“One murmurs soft and low a woman's name;
And here a vet'ran soldier calm and still
As sculptured marble sleeps, and roams at will
Through eastern lands where sunbeams scorch like flame,
By rich bazaar and town, and wood-wrapt snow-crowned hill.”

"Ode: Sung on the Occasion of Decorating the Graves of the Confederate Dead at Magnolia Cemetery, Charleston, S.C., 1867", st. 1 & 5

Qual vento a cui s'oppone o selva o colle,
Doppia nella contesa i soffj e l'ira;
Ma con fiato più placido e più molle
Per le campagne libere poi spira.
Come fra scoglj il mar spuma e ribolle:
E nell'aperto onde più chete aggira.
Così quanto contrasto avea men saldo,
Tanto scemava il suo furor Rinaldo.
Canto XX, stanza 58 (tr. Fairfax)
Gerusalemme Liberata (1581)

Speech on the St. Croix and Bayfield Railroad Bill, Jan. 27, 1871; Knott made this satirical speech, sometimes titled as Duluth! or The Untold Delights of Duluth, while serving in the United States House of Representatives; the speech lampooned Western boosterism by portraying Duluth, Minnesota, in fantastical and glowing language.

Source: 1890s, The Mountains of California (1894), chapter 8: The Forests <!-- Terry Gifford, EWDB, page 360 -->

1920s, Address at the Black Hills (1927)

"The Express" (l. 25–27) in Norton Anthology of Modern Poetry (1988) edited by Richard Ellmann and Robert O’Clair

Drifting.

Directive (1947)
Context: Back out of all this now too much for us,
Back in a time made simple by the loss
Of detail, burned, dissolved, and broken off
Like graveyard marble sculpture in the weather,
There is a house that is no more a house
Upon a farm that is no more a farm
And in a town that is no more a town.
The road there, if you'll let a guide direct you
Who only has at heart your getting lost,
May seem as if it should have been a quarry –
Great monolithic knees the former town
Long since gave up pretense of keeping covered.
And there's a story in a book about it…

St, 24
Thyrsis (1866)