael is reaped.<BR> +</P> + +<P CLASS="poem"> +Destruction be upon Death,<BR> + For he has come and taken from our tree<BR> + The topmost blackberry!<BR> +</P> + +<BR><BR><BR> + +<A NAME="P17"></A> + +<H3 ALIGN="center"> +SEAN O'COSGAIR<BR> +</H3> + +<P CLASS="poem"> +Pity it was that you should ever stand<BR> + In ship or boat,<BR> + Or that you went afloat<BR> +Inside that ship!<BR> +</P> + +<P CLASS="poem"> +The lusty steps you took!<BR> + The ways and journeys you knew how to wend<BR> +From London back to Beltra,<BR> + And this end!<BR> +</P> + +<P CLASS="poem"> +You who could swim so well!<BR> +What time you sported in the lifting tides<BR> +The girls swam out to you, and held your sides<BR> +When they were weary, for they knew they were<BR> +Safe, because you were there.<BR> +</P> + +<P CLASS="poem"> +Your little-mother thought that this was true<BR> + (And so she made no stir<BR> + Till you were found),<BR> +Although an hundred might be drownéd, you<BR> + Would come back safe to her,<BR> + And not be drowned!<BR> +</P> + +<BR><BR><BR> + +<A NAME="P19"></A> + +<H3 ALIGN="center"> +THE COUNTY MAYO<BR> +</H3> + +<P CLASS="poem"> +Now with the coming in of the spring the days will stretch a bit,<BR> +And after the Feast of Brigid I shall hoist my flag and go,<BR> +For since the thought got into my head I can neither stand nor sit<BR> +Until I find myself in the middle of the County of Mayo.<BR> +</P> + +<P CLASS="poem"> +In Claremorris I would stop a night and sleep with decent men,<BR> +And then go on to Balla just beyond and drink galore,<BR> +And next to Kiltimagh for a visit of about a month, and then<BR> +I would only be a couple of miles away from Ballymore.<BR> +</P> + +<P CLASS="poem"> +I say and swear my heart lifts up like the lifting of a tide,<BR> +Rising up like the rising wind till fog or mist must go,<BR> +When I remember Carra and Gallen close beside,<BR> +And the Gap of the Two Bushes, and the wide plains of Mayo.<BR> +</P> + +<P CLASS="poem"> +To Killaden then, to the place where everything grows that is best,<BR> +There are raspberries there and strawberries there and all that<BR> + is good for men;<BR> +And if I were only there in the middle of my folk my heart could rest,<BR> +For age itself would leave me there and I'd be young again.<BR> +</P> + +<BR><BR><BR> + +<A NAME="P21"></A> + +<H3 ALIGN="center"> +EILEEN, DIARMUID AND TEIG<BR> +</H3> + +<P CLASS="poem"> +Be kind unto these three, O King!<BR> +For they were fragrant-skinned, cheerful and giving;<BR> +Three stainless pearls, three of mild, winning ways,<BR> +Three candles sending forth three pleasant rays,<BR> +Three vines, three doves, three apples from a bough,<BR> +Three graces in a house, three who refused nohow<BR> +Help to the needy, three of slenderness,<BR> +Three memories for the companionless,<BR> +Three strings of music, three deep holes in clay,<BR> +Three lovely children who loved Christ alway,<BR> +Three mouths, three hearts, three minds beneath a stone;<BR> +Ruin it is! three causes for the moan<BR> +That rises everywhere now they are gone:<BR> +Be kind, O King, unto this two and one!<BR> +</P> + +<BR><BR><BR> + +<A NAME="P23"></A> + +<H3 ALIGN="center"> +HONORO BUTLER AND LORD KENMARE (1720)<BR> +</H3> + +<P CLASS="poem"> +In bloom and bud the bees are busily<BR> + Storing against the winter their sweet hoard<BR> +That shall be rifled ere the autumn be<BR> + Past, or the winter comes with silver sword<BR> +To fright the bees, until the merry round<BR> +Tells them that sweets again are to be found.<BR> +</P> + +<P CLASS="poem"> +The lusty tide is flowing by in ease,<BR> + Telling of joy along its brimming way;<BR> +Far in its waters is an isle of trees<BR> + Whereto the sun will go at end of day,<BR> +As who in secret place and dear is hid,<BR> +And scarce can rouse him thence tho' he be chid.<BR> +</P> + +<P CLASS="poem"> +Now justice comes all trouble to repair,<BR> + And cheeks that had been wan are coloured well,<BR> +The untilled moor is comely, and the air<BR> + Hath a great round of song from bird in dell,<BR> +And bird on wing and bird on forest tree,<BR> +And from each place and space where bird may be.<BR> +</P> + +<P CLASS="poem"> +The languid are made strong, the strong grow stronger,<BR> + There is no grievance here, and no distress,<BR> +The woeful are not woeful any longer,<BR> + The rose hath put on her a finer dress,<BR> +And every girl to bloom adds bloom again,<BR> +And every man hath heart beyond all men.<BR> +</P> + +<P CLASS="poem"> +For the Star of Munster, Pearl of the Golden Bough,<BR> + Comes joyfully this day of days to wed<BR> +Her choice of all whom fame hath loved till now,<BR> + And who chose her from all that love instead:<BR> +The Joy of the Flock, the Bud of the Branch is she,<BR> +Crown of the Irish Pride and Chivalry.<BR> +</P> + +<P CLASS="poem"> +He is a chief and prince, well famed is he,<BR> + The love of thousands unto him does run;<BR> +And all days were before and all will be,<BR> + He was and will be loved by every one;<BR> +And she and he be loved by all no less<BR> +Who courage love, and love, and loveliness.<BR> +</P> + +<P CLASS="poem"> +The nobles of the province take their wine,<BR> + And drink a merry health to groom and bride;<BR> +They shall be drunken ere the sun decline,<BR> + And all their merrymaking lay aside<BR> +In deep, sweet sleep that seals a merry day<BR> +Until the dawn, when they shall ride away,<BR> +</P> + +<P CLASS="poem"> +Leaving those two who now are one behind.<BR> + O Moon! pour on the silence all thy beams,<BR> +And for this night be beautiful and kind;<BR> + Weave in their sleep thy best and dearest dreams;<BR> +And fortune them in their own land to be<BR> +Safe from all evil chance, and from all enmity.<BR> +</P> + +<BR><BR><BR> + +<A NAME="P28"></A> + +<H3 ALIGN="center"> +CLANN CARTIE<BR> +</H3> + +<P CLASS="poem"> +My heart is withered and my health is gone,<BR> +For they who were not easy put upon,<BR> +Masters of mirth and of fair clemency,<BR> +Masters of wealth and gentle charity,<BR> +They are all gone. Mac Caura Mor is dead,<BR> +Mac Caura of the Lee is finished,<BR> +Mac Caura of Kanturk joined clay to clay<BR> +And gat him gone, and bides as deep as they.<BR> +</P> + +<P CLASS="poem"> +Their years, their gentle deeds, their flags are furled,<BR> +And deeply down, under the stiffened world,<BR> +In chests of oaken wood are princes thrust,<BR> +To crumble day by day into the dust<BR> +A mouth might puff at; nor is left a trace<BR> +Of those who did of grace all that was grace.<BR> +</P> + +<P CLASS="poem"> +O Wave of Cliona, cease thy bellowing!<BR> +And let mine ears forget a while to ring<BR> +At thy long, lamentable misery:<BR> +The great are dead indeed, the great are dead;<BR> +And I, in little time, will stoop my head<BR> +And put it under, and will be forgot<BR> +With them, and be with them, and thus be not:<BR> +Ease thee, cease thy long keening, cry no more:<BR> +End is, and here is end, and end is sore,<BR> +And to all lamentation be there end:<BR> +If I might come on thee, O howling friend!