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    Ardours and Endurances; Also, A Faun's Holiday & Poems and Phantasies
    Ardours and Endurances; Also, A Faun's Holiday & Poems and Phantasies
    Ardours and Endurances; Also, A Faun's Holiday & Poems and Phantasies
    Ebook226 pages1 hour

    Ardours and Endurances; Also, A Faun's Holiday & Poems and Phantasies

    By Robert Nichols

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    "Ardours and Endurances; Also, A Faun's Holiday & Poems and Phantasies" by Robert Nichols
    Robert Malise Bowyer Nichols was an English writer, known as a war poet of the First World War, and a playwright. This is a book of poetry that takes readers into Nichols' mind. Fantasy, magic and blissful dreams come to life through his witty and vivid words. From The Aftermath to Deem You the Roses, this collection is beautiful and mesmerizing for anyone who has ever been a fan of magic and fairytales.
    LanguageEnglish
    PublisherGood Press
    Release dateDec 13, 2019
    ISBN4064066187491
    Ardours and Endurances; Also, A Faun's Holiday & Poems and Phantasies

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      Book preview

      Ardours and Endurances; Also, A Faun's Holiday & Poems and Phantasies - Robert Nichols

      Robert Nichols

      Ardours and Endurances; Also, A Faun's Holiday & Poems and Phantasies

      Published by Good Press, 2019

      goodpress@okpublishing.info

      EAN 4064066187491

      Table of Contents

      INTRODUCTION

      BOOK I

      ARDOURS AND ENDURANCES

      THE SUMMONS

      I.—TO——

      II.—THE PAST

      III.—THE RECKONING

      FAREWELL TO PLACE OF COMFORT

      FAREWELL TO PLACE OF COMFORT

      THE APPROACH

      I.—IN THE GRASS: HALT BY ROADSIDE

      II.—THE DAY'S MARCH

      III.—NEARER

      BATTLE

      I.—NOON

      II.—NIGHT BOMBARDMENT

      III.—COMRADES: AN EPISODE

      IV.—BEHIND THE LINES: NIGHT, FRANCE

      V.—AT THE WARS

      VI.—OUT OF TRENCHES: THE BARN, TWILIGHT

      VII.—BATTERY MOVING UP TO A NEW POSITION FROM REST CAMP: DAWN

      VIII.—EVE OF ASSAULT: INFANTRY GOING DOWN TO TRENCHES

      IX.—THE ASSAULT

      X.—THE LAST MORNING

      XI.—FULFILMENT

      THE DEAD

      I.—THE BURIAL IN FLANDERS

      II.—BOY

      III.—PLAINT OF FRIENDSHIP BY DEATH BROKEN

      IV.—BY THE WOOD

      THE AFTERMATH

      I.—AT THE EBB

      II.—ALONE

      III.—THANKSGIVING

      IV.—ANNIHILATED

      V.—SHUT OF NIGHT

      VI.—THE FULL HEART

      VII.—SONNET: OUR DEAD

      VIII.—DELIVERANCE

      BOOK II

      A FAUN'S HOLIDAY

      A FAUN'S HOLIDAY

      BOOK III

      POEMS AND PHANTASIES

      A TRIPTYCH

      I.—FIRST PANEL: THE HILL

      II.—SECOND AND CENTRE PANEL: THE TOWER

      III.—THIRD PANEL: THE TREE

      FOUR SONGS FROM THE PRINCE OF ORMUZ

      I.—THE PRINCE OF ORMUZ SINGS TO BADOURA

      II.—THE SONG OF THE PRINCESS BESIDE THE FOUNTAIN

      III.—THE SONG OF THE PRINCE IN DISGUISE

      IV.—THE PRINCESS BADOURA'S LAST SONG TO HER LOVER

      THE GIFT OF SONG

      THE GIFT OF SONG

      FRAGMENTS FROM A DRAMA ON THE SUBJECT OF ORESTES

      I.—WARNING UNHEEDED

      II.—ORESTES TO THE FURIES

      BLACK SONG

      I.—AT BRAYDON

      II.—MIDDAY ON THE EDGE OF THE DOWNS

      III.—IN DORSETSHIRE

      MAN'S ANACREONTIC AND OTHER POEMS

      MAN'S ANACREONTIC

      THE BLACKBIRD

      CHANGE

      TRANSFIGURATION

      PLAINT OF PIERROT ILL-USED

      GIRL'S SONG FROM THE TAILOR [2]

      LAST SONG IN AN OPERA

      DANAË

      MYSTERY IN EIGHT POEMS

      DANAË: MYSTERY IN EIGHT POEMS

      THE ECSTASY

      THE WATER-LILY

      DEEM YOU THE ROSES....

