Sonnet 117 ~ William Shakespeare

Sonnet 117

Accuse me thus: that I have scanted all

Wherein I should your great deserts repay,

Forgot upon your dearest love to call,

Whereto all bonds do tie me day by day;

That I have frequent been with unknown minds,

And giv’n to time your own dear purchased right;

That I have hoisted sail to all the winds

Which should transport me farthest from your sight.

Book both my willfulness and errors down,

And on just proof surmise accumulate.

Bring me within the level of your frown,

But shoot not at me in your wakened hate,

  Since my appeal says I did strive to prove

  The constancy and virtue of your love.

Sonnet 119 ~ William Shakespeare

Sonnet 119

What potions have I drunk of siren tears,

Distilled from limbecks foul as hell within,

Applying fears to hopes, and hopes to fears,

Still losing when I saw myself to win!

What wretched errors hath my heart committed,

Whilst it hath thought itself so blessèd never!

How have mine eyes out of their spheres been fitted

In the distraction of this madding fever!

O benefit of ill, now I find true

That better is by evil still made better;

And ruined love when it is built anew

Grows fairer than at first, more strong, far greater.

  So I return rebuked to my content,

  And gain by ills thrice more than I have spent.

Sonnet 129 ~ William Shakespeare

Sonnet 129

Th’ expense of spirit in a waste of shame

Is lust in action, and till action, lust

Is perjured, murd’rous, bloody, full of blame,

Savage, extreme, rude, cruel, not to trust,

Enjoyed no sooner but despisèd straight,

Past reason hunted, and no sooner had,

Past reason hated as a swallowed bait

On purpose laid to make the taker mad;

Mad in pursuit, and in possession so,

Had, having, and in quest to have, extreme;

A bliss in proof, and proved, a very woe;

Before, a joy proposed; behind, a dream.

  All this the world well knows, yet none knows well

  To shun the heaven that leads men to this hell.

Sonnet 120 by William Shakespeare



That you were once unkind, befriends me now,

And for that sorrow, which I then did feel

Needs must I under my transgression bow,

Unless my nerves were brass or hammered steel.

For if you were by my unkindness shaken,

As I by yours, y’ have pass’d a hell of time,

And I, a tyrant, have no leisure taken

To weigh how once I suffer’d in your crime.

O, that our night of woe might have remember’d

My deepest sense, how hard true sorrow hits,

And soon to you, as you to me, then tendered

The humble salve which wounded bosoms fits!

But that your trespass now becomes a fee;

Mine ransoms yours, and yours must ransom me.

After Death, Nothing Is… ~ Seneca


From the Trojan Chorus at the latter part of Act II

of Troas, translated by Jasper Heywood 1559

After Death nothing is, and nothing Death;

The utmost Limits of a Gasp of Breath.

Let the ambitious Zealot lay aside

His Hope of Heav’n; (whose Faith is but his Pride)

Let slavish Souls lay by their Fear,

Nor be concern’d which way, or where,

After this Life they shall be hurl’d:

Dead, we become the Lumber of the World;

And to that Mass of Matter shall be swept,

Where things destroy’d with things unborn are kept;

Devouring Time swallows us whole,

Impartial Death confounds Body and Soul.

For Hell, and the foul Fiend that rules

The everlasting fiery jails,

Devis’d by Rogues, dreaded by Fools,

With his grim griesly Dog that keeps the Door,

Are senseless Stories, idle Tales,

Dreams, whimsies, and no more.


I first heard this poem in High School. I immediately loved it. The imagery and the sound of it were great. The ideas were striking and disturbing and liberating. I knew nothing about it, really, and didn’t need to—it was exciting and worth memorizing to me.

John Heywood was a Catholic priest, a playwright and musician, and a counselor well-liked by Henry VIII. He was nearly executed for his part in the plot against Archbishop Cranmer, but apparently charmed his way to freedom, helped by Henry’s Catholic leanings despite his protestant decrees. He continued to serve as a royal servant to both the Catholic and Protestant regimes of Henry VIII, Edward VI, Mary I and Elizabeth I.

John Heywood had two children. His daughter, Elizabeth, was the mother of the famous poet John Donne. His son Jasper Heywood was also a poet, dramatist, writer, and translator.

Jasper Heywood translated from the Latin several plays of Seneca, including the play Troas, or Troy. The poem we are considering was taken from this play Troas, which he translated in 1559. Jasper’s translations of Seneca had profound influence on Ben Johnson, Shakespeare, and other Elizabethan writers.