<BR> +Knowing that sails were drumming on the sea<BR> +Westward to Eiré, and that help would be<BR> +Trampling for her upon a Spanish deck,<BR> +I'd ram thy lamentation down thy neck.<BR> +</P> + +<BR><BR><BR> + +<A NAME="P31"></A> + +<H3 ALIGN="center"> +THE LAND OF FÁL<BR> +</H3> + +<P CLASS="poem"> +If all must suffer equally, and pay<BR> + In equal share for that sin wrought by Eve,<BR> +O Thou, if Thou wilt deign to answer, say:<BR> + Why are the poor tormented? why made grieve<BR> +The innocent? why are the free enslaved?<BR> + Why have the wicked peace tho' void of ruth?<BR> +Why are there none to pity, when, dismayed,<BR> + And sick with fear, the lamb bleats to the tooth<BR> +That tears him down? why is the cry unheard<BR> + Of lonely anguish? why, when the land of Fál<BR> +Had loved Thee long and well, was she not spared<BR> + The ruin that hath stamped her under all<BR> + That mourn and die?<BR> +</P> + +<BR><BR><BR> + +<A NAME="P33"></A> + +<H3 ALIGN="center"> +INIS FÁL<BR> +</H3> + +<P CLASS="poem"> +Now may we turn aside and dry our tears,<BR> +And comfort us, and lay aside our fears,<BR> +For all is gone—all comely quality,<BR> +All gentleness and hospitality,<BR> +All courtesy and merriment is gone;<BR> +Our virtues all are withered every one,<BR> +Our music vanished and our skill to sing:<BR> +Now may we quiet us and quit our moan,<BR> +Nothing is whole that could be broke; no thing<BR> +Remains to us of all that was our own.<BR> +</P> + +<BR><BR><BR> + +<A NAME="P34"></A> + +<H3 ALIGN="center"> +OWEN O'NÉILL<BR> +</H3> + +<P CLASS="poem"> +If poesy have truth at all,<BR> + If some great lion of the Gael<BR> +Shall rule the lovely land of Fál;<BR> + O yellow mast and roaring sail!<BR> +Carry the leadership for me,<BR> +Writ in this letter, o'er the sea<BR> + To great O'Néill.<BR> +</P> + +<BR><BR><BR> + +<A NAME="P35"></A> + +<H3 ALIGN="center"> +EGAN O'RAHILLY<BR> +</H3> + +<P CLASS="poem"> +Here in a distant place I hold my tongue;<BR> +I am O'Rahilly:<BR> +When I was young,<BR> +Who now am young no more,<BR> +I did not eat things picked up from the shore.<BR> +The periwinkle, and the tough dogfish<BR> +At even-time have got into my dish!<BR> +The great, where are they now! the great had said—<BR> +This is not seemly, bring to him instead<BR> +That which serves his and serves our dignity—<BR> +And that was done.<BR> +</P> + +<P CLASS="poem"> +I am O'Rahilly:<BR> +Here in a distant place I hold my tongue,<BR> +Who once said all his say, when he was young!<BR> +</P> + +<BR><BR><BR> + +<A NAME="P37"></A> + +<H3 ALIGN="center"> +RIGHTEOUS ANGER<BR> +</H3> + +<P CLASS="poem"> +The lanky hank of a she in the inn over there<BR> +Nearly killed me for asking the loan of a glass of beer:<BR> +May the devil grip the whey-faced slut by the hair,<BR> +And beat bad manners out of her skin for a year.<BR> +</P> + +<P CLASS="poem"> +That parboiled imp, with the hardest jaw you will see<BR> +On virtue's path, and a voice that would rasp the dead,<BR> +Came roaring and raging the minute she looked at me,<BR> +And threw me out of the house on the back of my head!<BR> +</P> + +<P CLASS="poem"> +If I asked her master he'd give me a cask a day;<BR> +But she, with the beer at hand, not a gill would arrange!<BR> +May she marry a ghost and bear him a kitten, and may<BR> +The High King of Glory permit her to get the mange.<BR> +</P> + +<BR><BR><BR> + +<A NAME="P39"></A> + +<H3 ALIGN="center"> +THE WEAVERS<BR> +</H3> + +<P CLASS="poem"> +Many a time your father gave me aid<BR> + When I was down, and now I'm down again:<BR> +You mustn't take it bad or be dismayed<BR> + Because I say, young folk should help old men<BR> + And 'tis their duty to do that: Amen!<BR> +</P> + +<P CLASS="poem"> +I have no cows, no sheep, no cloak, no hat,<BR> + For those who used to give me things are dead<BR> +And my luck died with them: because of that<BR> + I won't pay you a farthing, but, instead,<BR> + I'll owe you till the dead rise from the dead.<BR> +</P> + +<P CLASS="poem"> +A farthing! that's not much, but, all the same,<BR> + I haven't half a farthing, for that grand<BR> +Big idiot called Fortune rigged the game<BR> + And gave me nothing, while she filled the hand<BR> + Of every stingy devil in the land.<BR> +</P> + +<P CLASS="poem"> +You weave, and I: you shirts: I weave instead<BR> + My careful verse—but you get paid at times!<BR> +The only rap I get is on my head:<BR> + But should it come again that men like rhymes<BR> + And pay for them, I'll pay you for your shirt.<BR> +</P> + +<BR><BR><BR> + +<A NAME="P41"></A> + +<H3 ALIGN="center"> +ODELL<BR> +</H3> + +<P CLASS="poem"> +My mind is sad and weary thinking how<BR> + The griffins of the Gael went over the sea<BR> +From noble Eiré, and are fighting now<BR> + In France and Flanders and in Germany.<BR> +</P> + +<P CLASS="poem"> +If they, 'mid whom I sported without dread,<BR> + Were home I would not mind what foe might do,<BR> +Or fear tax-man Odell would seize my bed<BR> + To pay the hearth-rate that is overdue.<BR> +</P> + +<P CLASS="poem"> +I pray to Him who, in the haughty hour<BR> + Of Babel, threw confusion on each tongue,<BR> +That I may see our princes back in power,<BR> + And see Odell, the tax-collector, hung.<BR> +</P> + +<BR><BR><BR> + +<A NAME="P43"></A> + +<H3 ALIGN="center"> +THE APOLOGY<BR> +</H3> + +<P CLASS="poem"> +Do not be distant with me, do not be<BR> + Angry because I drank deep of your wine,<BR> +But treat that laughing matter laughingly<BR> + Because I am a poet, and incline<BR> +By nature and by art to jollity.<BR> +</P> + +<P CLASS="poem"> +Always I loved to see, I will aver,<BR> + The good red tide lip at the flagon's brim,<BR> +Sitting half fool and half philosopher,<BR> + Chatting with every kind of her and him,<BR> +And shrugged at sneer of money-gatherer.<BR> +</P> + +<P CLASS="poem"> +Often enough I trudge by hedge and wall,<BR> + Too often there's no money in my purse,<BR> +Nor malice in my mind ever at all,<BR> + And for my songs no person is the worse<BR> +But I who give all of my store to all.<BR> +</P> + +<P CLASS="poem"> +If busybody spoke to you of it,<BR> + Say, kindly man, if kindly man do live:<BR> +The poet only takes his sup and bit,<BR> + And say: It is no great return to give<BR> +For his unstinted gift of verse and wit.<BR> +</P> + +<BR><BR><BR> + +<A NAME="P45"></A> + +<H3 ALIGN="center"> +THE GANG<BR> +</H3> + +<P CLASS="poem"> +Our fathers must have sinned: we pay for it!<BR> + Through them the base-born tribe that sold their king<BR> +Sneaked into power, and in high places sit,<BR> + And do their will and wish in everything;<BR> +For they may rob and kill, grieve and disgrace<BR> +All who are left alive of Eiver's race.<BR> +</P> + +<P CLASS="poem"> +They seized with daring guile on rank and pelf,<BR> + And swore that they would never bend a knee<BR> +Unto the king: they robbed the Church herself:<BR> + They stole our princes' lands, and o'er the sea<BR> +They packed those princes, or drove them away<BR> +To barren rocks and fields that have no clay.<BR> +</P> + +<P CLASS="poem"> +That spawn of base mechanics! who could ne'er,<BR> + Though Doomsday came, by any art be made<BR> +Noble, are noble now, and have no care:<BR> + Snugly they sit and safe and unafraid<BR> +In stately places, proud as if the mud<BR> +And slime that swills their veins were princes' blood.