Part 15

This poem is a series of clearly drawn pictures grouped about a central image of the month of May as the builder of a house. While you read it, preferably aloud, try to see the pictures and feel the rhythm of the words. The thought in the last stanza may remind you of the "Ode to a Butterfly." Richard Le Gallienne is a poet of our own day, now living in this country.

(Used by permission of the author)

May is building her house. With apple blooms She is roofing over the glimmering rooms; Of the oak and the beech hath she builded its beams, And, spinning all day at her secret looms, With arras of leaves each wind-swayed wall 5 She pictureth over, and peopleth it all With echoes and dreams And singing of streams.

May is building her house. Of petal and blade, Of the roots of the oak, is the flooring made; 10 With a carpet of mosses and lichen and clover, Each small miracle over and over, And tender, traveling green things strayed.

Her windows, the morning and evening star, And her rustling doorways, ever ajar 15 With the coming and going Of fair things blowing, The thresholds of the four winds are.

May is building her house. From the dust of things She is making the songs and the flowers and the wings; From October's tossed and trodden gold She is making the young year out of the old; Yea: out of winter's flying sleet 5 She is making all the summer sweet, And the brown leaves spurned of November's feet She is changing back again to spring's.

1. What form the roof, the beams, the floors, the doors and windows, of the house of May? What is arras? When was it used? Why was it so called? What form the hangings and the carpets of the house? Who inhabit it? Why are the rooms "glimmering"?

2. What is October's "tossed and trodden gold"? Is the poet telling the truth in the last stanza? Explain what is meant.

3. This verse is different in form from most that you have studied. Do you think it is especially suited to the subject?

THE DAFFODILS

BY WILLIAM WORDSWORTH

I wandered lonely as a cloud That floats on high o'er vales and hills, When all at once I saw a crowd, A host of golden daffodils; Beside the lake, beneath the trees, 5 Fluttering and dancing in the breeze.

Continuous as the stars that shine And twinkle on the Milky Way, They stretched in never-ending line Along the margin of a bay; 10 Ten thousand saw I at a glance, Tossing their heads in sprightly dance.

The waves beside them danced; but they Outdid the sparkling waves in glee: A poet could not but be gay In such a jocund company: I gazed--and gazed--but little thought 5 What wealth the show to me had brought:

For oft, when on my couch I lie In vacant or in pensive mood, They flash upon that inward eye Which is the bliss of solitude; 10 And then my heart with pleasure fills, And dances with the daffodils.

1. Have you ever seen a daffodil? If not, find out all you can about the color, time of blooming, etc. of this flower. Remember that the scene of the poem is the north of England.

2. Put briefly into your own words the experience, as told in the first three stanzas, and its result, as told in the last stanza. At what time of year did the incident occur? Was the day fair or cloudy? Why did the flowers show up so well against the lake as a background? What change took place in the poet's state of mind while he looked at the flowers? What was the wealth that the sight brought him?

3. Wordsworth's purpose in poetry was "awakening the mind's attention . . . by directing it to the loveliness and wonders of the world before us." His best poetry is about things out of doors and their influence on people's minds. You may like to read "Fidelity," "To the Cuckoo," "The Solitary Reaper," "The Reverie of Poor Susan," and others that you find for yourself.

4. Wordsworth was born in 1770, at Cockermouth, England, and was educated at Cambridge University. He gave all his time to writing poetry and lived an uneventful life, surrounded by his family and friends, in the beautiful Lake District, in the North of England, which he describes in his poems. From 1843 till his death in 1850 he was Poet Laureate of England.

THE FALLS OF LODORE

BY ROBERT SOUTHEY

Robert Southey (1774-1843) was Poet Laureate of England from 1815 till his death. He wrote several long poems and a great deal of history and biography, but his best-remembered works are shorter poems like this and "The Inchcape Rock" and "The Battle of Blenheim." He is sometimes associated with Wordsworth and Coleridge in the group called the "Lake Poets".

