The Project Gutenberg eBook of London Sonnets, by Humbert Wolfe.

	Page
Dedication	4
London Pseudo-Sonnets:
The Old Clothes Dealer	9
Coves at Hampton Court	10
One Man Returns	11
The Bun-Shop	12
The Fried Fish-Shop	13
The Streets Behind the Tottenham Court Road	14
The Yorkshire Grey	15
Wardour Street	16
The Suburbs	17
The Last London Sonnet	18
Other Verse:
“Sometimes when I Think of Love”	21
Old	26
The Song of the Gambucinos	28
February 14	29
Pierrot	30
The Dead Man in the Pool	32
Dead Lover	35
The Gods of the Copy-Book Headings	36
Wheels 1919	38
The Well	41
Judas	43
The Night	44
Other Sonnets:
Three Sonnets of Love	49
The Reply	52
God Gave us Bodies	53
Ronsard and Hélène	54
The Drift of the Lute	55
Love and Beauty	56
War Verse:
V. D. F.	59
England	60
The Moon in Flanders	61
The Soldier Speaks	62
Flowers at Hampton Court	63

Some of these verses have appeared in The Saturday Review, The Spectator, The Westminster Gazette, and are republished by the courtesy of the editors of these journals.{9}

THE OLD CLOTHES DEALER.

COVES AT HAMPTON COURT.

ONE MAN RETURNS.

THE BUN-SHOP.

THE FRIED FISH-SHOP.

THE STREETS BEHIND THE TOTTENHAM COURT ROAD.

THE YORKSHIRE GREY.

WARDOUR STREET.

THE SUBURBS.

THE LAST LONDON SONNET.

OTHER VERSE.

“SOMETIMES WHEN I THINK OF LOVE.”

II.

SOMETIMES when I think of love
I see a boat upon a river,
And the rushes suddenly shiver,
Because of a perilous foot that treads
The reeds and the flowers into their beds.
Because of a music that shakes and begins
A different music and conscious of sins
A tune was old at the birth of the river
A tune is asleep in the blood for ever
Asleep in the blood and loving and hating
The time and the hour for which it is waiting.
Puccini yields to a sob in the throat
A hand round the heart as note answers note
With the music that wrenches and melts and grips
The hands hot on hands, the lips close on lips
Cruelly volleying clearer and stronger
Till we are a boy and a girl no longer.
And we struggle in vain as long as we can
Hating and loving and welcoming Pan,
And you are a woman and I am a man.
And you will not wonder and cannot reprove
If I hear Pan’s pipes when I think of love.
{23}

III.

SOMETIMES when I think of love
I hear a heavy voice repeat
“There’s a good doctor up the street.”
And either it seems I am hard at hearing
Or stupid perhaps or terribly fearing.
For its late of a winter night and raining
With cry of wind; or is something complaining?
One lamp in the street and a leafless tree
And a thing is moving that frightens me,
With fingers that hover about my nape
A shape like a hand and yet not a shape.
Now all that we had in the past is over
Each lover’s alone, the love from the lover.
No comforting hand for me in the gloom,
No voice of mine in the darkened room.
Where is the music and where are the songs?
For love has crept off ashamed of his wrongs.
Poor love has gone off to rail at passion,
And he will not wait for the night to fashion
Out of pain and fear and anguish and danger,
A lover strange with his love a stranger,
And yet, as they were at the opera
Incredibly close and familiar,{24}
Incredibly close as once on the river
When each is a gift and each is a giver.
Incredibly close and all they have hoarded
Of life and of love in this moment rewarded.
Rewarded! Has love in the darkness heard
Of the little lost shadow, the small lost third?
Love is returning—to find them alone,
And if love be a sinner, who casts a stone?
Shattered and beaten and blindingly sure
Of love and themselves and strong to endure
He finds them, by pain more lastingly crowned
Than ever by joy and by laughter were bound
Happier lovers and lovers untaunted
By the shameful cries these lovers have haunted.
If this be their love, who out of the pit
Being a devil challenges it?
In heaven assayed, in hell-fire priced
Who casts the first stone? Not I, says Christ.
You will not wonder nor will you reprove
If I think of this, when I think of love.

IV.

OLD.

THE SONG OF THE GAMBUCINOS.

FEBRUARY 14.

PIERROT.

MY friend Pierrot your sleeves are far too long.
Look! I can hardly find at all your hands.
And all your cotton tunic is cut wrong,
And what your eyes mean no one understands.

Ah yes, Pierrette, my sleeves are far too long.
Ah yes, Pierrette, you cannot find my hands,
But better so than Pierrot did you wrong
By telling you what no one understands.

My friend Pierrot you fear to take the light,
Look! I can hardly see at all your face.
And what I see, Pierrot is very white.
Are you afraid? Ashamed? or in disgrace?