<BR> +</P> + +<P CLASS="poem"> +Let us be wise and wary of that gang!<BR> + When they seem friendly know they have much wit,<BR> +And if it come that any man shall hang,<BR> + This neck will go unchoked, that nose unslit,<BR> +For, be things wry and crooked and to guess,<BR> +Those twisters are at home in twistiness.<BR> +</P> + +<P CLASS="poem"> +We know now what their plottings were about,<BR> + And how they planned, and what they meant to win;<BR> +'Twas God, not us, that took their tangles out,<BR> + For no sleek eel inside an oily skin<BR> +Could slip with more address from harm than they<BR> +Can slip from punishment and get away.<BR> +</P> + +<P CLASS="poem"> +When trouble came it was their plan to get<BR> + Our friends into the boat they meant to leave,<BR> +And there was some one left to pay their debt,<BR> + And they were free again to lie and thieve:<BR> +So they could put the feet of the man they'd rob<BR> +Into the boots of the one that did the job.<BR> +</P> + +<P CLASS="poem"> +If burnt child does truly dread the flame,<BR> + If wounded soldier shrinks again to see<BR> +A steel point sloping to him, let the same<BR> + Experience teach our chiefs that they may be<BR> +Crafty in meeting craft, and may beware<BR> +Of brewer's bees and buzzers everywhere.<BR> +</P> + +<P CLASS="poem"> +Unto the Mind which pardons sin I pray,<BR> + I pray to Him who did permit our woe<BR> +But halted our destruction, that to-day<BR> + Kindness and love and trust and inward glow<BR> +Of vision light our hearts with light divine,<BR> +So that we know our way until the end of time.<BR> +</P> + +<BR><BR><BR> + +<A NAME="P50"></A> + +<H3 ALIGN="center"> +THE GERALDINE'S CLOAK<BR> +</H3> + +<P CLASS="poem"> +I will not heed the message which you bring:<BR> + That lovely lady gave her cloak to us,<BR> +And who'd believe she'd give away a thing<BR> + And ask it back again?—'tis fabulous!<BR> +</P> + +<P CLASS="poem"> +My parting from her gave me cause to grieve,<BR> + For she, that I was poor, had misty eyes;<BR> +If some Archangel blew it I'd believe<BR> + The message which you bring, not otherwise.<BR> +</P> + +<P CLASS="poem"> +I do not say this just to make a joke,<BR> + Nor would I rob her, but, 'tis verity,<BR> +So long as I could swagger in a cloak<BR> + I never cared how bad my luck could be.<BR> +</P> + +<P CLASS="poem"> +That lady, all perfection, knows the sting<BR> + Of poverty was thrust deep into me:<BR> +I don't believe she'd do this kind of thing,<BR> + Or treat a poet less than daintily.<BR> +</P> + +<BR><BR><BR> + +<A NAME="P52"></A> + +<H3 ALIGN="center"> +SKIM-MILK<BR> +</H3> + +<P CLASS="poem"> +A small part only of my grief I write;<BR> + And if I do not give you all the tale<BR> +It is because my gloom gets some respite<BR> + By just a small bewailing: I bewail<BR> +That I with sly and stupid folk must bide<BR> +Who steal my food and ruin my inside.<BR> +</P> + +<P CLASS="poem"> +Once I had books, each book beyond compare,<BR> + But now no book at all is left to me,<BR> +And I am spied and peeped on everywhere,<BR> + And my old head, stuffed with latinity,<BR> +And with the poet's load of grave and gay<BR> +Will not get me skim-milk for half a day.<BR> +</P> + +<P CLASS="poem"> +Wild horse or quiet, not a horse have I,<BR> + But to the forest every day I go<BR> +Bending beneath a load of wood, that high!<BR> + Which raises on my back a sorry row<BR> +Of raw, red blisters; so I cry, alack,<BR> +The rider that rides me will break my back.<BR> +</P> + +<P CLASS="poem"> +Ossian, when he was old and near his end,<BR> + Met Patrick by good luck, and he was stayed;<BR> +I am a poet too and seek a friend,<BR> + A prop, a staff, a comforter, an aid,<BR> +A Patrick who will lift me from despair,<BR> +In Cormac Uasal Mac Donagh of the golden hair.<BR> +</P> + +<BR><BR><BR> + +<A NAME="P55"></A> + +<H3 ALIGN="center"> +BLUE BLOOD<BR> +</H3> + +<P CLASS="poem"> +We thought at first, this man is a king for sure,<BR> +Or the branch of a mighty and ancient and famous lineage—<BR> +That silly, sulky, illiterate, black-avised boor<BR> +Who was hatched by foreign vulgarity under a hedge.<BR> +</P> + +<P CLASS="poem"> +The good men of Clare were drinking his health in a flood,<BR> +And gazing with me in awe at the princely lad,<BR> +And asking each other from what bluest blueness of blood<BR> +His daddy was squeezed, and the pa of the da of his dad?<BR> +</P> + +<P CLASS="poem"> +We waited there, gaping and wondering, anxiously,<BR> +Until he'd stop eating and let the glad tidings out,<BR> +And the slack-jawed booby proved to the hilt that he<BR> +Was lout, son of lout, by old lout, and was da to a lout!<BR> +</P> + +<BR><BR><BR> + +<A NAME="P57"></A> + +<H3 ALIGN="center"> +O'BRUAIDAR<BR> +</H3> + +<P CLASS="poem"> +I will sing no more songs: the pride of my country I sang<BR> + Through forty long years of good rhyme, without any avail;<BR> +And no one cared even as much as the half of a hang<BR> + For the song or the singer, so here is an end to the tale.<BR> +</P> + +<P CLASS="poem"> +If a person should think I complain and have not got the cause,<BR> + Let him bring his eyes here and take a good look at my hand,<BR> +Let him say if a goose-quill has calloused this poor pair of paws<BR> + Or the spade that I grip on and dig with out there in the land?<BR> +</P> + +<P CLASS="poem"> +When the great ones were safe and renowned and were rooted and tough,<BR> + Though my mind went to them and took joy in the fortune of those,<BR> +And pride in their pride and their fame, they gave little enough,<BR> + Not as much as two boots for my feet, or an old suit of clothes.<BR> +</P> + +<P CLASS="poem"> +I ask of the Craftsman that fashioned the fly and the bird,<BR> + Of the Champion whose passion will lift me from death in a time,<BR> +Of the Spirit that melts icy hearts with the wind of a word,<BR> + That my people be worthy, and get, better singing than mine.<BR> +</P> + +<P CLASS="poem"> +I had hoped to live decent, when Ireland was quit of her care,<BR> + As a bailiff or steward perhaps in a house of degree,<BR> +But my end of the tale is, old brogues and old britches to wear,<BR> + So I'll sing no more songs for the men that care nothing for me.