The Window Overlooking the Harbour
Sad is the Evening: all the level sandLies left and lonely, while the restless sea,Tired of the green caresses of the land,Withdraws into its own infinity.
But still more sad this white and chilly DawnFilling the vacant spaces of the sky,While little winds blow here and there forlornAnd all the stars, weary of shining, die.
And more than desolate, to wake, to rise,Leaving the couch, where softly sleeping still,What through the past night made my heaven, lies;And looking out across the window sill
See, from the upper window's vantage ground,Mankind slip into harness once again,And wearily resume his daily roundOf love and labour, toil and strife and pain.
How the sad thoughts slip back across the night:The whole thing seems so aimless and so vain.What use the raptures, passion and delight,Burnt out; as though they could not wake again.
The worn-out nerves and weary brain repeatThe question: Whither all these passions tend;--This curious thirst, so painful and so sweet,So fierce, so very short-lived, to what end?
Even, if seeking for ourselves, the Race,The only immortality we know,--Even if from the flower of our embraceSome spark should kindle, or some fruit should grow,
What were the use? the gain, to us or it,That we should cause another You or Me,--Another life, from our light passion lit,To suffer like ourselves awhile and die.
What aim, what end indeed? Our being runsIn a closed circle. All we know or seeTends to assure us that a thousand Suns,Teeming perchance with life, have ceased to be.
Ah, the grey Dawn seems more than desolate,And the past night of passion worse than waste,Love but a useless flower, that soon or late,Turns to a fruit with bitter aftertaste.
Youth, even Youth, seems futile and forlornWhile the new day grows slowly white above.Pale and reproachful comes the chilly DawnAfter the fervour of a night of love.
Words in this poem
- forlorn a.
- Deserted abandoned; lost. [OE., p.p. of forlesen to lose utterly, AS. forleósan (p.p. forloren); pref. for- + leósan (in comp.) to lose; cf. D. verliezen to lose, G. verlieren, Sw. förlor]
- vantage v. t.
- To profit; to aid.
- wearily adv.
- In a weary manner.
- resume n.
- A summing up; a condensed statement; an abridgment or brief recapitulation. [F. See Resume.]
- strife n.
- The act of striving; earnest endeavor. [OF. estrif. See Strive.]
- aimless a.
- Without aim or purpose; as, an aimless life.
- whither adv.
- To what place; -- used interrogatively; as, whither goest thou [OE. whider. AS. hwider; akin to E. where, who; cf. Goth. hvadre whither. See Who, and cf. Hither, Thither.]
- curious a.
- Difficult to please or satisfy; solicitous to be correct; careful; scrupulous; nice; exact. [OF. curios, curius, F. curieux, L. curiosus careful, inquisitive, fr. cura care. See Cure.]
- awhile adv.
- For a while; for some time; for a short time. [Adj. a + while time, interval.]
- teeming a.
- Prolific; productive.
- aftertaste n.
- A taste which remains in the mouth after eating or drinking.
- futile a.
- Talkative; loquacious; tattling. [L. futilis that easily pours out, that easily lets loose, vain, worthless, from the root of fundere to pour out: cf. F. futile. See Fuse, v. t.]
- fervour n.
- Heat; excessive warmth. [OF. fervor, fervour, F. ferveur, L. fervor, fr. fervere. See Fervent.]
Definitions and etymologies from Webster's Unabridged Dictionary, 1913.
About this text
The Window Overlooking the Harbour is in the public domain. This text is taken from India's Love Lyrics, Project Gutenberg ebook #8197; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.
Cite as: Laurence Hope, The Window Overlooking the Harbour, in India's Love Lyrics (1901), text of Project Gutenberg ebook #8197, Laurel, https://laurelpoetry.com/poem/hope-india/the-window-overlooking-the-harbour.html, id L22618.
Form and metre
The Window Overlooking the Harbour is 44 lines in 11 stanzas of 4 lines each. The rhyme scheme is ABAB, complete in 8 of its 11 stanzas. The metre is iambic pentameter, measured from the stress the words themselves fix (confidence 87%).
See other poems in iambic pentameter.
Measured by Laurel's pipeline, not copied from a handbook: how stress and metre are counted, how rhyme is lettered, how a drifted rhyme is found. Where the dictionary cannot confirm a rhyme the letter is withheld, not guessed.
Rhyme words, stanza by stanza
The word that ends each line, lettered by the rhyme it makes; a dash is a line whose rhyme the dictionary could not confirm.