      THE PASSION

      LAST WORDS

      My thanks are due to the editor of the Times and of the Nation, to the editors of the Palatine Review, and to Messrs. Blackwell, Oxford, the publishers of Oxford Poetry, 1915, and Oxford Poetry, 1916, for permission to reprint certain of these poems.

      R. M. B. N.

      1917.

      INTRODUCTION

      Table of Contents

      1. Of the nature of the poet:

      "We are (often) so impressed by the power of poetry that we think of it as something made by a wonderful and unusual person: we do not realize the fact that all the wonder and marvel is in our own brains, that the poet is ourselves. He speaks our language better than we do merely because he is more skilful with it than we are; his skill is part of our skill, his power of our power; generations of English-speaking men and women have made us sensible to these things, and our sensibility comes from the same source that the poet's power of stimulating it comes from. Given a little more sensitiveness to external stimuli, a little more power of associating ideas, a co-ordination of the functions of expression somewhat more apt, a sense of rhythm somewhat keener than the average—given these things we should be poets, too, even as he is. … He is one of us."

      2. Of what English poetry consists:

      "English poetry is not a rhythm of sound, but a rhythm of ideas, and the flow of attention-stresses (i.e., varying qualities of words and cadence) which determines its beauty is inseparably connected with the thought; for each of them is a judgment of identity, or a judgment of relation, or an expression of relation, and not a thing of mere empty sound. … He who would think of it as a pleasing arrangement of vocal sounds has missed all chance of ever understanding its meaning. There awaits him only the barren generalities of a foreign prosody, tedious, pedantic, fruitless. And he will flounder ceaselessly amid the scattered timbers of its iambuses, spondees, dactyls, tribrachs, never reaching the firm ground of truth."

      "An Introduction To the Scientific Study Of

      English Poetry

      ,"[1] by

      Mark Liddell

      .

      [1] Published by Grant Richards (1902). This remarkable book, establishing English poetry as a thing governed from within by its own necessities, and not by rules of æsthetics imposed on it from without, formulates principles which, unperceived, have governed English poetry from the earliest times, which find their greatest exemplar in Shakespeare, and which, though beginning to be realized by the less pedantic of the moderns, are in its pages for the first time lucidly expounded and—such is their adequacy—can, in the end, only be regarded as indubitably proven.—R. M. B. N., 1917.

      BOOK I

      Table of Contents

      ARDOURS AND

      ENDURANCES

      Table of Contents

      To THE Memory of my Trusty and

      Gallant Friends

      : HAROLD STUART

      GOUGH (King's Royal Rifle Corps)

      and

      RICHARD PINSENT (the Worcester

      Regiment)

      "For what is life if measured by the space,

      Not by the act?"

      Ben Jonson.

      THE SUMMONS

      Table of Contents

      I.—TO——

      Table of Contents

      Asleep within the deadest hour of night

      And, turning with the earth, I was aware

      How suddenly the eastern curve was bright,

      As when the sun arises from his lair.

      But not the sun arose: it was thy hair

      Shaken up heaven in tossing leagues of light.

      Since then I know that neither night nor day

      May I escape thee, O my heavenly hell!

      Awake, in dreams, thou springest to waylay

      And should I dare to die, I know full well

      Whose voice would mock me in the mourning bell,

      Whose face would greet me in hell's fiery way.

      II.—THE PAST

      Table of Contents

      How to escape the bondage of the past?

      I fly thee, yet my spirit finds no calms

      Save when she deems her rocked within those arms

      To which, from which she ne'er was caught or cast.

      O sadness of a heart so spent in vain,

      That drank its age's fuel in an hour:

      For whom the whole world burning had not power

      To quick with life the smouldered wick again!

      III.—THE RECKONING

      Table of Contents

      The whole world burns, and with it burns my flesh.

      Arise, thou spirit spent by sterile tears;

      Thine eyes were ardent once, thy looks were fresh,

      Thy brow shone bright amid thy shining peers.

      Fame calls thee not, thou who hast vainly strayed

      So far for her; nor Passion, who in the past

      Gave thee her ghost to wed and to be paid;

      Nor Love, whose anguish only learned to last.

      Honour it is that calls: canst thou forget

      Once thou wert strong? Listen; the solemn call

      Sounds but this once again. Put by regret

      For summons missed, or thou hast missed them all.

      Body is ready, Fortune pleased; O let

      Not the poor Past cost the proud Future's fall.

      FAREWELL TO PLACE

      OF COMFORT

      Table of Contents

      FAREWELL TO PLACE OF COMFORT

      Table of Contents

      For the last time, maybe, upon the knoll

      I stand. The eve is golden, languid, sad. …

      Day like a tragic actor plays his rôle

      To the last whispered word, and falls gold-clad.

      I, too, take leave of all I ever had.

      They shall not say I went with heavy heart:

      Heavy I am, but soon I shall be free;

      I love them all, but O I now depart

      A little sadly, strangely, fearfully,

      As one who goes to

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