<BR> +</P> + +<BR><BR><BR> + +<A NAME="chap02"></A> + +<H3 ALIGN="center"> +NOTE +</H3> + +<P> +This book ought to be called Loot or Plunder or Pieces of Eight or +Treasure-Trove, or some name which would indicate and get away from its +source, for although everything in it can be referred to the Irish of +from one hundred to three hundred years ago the word translation would +be a misdescription. There are really only two translations in it, +Keating's "O Woman full of Wiliness" and Raftery's "County Mayo." Some +of the poems owe no more than a phrase, a line, half a line, to the +Irish, and around these scraps I have blown a bubble of verse and made +my poem. In other cases, where the matter of the poem is almost +entirely taken from the Irish, I have yet followed my own instinct in +the arrangement of it, and the result might be called new poems. My +first idea was to make an anthology of people whom long ago our poets +had praised, so that, in another language and another time, these +honoured names might be heard again, even though in my own terms and +not in the historic context. I did not pursue this course, for I could +not control the material which came to me and which took no heed of my +plan and was just as interesting. It would therefore be a mistake to +consider that these verses are representative of the poets by whom they +are inspired. In the case of David O'Bruadair this is less true than +in any of the others, but, even in his case, although I have often +conveyed his matter almost verbatim, the selection is not +representative of the poet. One side only, and that the least, is +shown, for a greater pen than mine would be necessary if that tornado +of rage, eloquence, and humour were to be presented; but the poems +which I give might almost be taken as translations of one side of his +terrific muse. +</P> + +<P> +As regards Egan O'Rahilly a similar remark is necessary. No pen and no +language but his own could even distantly indicate a skill and melody +which might be spoken of as one of the wonders of the world. I have +done exactly as I pleased with his material. +</P> + +<P> +From Antoine O'Raftery I have taken more than from any of the others, +and have in nearly every instance treated his matter so familiarly that +a lover of Raftery (and who, having read a verse of his, does not love +him?) might not know I was indebted to this poet for my songs. His +work is different from that of Keating, O'Rahilly, or O'Bruadair, for +these were learned men, and were writing out of a tradition so hoary +with age and so complicated in convention that only learned and subtle +minds could attempt it. I have wondered would Keating or O'Rahilly +have been very scornful of Raftery's work? I think they might have +been angry at such an ignorance of all the rules, and would probably +have torn the paper on which his poems were written, and sat down to +compose a satire which would have raised blisters on that poor, blind, +wandering singer, the master of them all. +</P> + +<P> +In two of the poems which I tried to translate from Raftery I have +completely failed. Against one of them I broke an hundred pens in +vain; and in the other, "The County Mayo," I have been so close to +success and so far from succeeding that I may mourn a little about it. +The first three verses are not bad, but the last verse is the +completest miss: the simplicity of the original is there, its music is +not, and in the last two lines the poignance, which should come on the +reader as though a hand gripped at his heart, is absent. The other +failure I have not printed because I could get no way on it at all: it +would not even begin to translate. This is Raftery's reply to the man +who did not recognise him as he fiddled to a crowd, and asked "who is +the musician?" +</P> + +<P CLASS="poem"> +I am Raftery the poet,<BR> +Full of hope and love,<BR> +My eyes without sight,<BR> +My mind without torment,<BR> +</P> + +<P CLASS="poem"> +Going west on my journey<BR> +By the light of my heart,<BR> +Tired and weary<BR> +To the end of the road.<BR> +</P> + +<P CLASS="poem"> +Behold me now<BR> +With my back to a wall,<BR> +Playing music<BR> +To empty pockets.<BR> +</P> + +<P CLASS="noindent"> +See Douglas Hyde's <I>Life of Raftery</I>. +</P> + +<P> +Dissimilar as these poets are from each other in time, education, and +temperament, they are alike in that they were all poor men, so poor +that there was often little difference between them and beggars. They +all sing of their poverty: Keating as a fact to be recorded among other +facts, O'Rahilly in a very stately and bitter complaint, and Raftery as +in the quotation above; but O'Bruadair lets out of him an unending, +rebellious bawl which would be the most desolating utterance ever made +by man if it was not also the most gleeful. +</P> + +<BR><BR><BR> + +<P CLASS="finis"> +THE END +</P> + +<BR><BR><BR> + +<P CLASS="t4"> +<I>Printed by</I> R. & R. CLARK, LIMITED, <I>Edinburgh</I>. +</P> + +<BR><BR><BR> + +<HR> + +<BR><BR><BR> + +<A NAME="chap03"></A> + +<P CLASS="t2"> +BY JAMES STEPHENS +</P> + +<P CLASS="noindent"> +The Charwoman's Daughter. Cr. 8vo. 4s. 6d. net. +</P> + +<P CLASS="noindent"> +The Crock of Gold. Cr. 8vo. 6s. net. +</P> + +<P CLASS="noindent"> +Here are Ladies. Cr. 8vo. 6s. net. +</P> + +<P CLASS="noindent"> +The Demi-Gods. Cr. 8vo. 6s. net. +</P> + +<P CLASS="noindent"> +Songs from the Clay. Poems. Cr. 8vo. 4s. 6d. net. +</P> + +<P CLASS="noindent"> +The Adventures of Seumas Beg: The Rocky Road to Dublin. Cr. 8vo. 4s. +6d. net. +</P> + +<BR><BR> + +<P CLASS="t2"> +<I>SOME NEW BOOKS</I> +</P> + +<P CLASS="noindent"> +Moments of Vision and Miscellaneous Verses. By THOMAS HARDY. Cr. 8vo. +6s. net. +</P> + +<P CLASS="noindent"> +Per Amica Silentia Lunae. By WILLIAM BUTLER YEATS. Cr. 8vo. 4s. 6d. +net. +</P> + +<P CLASS="noindent"> +Whin: A volume of Poems. By WILFRID WILSON GIBSON, author of +"Livelihood." Cr. 8vo. 3s. 6d. net. +</P> + +<P CLASS="noindent"> +Poems. By RALPH HODGSON. Fifth Impression. Fcap. 8vo. 3s. 6d. net. +</P> + +<P CLASS="noindent"> +Karma. A Re-incarnation Play in Prologue, Epilogue, and Three Acts. +By ALGERNON BLACKWOOD and VIOLET PEARN. Cr. 8vo. +</P> + +<P CLASS="noindent"> +Twenty: A volume of Poems. By STELLA BENSON, author of "I Pose." Cr. +8vo. +</P> + +<BR><BR> + +<P CLASS="t2"> +BY SIR RABINDRANATH TAGORE +</P> + +<P CLASS="noindent"> +Lover's Gift and Crossing. Cr. 8vo. 5s. net. +</P> + +<P CLASS="noindent"> +Mashi and other Stories. Cr. 8vo. 5s. net. +</P> + +<BR><BR> + +<P CLASS="t3"> +LONDON: MACMILLAN AND CO., LTD. +</P> + +<BR><BR><BR><BR> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Reincarnations, by James Stephens + +*** END OF THIS PROJECT GUTENBERG EBOOK REINCARNATIONS *** + +***** This file should be named 37213-h.htm or 37213-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/7/2/1/37213/ + +Produced by Al Haines + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + +</BODY> + +</HTML> + diff --git a/37213.txt b/37213.txt new file mode 100644 index 0000000..b3ffb8a --- /dev/null +++ b/37213.txt @@ -0,0 +1,1389 @@ +The Project Gutenberg EBook of Reincarnations, by James Stephens + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Reincarnations + +Author: James Stephens + +Release Date: August 25, 2011 [EBook #37213] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK REINCARNATIONS *** + + + + +Produced by Al Haines + + + + + + + + + + +REINCARNATIONS + + +BY + +JAMES STEPHENS + +AUTHOR OF + +'THE CHARWOMAN'S DAUGHTER,' 'THE HILL OF VISION' + 'THE CROCK OF GOLD,' ETC. + + + + +MACMILLAN AND CO., LIMITED + +ST. MARTIN'S STREET, LONDON + +1918 + + + + +COPYRIGHT + + + + +TO + +ALICE STOPFORD GREEN + + + + +CONTENTS + + + Geoffrey Keating + Mary Hynes (after Raftery) + The Coolun do. + Peggy Mitchell do. + Nancy Walsh do. + The Red Man's Wife do. + Nancy Walsh do. + Anthony O'Daly do. + Mary Ruane do. + William O'Kelly