More Stately Mansions

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English text.

This is the ship of pearl, which, poets feign, Sails the unshadowed main, The venturous bark that flings On the sweet summer wind its purpled wings In gulfs enchanted, where the Siren sings, And coral reefs lie bare, Where the cold sea-maids rise to sun their streaming hair. Its webs of living gauze no more unfurl; Wrecked is the ship of pearl!

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The Chambered Nautilus (Build thee more stately mansions) (Crys Armbrust)

And every chambered cell, Where its dim dreaming life was wont to dwell, As the frail tenant shaped his growing shell, Before thee lies revealed, Its irised ceiling rent, its sunless crypt unsealed! Thanks for the heavenly message brought by thee, Child of the wandering sea, Cast from her lap, forlorn! While on mine ear it rings, Through the deep caves of thought I hear a voice that sings: Build thee more stately mansions, O my soul, As the swift seasons roll! Leave thy low-vaulted past! You are commenting using your Twitter account.


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Build Thee More Stately Mansions (Young)

Lady The Snail on the Wall says:. The Unexpur gated Edition.

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Edited by Martha Gilman Bower. In: Revue belge de philologie et d'histoire , tome 70, fasc.

New York, Oxford University Press, ; pp. Martha Bower is to be congratulated on her efforts in bringing to print the entirety of a play that had been unjustly abridged in its previous edition.

“Build Thee More Stately Mansions, O My Soul”

As such, the work, far from being unfinished, shows O'Neill at his most innovative — as far as dramatic structure is concerned — and at his most poetic — as far as his often denigrated literary style is concerned. In her splendid introduction to the play, Martha Bower describes the deletions that were made in the Gallup-Gierow version of the play, published by Yale University Press in The latter was to trace, had it been completed, the history of the Harford family of New England over more than a century.

In More Stately Mansions, O'Neill shows how Simon Harford, a born dreamer, is progressively corrupted by greed, after taking over his father's business. The playwright sees his predicament as symbolic of materialistic America at large. And in its full version, I would say that it does so to an even greater extent. The main cuts reinstated here are Act I, sc.

Act I, sc.

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