The Project Gutenberg eBook, Songs for a Little House, by Christopher Morley This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Songs for a Little House Author: Christopher Morley Release Date: October 25, 2007 [eBook #23196] Language: English Character set encoding: ISO-8859-1 ***START OF THE PROJECT GUTENBERG EBOOK SONGS FOR A LITTLE HOUSE*** E-text prepared by Ron Swanson "He that high growth on cedars did bestow, Gave also lowly mushrumps leave to grow." —R. Southwell, 1562-95 SONGS FOR A LITTLE HOUSE BY CHRISTOPHER MORLEY NEW YORK GEORGE H. DORAN COMPANY COPYRIGHT, 1917, BY GEORGE H. DORAN COMPANY PRINTED IN THE UNITED STATES OF AMERICA TO THE LITTLE HOUSE Dear little house, dear shabby street, Dear books and beds and food to eat! How feeble words are to express The facets of your tenderness. How white the sun comes through the pane! In tinkling music drips the rain! How burning bright the furnace glows! What paths to shovel when it snows! O dearly loved Long Island trains! O well remembered joys and pains.... How near the housetops Beauty leans Along that little street in Queens! Let these poor rhymes abide for proof Joy dwells beneath a humble roof; Heaven is not built of country seats But little queer suburban streets! Albany Avenue, Queens, Long Island, March, 1917 ONE MOMENT, PLEASE At fifty cents per agate line Kind editors will buy your verse; They'll make you swear that you resign All claims, for better or for worse. The book, dramatic, photoplay, And interplanetary rights They seize; but do not feel dismay— Their barks are fiercer than their bites! I thank, for leave to print these rhymes, And for unfailing courtesy, Everybody's, New York Times, The Outlook and the Century; The Boston Transcript, L. H. J., The Tribune, Mail, and Evening Post, The Book News Monthly, chastely gay— But Life and Collier's I thank most. The Independent and McClure's And Argosy have borne my flights: Dear scribblers, how this reassures— Their barks are fiercer than their bites! CONTENTS SONGS FOR A LITTLE HOUSE BAYBERRY CANDLES SECRET LAUGHTER A CHARM FOR OUR NEW FIREPLACE SIX WEEKS OLD THE YOUNG MOTHER PETER PAN THE 5:42 READING ALOUD THE MOON-SHEEP MAR QUONG, CHINESE LAUNDRYMAN THE MILKMAN IN HONOUR OF TAFFY TOPAZ THE CEDAR CHEST O PRAISE ME NOT THE COUNTRY ANIMAL CRACKERS THE WAKEFUL HUSBAND LIGHT VERSE FULL MOON MY WIFE WASHING THE DISHES THE FURNACE THE CHURCH OF UNBENT KNEES THE NEW ALTMAN BUILDING THE MADONNA OF THE CURB MY PIPE TO A GRANDMOTHER A HANDFUL OF SONNETS I II PEDOMETER ARS DURA O. HENRY—APOTHECARY FOR THE CENTENARY OF KEATS'S SONNET (1816) TWO O'CLOCK THE COMMERCIAL TRAVELLER THE WEDDED LOVER TO YOU, REMEMBERING THE PAST THE LAST SONNET THE WAR IRONY TO A FRENCH BABY AFTER HEARING GERMAN MUSIC IN MEMORY OF THE AMERICAN AVIATORS KILLED IN FRANCE THE FLAGS ON FIFTH AVENUE "THEY" BALLAD OF FRENCH RIVERS PEASANT AND KING TILL TWISTON WENT TO RUDYARD KIPLING TO A U-BOAT KITCHENER MARCH 1915 DEAD SHIPS ENGLAND, JULY 1913 (TO RUPERT BROOKE) TO THE OXFORD MEN IN THE WAR FOR THE PRESENT TIME AMERICA, 1917 ON VIMY RIDGE HAY FEVER, AND OTHER LITERARY POLLEN HAY FEVER, IF RUDYARD KIPLING HAD IT HAY FEVER, IF AMY LOWELL HAD IT HAY FEVER, IF HILAIRE BELLOC HAD IT HAY FEVER, IF EDGAR LEE MASTERS HAD IT HYMN TO THE DAIRYMAIDS ON BEACON STREET ON FIRST LOOKING INTO A SUBWAY EXCAVATION BALLAD OF NEW AMSTERDAM CASUALTY AT THE WOMEN'S CLUBS ELEGY WRITTEN IN A COUNTRY COAL-BIN MOONS WE SAW AT SEVENTEEN AT THE DOG SHOW THE OLD SWIMMER TO ALL MY FRIENDS A GRUB STREET RECESSIONAL SONGS FOR A LITTLE HOUSE BAYBERRY CANDLES Dear sweet, when dusk comes up the hill, The fire leaps high with golden prongs; I place along the chimneysill The tiny candles of my songs. And though unsteadily they burn, As evening shades from grey to blue Like candles they will surely learn To shine more clear, for love of you. SECRET LAUGHTER "I had a secret laughter." —Walter de la Mare. There is a secret laughter That often comes to me, And though I go about my work As humble as can be, There is no prince or prelate I envy—no, not one. No evil can befall me— By God, I have a son! A CHARM For Our New Fireplace, To Stop Its Smoking O wood, burn bright; O flame, be quick; O smoke, draw cleanly up the flue— My lady chose your every brick And sets her dearest hopes on you! Logs cannot burn, nor tea be sweet, Nor white bread turn to crispy toast, Until the charm be made complete By love, to lay the sooty