Ah yes, Pierrette, I dare not take the light.
Ah yes, Pierrette, you cannot see my face.
My candle died with love, and in the night
Oh! Harlequin, Pierrette, is my disgrace.{31}

My friend Pierrot it seems that things go ill
With you. Look! I can hardly hear your word,
And the dark shadow round grows darker still,
And a new voice which is not yours is heard.

Ah yes, Pierrette, it seems that things go ill.
Ah yes, Pierrette, you cannot hear my word.
And the dark shadow which grows darker still
Is death, Pierrette, of which you have not heard.
{32}

THE DEAD MAN IN THE POOL.

ONLY a glance it was,
Only a word!
What a romance it was
All but absurd!

All but absurd, you see,
Yes but not quite.
There’s one more word you see
“Death” we must write!

She had the knack of it
—Less than a kiss,
And for the lack of it
Look he is this.

O what a king he was
(Drowned in a pool),
What a brave thing he was
O what a fool!{33}

While all the rest of us
Struggle to fame,
Here is the best of us
Dead with his shame.

Shame? Oh I wonder now.
What do you say?
If you should blunder now
Choose me your way!

If you’d thrown hope away;
Well would you care
Through life to grope a way?
Or would you dare

Take up the lot of it
Life, love and fame,
Make a clean shot of it
Into the flame?

Ah it was brave of him
Let them cry “shame.”
Life made no slave of him!
But you’ll exclaim,{34}

Was she worth trying for?
He thought her so.
Was she worth dying for?
Yes, and then no.

“No,” for a wiser man.
“No,” for a less.
But the heart cries “Amen,”
When he says “yes.”

There in the pool he was
Just a dead thing.
O what a fool he was,
O what a king!
{35}

DEAD LOVER.

TELL me, dead lover, you who broke my heart
(O dead indeed, since love himself is dead).
Need I remember that we came to part,
May I forget to whom and why you fled?

Tell me, dead lover, since the grave is strong,
And those who sleep are cured of joy and pain,
And now no love may reach you, do I wrong
If I begin to love you all again?

And see, dead lover, since the shadows fall
And nothing now is false and nothing true.
Might I not dream (you would not know at all)
That I, O love, was loved once more by you.

And since, dead lover, death defeats your pride,
And ere it dreamed of pride my love awoke,
O let me think, it was because you died,
And not because you left me, my heart broke.
{36}

THE GODS OF THE COPY-BOOK HEADINGS.

A REPLY.

FENRIS the wolf, and Jörmungand the snake
In the slime and the swamp remorseless wait.
For not the years nor human hopes can break
Valhalla’s sentence thus pronounced by Fate.

“These gods that are the children of men’s dreams—
Virtue and honour, courage and the songs
Men sing about their hearthstones—stolen gleams
In the poor heart unbroken by its wrongs,

“These gods, of man’s refusal of the beast
The half pathetic, wholly fleeting sign
Who in that tenderness are gods the least
Where human weakness finds them most divine,

“These pitiful gods, fabric of mankind’s tears
A dream of what all human hearts have wanted
The vision at the end of all the years
The holy ghost that half the world has haunted,{37}

“These gods are mortal as the heart that shaped them
And in that hour when mankind’s heart must break
These gods who only by that heart escaped them
Fall to the wolf and Jörmungand the snake.”

Fate pauses, but from Hela’s halls is heard
A voice is young when all the gods are dead.
Balder the beautiful has one more word
The word that even Fate must leave unsaid.

“True they depart the half-gods, and the snake
And Fenris come. But in the heart’s defection
I, Balder, bound in Hell for that heart’s sake
I am the life and I the resurrection.

“I, love, being loosed, will take my harp up—so—
Singing what all the world at last will learn
‘The devils come because the half-gods go
But in the end the gods, the gods return.’”
{38}

WHEELS 1919.

WHY d’you write about Frascati’s
You who from the balcony leaning
’Neath the lure that was Astarte’s
Find a negroid devil grinning.

Changed indeed and almost stupid
Yielding to analysis
Now a Piccadilly cupid
Hanging on a painted kiss.

Now a toy in two dimensions
Operated by a string
In your hand, whose interventions
Set the object capering.

You who at the higher level
Know love as he truly is
Not the fair Assyrian devil,
Not the poor idolatries,

Of the savage, not the crazes
Say of Shelley, and his set:
But you find him (as your phrase is)
Palm to palm in quiet sweat.{39}

That’s a way, O brother brother
A new way for verse to move
There’s an older and another
Will you listen? way of love.

I from that same terrace waiting
For the music to begin
“Amoureuse” anticipating
Watched a boy who blundered in.

Slim he was, a little stooping
At the shoulders as it seemed,
Eyes on which the lids were drooping
Seeing only what he dreamed.

Where he came was noise and clatter,
But the pandemonium
Either didn’t seem to matter
Where he stood or else grew dumb.

