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Show 60 MADELYN CANNON STEWART SILVER symbol; that is, he is both a tangible person and also the repre sentative of a host of feelings and life experiences that his com ing suggests. She must make a decision whether to open the French doors to him or close him out. MOONLIGHT There are gray flecked squares on the dark gray floor, Squares bordered and crossed, like the tall French door. Oh, I know it's the moon, hanging round and clear, Oh, I know it's the moon, unafraid and dear. But I'm thinking the sky is a great dark thing, And I'm fearing the tune that my heart will sing. There's a shadow crossing the moon-flecked floor, And a Presence out there by the tall French door. Oh I know it is love, in the still white light, Oh I know it is love, and I'm ready-quite. But I'm thinking that life is a great, strange thing, And I tremble at all that the years may bring. . But my feet bear me over the dark gray floor, And my fingers throw open the tall French door, And I look into eyes that are kind and clear, Oh I knew it was love, and I'm here, I'm here! Two shadows glide over the soft gray floor, Just in front of the moon, by the tall French door," Resolution of her dilemma occurs in the last stanza as the speaker opens the door of her life to a beloved. The poem's symbol of shadows-this time two together-sub tly tells us that she has accepted her lover and the new commit ments, joyful and threatening, that this involves. The mood of her poetry is not always so optimistic and antic return to the ipatory. In the Italian sonnet "Autumn" she suggests that romance, like the seasons, moves from times of warmth to chill. AUTUMN This morning Autumn came; I did not know Of its arrival; sunshine was too bright, |