ghost. And then, dear books, dear waiting chairs, Dear china and mahogany, Draw close, for on the happy stairs My brown-eyed girl comes down for tea! SIX WEEKS OLD He is so small, he does not know The summer sun, the winter snow; The spring that ebbs and comes again, All this is far beyond his ken. A little world he feels and sees: His mother's arms, his mother's knees; He hides his face against her breast, And does not care to learn the rest. THE YOUNG MOTHER Of what concern are wars to her, Or treaties broken on the seas? Or all the cruelties of men? She has her baby on her knees. In blessed singleness of heart, What heed has she for nations' wrath? She sings a little peaceful hymn As she prepares the baby's bath. As in a dream, she hears the talk Of mine, torpedo, bomb and gun— She shudders, but her thoughts are all Encradled with her little son. PETER PAN "The boy for whom Barrie wrote Peter Pan—the original of Peter Pan—has died in battle." —New York Times. And Peter Pan is dead? not so! When mothers turn the lights down low And tuck their little sons in bed, They know that Peter is not dead.... That little rounded blanket-hill; Those prayer-time eyes, so deep and still— However wise and great a man He grows, he still is Peter Pan. And mothers' ways are often queer: They pause in doorways, just to hear A tiny breathing; think a prayer; And then go tiptoe down the stair. THE 5:42 Lilac, violet, and rose Ardently the city glows; Sunset glory, purely sweet, Gilds the dreaming byway-street, And, above the Avenue, Winter dusk is deepening blue. (Then, across Long Island meadows, Darker, darker, grow the shadows: Patience, little waiting lass! Laggard minutes slowly pass; Patience, laughs the yellow fire: Homeward bound is heart's desire!) Hark, adown the canyon street Flows the merry tide of feet; High the golden buildings loom Blazing in the purple gloom; All the town is set with stars, Homeward chant the Broadway cars! All down Thirty-second Street Homeward, Homeward, say the feet! Tramping men, uncouth to view, Footsore, weary, thrill anew; Gone the ringing telephones, Blessed nightfall now atones. Casting brightness on the snow Golden the train windows go. Then (how long it seems) at last All the way is overpast. Heart that beats your muffled drum, Lo, your venturer is come! Wide the door! Leap high, O fire! Home at length is heart's desire! Gone is weariness and fret, At the sill warm lips are met. Once again may be renewed The conjoined beatitude. READING ALOUD Once we read Tennyson aloud In our great fireside chair; Between the lines, my lips could touch Her April-scented hair. How very fond I was, to think The printed poems fair, When close within my arms I held A living lyric there! THE MOON-SHEEP The moon seems like a docile sheep, She pastures while all people sleep; But sometimes, when she goes astray, She wanders all alone by day. Up in the clear blue morning air We are surprised to see her there, Grazing in her woolly white, Waiting the return of night. When dusk lets down the meadow bars She greets again her lambs, the stars! MAR QUONG, CHINESE LAUNDRYMAN I like the Chinese laundryman: He smokes a pipe that bubbles, And seems, as far as I can tell, A man with but few troubles. He has much to do, no doubt, But also, much to think about. Most men (for instance I myself) Are spending, at all times, All our hard-earned quarters, Our nickels and our dimes: With Mar Quong it's the other way— He takes in small change every day. Next time you call for collars In his steamy little shop, Observe how tight his pigtail Is coiled and piled on top. But late at night he lets it hang And thinks of the Yang-tse-kiang. THE MILKMAN Early in the morning, when the dawn is on the roofs, You hear his wheels come rolling, you hear his horse's hoofs; You hear the bottles clinking, and then he drives away: You yawn in bed, turn over, and begin another day! The old-time dairy maids are dear to every poet's heart— I'd rather be the dairy man and drive a little cart, And bustle round the village in the early morning blue, And hang my reins upon a hook, as I've seen Casey do. IN HONOUR OF TAFFY TOPAZ Taffy, the topaz-coloured cat, Thinks now of this and now of that, But chiefly of his meals. Asparagus, and cream, and fish, Are objects of his Freudian wish; What you don't give, he steals. His gallant heart is strongly stirred By clink of plate or flight of bird, He has a plumy