How does the water come down at Lodore? Here it comes sparkling, And there it lies darkling; Here smoking and frothing, Its tumult and wrath in, 5 It hastens along, conflicting and strong; Now striking and raging, As if a war waging, Its caverns and rocks among. Rising and leaping, 10 Sinking and creeping, Swelling and flinging, Showering and springing, Eddying and whisking, Spouting and frisking; 15 Turning and twisting, Around and around, Collecting, disjecting, With endless rebound. Smiting and fighting, 20 In turmoil delighting, Confounding, astounding, Dizzying and deafening the ear with its sound. Receding and speeding, And shocking and rocking, 5 And darting and parting, And threading and spreading, And whizzing and hissing, And dripping and skipping, And hitting and spitting, 10 And shining and twining, And rattling and battling, And shaking and quaking, And pouring and roaring, And waving and raving, 15 And tossing and crossing, And running and stunning, And hurrying and skurrying, And glittering and frittering, And gathering and feathering, 20 And dinning and spinning, And foaming and roaming, And hopping and dropping, And working and jerking, And guggling and struggling, 25 And heaving and cleaving, And thundering and floundering, And falling and brawling, and sprawling, And driving and riving and striving, And sprinkling and crinkling and twinkling, 30 And sounding and bounding and rounding, And bubbling and troubling and doubling; Dividing and gliding and sliding, Grumbling and rumbling and tumbling, Clattering and battering and shattering, And gleaming and streaming and skimming and beaming And rushing and flushing and brushing and gushing, 5 And flapping and rapping and clapping and slapping, And curling and whirling and purling and twirling; Retreating and meeting and beating and sheeting, Delaying and straying and spraying and playing, Advancing and prancing and glancing and dancing, 10 Recoiling, turmoiling, and toiling and boiling; And thumping and bumping and flumping and jumping, And thrashing and clashing and flashing and splashing; And so never ending, But always descending, 15 Sounds and motions forever and ever are blending, All at once and all o'er With a mighty uproar;-- And this way the water comes down at Lodore.

1. The Falls of Lodore, in the Lake District, England, consist of a series of cascades in which a small stream rushes over a great rock about 200 feet high.

2. Read this poem aloud and notice how the sound fits the sense. Does it give you an idea of the sound of the waterfall? Why do you think the poet uses first two, then three, and then four, participles to a line? Other poems in which this method of creating an impression of sound and motion is used are Poe's "The Bells" and parts of Browning's "How We Brought the Good News from Ghent to Aix" and "The Pied Piper." Words like _bubble_ and _gurgle_ imitate sounds. Look for such words in this poem and elsewhere.

3. Compare this poem with Lowell's "The Fountain," Tennyson's "The Brook," and Lanier's "Song of the Chattahoochee." Decide which you like best, and why.

_STORIES THAT TEACH_

_If any man can convince me and bring home to me that I do not think or act aright, gladly will I change; for I search after truth, by which man never yet was harmed. But he is harmed who abideth on still in his own deception and ignorance._

--MARCUS AURELIUS.

[Illustration: AN ADVENTURE IN BROTHERHOOD

(_See opposite page_)]

AN ADVENTURE IN BROTHERHOOD

In an ancient city of the East there were seven brothers who were constantly quarreling among themselves. They fell out about the way their father divided his property among them; they argued about the number of camels each had a right to; they disagreed over the management 5 of their business; and altogether they behaved so rudely to each other that their acquaintances came to speak of them as the "unbrotherly brothers."

Their father was much grieved over the actions of his sons, and he pondered long what means to take to teach them 10 a lasting lesson. At length he called them together in his own house and spoke to them in this manner:

"As you know, I still have much wealth of my own. The whole of this I shall bequeath to that son of mine who can perform a task I have to set. Should two or more succeed, 15 the property will be divided equally among the winners. But before any of you can take part in this contest, each must pledge himself to live up fully to any lesson he may have exemplified here this day. Are you willing to make me this promise?" 20

Each stepped forth in turn and gave a solemn assurance to his father that come what might he would be true in spirit and in deed to any lesson that the test might bring forth.

The father then took from a chest a bundle of seven sticks, ingeniously tied together. "In accordance with what I 25 have said," he told them, "whichever of you breaks these sticks shall be the winner of the prize."

Each tried in turn, beginning with the youngest. Each tugged and strained in vain. At best the bundle could only be bent. Finally the turn of the seventh came, and he too was unsuccessful. They all said the task could not be done and agreed that they had failed. 5

Thereupon the father took the bundle, sought out the end of the cord that held the sticks together, and unwound it at a single pull. Seizing each stick separately he broke all seven, one after another, before his astonished sons could protest. 10

"Now," said he, "those broken sticks are you, my seven sons. As long as you hold together, nobody can break your friendship or your reputation. When you fall apart, anybody can make broken reeds of you. Need I say more about the lesson that you have pledged yourselves to learn 15 in spirit and in deed?"

The rebuke touched the seven brothers. They agreed to forget their petty grievances, thanked their father for the lesson he had taught them, and gladly joined in a big feast he had had prepared. And thereafter all who knew them 20 spoke of them as "the seven blood brothers."

1. Did the seven brothers have any good reason for quarreling? About what matters did they disagree? What is the difference between disagreeing and quarreling? How did they probably get into their contentious habits?

