The four rivers that run there,
Through well-mown level ground
Have come out of a blessed well
That is all bound and wound
By the great roots of an apple,
And all fowls of the air
Have gathered in the wide branches
And Keep singing there.
Through well-mown level ground
Have come out of a blessed well
That is all bound and wound
By the great roots of an apple,
And all fowls of the air
Have gathered in the wide branches
And Keep singing there.
Yeats
His music is, perhaps, too elaborate, simple though
it is. I have not had sufficient opportunity to experiment with the
play to find out the exact distance from ordinary speech necessary in
the first two lyrics, which must prolong the mood of the dialogue while
being a rest from its passions. Miss Farr's music will be used at the
next revival of the play.
Mr. Darley's music for _Shadowy Waters_ was supposed to be played
upon Forgael's magic harp, and it accompanied words of Dectora's and
Aibric's. It was played in reality upon a violin, always pizzicato,
and gave the effect of harp playing, at any rate of a magic harp. The
'cues' are all given and the words are printed under the music. The
violinist followed the voice, except in the case of the 'O', where it
was the actress that had to follow.
W. B. YEATS.
_March, 1908. _
THE KING'S THRESHOLD.
_THE FOUR RIVERS. _
FLORENCE FARR.
The four rivers that run there,
Through well-mown level ground
Have come out of a blessed well
That is all bound and wound
By the great roots of an apple,
And all fowls of the air
Have gathered in the wide branches
And Keep singing there.
ON BAILE'S STRAND.
_THE FOOL'S SONG. _
FLORENCE FARR.
Cuchulain has killed kings,
Kings and sons of kings,
Dragons out of the water and witches out of the air,
Banachas and Bonachas and people of the woods.
Witches that steal the milk,
Fomor that steal the children,
Hags that have heads like hares,
Hares that have claws like witches,
All riding a-cock-horse,
Out of the very bottom of the bitter black north.
ON BAILE'S STRAND.
_SONG OF THE WOMEN. _
FLORENCE FARR.
May this fire have driven out
The shape-changers that can put
Ruin on a great king's house,
Until all be ruinous.
Names whereby a man has known
The threshold and the hearthstone,
Gather on the wind and drive
Women none can kiss and thrive,
For they are but whirling wind,
Out of memory and mind.
They would make a prince decay
With light images of clay
Planted in the running wave;
Or for many shapes they have,
They would change them into hounds
Until he had died of his wounds
Though the change were but a whim;
Or they'd hurl a spell at him,
That he follow with desire
Bodies that can never tire
Or grow kind, for they anoint
All their bodies joint by joint
With a miracle-working juice
That is made out of the grease
Of the ungoverned unicorn;
But the man is thrice forlorn
Emptied, ruined, wracked, and lost,
That they follow, for at most
They will give him kiss for kiss
While they murmur "After this
Hatred may be sweet to the taste;"
Those wild hands that have embraced
All his body can but shove
At the burning wheel of love
Till the side of hate comes up.
Therefore in this ancient cup
May the sword-blades drink their fill
Of the home-brew there, until
They will have for master none
But the threshold and hearthstone.
_THE FOOL'S SONG. _--II.
FLORENCE FARR.
it is. I have not had sufficient opportunity to experiment with the
play to find out the exact distance from ordinary speech necessary in
the first two lyrics, which must prolong the mood of the dialogue while
being a rest from its passions. Miss Farr's music will be used at the
next revival of the play.
Mr. Darley's music for _Shadowy Waters_ was supposed to be played
upon Forgael's magic harp, and it accompanied words of Dectora's and
Aibric's. It was played in reality upon a violin, always pizzicato,
and gave the effect of harp playing, at any rate of a magic harp. The
'cues' are all given and the words are printed under the music. The
violinist followed the voice, except in the case of the 'O', where it
was the actress that had to follow.
W. B. YEATS.
_March, 1908. _
THE KING'S THRESHOLD.
_THE FOUR RIVERS. _
FLORENCE FARR.
The four rivers that run there,
Through well-mown level ground
Have come out of a blessed well
That is all bound and wound
By the great roots of an apple,
And all fowls of the air
Have gathered in the wide branches
And Keep singing there.
ON BAILE'S STRAND.
_THE FOOL'S SONG. _
FLORENCE FARR.
Cuchulain has killed kings,
Kings and sons of kings,
Dragons out of the water and witches out of the air,
Banachas and Bonachas and people of the woods.
Witches that steal the milk,
Fomor that steal the children,
Hags that have heads like hares,
Hares that have claws like witches,
All riding a-cock-horse,
Out of the very bottom of the bitter black north.
ON BAILE'S STRAND.
_SONG OF THE WOMEN. _
FLORENCE FARR.
May this fire have driven out
The shape-changers that can put
Ruin on a great king's house,
Until all be ruinous.
Names whereby a man has known
The threshold and the hearthstone,
Gather on the wind and drive
Women none can kiss and thrive,
For they are but whirling wind,
Out of memory and mind.
They would make a prince decay
With light images of clay
Planted in the running wave;
Or for many shapes they have,
They would change them into hounds
Until he had died of his wounds
Though the change were but a whim;
Or they'd hurl a spell at him,
That he follow with desire
Bodies that can never tire
Or grow kind, for they anoint
All their bodies joint by joint
With a miracle-working juice
That is made out of the grease
Of the ungoverned unicorn;
But the man is thrice forlorn
Emptied, ruined, wracked, and lost,
That they follow, for at most
They will give him kiss for kiss
While they murmur "After this
Hatred may be sweet to the taste;"
Those wild hands that have embraced
All his body can but shove
At the burning wheel of love
Till the side of hate comes up.
Therefore in this ancient cup
May the sword-blades drink their fill
Of the home-brew there, until
They will have for master none
But the threshold and hearthstone.
_THE FOOL'S SONG. _--II.
FLORENCE FARR.
