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Random documents with unrelated
content Scribd suggests to you:
DOCUMENTS
TO HULME (T. E.) AND FITZGERALD
Is there for feckless poverty
That grins at ye for a’ that!
A hired slave to none am I,
But under-fed for a’ that;
For a’ that and a’ that,
The toils I shun and a’ that,
My name but mocks the guinea stamp,
And Pound’s dead broke for a’ that.

Although my linen still is clean,

My socks fine silk and a’ that,
Although I dine and drink good wine—
Say, twice a week, and a’ that;
For a’ that and a’ that,
My tinsel shows and a’ that,
These breeks ’ll no last many weeks
’Gainst wear and tear and a’ that.

Ye see this birkie ca’ed a bard,

Wi’ cryptic eyes and a’ that,
Aesthetic phrases by the yard;
It’s but E. P. for a’ that,
For a’ that and a’ that,
My verses, books and a’ that,
The man of independent means
He looks and laughs at a’ that.

One man will make a novelette

And sell the same and a’ that.
For verse nae man can siller get,
Nae editor maun fa’ that.
For a’ that and a’ that,
Their royalties and a’ that,
Wib time to loaf and will to write
I’ll stick to rhyme for a’ that.

And ye may prise and gang your ways

 And ye may prise and gang your ways
Wi’ pity, sneers and a’ that,
I know my trade and God has made
Some men to rhyme and a’ that,
For a’ that and a’ that,
I maun gang on for a’ that
Wi’ verse to verse until the hearse
Carts off me wame and a’ that.

WRITTEN FOR THE CENACLE OF 1909 VIDE INTRODUCTION TO “THE COMPLETE

POETICAL WORKS OF T. E. HULME,” PUBLISHED AT THE END OF “RIPOSTES.”
VATES, THE SOCIAL REFORMER
What shall be said of him, this cock-o’-hoop?
(I’m just a trifle bored, dear God of mine,
Dear unknown God, dear chicken-pox of Heaven,
I’m bored I say), But still—my social friend—
(One has to be familiar in one’s discourse)
While he was puffing out his jets of wit
Over his swollen-bellied pipe, one thinks,
One thinks, you know, of quite a lot of things.

(Dear unknown God, dear, queer-faced God,

Queer, queer, queer, queer-faced God,
You blanky God, be quiet for half minute,
And when I’ve shut up Rates, and sat on Naboth,
I’ll tell you half a dozen things or so.)

There goes a flock of starlings—

Now half a dozen years ago,
(Shut up, you blighted God, and let me speak)
I should have hove my sporting air-gun up
And blazed away—and now I let ’em go—
It’s odd how one changes;
Yes, that’s High Germany.

But still, when he was smiling like a Chinese queen,

Looking as queer (I do assure you, God)
As any Chinese queen I ever saw;
And tiddle-whiddle-whiddling about prose,
Trying to quiz a mutton-headed poetaster,
And choking all the time with politics—
Why then I say, I contemplated him
And marveled (God! I marveled,
Write it in prose, dear God. Yes, in red ink.)
And marveled, as I said,
At the stupendous quantity of mind
And the amazing quality thereof.

Dear God of mine

Dear God of mine,
It’s really most amazing, doncherknow,
But really, God, I can’t get off the mark;
Look here, you queer-faced God,
This fellow makes me sick with all his talk,
His ha’penny gibes at Celtic bards
And followers of Dante—honest folk!—
Because, dear God, the rotten beggar goes
And makes a Chinese blue-stocking
From half-digested dreams of Munich-air.
And then—God, why should I write it down?—
But Rates and Naboth
Aren’t half such silly fools as he is (God)
For they are frankly asinine,
While he pretends to sanity,
Modernity, (dear God, dear God).

It’s bad enough, dear God of mine,

That you have set me down in London town,
Endowed me with a tattered velvet coat,
Soft collar and black hat and Greek ambitions;
You might have left me there.

But now you send

This “vates” here, this sage social reformer
(Yes, God, you rotten Roman Catholic)
To put his hypothetical conceptions
Of what a poor young poetaster would think
Into his own damned shape, and then to attack it
To his own great contemplative satisfaction.
What have I done, O God,
That so much bitterness should flop on me?
Social Reformer! That’s the beggar’s name.
He’d have me write bad novels like himself.

Yes, God, I know it’s after closing time;

And yes, I know I’ve smoked his cigarettes;
But watch that sparrow on the fountain in the rain.
How half a dozen years ago,
(Shut up, you blighted God, and let me speak)
I should have hove my sporting air-gun up
And blazed away—and now I let him go—
It’s odd how one changes;
Yes, that’s High Germany.

