# Faces in the Street

They lie, the men who tell us in a loud decisive tone That want is here a stranger, and that misery's unknown; For where the nearest suburb and the city proper meet My window-sill is level with the faces in the street —  Drifting past, drifting past,  To the beat of weary feet — While I sorrow for the owners of those faces in the street.
And cause I have to sorrow, in a land so young and fair, To see upon those faces stamped the marks of Want and Care; I look in vain for traces of the fresh and fair and sweet In sallow, sunken faces that are drifting through the street -  Drifting on, drifting on,  To the scrape of restless feet; I can sorrow for the owners of the faces in the street.
In hours before the dawning dims the starlight in the sky The wan and weary faces first begin to trickle by, Increasing as the moments hurry on with morning feet, Till like a pallid river flow the faces in the street —  Flowing in, flowing in,  To the beat of hurried feet — Ah! I sorrow for the owners of those faces in the street.
The human river dwindles when 'tis past the hour of eight, Its waves go flowing faster in the fear of being late; But slowly drag the moments, whilst beneath the dust and heat The city grinds the owners of the faces in the street —  Grinding body, grinding soul,  Yielding scarce enough to eat — Oh! I sorrow for the owners of the faces in the street.
And then the only faces till the sun is sinking down Are those of outside toilers and the idlers of the town, Save here and there a face that seems a stranger in the street, Tells of the city's unemployed upon his weary beat —  Drifting round, drifting round,  To the tread of listless feet — Ah! My heart aches for the owner of that sad face in the street.
And when the hours on lagging feet have slowly dragged away, And sickly yellow gaslights rise to mock the going day, Then flowing past my window like a tide in its retreat, Again I see the pallid stream of faces in the street —  Ebbing out, ebbing out,  To the drag of tired feet, While my heart is aching dumbly for the faces in the street.
And now all blurred and smirched with vice the day's sad pages end, For while the short 'large hours' toward the longer 'small hours' trend, With smiles that mock the wearer, and with words that half entreat, Delilah pleads for custom at the corner of the street —  Sinking down, sinking down,  Battered wreck by tempests beat — A dreadful, thankless trade is hers, that Woman of the Street.
But, ah! to dreader things than these our fair young city comes, For in its heart are growing thick the filthy dens and slums, Where human forms shall rot away in sties for swine unmeet, And ghostly faces shall be seen unfit for any street —  Rotting out, rotting out,  For the lack of air and meat — In dens of vice and horror that are hidden from the street.
I wonder would the apathy of wealthy men endure Were all their windows level with the faces of the Poor? Ah! Mammon's slaves, your knees shall knock, your hearts in terror beat, When God demands a reason for the sorrows of the street,  The wrong things and the bad things  And the sad things that we meet In the filthy lane and alley, and the cruel, heartless street.
I left the dreadful corner where the steps are never still, And sought another window overlooking gorge and hill; But when the night came dreary with the driving rain and sleet, They haunted me — the shadows of those faces in the street,  Flitting by, flitting by,  Flitting by with noiseless feet, And with cheeks but little paler than the real ones in the street.
 nce I cried: "Oh, God Almighty! if Thy might doth still endure, Now show me in a vision for the wrongs of Earth a cure." And, lo! with shops all shuttered I beheld a city's street, And in the warning distance heard the tramp of many feet,  Coming near, coming near,  To a drum's dull distant beat, And soon I saw the army that was marching down the street.
Then, like a swollen river that has broken bank and wall, The human flood came pouring with the red flags over all, And kindled eyes all blazing bright with revolution's heat, And flashing swords reflecting rigid faces in the street.  Pouring on, pouring on,  To a drum's loud threatening beat, And the war-hymns and the cheering of the people in the street.
And so it must be while the world goes rolling round its course, The warning pen shall write in vain, the warning voice grow hoarse, But not until a city feels Red Revolution's feet Shall its sad people miss awhile the terrors of the street —  The dreadful everlasting strife  For scarcely clothes and meat In that pent track of living death — the city's cruel street.
This work is in the public domain in Australia because it was created in Australia and the term of copyright has expired. According to Australian Copyright Council - Duration of Copyright, the following works are public domain:
* published non-government works whose author died before January 1, 1955,
* anonymous or pseudonymous works and photographs published before January 1, 1955, and
* government works published more than 50 years ago (before January 1, 1974).
This work is also in the public domain in the United States because it was first published outside the United States (and not published in the U.S. within 30 days), and it was first published before 1989 without complying with U.S. copyright formalities (renewal and/or copyright notice) and it was in the public domain in Australia on the URAA date (January 1, 1996). This is the combined effect of Australia having joined the Berne Convention in 1928, and of 17 USC 104A with its critical date of January 1, 1996.
Because the Australian copyright term in 1996 was 50 years, the critical date for copyright in the United States under the URAA is January 1, 1946.
This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
Public domainPublic domainfalsefalse
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse