Beloved, let your eyes half close, and your heart beat
Over my heart, and your hair fall over my breast,
Drowning love's lonely hour in deep twilight of rest.
Cats are oppressed, dogs terrify them, landladies starve them, boys stone them, everybody speaks of them with contempt. If they were human beings we could talk of their oppressors with a studied violence, add our strength to theirs, even organize the oppressed and like good politicians sell our charity for power.
When an immortal passion breathes in mortal clay;
Our hearts endure the scourge, the plaited thorns, the way
Crowded with bitter faces, the wounds in palm and side,
The vinegar-heavy sponge, the flowers by Kedron stream.
An age is the reversal of an age:
When strangers murdered Emmet, Fitzgerald, Tone,
We lived like men that watch a painted stage.
What matter for the scene, the scene once gone:
It had not touched our lives.
Had there been no Renaissance and no Italian influence to bring in the stories of other lands English history would, it may be, have become as important to the English imagination as the Greek Myths to the Greek imagination; and many plays by many poets would have woven it into a single story whose contours, vast as those of Greek myth, would have made living men and women seem like swallows building their nests under the architrave of some Temple of the Giants.
A daughter of a King of Ireland, heard A voice singing on a May Eve like this, And followed half awake and half asleep, Until she came into the Land of Faery, Where nobody gets old and godly and grave, Where nobody gets old and crafty and wise, Where nobody gets old and bitter of tongue. And she is still there, busied with a dance Deep in the dewy shadow of a wood, Or where stars walk upon a mountain-top.
All things can tempt me from this craft of verse:
One time it was a woman's face, or worse--
The seeming needs of my fool-driven land;
Now nothing but comes readier to the hand
Than this accustomed toil.