- 1 A-A- sandA · sea · landA · infinity
- 2 -A-A dawn · skyA · forlorn · dieA
- 3 ABAB riseA · stillB · liesA · sillB
- 4 ABAB groundA · againB · roundA · painB
- 5 ABAB nightA · vainB · delightA · againB
- 6 ABAB repeatA · tendB · sweetA · endB
- 7 ABAB raceA · knowB · embraceA · growB
- 8 ABAB itA · meB · litA · dieB
- 9 ABAB runsA · seeB · sunsA · beB
- 10 ABAB desolateA · wasteB · lateA · aftertasteB
- 11 -A-A forlorn · aboveA · dawn · loveA
Scansion, line by line
Each line with its syllable count and the stresses the words themselves fix: / stressed, ˘ unstressed, · a syllable the word leaves free and the metre decides. Read against iambic pentameter. How this is done.
| Line | Syl. | Stress |
|---|---|---|
| Sad is the Evening: all the level sand | 10 | ···/˘··/˘· |
| Lies left and lonely, while the restless sea, | 10 | ···/˘··/˘· |
| Tired of the green caresses of the land, | 10 | /···˘/˘··· |
| Withdraws into its own infinity. | 10 | ˘/····˘/˘˘ |
| But still more sad this white and chilly Dawn | 10 | ·······/˘· |
| Filling the vacant spaces of the sky, | 10 | /˘·/˘/˘··· |
| While little winds blow here and there forlorn | 10 | ·/˘·····˘/ |
| And all the stars, weary of shining, die. | 10 | ····/˘·/˘· |
| And more than desolate, to wake, to rise, | 10 | ···/˘····· |
| Leaving the couch, where softly sleeping still, | 10 | /˘···/˘/˘· |
| What through the past night made my heaven, lies; | 10 | ·······/˘· |
| And looking out across the window sill | 10 | ·/˘·˘/·/˘· |
| See, from the upper window's vantage ground, | 10 | ···/˘/˘/˘· |
| Mankind slip into harness once again, | 10 | //···/˘·˘/ |
| And wearily resume his daily round | 10 | ·/˘˘˘/·/˘· |
| Of love and labour, toil and strife and pain. | 10 | ···/······ |
| How the sad thoughts slip back across the night: | 10 | ······˘/·· |
| The whole thing seems so aimless and so vain. | 10 | ·····/˘··· |
| What use the raptures, passion and delight, | 10 | ···/˘/˘·˘/ |
| Burnt out; as though they could not wake again. | 10 | ········˘/ |
| The worn-out nerves and weary brain repeat | 10 | ·····/˘·˘/ |
| The question: Whither all these passions tend;-- | 10 | ·/˘/˘··/˘· |
| This curious thirst, so painful and so sweet, | 10 | ·/˘··/˘··· |
| So fierce, so very short-lived, to what end? | 10 | ···/˘····· |
| Even, if seeking for ourselves, the Race, | 10 | /·/˘·˘˘/·· |
| The only immortality we know,-- | 10 | ·/˘·˘/˘˘·· |
| Even if from the flower of our embrace | 10 | /···/·/˘˘/ |
| Some spark should kindle, or some fruit should grow, | 10 | ···/˘····· |
| What were the use? the gain, to us or it, | 10 | ·········· |
| That we should cause another You or Me,-- | 10 | ····˘/˘··· |
| Another life, from our light passion lit, | 10 | ˘/˘··/·/˘· |
| To suffer like ourselves awhile and die. | 10 | ·/˘·˘/˘/·· |
| What aim, what end indeed? Our being runs | 10 | ····˘///˘· |
| In a closed circle. All we know or see | 10 | ···/˘····· |
| Tends to assure us that a thousand Suns, | 10 | ··˘/···/˘· |
| Teeming perchance with life, have ceased to be. | 10 | /˘˘/······ |
| Ah, the grey Dawn seems more than desolate, | 10 | ·······/˘· |
| And the past night of passion worse than waste, | 10 | ·····/˘··· |
| Love but a useless flower, that soon or late, | 10 | ···/˘/···· |
| Turns to a fruit with bitter aftertaste. | 10 | ·····/˘/˘· |
| Youth, even Youth, seems futile and forlorn | 10 | ·/˘··/˘·˘/ |
| While the new day grows slowly white above. | 10 | ·····/˘··· |
| Pale and reproachful comes the chilly Dawn | 10 | ··˘/˘··/˘· |
| After the fervour of a night of love. | 10 | ···/˘····· |
The reader shows the same poem with its rhymes coloured and a stress row above each line, the notes beside their stanzas, and any word's definition on a tap; the analysis page takes the whole book apart. How every part of this site was made.