tail; At night he treads on stealthy pad As merry as Sir Galahad A-seeking of the Grail. His amiable amber eyes Are very friendly, very wise; Like Buddha, grave and fat, He sits, regardless of applause, And thinking, as he kneads his paws, What fun to be a cat! THE CEDAR CHEST Her mind is like her cedar chest Wherein in quietness do rest The wistful dreamings of her heart In fragrant folds all laid apart. There, put away in sprigs of rhyme Until her life's full blossom-time, Flutter (like tremulous little birds) Her small and sweet maternal words. O PRAISE ME NOT THE COUNTRY O praise me not the country— The meadows green and cool, The solemn glow of sunsets, the hidden silver pool! The city for my craving, Her lordship and her slaving, The hot stones of her paving For me, a city fool! O praise me not the leisure Of gardened country seats, The fountains on the terrace against the summer heats— The city for my yearning, My spending and my earning. Her winding ways for learning, Sing hey! the city streets! O praise me not the country, Her sycamores and bees, I had my youthful plenty of sour apple trees! The city for my wooing, My dreaming and my doing; Her beauty for pursuing, Her deathless mysteries. O praise me not the country, Her evenings full of stars, Her yachts upon the water with the wind among their spars— The city for my wonder, Her glory and her blunder, And O the haunting thunder Of the Elevated cars! ANIMAL CRACKERS Animal crackers, and cocoa to drink, That is the finest of suppers, I think; When I'm grown up and can have what I please I think I shall always insist upon these. What do you choose when you're offered a treat? When Mother says, "What would you like best to eat?" Is it waffles and syrup, or cinnamon toast? It's cocoa and animals that I love most! The kitchen's the cosiest place that I know: The kettle is singing, the stove is aglow, And there in the twilight, how jolly to see The cocoa and animals waiting for me. Daddy and Mother dine later in state, With Mary to cook for them, Susan to wait; But they don't have nearly as much fun as I Who eat in the kitchen with Nurse standing by; And Daddy once said, he would like to be me Having cocoa and animals once more for tea! THE WAKEFUL HUSBAND How blue the moonlight and how still the night. Silent I ramble through the whole dear house Setting aright in happy ownership Whatever may lie out of its due place. Books in the living room I rearrange, Then in the dining room my pewter mugs, And put her little brown nasturtium bowl Where she can see it when she telephones. Up in my den the papers are a-sprawl And litter up my desk: these too I sort Thinking, to-morrow I will rise betimes And do my work neglected.... Tiptoe then I pass into the Shrine. She is asleep, Dark hair across the moon-blanched pillow slip. Her eyes are sealed with peace, but as I touch The girlish cheek, her lips are tremulous With secret knowing smiles. In her boudoir (Her "sulking room" I call it: did you know It means that?) I wind up the tiny clock And stand at her Prayer Window where the fields Lie listening to the crickets and the stars.... Alas, I only hear the throb of pain That echoes from the moonlit fields of France. Into our kitchen, too, I love to go, Straighten the spoons against our break of fast, Share secrets with our dog, the drowsy-eyed, Surprise the kitten with some midnight milk. The pantry cupboard, full of pleasant things, Attracts me: there I love to place in line The packages of cereals, or fill up The breakfast sugar bowl; and empty out The icebox pan into the singing night. Then, as I fixed the cushions on the porch, I wondered whether God, while wandering Through his big house, the World, householderwise, Does also quietly set things aright, Gives sleep to sleepless wives in Germany And gently smooths the battlefields of France? Dear Father God, the children in their play Have tossed their toys in saddest disarray— Wilt Thou not, like a kindly nurse at dusk, Pass through the playroom, make it neat again? September, 1914. LIGHT VERSE At night the gas lamps light our street, Electric bulbs our homes; The gas is billed in cubic feet, Electric light in ohms. But one illumination still Is brighter far, and sweeter; It is not figured in a bill, Nor measured by a meter. More bright than lights that money buys, More pleasing to discerners, The shining lamps of Helen's eyes, Those lovely double burners! FULL MOON