do. + Sean O'Cosgair do. + The County Mayo do. + Eileen, Diarmuid and Teig (After O'Rahilly) + Honoro Butler and Lord Kenmare do. + Clann Cartie do. + The Land Of Fal (Anon.) + Inis Fal (after O'Rahilly) + Owen O'Neill (after Pierce Ferriter) + Egan O'Rahilly (after O'Rahilly) + Righteous Anger (after O'Bruadair) + The Weavers do. + Odell do. + The Apology do. + The Gang do. + The Geraldine's Cloak do. + Skim-Milk do. + Blue Blood do. + O'Bruaidar do. + Note + + + + + GEOFFREY KEATING + + O woman full of wiliness! + Although for love of me you pine, + Withhold your hand adventurous, + It holdeth nothing holding mine. + + Look on my head, how it is grey! + My body's weakness doth appear; + My blood is chill and thin; my day + Is done, and there is nothing here. + + Do not call me a foolish man, + Nor lean your lovely cheek to mine + O slender witch, our bodies can + Not mingle now, nor any time. + + So take your mouth from mine, your hand + From mine, ah, take your lips away! + Lest heat to will should ripen, and + All this be grave that had been gay. + + It is this curl, a silken nest, + And this grey eye bright as the dew, + And this round, lovely, snow-white breast + That draws desire in search of you. + + I would do all for you, meseems, + But this, tho' this were happiness! + I shall not mingle in your dreams, + O woman full of wiliness! + + + + + MARY HYNES + + She is the sky of the sun, + She is the dart + Of love, + She is the love of my heart, + She is a rune, + She is above + The women of the race of Eve + As the sun is above the moon. + + Lovely and airy the view from the hill + That looks down Ballylea; + But no good sight is good until + By great good luck you see + The Blossom of the Branches walking towards you + Airily. + + + + + THE COOLUN + + Come with me, under my coat, + And we will drink our fill + Of the milk of the white goat, + Or wine if it be thy will; + And we will talk until + Talk is a trouble, too, + Out on the side of the hill, + And nothing is left to do, + But an eye to look into an eye + And a hand in a hand to slip, + And a sigh to answer a sigh, + And a lip to find out a lip: + What if the night be black + And the air on the mountain chill, + Where the goat lies down in her track + And all but the fern is still! + Stay with me, under my coat, + And we will drink our fill + Of the milk of the white goat + Out on the side of the hill. + + + + + PEGGY MITCHELL + + As lily grows up easily, + In modest, gentle dignity + To sweet perfection, + So grew she, + As easily. + + Or as the rose that takes no care + Will open out on sunny air + Bloom after bloom, fair after fair, + Sweet after sweet; + Just so did she, + As carelessly. + + She is our torment without end, + She is our enemy and friend, + Our joy, our woe; + And she will send + Madness or glee + To you and me, + And endlessly. + + + + + NANCY WALSH + + I, without bite or sup, + If thou wert fated for me, + I would up + And would go after thee + Through mountains. + + A thousand thanks from me + To God have gone, + Because I have not lost my senses to thee, + Though it was hardly I escaped from thee, + O ringleted one! + + + + + THE RED MAN'S WIFE + + Then she arose + And walked in the valley + In her fine clothes. + + After great fire + Great frost + Comes following. + + Turgesius was lost + By the daughter of Maelsheachlin + The King. + + By Grainne, + Of high Ben Gulbain in the north, + Was Diarmuid lost. + + The strong sons of Ushna, + Who never submitted, + They fell by Deirdre. + + + + + NANCY WALSH + + It is not on her gown + She fears to tread; + It is her hair + Which tumbles down + And strays + About her ways + That she must care. + + And she lives nigh this place: + The dead would rise + If they could see her face; + The dead would rise + Only to hear her sing: + But death is blind, and gives not ear nor eye + To anything. + + We would leave behind + Both wife and child, + And house and home; + And wander blind, + And wander thus, + And ever roam, + If she would come to us + In Erris. + + Softly she said to me-- + Be patient till the night comes, + And I will go with thee. + + + + + ANTHONY O'DALY + + Since your limbs were laid out + The stars do not shine, + The fish leap not out + In the waves. + On our meadows the dew + Does not fall in the morn, + For O'Daly is dead: + Not a flower can be born, + Not a word can be said, + Not a tree have a leaf; + Anthony, after you + There is nothing to do, + There is nothing but grief. + + + + + MARY RUANE + + The sky-like girl whom we knew! + She dressed herself to go to the fair + In a dress of white and blue; + A white lace cap, and ribbons white + She wore in her hair; + She does not hear in the night + Her mother crying for her, + Where, + Deep down in the sea, + She rolls and lingers to and fro + Unweariedly. + + + + + WILLIAM O'KELLY + + The Protecting Tree + Of the men of the land of Fal! + What aileth thee, + And why is it that all + About thee grieves? + + Alas, O Tree of the Leaves! + Here is thy rhyme: + Thy bloom is lightened; + And if thy fruit be withered + Thy root hath not tightened + At the same time. + + Not since the Gael was sold + At Aughrim. Not since to cold, + Dull death went Owen Roe; + Not since the drowning of Clann Adam in the days of Noe + Brought men to hush, + Has such a tale of woe come to us + In such a rush. + + The true flower of the blood of the place is fallen: + The true clean-wheat of the Gael is reaped. + + Destruction be upon Death, + For he has come and taken from our tree + The topmost blackberry! + + + + + SEAN O'COSGAIR + + Pity it was that you should ever stand + In ship or boat, + Or that you went afloat + Inside that ship! + + The lusty steps you took! + The ways and journeys you knew how to wend + From London back to Beltra, + And this end! + + You who could swim so well! + What time you sported in the lifting tides + The girls swam out to you, and held your sides + When they were weary, for they knew they were + Safe, because you were there. + + Your little-mother thought that this was true + (And so she made no stir + Till you were found), + Although an hundred might be drowned, you + Would come back safe to her, + And not be drowned! + + + + + THE COUNTY MAYO + + Now with the coming in of the spring the days will stretch a bit, + And after the Feast of Brigid I shall hoist my flag and go, + For since the thought got into my head I can neither stand nor sit + Until I find myself in the middle of the County of Mayo. + + In Claremorris I would stop a night and sleep with decent men, + And then go on to Balla just beyond and drink galore, + And next to Kiltimagh for a visit of about a month, and then + I would only be a couple of miles away from Ballymore. + + I say and swear my heart lifts up like the lifting of a tide, + Rising up like the rising wind till fog or mist must go, + When I remember Carra and Gallen close beside, + And the Gap of the Two Bushes, and the wide plains of Mayo. + + To Killaden then, to the place where everything grows that is best, + There are raspberries there and strawberries there and all that + is good for men; + And if I were only