The poem was published later with other poems in an anthology of John Wilmot Earl of Rochester in 1691, and is often erroneously attributed to him.

Seneca also called Seneca the Younger, was born about the time of Jesus’ birth in 3 BCE in Cordoba, Spain, and he moved to Rome as a child where he lived until 65 CE. He was a politician, a senator, and a counselor who had to deal with three very tempestuous Roman Emperors—Caligula, Claudius and Nero. During Nero’s reign he faced execution bravely, becoming a model of Roman stoicism.

He was a famous Stoic philosopher, a follower of the ancient Greek stoics, and a prolific writer, poet and dramatist. Many of his writings were so close to some of the moral teachings of Jesus—though it is fairly certain he was not familiar with Christianity or its precepts—that early church fathers considered him to be a pagan forerunner of Christ.

Roman religion was transactional, for the most part. The Gods did their jobs if their followers made the proper sacrifices and completed the required rituals. It was mostly about getting help in this life, and maintaining order in society. Romans celebrated their own gods and goddesses, their ancestors gods, and merged their local traditions with those of the ancient Greeks whom they admired. They accepted all the gods of the lands they captured and welcomed them into their own pantheon. The Jews and Christians were problematic because of their strict monotheism, which to the Roman mind was atheistic because they refused to recognize other gods than their own, which was bad for public order and created division where there should be cohesion.

There were also many mystery religions, cults of Isis, Orpheus, Mithras, and Bacchanal, which were tolerated, but of which the Romans were suspicious for their secretiveness and strange rites. These often were concerned with salvation and the afterlife and Christianity was often associated with these “strange” beliefs.

Seneca’s play Troas was focused on the aftermath of the Trojan War. It takes place outside the smoldering ruins of the city, while the air was still thick with smoke and the smell of death. The Trojan women are captured and waiting there, soon to be taken back to Greece by their captors as wives or slaves. The most prominent of these women is Hecuba, the Queen of Troy.

In Act I, Hecuba surrounded by her friends and family and a Chorus of Trojan Women, laments the deaths of her husband Priam the King of Troy, and her son the noble warrior Hector.

In Act II, Talthybius, a Greek herald appears. He announces that he has just seen the ghost of Achilles, the great Greek warrior who had killed Hector. Near the end of the war, Achilles had been murdered in ambush by Paris, the Trojan prince who had stolen Helen from the Greeks and thus started the ten year war. Achilles had fallen in love with Polyxena, the daughter of Priam and Hecuba, and secretly arranged to be married with her by her father Priam. This marriage could have ended the war. During the secret ceremony, Paris hid behind a bush and shot him in the heel with a poisoned arrow.

Now the ghost of Achilles had appeared to Talthybius and demanded that before the Greek ships could leave, Polyxena must be brought to his gravesite in wedding dress, and slain by Pyrrhus the son of Achilles as a sacrifice. Calchas, a seer who specialized in reading the entrails of fallen enemy warriors, demands that Hector’s young son, Astyanax, Hecuba’s grandson, be tossed from the towers of Troy and killed. These things are shocking to the Trojans, who feel they are bloody and unnecessary extensions of the war adding needless suffering  after their complete defeat and surrender.

The Chorus of Trojan women, at the end of Act II denounce the Greek’s plan. They argue that there are no such things as ghosts, and that therefore Achilles could not have returned from the dead to demand anything. This poem from Jasper’s translation of the play is taken from a portion of the Trojan Chorus’s response.

It is best to imagine that it is being spoken aloud by a group of women in unison.

In the poem, both Time and Death are depictions of the old gods. Time is the Titan Cronus who swallowed his own children whole, and Death is Thanatos against whom none could stand.

The “foul fiend” that guards Hell is Hades, known by the Romans as Pluto. The grim, grisly dog that guards the door is Cerberus, the three-headed monster.

Hopefully, this background will help you to appreciate the awesomeness of this poem.