The moon is but a silver watch To tell the time of night; If you should wake, and wish to know The hour, don't strike a light. Just draw the blind, and closely scan Her dial in the blue: If it is round and bright, there is A deal more sleep for you. She runs without an error, Not too slow nor too quick, And better than alarum clocks— She doesn't have to tick! MY WIFE Pure as the moonlight, sweet as midnight air, Simple as the primrose, brave and just and fair, Such is my wife. The more unworthy I To kiss the little hand of her by whom I lie. New words, true words, need I to make you see The gallantry, the graciousness, that she has brought to me; How humble and how haughty, how quick in thought and deed, How loyally she comrades me in every time of need. To-night she is not with me. I kiss her empty dress. Here I kneel beside it, not ashamed to bless Each dear bosom-fold of it that bears a breath of her, Makes my heart a house of pain, and my eyes a blur. Here I kneel beside it, humble now to pray That God will send her back to me on the morrow day. New words, true words, only such could praise The blessèd, blessèd magic of her dear and dauntless ways. WASHING THE DISHES When we on simple rations sup How easy is the washing up! But heavy feeding complicates The task by soiling many plates. And though I grant that I have prayed That we might find a serving-maid, I'd scullion all my days, I think, To see Her smile across the sink! I wash, She wipes. In water hot I souse each dish and pan and pot; While Taffy mutters, purrs, and begs, And rubs himself against my legs. The man who never in his life Has washed the dishes with his wife Or polished up the silver plate— He still is largely celibate. One warning: there is certain ware That must be handled with all care: The Lord Himself will give you up If you should drop a willow cup! THE FURNACE At night I opened The furnace door: The warm glow brightened The cellar floor. The fire that sparkled Blue and red, Kept small toes cosy In their bed. As up the stair So late I stole, I said my prayer: Thank God for coal! THE CHURCH OF UNBENT KNEES As I went by the church to-day I heard the organ cry; And goodly folk were on their knees, But I went striding by. My minster hath a roof more vast: My aisles are oak trees high; My altar-cloth is on the hills, My organ is the sky. I see my rood upon the clouds, The winds, my chanted choir; My crystal windows, heaven-glazed, Are stained with sunset fire. The stars, the thunder, and the rain, White sands and purple seas— These are His pulpit and His pew, My God of Unbent Knees! THE NEW ALTMAN BUILDING Madison Avenue and Thirty-fourth Street (January, 1914) Fled is the glamour, fled the royal dream, Fled is the joy. They work no more by night Deep in that cave of dazzling amber light, In pools of darkness, under plumes of steam. Gone are the laughing drills that sting and hiss Deep in the ribs of the metropolis. Gone are the torches and the great red cranes That swung their arms with such resistless might; Gone are the flags and drums of that great fight, No more they swink with rocks and autumn rains; And only girders, rising tier on tier, Give hint of all the struggle that was here. We too, mad zealots of the hardest craft, Striving to build a word-house fair and tall, Have wept to see our dear erections fall; Have wept—then flung away our tools, and laughed. Fled is the dream, but working year by year We see our buildings rising, tier on tier. THE MADONNA OF THE CURB On the curb of a city pavement, By the ash and garbage cans, In the stench and rolling thunder Of motor trucks and vans, There sits my little lady, With brave but troubled eyes, And in her arms a baby That cries and cries and cries. She cannot be more than seven; But years go fast in the slums, And hard on the pains of winter The pitiless summer comes. The wail of sickly children She knows; she understands The pangs of puny bodies, The clutch of small hot hands. In the deadly blaze of August, That turns men faint and mad, She quiets the peevish urchins By telling a dream she had— A heaven with marble counters, And ice, and a singing fan; And a God in white, so friendly, Just like the drug-store man. Her ragged dress is dearer Than the perfect robe of a queen! Poor little lass, who knows not The blessing of being clean. And when you are giving millions To Belgian, Pole and Serb, Remember my pitiful lady— Madonna of the Curb!