Wednesday, January 29, 2014

POEMS by Archibald Lampman

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Archibald_Lampman

Archibald  Lampman  1861 - 1899

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Archibald Lampman, 17 November 1861 – 10 February 1899) was a Canadian poet.

  He has been described as 'the Canadian Keats; and he is perhaps the most outstanding exponent of the Canadian school of nature poets." The Canadian Encyclopedia says that he is "generally considered the finest of Canada's late 19th-century poets in English. 


In May 1881, when Lampman was at Trinity College, someone lent him a copy of Charles G.D. Roberts's recently published first book, Orion and Other Poems. The effect on the 19-year-old student was immediate and profound


Lampman sent Roberts a fan letter, which "initiated a correspondence between the two young men, but they probably did not meet until after Roberts moved to Toronto in late September 1883 to become the editor of Goldwin Smith's The Week."





Lampman published mainly nature poetry in the current late - Romantic style.


"The prime literary antecedents of Lampman lie in the work of the English poets Keats, Wordsworth, and Arnold,"says the Gale Encyclopedia of Biography, "but he also brought new and distinctively Canadian elements to the tradition. Lampman, like others of his school, relied on the Canadian landscape to provide him with much of the imagery, stimulus, and philosophy which characterize his work.... Acutely observant in his method, Lampman created out of the minutiae of nature careful compositions of color, sound, and subtle movement.



Evocatively rich, his poems are frequently sustained by a mood of revery and withdrawal, while their themes are those of beauty, wisdom, and reassurance, which the poet discovered in his contemplation of the changing seasons and the harmony of the countryside.



The Canadian Encyclopedia calls his poems "for the most part close-packed melancholy meditations on natural objects, emphasizing the calm of country life in contrast to the restlessness of city living. Limited in range, they are nonetheless remarkable for descriptive precision and emotional restraint. Although characterized by a skilful control of rhythm and sound, they tend to display a sameness of thought."



"Lampman wrote more than 300 poems in this last period of his life, although scarcely half of these were published prior to his death. For single poems or groups of poems he found outlets in the literary magazines of the day: in Canada, chiefly the Week; in the United States, Scribner’s Magazine, The Youth's Companion, the Independent, the Atlantic Monthly, and Harper’s Magazine. In 1888, with the help of a legacy left to his wife, he published Among the millet and other poems," his first book, at his own expense.



In 1895 Lampman was elected a Fellow of the Royal Society of Canada, and his second collection of poems, Lyrics of Earth, was brought out by a Boston publisher."



The book was not a success. "The sales of Lyrics of Earth were disappointing and the only critical notices were four brief though favourable reviews.



"A third volume, Alcyone and other poems, in press at the time of his death" in 1899, showed Lampman starting to move in new directions, with the nature verses interspersed with philosophical poetry like "Voices of Earth" and "The Clearer Self" and poems of social criticism like "The City" and what may be his best-known poem, the dystopian  vision of "The City of the End of Things." "As a corollary to his preoccupation with nature," notes the Gale Encyclopedia, "Lampman  had developed a critical stance toward an emerging urban civilization and a social order against which he pitted his own idealism.



He was an outspoken socialist, a feminist, and a social crtitic.


Canadian critic Malcom Ross  wrote that "in poems like 'The City at the End of Things' and 'Epitaph on a Rich Man' Lampman seems to have a social and political insight absent in his fellows."



However, Lampman died before Alcyone appeared, and it "was held back by Scott (12 specimen copies were printed posthumously in Ottawa in 1899) in favour of a comprehensive memorial volume planned for 1900."





Malcolm Ross  considered him to be the best of all the Confederation Poets: "Lampman, it is true, has the camera eye. But Lampman is no mere photographer. With Scott (and more completely than Scott), he has, poetically, met the demands of his place and his time.... Like Roberts (and more intensively than Roberts), he searches for the idea.... Ideas are germinal for him, infecting the tissue of his thought.... Like the existentialist of our day, Lampman is not so much 'in search of himself' as engaged strenuously in the creation of the self. Every idea is approached as potentially the substance of a 'clearer self.' Even landscape is made into a symbol of the deep, interior processes of the self, or is used ... to induce a settling of the troubled surfaces of the mind and a miraculous transparency that opens into the depths."


POETRY



Among the Milett, and Other Poems (1888)



Lyrics of Earth (1895)



Alcyone (1899)



The Poems of Archibald Lampman (1900)




Lyrics of Earth, Sonnets and Ballads (1925)




At the Long Sault and Other New Poems (1943), etc






PROSE




Archibald Lampman's letters to Edward William Thomson (1890-1898)


The Essays and Reviews of Archibald Lampman 1996



The Fairy Tales of Archibald Lampman. 1999



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Among the Millet and Other Poems




TO  MY  MOTHER




Mother, to whose valiant will
Battling long ago,
What the heaping years fulfil,
Light and song, I owe;
Send my little book afield,
Fronting praise or blame
With the shining flag and shield
Of your name.



