Read Marble Faun & Green Bough Online
Authors: William Faulkner
Marble Faun & Green Bough
The Marble Faun
, Copyright, 1924, by The Four Seas Company, and Renewed 1952, by William Faulkner.
A Green Bough
, Copyright, 1933, and Renewed 1960, by William Faulkner.
FIRST RANDOM HOUSE EDITION
All rights reserved under International and Pan-American Copyright Conventions. Published in New York by Random House, Inc., and in Toronto, Canada, by Random House of Canada Limited.
eISBN: 978-0-307-87380-4
Library of Congress Catalog Card Number: 65-27492
v3.1
PUBLISHER’S NOTE
Faulkner’s two volumes of poetry are here reproduced photographically from copies of the original editions.
The Marble Faun
was issued on December 15, 1924, by The Four Seas Company (Boston), with an introduction by Phil Stone.
A Green Bough
was published on April 20, 1933, by Harrison Smith and Robert Haas (New York). There was a limited signed edition of 360 copies, as well as the regular trade edition.
Copyright, 1924, by
THE FOUR SEAS COMPANY
THE FOUR SEAS PRESS
BOSTON, MASS., U. S. A
.
To My Mother
T
HESE
are primarily the poems of youth and a simple heart. They are the poems of a mind that reacts directly to sunlight and trees and skies and blue hills, reacts without evasion or self-consciousness. They are drenched in sunlight and color as is the land in which they were written, the land which gave birth and sustenance to their author. He has roots in this soil as surely and inevitably as has a tree.
They are the poems of youth. One has to be at a certain age to write poems like these. They belong inevitably to that period of uncertainty and illusion. They are as youthful as cool spring grass.
They also have the defects of youth—youth’s impatience, unsophistication and immaturity. They have youth’s sheer joy at being alive in the sun and youth’s sudden, vague, unreasoned sadness over nothing at all.
It is seldom that much can be truthfully said for a first book beyond that it shows promise. And I think these poems show promise. They have an unusual feeling for
words and the music of words, a love of soft vowels, an instinct for color and rhythm, and—at times—a hint of coming muscularity of wrist and eye.
The author of these poems is a man steeped in the soil of his native land, a Southerner by every instinct, and, more than that, a Mississippian. George Moore said that all universal art became great by first being provincial, and the sunlight and mocking-birds and blue hills of North Mississippi are a part of this young man’s very being.
He is a man of varied outdoor experience, of wide reading, of quick humor, of the usual Southern alertness and flexibility of imagination, deeply schooled in the poets and their technical trials and accomplishments, and—above all—of rigid self-honesty. It is inevitable that this book should bear traces of other poets; probably all well-informed people have by this time learned that a poet does not spring full-fledged from the brow of Jove. He does have to be born with the native impulse, but he learns his trade from other poets by apprenticeship, just as a lawyer or a carpenter or a bricklayer learns his. It is inevitable that traces of apprenticeship should appear in a first book but a man who
has real talent will grow, will leave these things behind, will finally bring forth a flower that could have grown in no garden but his own. All that is needed—granted the original talent—is work and unflinching honesty.
On one of our long walks through the hills, I remarked that I thought the main trouble with Amy Lowell and her gang of drum-beaters was their eternal damned self-consciousness, that they always had one eye on the ball and the other eye on the grandstand. To which the author of these poems replied that his personal trouble as a poet seemed to be that he had one eye on the ball and the other eye on Babe Ruth. Surely there must be possibilities inherent in a mind so shrewdly and humorously honest.
PHIL STONE
Oxford, Mississippi
September 23, 1924
The poplar trees sway to and fro
That through this gray old garden go
Like slender girls with nodding heads,
Whispering above the beds
Of tall tufted hollyhocks,
Of purple asters and of phlox;
Caught in the daisies’ dreaming gold
Recklessly scattered wealth untold
About their slender graceful feet
Like poised dancers, lithe and fleet.
The candled flames of roses here
Gutter gold in this still air,
And clouds glide down the western sky
To watch this sun-drenched revery,
While the poplars’ shining crests
Lightly brush their silvered breasts,
Dreaming not of winter snows
That soon will shake their maiden rows.
