Tuesday, March 24, 2020

The Highwayman

Watch one (or both if you choose)





The Highwayman

BY ALFRED NOYES
PART ONE

The wind was a torrent of darkness among the gusty trees.   
The moon was a ghostly galleon tossed upon cloudy seas.   
The road was a ribbon of moonlight over the purple moor,   
And the highwayman came riding—
         Riding—riding—
The highwayman came riding, up to the old inn-door.

He’d a French cocked-hat on his forehead, a bunch of lace at his chin,   
A coat of the claret velvet, and breeches of brown doe-skin.
They fitted with never a wrinkle. His boots were up to the thigh.   
And he rode with a jewelled twinkle,
         His pistol butts a-twinkle,
His rapier hilt a-twinkle, under the jewelled sky.

Over the cobbles he clattered and clashed in the dark inn-yard.
He tapped with his whip on the shutters, but all was locked and barred.   
He whistled a tune to the window, and who should be waiting there   
But the landlord’s black-eyed daughter,
         Bess, the landlord’s daughter,
Plaiting a dark red love-knot into her long black hair.

And dark in the dark old inn-yard a stable-wicket creaked
Where Tim the ostler listened. His face was white and peaked.   
His eyes were hollows of madness, his hair like mouldy hay,   
But he loved the landlord’s daughter,
         The landlord’s red-lipped daughter.
Dumb as a dog he listened, and he heard the robber say—

“One kiss, my bonny sweetheart, I’m after a prize to-night,
But I shall be back with the yellow gold before the morning light;
Yet, if they press me sharply, and harry me through the day,   
Then look for me by moonlight,
         Watch for me by moonlight,
I’ll come to thee by moonlight, though hell should bar the way.”

He rose upright in the stirrups. He scarce could reach her hand,
But she loosened her hair in the casement. His face burnt like a brand
As the black cascade of perfume came tumbling over his breast;   
And he kissed its waves in the moonlight,
         (O, sweet black waves in the moonlight!)
Then he tugged at his rein in the moonlight, and galloped away to the west.

PART TWO

He did not come in the dawning. He did not come at noon;   
And out of the tawny sunset, before the rise of the moon,   
When the road was a gypsy’s ribbon, looping the purple moor,   
A red-coat troop came marching—
         Marching—marching—
King George’s men came marching, up to the old inn-door.

They said no word to the landlord. They drank his ale instead.   
But they gagged his daughter, and bound her, to the foot of her narrow bed.
Two of them knelt at her casement, with muskets at their side!   
There was death at every window;
         And hell at one dark window;
For Bess could see, through her casement, the road that he would ride.

They had tied her up to attention, with many a sniggering jest.
They had bound a musket beside her, with the muzzle beneath her breast!
“Now, keep good watch!” and they kissed her. She heard the doomed man say—
Look for me by moonlight;
         Watch for me by moonlight;
I’ll come to thee by moonlight, though hell should bar the way!

She twisted her hands behind her; but all the knots held good!
She writhed her hands till her fingers were wet with sweat or blood!   
They stretched and strained in the darkness, and the hours crawled by like years
Till, now, on the stroke of midnight,
         Cold, on the stroke of midnight,
The tip of one finger touched it! The trigger at least was hers!

The tip of one finger touched it. She strove no more for the rest.   
Up, she stood up to attention, with the muzzle beneath her breast.   
She would not risk their hearing; she would not strive again;   
For the road lay bare in the moonlight;
         Blank and bare in the moonlight;
And the blood of her veins, in the moonlight, throbbed to her love’s refrain.

Tlot-tlot; tlot-tlot! Had they heard it? The horsehoofs ringing clear;   
Tlot-tlot; tlot-tlot, in the distance? Were they deaf that they did not hear?
Down the ribbon of moonlight, over the brow of the hill,
The highwayman came riding—
         Riding—riding—
The red coats looked to their priming! She stood up, straight and still.

Tlot-tlot, in the frosty silence! Tlot-tlot, in the echoing night!   
Nearer he came and nearer. Her face was like a light.
Her eyes grew wide for a moment; she drew one last deep breath,   
Then her finger moved in the moonlight,
         Her musket shattered the moonlight,
Shattered her breast in the moonlight and warned him—with her death.