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AMONG  THE  MILLET




The dew is gleaming in the grass,
The morning hours are seven,
And I am fain to watch you pass,
Ye soft white clouds of heaven.




Ye stray and gather, part and fold;
The wind alone can tame you;
I think of what in time of old
The poets loved to name you.




They called you sheep, the sky your sward,
A field without a reaper;
They called the shining sun your lord,
The shepherd wind your keeper.




Your sweetest poets I will deem
The men of old for moulding
In simple beauty such a dream,
And I could lie beholding,




Where daisies in the meadow toss,
The wind from morn till even,
Forever shepherd you across
The shining field of heaven.




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TO  MY  WIFE




Though fancy and the might of rhyme,
That turneth like the tide,
Have borne me many a musing time,
Beloved, from thy side.



Ah yet, I pray thee, deem not, Sweet,
Those hours were given in vain;
Within these covers to thy feet
I bring them back again.



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TO  MY  DAUGHTER




O little one, daughter, my dearest,
With your smiles and your beautiful curls,
And your laughter, the brightest and clearest,
O gravest and gayest of girls;



With your hands that are softer than roses,
And your lips that are lighter than flowers,
And that innocent brow that discloses
A wisdom more lovely than ours;



With your locks that encumber, or scatter
In a thousand mercurial gleams,
And those feet whose impetuous patter
I hear and remember in dreams;

With your manner of motherly duty,
When you play with your dolls and are wise;
With your wonders of speech, and the beauty
In your little imperious eyes;



When I hear you so silverly ringing
Your welcome from chamber or stair.
When you run to me, kissing and clinging,
So radiant, so rosily fair;



I bend like an ogre above you;
I bury my face in your curls;
I fold you, I clasp you, I love you.
O baby, queen-blossom of girls!




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THE  SWEETNESS OF LIFE





It fell on a day I was happy,
And the winds, the concave sky,
The flowers and the beasts in the meadow
Seemed happy even as I;
And I stretched my hands to the meadow,
To the bird, the beast, the tree:
'Why are ye all so happy?'
I cried, and they answered me.




What sayest thou, Oh meadow,
That stretchest so wide, so far,
That none can say how many
Thy misty marguerites are?
And what say ye, red roses,
That o'er the sun-blanched wall
From your high black-shadowed trellis
Like flame or blood-drops fall?
'We are born, we are reared, and we linger
A various space and die;
We dream, and are bright and happy,
But we cannot answer why.'




What sayest thou, Oh shadow,
That from the dreaming hill
All down the broadening valley
Liest so sharp and still?
And thou, Oh murmuring brooklet,
Whereby in the noonday gleam
The loosestrife burns like ruby,
And the branched asters dream?
'We are born, we are reared, and we linger
A various space and die;
We dream and are very happy,
But we cannot answer why.'




And then of myself I questioned,
That like a ghost the while
Stood from me and calmly answered,
With slow and curious smile:
'Thou art born as the flowers, and wilt linger
Thine own short space and die;
Thou dream'st and art strangely happy,
But thou canst not answer why.'



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AN  IMPRESSION


I heard the city time-bells call
Far off in hollow towers,
And one by one with measured fall
Count out the old dead hours;



I felt the march, the silent press
Of time, and held my breath;
I saw the haggard dreadfulness
Of dim old age and death.




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DEEDS





'Tis well with words, oh masters, ye have sought,
To turn men's eyes yearning to the great and true,
Yet first take heed to what your own hands do;
By deeds not words the souls of men are taught;
Good lives alone are fruitful; they are caught
Into the fountain of all life (wherethrough
Men's souls that drink are broken or made new)
Like drops of heavenly elixir, fraught
With the clear essence of eternal youth.
Even one little deed of weak untruth
Is like a drop of quenchless venom cast,
A liquid thread, into life's feeding stream,
Woven forever with its crystal gleam,
Bearing the seed of death and woe at last.




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LOVE  -  DOUBT



Yearning upon the faint rose-curves that flit
About her child-sweet mouth and innocent cheek,
And in her eyes watching with eyes all meek
The light and shadow of laughter, I would sit
Mute, knowing out two souls might never knit;
As if a pale proud lily-flower should seek
The love of some red rose, but could not speak
One word of her blithe tongue to tell of it.




For oh, my Love was sunny-lipped and stirred
With all swift light and sound and gloom not long
Retained; I, with dreams weighed, that ever heard
Sad burdens echoing through the loudest throng
She, the wild song of some May-merry bird;
I, but the listening maker of a song.



