poem for mom - third charm

poem for mom

Third Charm from Masque of Queens

Ben Jonson, 1572 - 1637

The owl is abroad, the bat, and the toad,
     And so is the cat-a-mountain,
The ant and the mole sit both in a hole,
     And the frog peeps out o’ the fountain;
The dogs they do bay, and the timbrels play,
     The spindle is now a turning;
The moon it is red, and the stars are fled,
     But all the sky is a-burning:

The ditch is made, and our nails the spade,
With pictures full, of wax and of wool;
Their livers I stick, with needles quick;
There lacks but the blood, to make up the flood.
     Quickly, Dame, then bring your part in,
     Spur, spur upon little Martin,
     Merrily, merrily, make him fail,
     A worm in his mouth, and a thorn in his tail,
     Fire above, and fire below,
     With a whip in your hand, to make him go.

This poem is in the public domain.

puisi inggris - Twelfth Night

Twelfth Night, Act II, Scene III [O Mistress mine, where are you roaming?]

William Shakespeare, 1564 - 1616

The Clown, singing

O Mistress mine, where are you roaming?  
O stay and hear! your true-love’s coming  
That can sing both high and low;  
Trip no further, pretty sweeting,  
Journeys end in lovers’ meeting—          
Every wise man’s son doth know.  
  
What is love? ’tis not hereafter;  
Present mirth hath present laughter;  
What’s to come is still unsure:  
In delay there lies no plenty,—          
Then come kiss me, Sweet-and-twenty,  
Youth’s a stuff will not endure.

This poem is in the public domain.

My mistress’ eyes are nothing like the sun (Sonnet 130)

William Shakespeare, 1564 - 1616

My mistress’ eyes are nothing like the sun;
Coral is far more red than her lips’ red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress when she walks treads on the ground.
     And yet, by heaven, I think my love as rare
     As any she belied with false compare.

This poem is in the public domain.

Tired with all these, for restful death I cry (Sonnet 66)

William Shakespeare, 1564 - 1616

Tired with all these, for restful death I cry,
As to behold desert a beggar born, 
And needy nothing trimm’d in jollity,
And purest faith unhappily forsworn,
And gilded honour shamefully misplac’d,
And maiden virtue rudely strumpeted,
And right perfection wrongfully disgrac’d,
And strength by limping sway disabled
And art made tongue-tied by authority,
And folly—doctor-like—controlling skill,
And simple truth miscall’d simplicity,
And captive good attending captain ill:
Tir’d with all these, from these would I be gone,
Save that, to die, I leave my love alone.

Let me not to the marriage of true minds (Sonnet 116)

William Shakespeare, 1564 - 1616

Let me not to the marriage of true minds   
Admit impediments. Love is not love   
Which alters when it alteration finds,   
Or bends with the remover to remove:   
O, no! it is an ever-fixed mark, 
That looks on tempests and is never shaken;   
It is the star to every wandering bark,   
Whose worth’s unknown, although his height be taken.   
Love ’s not Time’s fool, though rosy lips and cheeks   
Within his bending sickle’s compass come;
Love alters not with his brief hours and weeks,   
But bears it out even to the edge of doom.   
  If this be error, and upon me prov’d,   
  I never writ, nor no man ever lov’d.

Third Charm from Masque of Queens

Ben Jonson, 1572 - 1637

The owl is abroad, the bat, and the toad,
     And so is the cat-a-mountain,
The ant and the mole sit both in a hole,
     And the frog peeps out o’ the fountain;
The dogs they do bay, and the timbrels play,
     The spindle is now a turning;
The moon it is red, and the stars are fled,
     But all the sky is a-burning:

The ditch is made, and our nails the spade,
With pictures full, of wax and of wool;
Their livers I stick, with needles quick;
There lacks but the blood, to make up the flood.
     Quickly, Dame, then bring your part in,
     Spur, spur upon little Martin,
     Merrily, merrily, make him fail,
     A worm in his mouth, and a thorn in his tail,
     Fire above, and fire below,
     With a whip in your hand, to make him go.

This poem is in the public domain.

How like a winter hath my absence been (Sonnet 97)

William Shakespeare, 1564 - 1616

How like a winter hath my absence been   
From thee, the pleasure of the fleeting year!   
What freezings have I felt, what dark days seen!   
What old December’s bareness every where!   
And yet this time remov’d was summer’s time;
The teeming autumn, big with rich increase,   
Bearing the wanton burden of the prime,   
Like widow’d wombs after their lords’ decease:   
Yet this abundant issue seem’d to me   
But hope of orphans and unfather’d fruit;
For summer and his pleasures wait on thee,   
And, thou away, the very birds are mute:   
  Or, if they sing, ’tis with so dull a cheer,   
  That leaves look pale, dreading the winter’s near.