The days dream by, golden-white,
About the fountain’s silver light
That lifts and shivers in the breeze
Gracefully slim as are the trees;
Then shakes down its glistered hair
Upon the still pool’s mirrored, fair
Flecked face.
Why am I sad? I?
Why am I not content? The sky
Warms me and yet I cannot break
My marble bonds. That quick keen snake
Is free to come and go, while I
Am prisoner to dream and sigh
For things I know, yet cannot know,
’Twixt sky above and earth below.
The spreading earth calls to my feet
Of orchards bright with fruits to eat,
Of hills and streams on either hand;
Of sleep at night on moon-blanched sand:
The whole world breathes and calls to me
Who marble-bound must ever be.
I
F
I were free, then I would go
Where the first chill spring winds blow,
Wrapping a light shocked mountain’s brow
With shrilling tongues, and swirling now,
And fiery upward flaming, leap
From craggy teeth above each deep
Cold and wet with silence. Here
I fly before the streaming year
Along the fierce cold mountain tops
To which the sky runs down and stops;
And with the old moon watching me
Leaping and shouting joyously
Along each crouching dark abyss
Through which waters rush and hiss,
I whirl the echoes west and east
To hover each copse where lurks the beast,
Silence, till they shatter back
Across the ravine’s smoky crack.
Here Pan’s sharp hoofed feet have pressed
His message on the chilly crest,
Saying—Follow where I lead,
For all the world springs to my reed
Woven up and woven down,
Thrilling all the sky and ground
With shivering heat and quivering cold;
To pierce and burst the swollen mold;
Shrilling in each waiting brake:
Come, ye living, stir and wake!
As the tumbling sunlight falls
Spouting down the craggy walls
To hiss upon the frozen rocks
That dot the hills in crouching flocks,
So I plunge in some deep vale
Where first violets, shy and pale,
Appear, and spring with tear-stained cheeks
Peeps at me from the neighboring brakes,
Gathering her torn draperies up
For flight if I cast my eyes up.
Swallows dart and skimming fly
Like arrows painted on the sky,
And the twanging of the string
Is the faint high quick crying
That they, downward shooting, spin
Through the soundless swelling din.
Dogwood shines through thin trees there
Like jewels in a woman’s hair;
A sudden brook hurries along
Singing its reverted song,
Flashing in white frothèd shocks
About upstanding polished rocks;
Slender shoots draw sharp and clear
And white withes shake as though in fear
Upon the quick stream’s melted snow
That seems to dance rather than flow.
Then on every hand awakes
From the dim and silent brakes
The breathing of the growing things,
The living silence of all springs
To come and that have gone before;
And upon a woodland floor
I watch the sylvans dance till dawn
While the brooding spring looks on.
The spring is quick with child, and sad;
And in her dampened hair sits clad
Watching the immortal dance
To the world’s throbbing dissonance
That Pan’s watchful shrill pipes blow
Of the fiery days that go
Like wine across the world; then high:
His pipes weave magic on the sky
Shrill with joy and pain of birth
Of another spring on earth.
H
ARK
! a sound comes from the brake
And I glide nearer like a snake
To peer into its leafy deeps
Where like a child the spring still sleeps.
Upon a chill rock gray and old
Where the willows’ simple fold
Falls, an unstirred curtain, Pan—
As he sat since the world began—
Stays and broods upon the scene
Beside a hushèd pool where lean
His own face and the bending sky
In shivering soundless amity.
Pan sighs, and raises to his lips
His pipes, down which his finger-tips
Wander lovingly; then low
And clearly simple does he blow
A single thin clear melody
That pauses, spreading liquidly,
While the world stands sharp and mute
Waiting for his magic flute.
A sudden strain, silver and shrill
As narrow water down a hill,
Splashes rippling as though drawn
In shattered quicksilver on
The willow curtain, and through which
It wanders without halt or hitch
Into silent meadows; when
It pauses, breathing, and again
Climbs as though to reach the sky
Like the soaring silver cry
Of some bird. A note picks out,
A silver moth that whirrs about
A single rose, then settles low
On the sorrowful who go
Along a willowed green-stained pool
To lie and sleep within its cool
Virginity.