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ONE  DAY




The trees rustle; the wind blows
Merrily out of the town;
The shadows creep, the sun goes
Steadily over and down.



In a brown gloom the moats gleam;
Slender the sweet wife stands;
Her lips are red; her eyes dream;
Kisses are warm on her hands.



The child moans; the hours slip
Bitterly over her head:
In a gray dusk, the tears drip;
Mother is up there-dead.



The hermit hears the strange bright
Murmur of life at play;
In the waste day and waste night
Times to rebel and to pray.



The laborer toils in gray wise,
Godlike and patient and calm;
The beggar moans; his bleared eyes
Measure the dust in his palm.



The wise man, marks the flow and ebb
Hidden and held aloof:
In his deep mind is laid the web,
Shuttles are driving the woof.



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REALITY




I stand at noon upon the heated flags
At the bleached crossing of two streets, and dream
With brain scarce conscious now the hurrying stream
Of noonday passengers is done. Two hags
Stand at an open doorway piled with bags
And jabber hideously. Just at their feet
A small, half-naked child screams in the street,
A blind man yonder, a mere hunch of rags,
Keeps the scant shadow of the eaves, and scowls,
Counting his coppers. Through the open glare
Thunders an empty wagon, from whose trail
A lean dog shoots into the startled square,
Wildly revolves and soothes his hapless tail,
Piercing the noon with intermittent howls.



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AMOR  VITAE


I love the warm bare earth and all
That works and dreams thereon:
I love the seasons yet to fall:
I love the ages gone,



The valleys with the sheeted grain,
The river's smiling might,
The merry wind, the rustling rain,
The vastness of the night.



I love the morning's flame, the steep
Where down the vapour clings:
I love the clouds that float and sleep,
And every bird that sings.



I love the purple shower that pours
On far-off fields at even:
I love the pine-wood dusk whose floors
Are like the courts of heaven.




I love the heaven's azure span,
The grass beneath my feet:
I love the face of every man
Whose thought is swift and sweet.




I let the wrangling world go by,
And like an idle breath
Its echoes and its phantoms fly:
I care no jot for death.




Time like a Titan bright and strong
Spreads one enchanted gleam:
Each hour is but a fluted song,
And life a lofty dream.



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FREEDOM




Out of the heart of the city begotten
Of the labour of men and their manifold hands,
Whose souls, that were sprung from the earth in her morning,
No longer regard or remember her warning,
Whose hearts in the furnace of care have forgotten
Forever the scent and the hue of her lands;




Out of the heat of the usurer's hold,
From the horrible crash of the strong man's feet;
Out of the shadow were pity is dying;
Out of the clamour where beauty is lying,
Dead in the depth of the struggle for gold;
Out of the din and the glare of the street;



Into the arms of our mother we come,
Our broad strong mother, the innocent earth,
Mother of all things beautiful, blameless,
Mother of hopes that her strength makes tameless,
Where the voices of grief and of battle are dumb,
And the whole world laughs with the light of her mirth.



Over the fields, where the cool winds sweep,
Black with the mould and brown with the loam,
Where the thin green spears of the wheat are appearing,
And the high-ho shouts from the smoky clearing;
Over the widths, where the cloud shadows creep;
Over the fields and the fallows we come;



Over the swamps with their pensive noises,
Where the burnished cup of the marigold gleams;
Skirting the reeds, where the quick winds shiver
On the swelling breast of the dimpled river,
And the blue of the king-fisher hangs and poises,
Watching a spot by the edge of the streams;



By the miles of the fences warped and dyed
With the white-hot noons and their withering fires,
Where the rough bees trample the creamy bosoms
Of the hanging tufts of the elder blossoms,
And the spiders weave, and the grey snakes hide,
In the crannied gloom of the stones and the briers;



Over the meadow land sprouting with thistle,
Where the humming wings of the blackbirds pass,
Where the hollows are banked with the violets flowering,
And the long-limbed pendulous elms are towering,
Where the robins are loud with their voluble whistle,
And the ground sparrow scurries away through the grass,



Where the restless bobolink loiters and woos
Down in the hollows and over the swells,
Dropping in and out of the shadows,
Sprinkling his music about the meadows,
Whistles and little checks and coos,
And the tinkle of glassy bells;



Into the dim woods full of the tombs
Of the dead trees soft in their sepulchres,
Where the pensive throats of the shy birds hidden,
Pipe to us strangely entering unbidden,
And tenderly still in the tremulous glooms
The trilliums scatter their white-winged stars;



Up to the hills where our tired hearts rest,
Loosen, and halt, and regather their dreams;
Up to the hills, where the winds restore us,
Clearing our eyes to the beauty before us,
Earth with the glory of life on her breast,
Earth with the gleam of her cities and streams.