there in the middle of my folk my heart could rest, + For age itself would leave me there and I'd be young again. + + + + + EILEEN, DIARMUID AND TEIG + + Be kind unto these three, O King! + For they were fragrant-skinned, cheerful and giving; + Three stainless pearls, three of mild, winning ways, + Three candles sending forth three pleasant rays, + Three vines, three doves, three apples from a bough, + Three graces in a house, three who refused nohow + Help to the needy, three of slenderness, + Three memories for the companionless, + Three strings of music, three deep holes in clay, + Three lovely children who loved Christ alway, + Three mouths, three hearts, three minds beneath a stone; + Ruin it is! three causes for the moan + That rises everywhere now they are gone: + Be kind, O King, unto this two and one! + + + + + HONORO BUTLER AND LORD KENMARE (1720) + + In bloom and bud the bees are busily + Storing against the winter their sweet hoard + That shall be rifled ere the autumn be + Past, or the winter comes with silver sword + To fright the bees, until the merry round + Tells them that sweets again are to be found. + + The lusty tide is flowing by in ease, + Telling of joy along its brimming way; + Far in its waters is an isle of trees + Whereto the sun will go at end of day, + As who in secret place and dear is hid, + And scarce can rouse him thence tho' he be chid. + + Now justice comes all trouble to repair, + And cheeks that had been wan are coloured well, + The untilled moor is comely, and the air + Hath a great round of song from bird in dell, + And bird on wing and bird on forest tree, + And from each place and space where bird may be. + + The languid are made strong, the strong grow stronger, + There is no grievance here, and no distress, + The woeful are not woeful any longer, + The rose hath put on her a finer dress, + And every girl to bloom adds bloom again, + And every man hath heart beyond all men. + + For the Star of Munster, Pearl of the Golden Bough, + Comes joyfully this day of days to wed + Her choice of all whom fame hath loved till now, + And who chose her from all that love instead: + The Joy of the Flock, the Bud of the Branch is she, + Crown of the Irish Pride and Chivalry. + + He is a chief and prince, well famed is he, + The love of thousands unto him does run; + And all days were before and all will be, + He was and will be loved by every one; + And she and he be loved by all no less + Who courage love, and love, and loveliness. + + The nobles of the province take their wine, + And drink a merry health to groom and bride; + They shall be drunken ere the sun decline, + And all their merrymaking lay aside + In deep, sweet sleep that seals a merry day + Until the dawn, when they shall ride away, + + Leaving those two who now are one behind. + O Moon! pour on the silence all thy beams, + And for this night be beautiful and kind; + Weave in their sleep thy best and dearest dreams; + And fortune them in their own land to be + Safe from all evil chance, and from all enmity. + + + + + CLANN CARTIE + + My heart is withered and my health is gone, + For they who were not easy put upon, + Masters of mirth and of fair clemency, + Masters of wealth and gentle charity, + They are all gone. Mac Caura Mor is dead, + Mac Caura of the Lee is finished, + Mac Caura of Kanturk joined clay to clay + And gat him gone, and bides as deep as they. + + Their years, their gentle deeds, their flags are furled, + And deeply down, under the stiffened world, + In chests of oaken wood are princes thrust, + To crumble day by day into the dust + A mouth might puff at; nor is left a trace + Of those who did of grace all that was grace. + + O Wave of Cliona, cease thy bellowing! + And let mine ears forget a while to ring + At thy long, lamentable misery: + The great are dead indeed, the great are dead; + And I, in little time, will stoop my head + And put it under, and will be forgot + With them, and be with them, and thus be not: + Ease thee, cease thy long keening, cry no more: + End is, and here is end, and end is sore, + And to all lamentation be there end: + If I might come on thee, O howling friend! + Knowing that sails were drumming on the sea + Westward to Eire, and that help would be + Trampling for her upon a Spanish deck, + I'd ram thy lamentation down thy neck. + + + + + THE LAND OF FAL + + If all must suffer equally, and pay + In equal share for that sin wrought by Eve, + O Thou, if Thou wilt deign to answer, say: + Why are the poor tormented? why made grieve + The innocent? why are the free enslaved? + Why have the wicked peace tho' void of ruth? + Why are there none to pity, when, dismayed, + And sick with fear, the lamb bleats to the tooth + That tears him down? why is the cry unheard + Of lonely anguish? why, when the land of Fal + Had loved Thee long and well, was she not spared + The ruin that hath stamped her under all + That mourn and die? + + + + + INIS FAL + + Now may we turn aside and dry our tears, + And comfort us, and lay aside our fears, + For all is gone--all comely quality, + All gentleness and hospitality, + All courtesy and merriment is gone; + Our virtues all are withered every one, + Our music vanished and our skill to sing: + Now may we quiet us and quit our moan, + Nothing is whole that could be broke; no thing + Remains to us of all that was our own. + + + + + OWEN O'NEILL + + If poesy have truth at all, + If some great lion of the Gael + Shall rule the lovely land of Fal; + O yellow mast and roaring sail! + Carry the leadership for me, + Writ in this letter, o'er the sea + To great O'Neill. + + + + + EGAN O'RAHILLY + + Here in a distant place I hold my tongue; + I am O'Rahilly: + When I was young, + Who now am young no more, + I did not eat things picked up from the shore. + The periwinkle, and the tough dogfish + At even-time have got into my dish! + The great, where are they now! the great had said-- + This is not seemly, bring to him instead + That which serves his and serves our dignity-- + And that was done. + + I am O'Rahilly: + Here in a distant place I hold my tongue, + Who once said all his say, when he was young! + + + + + RIGHTEOUS ANGER + + The lanky hank of a she in the inn over there + Nearly killed me for asking the loan of a glass of beer: + May the devil grip the whey-faced slut by the hair, + And beat bad manners out of her skin for a year. + + That parboiled imp, with the hardest jaw you will see + On virtue's path, and a voice that would rasp the dead, + Came roaring and raging the minute she looked at me, + And threw me out of the house on the back of my head! + + If I asked her master he'd give me a cask a day; + But she, with the beer at hand, not a gill would arrange! + May she marry a ghost and bear him a kitten, and may + The High King of Glory permit her to get the mange. + + + + + THE WEAVERS + + Many a time your father gave me aid + When I was down, and now I'm down again: + You mustn't take it bad or be dismayed + Because I say, young folk should help old men + And 'tis their duty to do that: Amen! + + I have no cows, no sheep, no cloak, no hat, + For those who used to give me