The rubaiyat of a modern bachelor

The rubaiyat of a modern bachelor. John F. Power. Artisted by Jim Russell.
Sydney, Australasian Pub. Co., 1943. 92 p.

72 quatrains

Biegstraaten 66

The Old Woman who lived in a Shoe

The Old Woman who lived in a Shoe.
In: The poets in the nursery. By Charles Powell with an introduction by John Drinkwater.
London ; New York : Lane, The Bodley Head, 1920. 80 p. Pp. 57-59.
7 quatrains.

Potter 1177

The Old Woman who lived in a Shoe

Omar Khayyám

Some for the Patter of Little Feet: and some
Sigh for their Flight to the Nothing whence they come.
Ah, take the Chance and let the Children go.
Risk any Fate but an eternal Drum.

Lo, that marineless Boat they call a Shoe,
That shelters Me and my Rebellious Crew,
I’d strip it of its leather, potent-tanned,
And potently I’d tan the Children, too.

The Boy no question makes of has his Nose
Been wiped or not, or where the wiper goes.
Ask Him that spheres aloft the Gilded Three:
He knows about it all — He knows —HE knows!

There was the Keyhole that refused the Key:
There was the Pail that set the Water free
And when I ask, Who bored, who bunged the Hole?
Each renders answer, “Oh, it wasn’t Me!”

And when Another of the precious Lot
Is set to make the Water boiling hot,
And round the Pot still Potters, and I say,
“You’ve let the Pot run dry,” —”Oh, go to Pot!”

I sometimes think that never tastes so dead
The Broth as when it’s eaten sans the Bread:
That every Palm-tree in the Desert bears
A Bough for smiting some young Dunderhead.

A Look of Curses underneath the Bough,
A Juggle, a Whine, no Loaf, but Bed—and thou-
-sand Jackals howling in the Wilderness,
Beside It, were as parodies “Miaou!”

The O.K. verses

The O.K. verses. Percival L.D. Perry
In: Olympia Exhibition, 1907. 30 p.
72 quatrains.
An Advt. for the Motor Car trade.

Potter 1129

Omar Khayyám

Omar Khayyám
In: Ball-Room Ballads. By K.L. Orde. Illustrated by S.L. Vere.
London : Goschen, 1914. x, 74 p. P. 6.

Potter 1163

Omar Khayyám

Arise! for Haxton in among the band
Has rapped his baton on the music-stand,
And lo ! the pianist and first violin
Have set a one-step ready to their hand.

Ah! my Beloved! hear the tune that clears
To-night of past regrets and future fears —
What, Jim’s dance? Why poor Jim’s dance it may be,
But have you noticed how the blighter steers!

Come, could not we with india-rubber conspire
To “cook” your programme making it a liar;
Or tear the bally thing to bits, and then
Fill up another with my name entire.

Ah, Partner mine, you know that you are fain
To dance with me again and yet again;
Come plunge into the crowd and Jim shall look
Thro’ this dense ball-room after us in vain