2. What was their father's agreement with them? Was it a fair one? What part of the story is illustrated on page 214?

3. This is an old story retold. Groups of seven, three, or twelve are very common in folk tales and legends. See how many famous groups of seven you can find.

THE PRAYER PERFECT

BY JAMES WHITCOMB RILEY

Dear Lord! kind Lord! Gracious Lord! I pray Thou wilt look on all I love, Tenderly to-day! Weed their hearts of weariness; 5 Scatter every care Down a wake of angel wings Winnowing the air.

Bring unto the sorrowing All release from pain; 10 Let the lips of laughter Overflow again; And with all the needy Oh, divide, I pray, This vast treasure of content 15 That is mine to-day!

1. James Whitcomb Riley (1853-1916) is an American poet, best known for his poems for and about children. You probably know "The Raggedy Man," "Little Orphant Annie," and "The Circus-Day Parade." "The Prayer Perfect" is an example of his serious verse.

2. From what three evils does the poet pray to have his friends delivered? What good things does he want them to have? What, beside the things he says here, shows that Riley thought laughter a blessing?

(From the Biographical Edition of the Complete Works of James Whitcomb Riley, copyright 1913, used by special permission of the Publishers, The Bobbs-Merrill Company)

GET OUT OR GET IN LINE

BY ELBERT HUBBARD

This selection is a sermon that begins with an illustration. The text is the title. The whole incident of Lincoln's letter to Hooker is used to enforce the text, whose title might be "Loyalty." Why?

Elbert Hubbard (1859-1915) is an American writer of essays and biography. He was interested in the revival of the old handicrafts, especially in the art of printing and binding books.

If all the letters, messages, and speeches of Lincoln were destroyed except that one letter to Hooker, we should still have a good index to the heart of "The Rail-splitter."

In this letter we see that Lincoln ruled his own spirit; and we also behold the fact that he could rule others. 5 The letter shows frankness, kindliness, wit, tact, wise diplomacy, and infinite patience.

Hooker had harshly and unjustly criticized Lincoln, his commander in chief, and he had embarrassed Burnside, his ranking officer. But Lincoln waives all this in deference 10 to the virtues that he believes Hooker possesses, and promotes him to succeed Burnside. In other words, the man who had been wronged promotes the man who had wronged him, over the head of a man whom the promotee had wronged and for whom the promoter had a warm personal friendship. 15

But all personal considerations were sunk in view of the end desired. Yet it was necessary that the man promoted should know the truth, and Lincoln told it to him in a way that did not humiliate nor fire to foolish anger, but which certainly prevented the attack of cerebral elephantiasis to 20 which Hooker was liable.

Perhaps we had better give the letter entire, and so here it is:

"Executive Mansion, Washington, January 26, 1863. Major-General Hooker:

General:-- 5

I have placed you at the head of the Army of the Potomac. Of course I have done this upon what appear to me to be sufficient reasons, and yet I think it best for you to know that there are some things in regard to which I am not quite satisfied with you. 10

I believe you to be a brave and skillful soldier, which, of course, I like. I also believe you do not mix politics with your profession, in which you are right.

You have confidence in yourself, which is a valuable, if not indispensable, quality. 15

You are ambitious, which, within reasonable bounds, does good rather than harm; but I think that during General Burnside's command of the army you have taken counsel of your ambition and thwarted him as much as you could, in which you did a great wrong to the country and 20 to a most meritorious and honorable brother officer.

I have heard, in such a way as to believe it, of your recently saying that both the army and the government needed a dictator. Of course it was not for this, but in spite of it, that I have given you the command. Only 25 those generals who gain successes can set up dictators. What I now ask of you is military success, and I will risk the dictatorship. The government will support you to the utmost of its ability, which is neither more nor less than it has done and will do for all commanders. I much 30 fear that the spirit you have aided to infuse into the army, of criticizing their commander and withholding confidence from him, will now turn upon you. I shall assist you as far as I can to put it down. Neither you nor Napoleon, if he were alive again, could get any good out of an army while such a spirit prevails in it. And now beware of rashness; beware of rashness, but with energy and sleepless 5 vigilance go forward and give us victories.

Yours very truly, A. Lincoln."

One point in this letter is especially worth our consideration, for it suggests a condition that springs up like 10 deadly nightshade from a poisonous soil. I refer to the habit of sneering, carping, grumbling at, and criticizing those who are above us.

The man who is anybody and who does anything is surely going to be criticized, vilified, and misunderstood. 15 This is a part of the penalty for greatness and every great man understands it; and understands, too, that it is no proof of greatness. The final proof of greatness lies in being able to endure contumely without resentment. Lincoln did not resent criticism; he knew that every life must be its 20 own excuse for being; but look how he calls Hooker's attention to the fact that the dissension Hooker has sown is going to return and plague him! "Neither you nor Napoleon, were he alive, could get any good out of an army while such a spirit prevails in it." Hooker's fault falls on 25 Hooker--others suffer, but Hooker suffers most of all.