He turned. He spurred to the west; he did not know who stood   
Bowed, with her head o’er the musket, drenched with her own blood!   
Not till the dawn he heard it, and his face grew grey to hear   
How Bess, the landlord’s daughter,
         The landlord’s black-eyed daughter,
Had watched for her love in the moonlight, and died in the darkness there.

Back, he spurred like a madman, shrieking a curse to the sky,
With the white road smoking behind him and his rapier brandished high.
Blood red were his spurs in the golden noon; wine-red was his velvet coat;
When they shot him down on the highway,
         Down like a dog on the highway,
And he lay in his blood on the highway, with a bunch of lace at his throat.

.       .       .

And still of a winter’s night, they say, when the wind is in the trees,
When the moon is a ghostly galleon tossed upon cloudy seas,   
When the road is a ribbon of moonlight over the purple moor,   
A highwayman comes riding—
         Riding—riding—
A highwayman comes riding, up to the old inn-door.

Over the cobbles he clatters and clangs in the dark inn-yard.
He taps with his whip on the shutters, but all is locked and barred.   
He whistles a tune to the window, and who should be waiting there   
But the landlord’s black-eyed daughter,
         Bess, the landlord’s daughter,
Plaiting a dark red love-knot into her long black hair.



Ballads






A typical ballad is a plot-driven song, with one or more characters hurriedly unfurling events leading to a dramatic conclusion. Often, a ballad does not tell the reader what’s happening, but rather shows the reader what’s happening, describing each crucial moment in the trail of events. To convey that sense of emotional urgency, the ballad is often constructed in quatrain stanzas, each line containing as few as three or four stresses and rhyming either the second and fourth lines, or all alternating lines.
History of the Ballad Form
Centuries-old in practice, the composition of ballads began in the European folk tradition, in many cases accompanied by musical instruments. Ballads were not originally transcribed, but rather preserved orally for generations, passed along through recitation. Their subject matter dealt with religious themes, love, tragedy, domestic crimes, and sometimes even political propaganda.
Ballads began to make their way into print in fifteenth-century England. During the Renaissance, making and selling ballad broadsides became a popular practice, though these songs rarely earned the respect of artists because their authors, called "pot poets," often dwelled among the lower classes.
However, the form evolved into a writer’s sport. Nineteenth-century poets Samuel Taylor Coleridge and William Wordsworth wrote numerous ballads. Coleridge’s "Rime of the Ancient Mariner," the tale of a cursed sailor aboard a storm-tossed ship, is one of the English language’s most revered ballads.  In America, the ballad evolved into folk songs such as "Casey Jones," the cowboy favorite "Streets of Laredo," and "John Henry."

Casey at the Bat




Casey at the Bat

BY ERNEST LAWRENCE THAYER
The outlook wasn’t brilliant for the Mudville nine that day;
The score stood four to two with but one inning more to play.
And then when Cooney died at first, and Barrows did the same,
A sickly silence fell upon the patrons of the game.

A straggling few got up to go in deep despair. The rest
Clung to that hope which springs eternal in the human breast;
They thought if only Casey could but get a whack at that—
We’d put up even money now with Casey at the bat.

But Flynn preceded Casey, as did also Jimmy Blake,
And the former was a lulu and the latter was a cake;
So upon that stricken multitude grim melancholy sat,
For there seemed but little chance of Casey’s getting to the bat.

But Flynn let drive a single, to the wonderment of all,
And Blake, the much despised, tore the cover off the ball;
And when the dust had lifted, and men saw what had occurred,
There was Jimmy safe at second and Flynn a-hugging third.

Then from 5,000 throats and more there rose a lusty yell;
It rumbled through the valley, it rattled in the dell;
It knocked upon the mountain and recoiled upon the flat,
For Casey, mighty Casey, was advancing to the bat.

There was ease in Casey’s manner as he stepped into his place;
There was pride in Casey’s bearing and a smile on Casey’s face.
And when, responding to the cheers, he lightly doffed his hat,
No stranger in the crowd could doubt ’twas Casey at the bat.

Ten thousand eyes were on him as he rubbed his hands with dirt;
Five thousand tongues applauded when he wiped them on his shirt.
Then while the writhing pitcher ground the ball into his hip,
Defiance gleamed in Casey’s eye, a sneer curled Casey’s lip.

And now the leather-covered sphere came hurtling through the air,
And Casey stood a-watching it in haughty grandeur there.
Close by the sturdy batsman the ball unheeded sped—
“That ain’t my style,” said Casey. “Strike one,” the umpire said.

