XXX. Ah!-in their 'stead, their hunter sons! Ah, ha! they are on me- --they hunt in a ring— Keep off! I brave you all at once I throw off your eyes like snakes that sting! You have killed the black eagle at nest, I think. Did you never stand still in your triumph, and shrink From the stroke of her wounded wing? XXXI. (Man, drop that stone you dared to lift!-) A little corpse as safely at rest XXXII. I am not mad: I am black. I see you staring in my face- And this land is the free America. And this mark on my wrist.. (I prove what I say) Ropes tied me up here to the flogging-place. XXXIII. You think I shrieked then? Not a sound! I hung, as a gourd hangs in the sun. I only cursed them all around As softly as I might have done My very own child. From these sands XXXIV. Whips, curses; these must answer those! Each loathing each; and all forget Our countless wounds that pay no debt. XXXV. Our wounds are different. Your white men Are, after all, not gods indeed, Nor able to make Christs again Do good with bleeding. We who bleed (Stand off!) we help not in our loss! We are too heavy for our cross, And fall and crush you and your seed. XXXVI. I fall, I swoon! I look at the sky. The clouds are breaking on my brain. In the name of the white child waiting fo. me In the death-dark where we may kiss ana agre White men, I leave you all curse-free In my broken heart's disdain ! THE DEAD PAN. Excited by Schiller's 'Gotter Griechenlands,' and partly founded on a well-known tradition mentioned in a treatise of Plutarch (De Oraculorum Defectu'), according to which at the hour of the Saviour's agony, a cry of Great Pan is dead!' swept across the waves in the hearing of certain mariners,-and the oracles ceased. It is in all veneration to the memory of the deathless Schiller, that I oppose a doctrine still more dishonouring to poetry than to Christianity. As Mr. Kenyon's graceful and harmonious paraphrase of the German poem was the first occasion of the turning of my thoughts in this direction, I take advantage of the pretence to indulge my feelings (which overflow on other grounds) by inscribing my lyric to that dear friend and relative, with the earnestness of appreciating esteem as well as of affectionate gratitude. 1844. I. GODS of Hellas, gods of Hellas, Can ye listen in your silence? Can your mystic voices tell us Where ye hide? In floating islands, Keeps you out of sight of shore? Pan, Pan is dead. II. In what revels are ye sunken, In old Æthiopia? Have the Pygmies made you drunken, Bathing in mandragora Your divine pale lips, that shiver Like the lotus in the river? Pan, Pan is dead. III. Do ye sit there still in slumber, The black poppies out of number Nodding, dripping from your brows And so kept alive and fine? IV. Pan, Pan is dead. Or lie crushed your stagnant corses V. 'Gods of Hellas, gods of Hellas,' VI. Since Pan is dead? Do ye leave your rivers flowing All alone, O Naiades, While your drenched locks dry slow in This cold feeble sun and breeze? Not a word the Naiads say, Though the rivers run for aye. VOL. II.-17 For Pan is dead. VII. From the gloaming of the oak-wood, At the rushing thunderstroke, would Though the forests wave for aye, For Pan is dead. VIII. Have ye left the mountain places, Oreads wild, for other tryst? Shall we see no sudden faces Strike a glory through the mist? Not a sound the silence thrills Of the everlasting hills. IX. Pan, Pan is dead. O twelve gods of Plato's vision, X. Now Pan is dead! Jove, that right hand is unloaded, Pan, Pan is dead. |