R. A.
FRAGMENTS ADDRESSED BY CLEARCHUS H. TO ALDI

Πωετριε
Πρικε φιφτεεν κενξ
π. 43
 Ἰ ἁυε σατ ἑρε ἁρριε ἰν μι ἀρμχαιρ
(πύτνηβυς, πύτνηβυς) (1)
ὐατχινγ θε στιλλ Ηουνδ ἀνδ θε κιδ
ὐιθ θε δαρκ ἁιρ
ὑιχ θε ὐινδ ὀφ μι ὐπραισεδ ὐοικε
τορε λικε ἀ γρεεν ματτεδ μεσς
(Ὀ ἄνδρες Ἀθηναῖοι) (2)
ὀφ ὐετ κοβυεβς ἀνδ σεαυεεδ ἀτ
τυιλιγτ,
βυτ τὁυγ Ἰ γρεατλιε δελιγτεδ
(ἠράμαν μὲν ἐγὼ σέθεν,
(3)
Ἀλδί, πάλαι πότα)
ἰν θησε ἀνδ θε Ἐζρα ὑισκέρς
τἁτ ὑιχ σετς με νιρεστ το ὐεεπινγ
(ὁ δὲ Κλέαρχος εἶπε) (4)
ἰς θε κλασσικαλ ῥυθμ ὀφ θε ραρε
σπεεχες,
Ὠ θε ὐνσπωκεν σπεεχες
Ἑλλενικ.
Notes. (1) A vehicle conducting passengers from Athens,
the capital of Greece, to the temple of the winds,
which stands in a respectable suburb.
(2) Rendered by Butler, “O God! O Montreal!”
(3) Sappho!!!!!!
(4) Xenophon’s Anabasis.
F. M. H.
 Pôetrie
Prike phiphteen kenx
p. 43

I haue sat here harrie in mi armchair

(pυtnêbus, pυtnêbus) (1)
uatching the still Êound and the kid
uith the dark hair
huich the uind oph mi upraised uoike
tore like a green matted mess
(Ô andres Athênaioi) (2)
oph uet kobuebs and seaueed at
tuiligt,
but thoug I greatlie deligted
(êraman men egô sethen,
Aldi, palai pota) (3)
in thêse and the Ezra huiskers
that huich sets me nirest to ueeping
(ho de Klearchos eipe) (4)
is the klassikal rhythm oph the rare
speeches,
Ô the unspôken speeches
Hellenik.
 Poetry
Price fifteen cents
p. 43

I have sat here Harry in my armchair

(Putney-bus, Putney-bus)
(1)
watching the still hound and the kid
with the dark hair
which the wind of my upraised voice
tore like a green matted mess
(Ô andres Athênaioi) (2)
of wet cobwebs and seaweed at
twilight,
but though I greatly delighted
(êraman men egô sethen,
Aldi, palai pota) (3)
in these and the Ezra whiskers
that which sets me nearest to weeping
(ho de Klearchos eipe) (4)
is the classical rhythm of the rare
speeches,
O the unspoken speeches
Hellenic.
 BIBLIOGRAPHY

F. S. Flint—“The Net of the Stars.” Published by Elkin

Mathews, 4 Cork St., London, W.
Ezra Pound—Collected Poems (Personae, Exultations,
Canzoni, Ripostes). Published by Elkin Mathews.
TRANSLATIONS:

“The Sonnets and Ballate of Guido Cavalcanti.”

Published by Small, Maynard & Co., Boston.
The Canzoni of Arnaut Daniel. R. F. Seymour & Co.,
Fine Arts Bldg., Chicago.
PROSE:

“The Spirit of Romance.” A study of mediaeval

poetry. Dent & Sons. London.
Ford Madox Hueffer—“Collected Poems.” Published by
Max Goschen, 20 Gt. Russel St., London. Forty
volumes of prose with various publishers.
Allen Upward—Author of “The New Word,” “The Divine
Mystery,” etc., etc.
The “Scented Leaves” appears in “Poetry” for
September 1913.
William Carlos Williams—“The Tempers.” Published by
Elkin Mathews.
Amy Lowell—“A Dome of Many Coloured Glass.”
Published by Houghton, Mifflin, Boston.
 Transcriber's Notes

On page 37, "popies" was replaced by "poppies".

The humorous poem written with Greek characters on
page 62 has also been rendered in their Latin equivalents
for the benefit of those who cannot pronounce the Greek
and also in Latin look-alikes. It appears that, in the first
line, the rho's should have been pi's, making the 5th
word ἁππιε or happie; it was left as printed. Or, this
might have been addressed to the editor of "Poetry"
whose name was Harriet Monroe.
Minor typographical errors have been corrected without
comment.
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