When to the sessions of sweet silent thought (Sonnet 30)

William Shakespeare, 1564 - 1616

When to the sessions of sweet silent thought
I summon up remembrance of things past,
I sigh the lack of many a thing I sought,
And with old woes new wail my dear time’s waste:
Then can I drown an eye, unused to flow,
For precious friends hid in death’s dateless night,
And weep afresh love’s long since cancelled woe,
And moan the expense of many a vanished sight:
Then can I grieve at grievances foregone,
And heavily from woe to woe tell o’er
The sad account of fore-bemoanèd moan,
Which I new pay as if not paid before.
But if the while I think on thee, dear friend,
All losses are restored and sorrows end.

Shall I compare thee to a summer’s day? (Sonnet 18)

 

William Shakespeare, 1564 - 1616

Shall I compare thee to a summer’s day?
Thou art more lovely and more temperate.
Rough winds do shake the darling buds of May,
And summer’s lease hath all too short a date.
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed;
And every fair from fair sometime declines,
By chance, or nature’s changing course, untrimmed;
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow’st,
Nor shall death brag thou wand’rest in his shade,
When in eternal lines to Time thou grow’st.
     So long as men can breathe, or eyes can see,
     So long lives this, and this gives life to thee.

This poem is in the public domain.

They that have power to hurt and will do none (Sonnet 94)

William Shakespeare, 1564 - 1616

They that have power to hurt and will do none   
That do not do the thing they most do show,   
Who, moving others, are themselves as stone,   
Unmoved, cold, and to temptation slow;   
They rightly do inherit heaven’s graces
And husband nature’s riches from expense;   
They are the lords and owners of their faces,   
Others but stewards of their excellence.   
The summer’s flower is to the summer sweet,   
Though to itself it only live and die,
But if that flower with base infection meet,   
The basest weed outbraves his dignity:   
  For sweetest things turn sourest by their deeds;   
  Lilies that fester smell far worse than weeds. 

This poem is in the public domain.

Since brass, nor stone, nor earth, nor boundless sea (Sonnet 65)

 

William Shakespeare, 1564 - 1616

Since brass, nor stone, nor earth, nor boundless sea
But sad mortality o’er-sways their power,
How with this rage shall beauty hold a plea,
Whose action is no stronger than a flower?
O, how shall summer’s honey breath hold out
Against the wreckful siege of battering days,
When rocks impregnable are not so stout,
Nor gates of steel so strong, but time decays?
O fearful meditation! where, alack,
Shall time’s best jewel from time’s chest lie hid?
Or what strong hand can hold his swift foot back?
Or who his spoil of beauty can forbid?
O, none, unless this miracle have might,
That in black ink my love may still shine bright.

This poem is in the public domain.

The expense of spirit in a waste of shame (Sonnet 129)

 

William Shakespeare, 1564 - 1616

The expense of spirit in a waste of shame
Is lust in action; and till action, lust
Is perjured, murderous, 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. 

This poem is in the public domain.

Not from the stars do I my judgment pluck (Sonnet 14)

 

William Shakespeare, 1564 - 1616

Not from the stars do I my judgment pluck,
And yet methinks I have astronomy;
But not to tell of good or evil luck,
Of plagues, of dearths, or seasons’ quality;
Nor can I fortune to brief minutes tell,
Pointing to each his thunder, rain, and wind,
Or say with princes if it shall go well
By oft predict that I in heaven find.
But from thine eyes my knowledge I derive,
And, constant stars, in them I read such art
As truth and beauty shall together thrive
If from thyself to store thou wouldst convert:
   Or else of thee this I prognosticate,
   Thy end is truth’s and beauty’s doom and date.

This poem is in the public domain.

Orpheus

 

William Shakespeare, 1564 - 1616

Orpheus with his lute made trees   
And the mountain tops that freeze   
  Bow themselves when he did sing:   
To his music plants and flowers   
Ever sprung; as sun and showers 
  There had made a lasting spring.   
  
Every thing that heard him play,   
Even the billows of the sea,   
  Hung their heads and then lay by.   
In sweet music is such art, 
  Killing care and grief of heart   
  Fall asleep, or hearing, die. 

Macbeth, Act IV, Scene I [Round about the cauldron go]

 

William Shakespeare, 1564 - 1616

The three witches, casting a spell

Round about the cauldron go;   
In the poison’d entrails throw.   
Toad, that under cold stone    
Days and nights hast thirty one   
Swelter’d venom sleeping got,   
Boil thou first i’ the charmed pot.   

     Double, double toil and trouble; 
     Fire burn and cauldron bubble.   

Fillet of a fenny snake,   
In the cauldron boil and bake;   
Eye of newt, and toe of frog,   
Wool of bat, and tongue of dog,   
Adder’s fork, and blind-worm’s sting,   
Lizard’s leg, and howlet’s wing,   
For a charm of powerful trouble, 
Like a hell-broth boil and bubble.   

     Double, double toil and trouble;   
     Fire burn and cauldron bubble.  

Scale of dragon, tooth of wolf,   
Witches’ mummy, maw and gulf  
Of the ravin’d salt-sea shark,  
Root of hemlock digg’d i’ the dark,  
Liver of blaspheming Jew,   
Gall of goat, and slips of yew  
Sliver’d in the moon’s eclipse,  
Nose of Turk, and Tartar’s lips,  
Finger of birth-strangled babe   
Ditch-deliver’d by a drab,  
Make the gruel thick and slab:  
Add thereto a tiger’s chaudron,  
For the ingredients of our cauldron.