~ Whit “Pop” Haydn

Terence this is stupid stuff ~ A. E. Housman


A. E. Housman (1859–1936)  A Shropshire Lad.  1896.

 LXII. Terence, this is stupid stuff
‘TERENCE, this is stupid stuff:
You eat your victuals fast enough;
There can’t be much amiss, ’tis clear,
To see the rate you drink your beer.
But oh, good Lord, the verse you make,               5
It gives a chap the belly-ache.
The cow, the old cow, she is dead;
It sleeps well, the horned head:
We poor lads, ’tis our turn now
To hear such tunes as killed the cow.          10
Pretty friendship ’tis to rhyme
Your friends to death before their time
Moping melancholy mad:
Come, pipe a tune to dance to, lad.’
  Why, if ’tis dancing you would be,             15
There’s brisker pipes than poetry.
Say, for what were hop-yards meant,
Or why was Burton built on Trent?
Oh many a peer of England brews
Livelier liquor than the Muse,            20
And malt does more than Milton can
To justify God’s ways to man.
Ale, man, ale’s the stuff to drink
For fellows whom it hurts to think:
Look into the pewter pot            25
To see the world as the world’s not.
And faith, ’tis pleasant till ’tis past:
The mischief is that ’twill not last.
Oh I have been to Ludlow fair
And left my necktie God knows where,         30
And carried half way home, or near,
Pints and quarts of Ludlow beer:
Then the world seemed none so bad,
And I myself a sterling lad;
And down in lovely muck I’ve lain,              35
Happy till I woke again.
Then I saw the morning sky:
Heigho, the tale was all a lie;
The world, it was the old world yet,
I was I, my things were wet,               40
And nothing now remained to do
But begin the game anew.
  Therefore, since the world has still
Much good, but much less good than ill,
And while the sun and moon endure           45
Luck’s a chance, but trouble’s sure,
I’d face it as a wise man would,
And train for ill and not for good.
’Tis true, the stuff I bring for sale
Is not so brisk a brew as ale:              50
Out of a stem that scored the hand
I wrung it in a weary land.
But take it: if the smack is sour,
The better for the embittered hour;
It should do good to heart and head            55
When your soul is in my soul’s stead;
And I will friend you, if I may,
In the dark and cloudy day.
  There was a king reigned in the East:
There, when kings will sit to feast,             60
They get their fill before they think
With poisoned meat and poisoned drink.
He gathered all that springs to birth
From the many-venomed earth;
First a little, thence to more,              65
He sampled all her killing store;
And easy, smiling, seasoned sound,
Sate the king when healths went round.
They put arsenic in his meat
And stared aghast to watch him eat;           70
They poured strychnine in his cup
And shook to see him drink it up:
They shook, they stared as white’s their shirt:
Them it was their poison hurt.
—I tell the tale that I heard told.         75
Mithridates, he died old.

[In Just-] ~ e e cummings

[in Just-]

by e e cummings

in Just-
spring          when the world is mud-
luscious the little
lame balloonman
whistles          far          and wee
and eddieandbill come
running from marbles and
piracies and it’s
when the world is puddle-wonderful
the queer
old balloonman whistles
far          and             wee
and bettyandisbel come dancing
from hop-scotch and jump-rope and
balloonMan          whistles

[Buffalo Bill’s] ~ e e cummings

[Buffalo Bill’s]

by e e cummings

Buffalo Bill ’s
               who used to
               ride a watersmooth-silver
and break onetwothreefourfive pigeonsjustlikethat
he was a handsome man
                                                  and what i want to know is
how do you like your blue-eyed boy
Mister Death

God’s Grandeur ~ Gerard Manley Hopkins


God’s Grandeur

by Gerard Manley Hopkins

The world is charged with the grandeur of God.

It will flame out, like shining from shook foil;

It gathers to a greatness, like the ooze of oil

Crushed. Why do men then now not reck his rod?

Generations have trod, have trod, have trod;

And all is seared with trade; bleared, smeared with toil;

And wears man’s smudge and shares man’s smell:

the soil Is bare now, nor can foot feel, being shod.

And for all this, nature is never spent;

There lives the dearest freshness deep down things;

And though the last lights off the black West went

Oh, morning, at the brown brink eastward, springs —

Because the Holy Ghost over the bent World broods

with warm breast and with ah! bright wings.

The Windhover ~ Gerard Manley Hopkins


The Windhover

by Gerard Manley Hopkins

To Christ our Lord

I caught this morning morning’s minion, king-

dom of daylight’s dauphin, dapple-dawn-drawn Falcon,

in his riding Of the rolling level underneath him steady air, and striding

High there, how he rung upon the rein of a wimpling wing

In his ecstasy! then off, off forth on swing, As a skate’s heel sweeps smooth on a bow-

bend: the hurl and gliding Rebuffed the big wind. My heart in hiding

Stirred for a bird, – the achieve of, the mastery of the thing!

Brute beauty and valour and act, oh, air, pride, plume, here

Buckle! AND the fire that breaks from thee then,

a billion Times told lovelier, more dangerous, O my chevalier!

No wonder of it: shéer plód makes plough down sillion

Shine, and blue-bleak embers, ah my dear,

Fall, gall themselves, and gash gold-vermilion.



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