From the benches, black with people, there went up a muffled roar,
Like the beating of the storm-waves on a stern and distant shore.
“Kill him! Kill the umpire!” shouted some one on the stand;
And it’s likely they’d have killed him had not Casey raised his hand.

With a smile of Christian charity great Casey’s visage shone;
He stilled the rising tumult; he bade the game go on;
He signaled to the pitcher, and once more the spheroid flew;
But Casey still ignored it, and the umpire said, “Strike two.”

“Fraud!” cried the maddened thousands, and echo answered fraud;
But one scornful look from Casey and the audience was awed.
They saw his face grow stern and cold, they saw his muscles strain,
And they knew that Casey wouldn’t let that ball go by again.

The sneer is gone from Casey’s lip, his teeth are clinched in hate;
He pounds with cruel violence his bat upon the plate.
And now the pitcher holds the ball, and now he lets it go,
And now the air is shattered by the force of Casey’s blow.

Oh, somewhere in this favored land the sun is shining bright;
The band is playing somewhere, and somewhere hearts are light,
And somewhere men are laughing, and somewhere children shout;
But there is no joy in Mudville—mighty Casey has struck out.

God's Judgement





God's Judgment on a Wicked Bishop

BY ROBERT SOUTHEY

The summer and autumn had been so wet,
That in winter the corn was growing yet,
'Twas a piteous sight to see all around
The grain lie rotting on the ground.

Every day the starving poor
Crowded around Bishop Hatto's door,
For he had a plentiful last-year's store,
And all the neighbourhood could tell
His granaries were furnish'd well.

At last Bishop Hatto appointed a day
To quiet the poor without delay;
He bade them to his great Barn repair,
And they should have food for the winter there.

Rejoiced such tidings good to hear,
The poor folk flock'd from far and near;
The great barn was full as it could hold
Of women and children, and young and old.

Then when he saw it could hold no more,
Bishop Hatto he made fast the door;
And while for mercy on Christ they call,
He set fire to the Barn and burnt them all.

"I'faith 'tis an excellent bonfire!" quoth he,
"And the country is greatly obliged to me,
For ridding it in these times forlorn
Of Rats that only consume the corn."

So then to his palace returned he,
And he sat down to supper merrily,
And he slept that night like an innocent man;
But Bishop Hatto never slept again.

In the morning as he enter'd the hall
Where his picture hung against the wall,
A sweat like death all over him came,
For the Rats had eaten it out of the frame.

As he look'd there came a man from his farm—
He had a countenance white with alarm;
"My Lord, I open'd your granaries this morn,
And the Rats had eaten all your corn."

Another came running presently,
And he was pale as pale could be,
"Fly! my Lord Bishop, fly," quoth he,
"Ten thousand Rats are coming this way,...
The Lord forgive you for yesterday!"

"I'll go to my tower on the Rhine," replied he,
"'Tis the safest place in Germany;
The walls are high and the shores are steep,
And the stream is strong and the water deep."

Bishop Hatto fearfully hasten'd away,
And he crost the Rhine without delay,
And reach'd his tower, and barr'd with care
All the windows, doors, and loop-holes there.

He laid him down and closed his eyes;...
But soon a scream made him arise,
He started and saw two eyes of flame
On his pillow from whence the screaming came.

He listen'd and look'd;... it was only the Cat;
And the Bishop he grew more fearful for that,
For she sat screaming, mad with fear
At the Army of Rats that were drawing near.

For they have swum over the river so deep,
And they have climb'd the shores so steep,
And up the Tower their way is bent,
To do the work for which they were sent.

They are not to be told by the dozen or score,
By thousands they come, and by myriads and more,
Such numbers had never been heard of before,
Such a judgment had never been witness'd of yore.

Down on his knees the Bishop fell,
And faster and faster his beads did he tell,
As louder and louder drawing near
The gnawing of their teeth he could hear.

And in at the windows and in at the door,
And through the walls helter-skelter they pour,
And down from the ceiling and up through the floor,
From the right and the left, from behind and before,
From within and without, from above and below,
And all at once to the Bishop they go.

They have whetted their teeth against the stones,
And now they pick the Bishop's bones:
They gnaw'd the flesh from every limb,
For they were sent to do judgment on him!







https://www.poetryfoundation.org/poems/45179/gods-judgment-on-a-wicked-bishop