things are dead + And my luck died with them: because of that + I won't pay you a farthing, but, instead, + I'll owe you till the dead rise from the dead. + + A farthing! that's not much, but, all the same, + I haven't half a farthing, for that grand + Big idiot called Fortune rigged the game + And gave me nothing, while she filled the hand + Of every stingy devil in the land. + + You weave, and I: you shirts: I weave instead + My careful verse--but you get paid at times! + The only rap I get is on my head: + But should it come again that men like rhymes + And pay for them, I'll pay you for your shirt. + + + + + ODELL + + My mind is sad and weary thinking how + The griffins of the Gael went over the sea + From noble Eire, and are fighting now + In France and Flanders and in Germany. + + If they, 'mid whom I sported without dread, + Were home I would not mind what foe might do, + Or fear tax-man Odell would seize my bed + To pay the hearth-rate that is overdue. + + I pray to Him who, in the haughty hour + Of Babel, threw confusion on each tongue, + That I may see our princes back in power, + And see Odell, the tax-collector, hung. + + + + + THE APOLOGY + + Do not be distant with me, do not be + Angry because I drank deep of your wine, + But treat that laughing matter laughingly + Because I am a poet, and incline + By nature and by art to jollity. + + Always I loved to see, I will aver, + The good red tide lip at the flagon's brim, + Sitting half fool and half philosopher, + Chatting with every kind of her and him, + And shrugged at sneer of money-gatherer. + + Often enough I trudge by hedge and wall, + Too often there's no money in my purse, + Nor malice in my mind ever at all, + And for my songs no person is the worse + But I who give all of my store to all. + + If busybody spoke to you of it, + Say, kindly man, if kindly man do live: + The poet only takes his sup and bit, + And say: It is no great return to give + For his unstinted gift of verse and wit. + + + + + THE GANG + + Our fathers must have sinned: we pay for it! + Through them the base-born tribe that sold their king + Sneaked into power, and in high places sit, + And do their will and wish in everything; + For they may rob and kill, grieve and disgrace + All who are left alive of Eiver's race. + + They seized with daring guile on rank and pelf, + And swore that they would never bend a knee + Unto the king: they robbed the Church herself: + They stole our princes' lands, and o'er the sea + They packed those princes, or drove them away + To barren rocks and fields that have no clay. + + That spawn of base mechanics! who could ne'er, + Though Doomsday came, by any art be made + Noble, are noble now, and have no care: + Snugly they sit and safe and unafraid + In stately places, proud as if the mud + And slime that swills their veins were princes' blood. + + Let us be wise and wary of that gang! + When they seem friendly know they have much wit, + And if it come that any man shall hang, + This neck will go unchoked, that nose unslit, + For, be things wry and crooked and to guess, + Those twisters are at home in twistiness. + + We know now what their plottings were about, + And how they planned, and what they meant to win; + 'Twas God, not us, that took their tangles out, + For no sleek eel inside an oily skin + Could slip with more address from harm than they + Can slip from punishment and get away. + + When trouble came it was their plan to get + Our friends into the boat they meant to leave, + And there was some one left to pay their debt, + And they were free again to lie and thieve: + So they could put the feet of the man they'd rob + Into the boots of the one that did the job. + + If burnt child does truly dread the flame, + If wounded soldier shrinks again to see + A steel point sloping to him, let the same + Experience teach our chiefs that they may be + Crafty in meeting craft, and may beware + Of brewer's bees and buzzers everywhere. + + Unto the Mind which pardons sin I pray, + I pray to Him who did permit our woe + But halted our destruction, that to-day + Kindness and love and trust and inward glow + Of vision light our hearts with light divine, + So that we know our way until the end of time. + + + + + THE GERALDINE'S CLOAK + + I will not heed the message which you bring: + That lovely lady gave her cloak to us, + And who'd believe she'd give away a thing + And ask it back again?--'tis fabulous! + + My parting from her gave me cause to grieve, + For she, that I was poor, had misty eyes; + If some Archangel blew it I'd believe + The message which you bring, not otherwise. + + I do not say this just to make a joke, + Nor would I rob her, but, 'tis verity, + So long as I could swagger in a cloak + I never cared how bad my luck could be. + + That lady, all perfection, knows the sting + Of poverty was thrust deep into me: + I don't believe she'd do this kind of thing, + Or treat a poet less than daintily. + + + + + SKIM-MILK + + A small part only of my grief I write; + And if I do not give you all the tale + It is because my gloom gets some respite + By just a small bewailing: I bewail + That I with sly and stupid folk must bide + Who steal my food and ruin my inside. + + Once I had books, each book beyond compare, + But now no book at all is left to me, + And I am spied and peeped on everywhere, + And my old head, stuffed with latinity, + And with the poet's load of grave and gay + Will not get me skim-milk for half a day. + + Wild horse or quiet, not a horse have I, + But to the forest every day I go + Bending beneath a load of wood, that high! + Which raises on my back a sorry row + Of raw, red blisters; so I cry, alack, + The rider that rides me will break my back. + + Ossian, when he was old and near his end, + Met Patrick by good luck, and he was stayed; + I am a poet too and seek a friend, + A prop, a staff, a comforter, an aid, + A Patrick who will lift me from despair, + In Cormac Uasal Mac Donagh of the golden hair. + + + + + BLUE BLOOD + + We thought at first, this man is a king for sure, + Or the branch of a mighty and ancient and famous lineage-- + That silly, sulky, illiterate, black-avised boor + Who was hatched by foreign vulgarity under a hedge. + + The good men of Clare were drinking his health in a flood, + And gazing with me in awe at the princely lad, + And asking each other from what bluest blueness of blood + His daddy was squeezed, and the pa of the da of his dad? + + We waited there, gaping and wondering, anxiously, + Until he'd stop eating and let the glad tidings out, + And the slack-jawed booby proved to the hilt that he + Was lout, son of lout, by old lout, and was da to a lout! + + + + + O'BRUAIDAR + + I will sing no more songs: the pride of my country I sang + Through forty long years of good rhyme, without any avail; + And no one cared even as much as the half of a hang + For the song or the singer, so here is an end to the tale. + + If a person should think I complain and have not got the cause, + Let him bring his eyes here and take a good look at my hand, + Let him say if a goose-quill has calloused this poor pair of paws + Or the spade that I