Here we shall commune with her and no other;
Care and the battle of life shall cease;
Men her degenerate children behind us,
Only the might of her beauty shall bind us,
Full of rest, as we gaze on the face of our mother,
Earth in the health and the strength of her peace.



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GOD - SPEED TO THE SNOW




March is slain; the keen winds fly;
Nothing more is thine to do;
April kisses thee good-bye;
Thou must haste and follow too;
Silent friend that guarded well
Withered things to make us glad,
Shyest friend that could not tell
Half the kindly thought he had.
Haste thee, speed thee, O kind snow;
Down the dripping valleys go,
From the fields and gleaming meadows,
Where the slaying hours behold thee,
From the forests whose slim shadows,
Brown and leafless cannot fold thee,
Through the cedar lands aflame
With gold light that cleaves and quivers,
Songs that winter may not tame,
Drone of pines and laugh of rivers.
May thy passing joyous be
To thy father, the great sea,
For the sun is getting stronger;
Earth hath need of thee no longer;
Go, kind snow, God-speed to thee!



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INDIAN  SUMMER




The old grey year is near his term in sooth,
And now with backward eye and soft-laid palm
Awakens to a golden dream of youth,
A second childhood lovely and most calm,
And the smooth hour about his misty head
An awning of enchanted splendour weaves,
Of maples, amber, purple and rose-red,
And droop-limbed elms down-dropping golden leaves.
With still half-fallen lids he sits and dreams
Far in a hollow of the sunlit wood,
Lulled by the murmur of thin-threading streams,
Nor sees the polar armies overflood
The darkening barriers of the hills, nor hears
The north-wind ringing with a thousand spears.




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THE  CUP  OF  LIFE




One after one the high emotions fade;
Time's wheeling measure empties and refills
Year after year; we seek no more the hills
That lured our youth divine and unafraid,
But swarming on some common highway, made
Beaten and smooth, plod onward with blind feet
And only where the crowded crossways meet
We halt and question, anxious and dismayed.
Yet can we not escape it; some we know
Have angered and grown mad, some scornfully laughed;
Yet surely to each lip - to mine to thin-
Comes with strange scent and pallid poisonous glow
The cup of Life, that dull Circean draught,
That taints us all, and turns the half to swine.




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THE  MYSTERY  OF  A  YEAR





A little while, a year agone,
I knew her for a romping child,
A dimple and a glance that shone
With idle mischief when she smiled.



To-day she passed me in the press,
And turning with a quick surprise
I wondered at her stateliness,
I wondered at her altered eyes.



To me the street was just the same,
The people and the city's stir;
But life had kindled into flame,
And all the world was changed for her.



I watched her in the crowded ways,
A noble form, a queenly head,
With all the woman in her gaze,
The conscious woman in her tread.







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WHY DO YE CALL THE POET LONELY

Why do ye call the poet lonely,

Because he dreams in lonely places?
He is not desolate, but only
Sees, where ye cannot, hidden faces.









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WITH  THE  NIGHT



O doubts, dull passions, and base fears,
That harassed and oppressed the day,
Ye poor remorses and vain tears,
That shook this house of clay:



All heaven to the western bars
Is glittering with the darker dawn;
Here with the earth, the night, the stars,
Ye have no place: begone!







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SONG



Songs that could span the earth,
When leaping thought had stirred them,
In many an hour since birth,
We heard or dreamed we heard them.



Sometimes to all their sway
We yield ourselves half fearing,
Sometimes with hearts grown grey
We curse ourselves for hearing.



We toil and but begin;
In vain our spirits fret them,
We strive, and cannot win,
Nor evermore forget them.



A light that will not stand,
That comes and goes in flashes,
Fair fruits that in the hand
Are turned to dust and ashes.



Yet still the deep thoughts ring
Around and through and through us,
Sweet mights that make us sing,
But bring no resting to us.




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PERSONALITY


O differing human heart,
Why is it that I tremble when thine eyes,
Thy human eyes and beautiful human speech,
Draw me, and stir within my soul
That subtle ineradicable longing
For tender comradeship?
It is because I cannot all at once,
Through the half-lights and phantom-haunted mists
That separate and enshroud us life from life,
Discern the nearness or the strangeness of thy paths
Nor plumb thy depths.
I am like one that comes alone at night
To a strange stream, and by an unknown ford
Stands, and for a moment yearns and shrinks,
Being ignorant of the water, though so quiet it is,
So softly murmurous,
So silvered by the familiar moon.






sources:

http://images.ourontario.ca/Cobourg/19549/image/46335
http://hpcanpub.mcmaster.ca/case-study/archibald-lampman
http://www.mediahex.com/Archibald_Lampman

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