For a Girl I Know about to Be a Woman

1

I always wonder
what they think the niggers are doing
while they, the pink and alabaster pragmatists,
are containing
Russia
and defining and re-defining and re-aligning
China,

Here, in the darkness, where this plaster saint
Stands nearer than God stands to our distress,
And one small candle shines, but not so faint
As the far lights of everlastingness,
I’d rather kneel than over there, in open day
Where Christ is hanging, rather pray
To something more like my own clay,
Not too divine;

He saw her from the bottom of the stairs
Before she saw him. She was starting down,
Looking back over her shoulder at some fear.
She took a doubtful step and then undid it
To raise herself and look again. He spoke
Advancing toward her: ‘What is it you see
From up there always—for I want to know.’
She turned and sank upon her skirts at that,
And her face changed from terrified to dull.
He said to gain time: ‘What is it you see,’
Mounting until she cowered under him.
‘I will find out now—you must tell me, dear.’
She, in her place, refused him any help
With the least stiffening of her neck and silence.
She let him look, sure that he wouldn’t see,

“Vengeance of Jenny’s case! Fie on her! Never name her, child!”—Mrs. Quickly Lazy laughing languid Jenny,
Fond of a kiss and fond of a guinea,

The wind rests its cheek upon the ground and feels the cool damp
And lifts its head with twigs and small dead blades of grass
Pressed into it as you might at the beach rise up and brush away
The sand. The day is cool and says, “I’m just staying overnight.”
The world is filled with music, and in between the music, silence
And varying the silence all sorts of sounds, natural and man made:
There goes a plane, some cars, geese that honk and, not here, but
Not so far away, a scream so rending that to hear it is to be

Act 2, Scene 2
Clindor, a young picaresque hero, has been living by his wits in Paris, but has now drifted to Bordeaux, to become the valet of a braggart bravo named Matamore. He is chiefly employed as a go-between, carrying Matamore's amorous messages to the beautiful Isabelle—who only suffers the master because she is in love with the messenger. clindor
Sir, why so restless? Is there any need,
With all your fame, for one more glorious deed?
Have you not slain enough bold foes by now,

But do not let us quarrel any more,
No, my Lucrezia; bear with me for once:
Sit down and all shall happen as you wish.
You turn your face, but does it bring your heart?
I'll work then for your friend's friend, never fear,
Treat his own subject after his own way,
Fix his own time, accept too his own price,
And shut the money into this small hand
When next it takes mine. Will it? tenderly?
Oh, I'll content him,—but to-morrow, Love!
I often am much wearier than you think,
This evening more than usual, and it seems
As if—forgive now—should you let me sit
Here by the window with your hand in mine
And look a half-hour forth on Fiesole,

You are a friend then, as I make it out,
Of our man Shakespeare, who alone of us
Will put an ass's head in Fairyland
As he would add a shilling to more shillings,
All most harmonious, — and out of his
Miraculous inviolable increase
Fills Ilion, Rome, or any town you like
Of olden time with timeless Englishmen;
And I must wonder what you think of him —
All you down there where your small Avon flows
By Stratford, and where you're an Alderman.
Some, for a guess, would have him riding back
To be a farrier there, or say a dyer;
Or maybe one of your adept surveyors;
Or like enough the wizard of all tanners.

for Joseph Cady

Camden, 1882 Is it raining, Mary, can you see?