grip on and dig with out there in the land? + + When the great ones were safe and renowned and were rooted and tough, + Though my mind went to them and took joy in the fortune of those, + And pride in their pride and their fame, they gave little enough, + Not as much as two boots for my feet, or an old suit of clothes. + + I ask of the Craftsman that fashioned the fly and the bird, + Of the Champion whose passion will lift me from death in a time, + Of the Spirit that melts icy hearts with the wind of a word, + That my people be worthy, and get, better singing than mine. + + I had hoped to live decent, when Ireland was quit of her care, + As a bailiff or steward perhaps in a house of degree, + But my end of the tale is, old brogues and old britches to wear, + So I'll sing no more songs for the men that care nothing for me. + + + + +NOTE + +This book ought to be called Loot or Plunder or Pieces of Eight or +Treasure-Trove, or some name which would indicate and get away from its +source, for although everything in it can be referred to the Irish of +from one hundred to three hundred years ago the word translation would +be a misdescription. There are really only two translations in it, +Keating's "O Woman full of Wiliness" and Raftery's "County Mayo." Some +of the poems owe no more than a phrase, a line, half a line, to the +Irish, and around these scraps I have blown a bubble of verse and made +my poem. In other cases, where the matter of the poem is almost +entirely taken from the Irish, I have yet followed my own instinct in +the arrangement of it, and the result might be called new poems. My +first idea was to make an anthology of people whom long ago our poets +had praised, so that, in another language and another time, these +honoured names might be heard again, even though in my own terms and +not in the historic context. I did not pursue this course, for I could +not control the material which came to me and which took no heed of my +plan and was just as interesting. It would therefore be a mistake to +consider that these verses are representative of the poets by whom they +are inspired. In the case of David O'Bruadair this is less true than +in any of the others, but, even in his case, although I have often +conveyed his matter almost verbatim, the selection is not +representative of the poet. One side only, and that the least, is +shown, for a greater pen than mine would be necessary if that tornado +of rage, eloquence, and humour were to be presented; but the poems +which I give might almost be taken as translations of one side of his +terrific muse. + +As regards Egan O'Rahilly a similar remark is necessary. No pen and no +language but his own could even distantly indicate a skill and melody +which might be spoken of as one of the wonders of the world. I have +done exactly as I pleased with his material. + +From Antoine O'Raftery I have taken more than from any of the others, +and have in nearly every instance treated his matter so familiarly that +a lover of Raftery (and who, having read a verse of his, does not love +him?) might not know I was indebted to this poet for my songs. His +work is different from that of Keating, O'Rahilly, or O'Bruadair, for +these were learned men, and were writing out of a tradition so hoary +with age and so complicated in convention that only learned and subtle +minds could attempt it. I have wondered would Keating or O'Rahilly +have been very scornful of Raftery's work? I think they might have +been angry at such an ignorance of all the rules, and would probably +have torn the paper on which his poems were written, and sat down to +compose a satire which would have raised blisters on that poor, blind, +wandering singer, the master of them all. + +In two of the poems which I tried to translate from Raftery I have +completely failed. Against one of them I broke an hundred pens in +vain; and in the other, "The County Mayo," I have been so close to +success and so far from succeeding that I may mourn a little about it. +The first three verses are not bad, but the last verse is the +completest miss: the simplicity of the original is there, its music is +not, and in the last two lines the poignance, which should come on the +reader as though a hand gripped at his heart, is absent. The other +failure I have not printed because I could get no way on it at all: it +would not even begin to translate. This is Raftery's reply to the man +who did not recognise him as he fiddled to a crowd, and asked "who is +the musician?" + + I am Raftery the poet, + Full of hope and love, + My eyes without sight, + My mind without torment, + + Going west on my journey + By the light of my heart, + Tired and weary + To the end of the road. + + Behold me now + With my back to a wall, + Playing music + To empty pockets. + +See Douglas Hyde's _Life of Raftery_. + +Dissimilar as these poets are from each other in time, education, and +temperament, they are alike in that they were all poor men, so poor +that there was often little difference between them and beggars. They +all sing of their poverty: Keating as a fact to be recorded among other +facts, O'Rahilly in a very stately and bitter complaint, and Raftery as +in the quotation above; but O'Bruadair lets out of him an unending, +rebellious bawl which would be the most desolating utterance ever made +by man if it was not also the most gleeful. + + + + +THE END + + + + +_Printed by_ R. & R. CLARK, LIMITED, _Edinburgh_. + + + + + + +BY JAMES STEPHENS + +The Charwoman's Daughter. Cr. 8vo. 4s. 6d. net. + +The Crock of Gold. Cr. 8vo. 6s. net. + +Here are Ladies. Cr. 8vo. 6s. net. + +The Demi-Gods. Cr. 8vo. 6s. net. + +Songs from the Clay. Poems. Cr. 8vo. 4s. 6d. net. + +The Adventures of Seumas Beg: The Rocky Road to Dublin. Cr. 8vo. 4s. +6d. net. + + + +SOME NEW BOOKS + +Moments of Vision and Miscellaneous Verses. By THOMAS HARDY. Cr. 8vo. +6s. net. + +Per Amica Silentia Lunae. By WILLIAM BUTLER YEATS. Cr. 8vo. 4s. 6d. +net. + +Whin: A volume of Poems. By WILFRID WILSON GIBSON, author of +"Livelihood." Cr. 8vo. 3s. 6d. net. + +Poems. By RALPH HODGSON. Fifth Impression. Fcap. 8vo. 3s. 6d. net. + +Karma. A Re-incarnation Play in Prologue, Epilogue, and Three Acts. +By ALGERNON BLACKWOOD and VIOLET PEARN. Cr. 8vo. + +Twenty: A volume of Poems. By STELLA BENSON, author of "I Pose." Cr. +8vo. + + + +BY SIR RABINDRANATH TAGORE + +Lover's Gift and Crossing. Cr. 8vo. 5s. net. + +Mashi and other Stories. Cr. 8vo. 5s. net. + + + + +LONDON: MACMILLAN AND CO., LTD. + + + + + + + + + + + +End of the Project Gutenberg EBook of Reincarnations, by James Stephens + +*** END OF THIS PROJECT GUTENBERG EBOOK REINCARNATIONS *** + +***** This file should be named 37213.txt or 37213.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/7/2/1/37213/ + +Produced by Al Haines + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/37213.zip b/37213.zip Binary files differnew file mode 100644 index 0000000..4dc00d5 --- /dev/null +++ b/37213.zip diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..4831a36 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #37213 (https://www.gutenberg.org/ebooks/37213) |