Not long ago I met a college student, home on a vacation. I am sure he did not represent the true college spirit, for he was full of criticism and bitterness toward the institution. The president of the college came in for 30 his share, and I was supplied items, facts, data, with times and places, for a "peach of a roast."

Very soon I saw the trouble was not with the college, the trouble was with the young man. He had mentally dwelt on some trivial slights until he had got so out of harmony with the institution that he had lost the power to derive any benefit from it. No college is a perfect institution--a 5 fact, I suppose, that most college presidents and college men are quite willing to admit; but a college does supply certain advantages, and it depends upon the students whether they will avail themselves of these advantages or not. 10

If you are a student in a college, seize upon the good that is there. You get good by giving it. You gain by giving--so give sympathy and cheerful loyalty to the institution. Be proud of it. Stand by your teachers--they are doing the best they can. If the place is faulty, make it a better 15 place by an example of cheerfully doing your work every day the best you can. Mind your own business.

If the concern where you are employed is all wrong, and the Old Man is a curmudgeon, it may be well for you to go to the Old Man and confidentially, quietly, and kindly 20 tell him that he is a curmudgeon. Explain to him that his policy is absurd and preposterous. Then show him how to reform his ways, and you might offer to take charge of the concern and cleanse it of its secret faults.

Do this, or if for any reason you should prefer not, then 25 take your choice of these: Get Out or Get in Line. You have got to do one or the other--now make your choice. If you work for a man, in heaven's name work for him!

If he pays you wages that supply you your bread and butter, work for him--speak well of him, think well of 30 him, stand by him, and stand by the institution he represents.

I think if I worked for a man I would work for him; I would not work for him a part of the time, and the rest of the time work against him. I would give an undivided service or none. If put to the pinch, an ounce of loyalty is worth a pound of cleverness. 5

If you must vilify, condemn, and eternally disparage, why, resign your position, and when you are outside, damn to your heart's content. But, I pray you, so long as you are a part of an institution, do not condemn it. Not that you will injure the institution--not that--but 10 when you disparage the concern of which you are a part, you disparage yourself.

More than that, you are loosening the tendrils that hold you to the institution, and the first high wind that comes along, you will be uprooted and blown away in the 15 blizzard's track--and probably you will never know why. The letter only says "Times are dull and we regret there is not enough work," et cetera.

Everywhere you find those out-of-a-job fellows. Talk with them and you will find that they are full of railing, 20 bitterness, and condemnation. That was the trouble--through a spirit of faultfinding they got themselves swung around so they blocked the channel and had to be dynamited. They are out of harmony with the concern, and no longer being a help they had to be removed. Every 25 employer is constantly looking for people who can help him; naturally he is on the lookout among his employees for those who do not help, and everything and everybody that is a hindrance has to go. This is the law of trade--do not find fault with it; it is founded on nature. The reward 30 is only for the man that helps, and in order to help, you must have sympathy.

You cannot help the Old Man so long as you are explaining in undertone and whisper, by gesture and suggestion, by thought and mental attitude, that he is a curmudgeon and his system dead wrong. You are not necessarily menacing him by stirring up discontent and warming envy into strife, 5 but you are doing this: You are getting yourself upon a well-greased chute that will give you a quick ride down and out.

When you say to other employees that the Old Man is a curmudgeon, you reveal the fact that you are one; and when you tell that the policy of the institution is "rotten," 10 you surely show that yours is.

Hooker got his promotion even in spite of his failings; but the chances are that your employer does not have the love that Lincoln had--the love that suffereth long and is kind. But even Lincoln could not protect Hooker forever. 15 Hooker failed to do the work, and Lincoln had to try some one else. So there came a time when Hooker was superseded by a Silent Man, who criticized no one, railed at nobody--not even the enemy. And this Silent Man, who ruled his own spirit, took the cities. He minded his own business and 20 did the work that no man ever can do unless he gives absolute loyalty, perfect confidence, and untiring devotion.

Let us mind our own business and work for self by working for the good of all.

1. Find in the letter instances of the qualities named in paragraph two. What is the moral of the selection?

2. What is there humorous about the third paragraph on page 221?

3. Explain: ranking officer, waives, cerebral elephantiasis, dictator, deadly nightshade, data, disparage, curmudgeon, chute, superseded.

4. You are a clerk in a shoe store on Saturday afternoon, and learn that your employer is overcharging some customers. What should you do?