     Double, double toil and trouble;   
     Fire burn and cauldron bubble.  

This poem is in the public domain.

As You Like It, Act II, Scene VII [All the world’s a stage]

 

William Shakespeare, 1564 - 1616

Jaques to Duke Senior

                   
                          All the world’s a stage,
And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts,
His acts being seven ages. At first, the infant,
Mewling and puking in the nurse’s arms.
Then the whining schoolboy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school. And then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow. Then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honor, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon’s mouth. And then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side;
His youthful hose, well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.

Lines 139-166. This poem is in the public domain.

Tempest, Act V, Scene I [Where the bee sucks, there suck I]

 

William Shakespeare, 1564 - 1616

Ariel sings

Where the bee sucks, there suck I:
In a cowslip’s bell I lie;
There I couch when owls do cry.
On the bat’s back I do fly
After summer merrily.   
Merrily, merrily shall I live now
Under the blossom that hangs on the bough.

Macbeth, Act I, Scene II [The merciless Macdonwald]

 

William Shakespeare, 1564 - 1616

A Sergeant, explaining Macbeth’s courage in battle against the rebel Macdonwald

                   The merciless Macdonwald—
Worthy to be a rebel, for to that
The multiplying villanies of nature
Do swarm upon him—from the western isles
Of kerns and gallowglasses is supplied;
And fortune, on his damned quarrel smiling,
Show’d like a rebel’s whore: but all’s too weak;
For brave Macbeth—well he deserves that name—
Disdaining fortune, with his brandish’d steel,
Which smoked with bloody execution,
Like valour’s minion carved out his passage
Till he faced the slave;
Which ne’er shook hands, nor bade farewell to him...

This poem is in the public domain.

Antony and Cleopatra, Act II, Scene II [The barge she sat in, like a burnish’d throne]

 

William Shakespeare, 1564 - 1616

Enobarbus describes Queen Cleopatra

Enobarbus: I will tell you.
The barge she sat in, like a burnish’d throne,
Burned on the water: the poop was beaten gold;
Purple the sails, and so perfumed that
The winds were lovesick with them; the oars were silver,
Which to the tune of flutes kept stroke, and made
The water which they beat to follow faster,
As amorous of their strokes. For her own person,
It beggar’d all description: she did lie
In her pavilion, cloth-of-gold of tissue,
O’erpicturing that Venus where we see
The fancy outwork nature: on each side her
Stood pretty dimpled boys, like smiling Cupids,
With divers-colour’d fans, whose wind did seem
To glow the delicate cheeks which they did cool,
And what they undid did.

Agrippa: O, rare for Antony.

Enobarbus: Her gentlewomen, like the Nereides,
So many mermaids, tended her i’ th’ eyes,
And made their bends adornings. At the helm
A seeming mermaid steers: the silken tackle
Swell with the touches of those flower-soft hands
That yarely frame the office. From the barge
A strange invisible perfume hits the sense
Of the adjacent wharfs. The city cast
Her people out upon her; and Antony,
Enthroned i’ th’ marketplace, did sit alone,
Whistling to th’ air; which, but for vacancy,
Had gone to gaze on Cleopatra too,
And made a gap in nature.

Agrippa: Rare Egyptian!

Enobarbus: Upon her landing, Antony sent to her,
Invited her to supper. She replied
It should be better he became her guest;
Which she entreated. Our courteous Antony,
Whom ne’er the word of “No” woman heard speak,
Being barbered ten times o’er, goes to the feast,
And for his ordinary, pays his heart
For what his eyes eat only.

Agrippa: Royal wench!
She made great Caesar lay his sword to bed;
He plowed her, and she cropped.

Enobarbus: I saw her once
Hop forty paces through the public street;
And having lost her breath, she spoke, and panted,
That she did make defect perfection,
And, breathless, pow’r breathe forth.

Maecenas: Now Antony must leave her utterly.

Enobarbus: Never; He will not:
Age cannot wither her, nor custom stale
Her infinite variety. Other women cloy
The appetites they feed, but she makes hungry
Where most she satisfies; for vilest things
Become themselves in her, that the holy priests
Bless her when she is riggish.

This poem is in the public domain.

The Winter’s Tale Act IV, Scene II [When daffodils begin to peer]

 

William Shakespeare, 1564 - 1616

A Road near the Shepherd’s Cottage. Enter Autolycus, singing.

When daffodils begin to peer,  
   With heigh! The doxy over the dale,
Why, then comes in the sweet o’ the year;
   For the red blood reigns in the winter’s pale.

The white sheet bleaching on the hedge,
   With heigh! the sweet birds, O, how they sing! 
Doth set my pugging tooth on edge;
   For a quart of ale is a dish for a king.

The lark, that tirra-lyra chants, 
   With heigh! with heigh! the thrush and the jay, 
Are summer songs for me and for my aunts,
   While we lie tumbling in the hay.

This poem is in the public domain.