And the waltz the band was creaking,
Like a cluster, round his head
Changed to cry “What’s music seeking
Save what he has left unsaid.{40}”

And like flowers, bourgeois faces
Overtaken by the tune,
Pilfered unimagined graces
From an unimagined June.

And, when once again the Babel
Rose, though we had never stirred,
There between us at the table
At Frascati’s was the third.

What’s the good of all this antic
You’ll impatiently exclaim,
Still incurably romantic
Still incurably the same.

Only this—that at Frascati’s
If one does not wash one’s hands
That old magic was Astarte’s
Goes, before one understands.
{41}

THE WELL.

AT full afternoon slowly the branches
Stirred as of old and fragrant with flowers
Touched with a breath of wind look down and wonder
To where—far below—is the delicate water.

Here should be peace as was peace and splendour
Of hearts’ first stirrings, the eye to the hills
Turned, the call of the perilous margins
Life just beginning, but life well begun.
Here by the well we played (you remember)
(Then too the grasses grew at the edges
Tempting small hands but tempt now no longer)
Here by the well we dreamed after playing.

Have you forgotten (or has death no mercy)
How bright the days were and how the evening
Softer than sleep laid her mysterious
Hands on the garden soothing and changing.
Here at the well side we loved after dreaming
Since we had played by it, since we had dreamed.
Here at the well side love that was wakened
Sank like a stone, but leaving no ripple.{42}

Here are our shapes that play dream love quarrel,
Here are our dreams (and if there were dreamers,
If we were not like our visions a dream)
All is not over—is all then over?

Here is the well and the delicate water
Far below gleaming, the starred white branches
Fragrant with flowers. Here is the noontide,
Even the grasses grow at the edges.
What then is gone? If we were the dreamers
(And not a dream) then all must be over.
I an old man cold, fruitless and lonely,
Watch by the water, which you cannot see.

But if we two are dreams of a dreamer,
All is not over, and here together
Age falls from me, and from you the mantle
Death seemed to cast, and here by the well side
Lifted again is the voice of your singing,
Golden again are the perilous margins,
Sweet are your eyes and young and immortal
Our hearts are set to the day and the hills.
{43}

JUDAS.

THE NIGHT.

OTHER SONNETS.

THREE SONNETS OF LOVE.

II.

III.

THE REPLY.

ALL things are true of love, save these things only,
That at the long day’s end when love is over,
He’s of love cheated who was once a lover,
And she, by love once visited, left lonely.
The dream is done, but here’s no cause for sorrow
When beauty’s seal is on the dream descending.
Beauty is mortal, beauty has an ending,
Beauty and love alone need no to-morrow.
All other things—courage and truth and virtue—
Have the one doom, the lust for the immortal.
Love only, with lost beauty, life outpaces,
Cold, though they burn, untroubled, though they hurt you,
And white, like gods, when through the sculptured portal
The starshine enter and the moon’s cold graces.
{53}

GOD GAVE US BODIES....

RONSARD AND HELENE.

THE DRIFT OF THE LUTE.

LOVE AND BEAUTY.

WAR VERSE.

V. D. F.

(Ave atque Vale.)

ENGLAND.

THE MOON IN FLANDERS.

THE SOLDIER SPEAKS.

FLOWERS AT HAMPTON COURT.

THE chestnut trees in Bushey Park are lit
This year as always since the spring knows naught
Of war and death, and still the shadows flit
Across the dappled grass and burnish it.
And still at night the moon in stately sort
Is tranquil with the avenues, and lights
The sleeping palace, as on other nights
Of springs long past; but searching for the rose
In vain, the dawn a little whisper knows:
“Where are the flowers that were at Hampton Court?”

Two years ago when all the trees were green
The old red walls were unto to summer brought,
By joyous bands of lilies and the lean
Daffodils danced before or ran between.
Where are they gone these blooms of good report?
And where the lad and where the laughing maid
Who came to wonder and to love who stayed?
For a lost flower is a little thing
But a lost lover is the end of spring.
“Where are the flowers that were at Hampton Court?{64}”

Ah! spring these flowers are growing otherwhere,
In a new soil a changing radiance taught,
Born of the soul and nourished of the air,
Sweeter though scentless and unseen more fair.
Where are they gone these blooms of good report?
Is it perhaps that where the Tigris flows
There blooms an unaccustomed English rose?
And where the guns have killed the spring in France
The English lilies break a silver lance?
“Where are the flowers that were at Hampton Court?”

If thus the flowers, where are those who here
Themselves fresh flowers with the springtime fraught,
Saw the first leaves in Bushey Park appear
The dead swept leaves the leaves of yesteryear?
Where are they gone those lads of good report?
It may be they are sleeping; it may be
Strange lands have taken them or a strange sea.
But wheresoever in the world they lie
An English voice till that world ends will cry
“Here are the flowers that were at Hampton Court?”

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