Herman Melville

H
Herman Melville
The College Colonel
He rides at their head;
A crutch by his saddle just slants in view,
One slung arm is in splints, you see,
Yet he guides his strong steed—how coldly too.

He brings his regiment home—
Not as they filed two years before,
But a remnant half-tattered, and battered, and worn,
Like castaway sailors, who—stunned
By the surf’s loud roar,
Their mates dragged back and seen no more—
Again and again breast the surge,
And at last crawl, spent, to shore.

A still rigidity and pale—
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The House-top
A Night Piece
(July, 1863) No sleep. The sultriness pervades the air
And binds the brain—a dense oppression, such
As tawny tigers feel in matted shades,
Vexing their blood and making apt for ravage.
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In the Prison Pen
(1864) Listless he eyes the palisades
And sentries in the glare;
’Tis barren as a pelican-beach—
But his world is ended there.
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Malvern Hill
(July, 1862) Ye elms that wave on Malvern Hill
In prime of morn and May,
Recall ye how McClellan’s men
Here stood at bay?
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The Martyr
Indicative of the passion of the people
on the 15th of April, 1865 Good Friday was the day
Of the prodigy and crime,
When they killed him in his pity,
When they killed him in his prime
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Sheridan at Cedar Creek
(October, 1864) Shoe the steed with silver
That bore him to the fray,
When he heard the guns at dawning—
Miles away;
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The Apparition
(A Retrospect) Convulsions came; and, where the field
Long slept in pastoral green,
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Art
In placid hours well-pleased we dream
Of many a brave unbodied scheme.
But form to lend, pulsed life create,
What unlike things must meet and mate:
A flame to melt—a wind to freeze;
Sad patience—joyous energies;
Humility—yet pride and scorn;
Instinct and study; love and hate;
Audacity—reverence. These must mate,
And fuse with Jacob’s mystic heart,
To wrestle with the angel—Art.
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Misgivings
When ocean-clouds over inland hills
Sweep storming in late autumn brown,
And horror the sodden valley fills,
And the spire falls crashing in the town,
I muse upon my country’s ills—
The tempest bursting from the waste of Time
On the world’s fairest hope linked with man’s foulest crime.
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“The ribs and terrors in the whale”
The ribs and terrors in the whale,
Arched over me a dismal gloom,
While all God’s sun-lit waves rolled by,
And left me deepening down to doom.

I saw the opening maw of hell,
With endless pains and sorrows there;
Which none but they that feel can tell—
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After the Pleasure Party: Lines Traced Under an Image of Amor Threatening
Fear me, virgin whosoever
Taking pride from love exempt,
Fear me, slighted. Never, never
Brave me, nor my fury tempt:
Downy wings, but wroth they beat
Tempest even in reason's seat.


Behind the house the upland falls
With many an odorous tree—
White marbles gleaming through green halls—
Terrace by terrace, down and down,
And meets the star-lit Mediterranean Sea.

‘Tis Paradise. In such an hour
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The Bench of Boors
In bed I muse on Tenier’s boors,
Embrowned and beery losels all:
A wakeful brain
Elaborates pain:
Within low doors the slugs of boors
Laze and yawn and doze again.

In dreams they doze, the drowsy boors,
Their hazy hovel warm and small:
Thought’s ampler bound
But chill is found:
Within low doors the basking boors
Snugly hug the ember-mound.

Sleepless, I see the slumberous boors
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The Berg (A Dream)
I saw a ship of martial build
(Her standards set, her brave apparel on)
Directed as by madness mere
Against a stolid iceberg steer,
Nor budge it, though the infatuate ship went down.
The impact made huge ice-cubes fall
Sullen, in tons that crashed the deck;
But that one avalanche was all—
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Dupont’s Round Fight (November, 1861)
In time and measure perfect moves
All Art whose aim is sure;
Evolving rhyme and stars divine
Have rules, and they endure.

Nor less the Fleet that warred for Right,
And, warring so, prevailed,
In geometric beauty curved,
And in an orbit sailed.

The rebel at Port Royal felt
The Unity overawe,
And rued the spell. A type was here,
And victory of LAW.

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Greek Architecture
Not magnitude, not lavishness,
But Form—the Site;
Not innovating wilfulness,
But reverence for the Archetype.
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The Maldive Shark
About the Shark, phlegmatical one,
Pale sot of the Maldive sea,
The sleek little pilot-fish, azure and slim,
How alert in attendance be.
From his saw-pit of mouth, from his charnel of maw
They have nothing of harm to dread,
But liquidly glide on his ghastly flank
Or before his Gorgonian head;
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The March into Virginia Ending in the First Manassas (July, 1861)
Did all the lets and bars appear
To every just or larger end,
Whence should come the trust and cheer?
Youth must its ignorant impulse lend—
Age finds place in the rear.
All wars are boyish, and are fought by boys,
The champions and enthusiasts of the state:
Turbid ardors and vain joys
Not barrenly abate—
Stimulants to the power mature,
Preparatives of fate.

Who here forecasteth the event?
What heart but spurns at precedent
And warnings of the wise,
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Monody
To have known him, to have loved him
After loneness long;
And then to be estranged in life,
And neither in the wrong;
And now for death to set his seal—
Ease me, a little ease, my song!
By wintry hills his hermit-mound
The sheeted snow-drifts drape,
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The Portent
Hanging from the beam,
Slowly swaying (such the law),
Gaunt the shadow on your green,
Shenandoah!
The cut is on the crown
(Lo, John Brown),
And the stabs shall heal no more.

Hidden in the cap
Is the anguish none can draw;
So your future veils its face,
Shenandoah!
But the streaming beard is shown
(Weird John Brown),
The meteor of the war.
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Shiloh: A Requiem (April, 1862)
Skimming lightly, wheeling still,
The swallows fly low
Over the field in clouded days,
The forest-field of Shiloh—
Over the field where April rain
Solaced the parched ones stretched in pain
Through the pause of night
That followed the Sunday fight
Around the church of Shiloh—
The church so lone, the log-built one,
That echoed to many a parting groan
And natural prayer
Of dying foemen mingled there—
Foemen at morn, but friends at eve—
Fame or country least their care:
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The Swamp Angel
There is a coal-black Angel
With a thick Afric lip,
And he dwells (like the hunted and harried)
In a swamp where the green frogs dip.
But his face is against a City
Which is over a bay of the sea,
And he breathes with a breath that is blastment,
And dooms by a far decree.
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Tom Deadlight (1810)
During a tempest encountered homeward-bound from the Mediterranean, a grizzled petty-officer, one of the two captains of the forecastle, dying at night in his hammock, swung in the sick-bay under the tiered gun-decks of the British Dreadnought, 98, wandering in his mind, though with glimpses of sanity, and starting up at whiles, sings by snatches his good-bye and last injunctions to two messmates, his watchers, one of whom fans the fevered tar with the flap of his old sou'-wester. Some names and phrases, with here and there a line, or part of one; these, in his aberration, wrested into incoherency from their original connection and import, he involuntarily derives, as he does the measure, from a famous old sea-ditty, whose cadences, long rife, and now humming in the collapsing brain, attune the last flutterings of distempered thought. Farewell and adieu to you noble hearties,—
Farewell and adieu to you ladies of Spain,
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