Written by
Jonathan Swift |
Her dead lady's joy and comfort,
Who departed this life
The last day of March, 1727:
To the great joy of Bryan
That his antagonist is gone.
And is poor Tiger laid at last so low?
O day of sorrow! -Day of dismal woe!
Bloodhounds, or spaniels, lap-dogs, 'tis all one,
When Death once whistles -snap! -away they're gone.
See how she lies, and hangs her lifeless ears,
Bathed in her mournful lady's tears!
Dumb is her throat, and wagless is her tail,
Doomed to the grave, to Death's eternal jail!
In a few days this lovely creature must
First turn to clay, and then be changed to dust.
That mouth which used its lady's mouth to lick
Must yield its jaw-bones to the worms to pick.
That mouth which used the partridge-wing to eat
Must give its palate to the worms to eat.
Methinks I see her now in Charon's boat
Bark at the Stygian fish which round it float;
While Cerberus, alarmed to hear the sound,
Makes Hell's wide concave bellow all around.
She sees him not, but hears him through the dark,
And valiantly returns him bark for bark.
But now she trembles -though a ghost, she dreads
To see a dog with three large yawning heads.
Spare her, you hell-hounds, case your frightful paws,
And let poor Tiger 'scape your furious jaws.
Let her go safe to the Elysian plains,
Where Hylax barks among the Mantuan swains;
There let her frisk about her new-found love:
She loved a dog when she was here above.
The Epitaph
Here lies beneath this marble
An animal could bark, or warble:
Sometimes a *****, sometimes a bird,
Could eat a tart, or eat a t -.
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Written by
Robert Browning |
Si credere dignum est.--Virgil, Georgics, III, 390
Oh, worthy of belief I hold it was,
Virgil, your legend in those strange three lines!
No question, that adventure came to pass
One black night in Arcadia: yes, the pines,
Mountains and valleys mingling made one mass
Of black with void black heaven: the earth's confines,
The sky's embrace,--below, above, around,
All hardened into black without a bound.
Fill up a swart stone chalice to the brim
With fresh-squeezed yet fast-thickening poppy-juice:
See how the sluggish jelly, late a-swim,
Turns marble to the touch of who would loose
The solid smooth, grown jet from rim to rim,
By turning round the bowl! So night can fuse
Earth with her all-comprising sky. No less,
Light, the least spark, shows air and emptiness.
And thus it proved when--diving into space,
Stript of all vapor, from each web of mist,
Utterly film-free--entered on her race
The naked Moon, full-orbed antagonist
Of night and dark, night's dowry: peak to base,
Upstarted mountains, and each valley, kissed
To sudden life, lay silver-bright: in air
Flew she revealed, Maid-Moon with limbs all bare.
Still as she fled, each depth,--where refuge seemed--
Opening a lone pale chamber, left distinct
Those limbs: mid still-retreating blue, she teemed
Herself with whiteness,--virginal, uncinct
By any halo save what finely gleamed
To outline not disguise her: heavenwas linked
In one accord with earth to quaff the joy,
Drain beauty to the dregs without alloy.
Whereof she grew aware. What help? When, lo,
A succorable cloud with sleep lay dense:
Some pinetree-top had caught it sailing slow,
And tethered for a prize: in evidence
Captive lay fleece on fleece of piled-up snow
Drowsily patient: flake-heaped how or whence,
The structure of that succorable cloud,
What matter? Shamed she plunged into its shroud.
Orbed--so the woman-figure poets call
Because of rounds on rounds--that apple-shaped
Head which its hair binds close into a ball
Each side the curving ears--that pure undraped
Pout of the sister paps--that . . . once for all,
Say--her consummate circle thus escaped
With its innumerous circlets, sank absorbed,
Safe in the cloud--O naked Moon full-orbed!
But what means this? The downy swathes combine,
Conglobe, the smothery coy-caressing stuff
Curdles about her! Vain each twist and twine
Those lithe limbs try, encroached on by a fluff
Fitting as close as fits the dented spine
Its flexible ivory outside-flesh: enough!
The plumy drifts contract, condense, constringe,
Till she is swallowed by the feathery springe.
As when a pearl slips lost in the thin foam
Churned on a sea-shore, and, o'er-frothed, conceits
Herself safe-housed in Amphitrite's dome,--
If, through the bladdery wave-worked yeast, she meets
What most she loathes and leaps from,--elf from gnome
No gladlier,--finds that safest of retreats
Bubble about a treacherous hand wide ope
To grasp her--(divers who pick pearls so grope)--
So lay this Maid-Moon clasped around and caught
By rough red Pan, the god of all that tract:
He it was schemed the snare thus subtly wrought
With simulated earth-breath,--wool-tufts packed
Into a billowy wrappage. Sheep far-sought
For spotless shearings yield such: take the fact
As learned Virgil gives it,--how the breed
Whitens itself forever: yes, indeed!
If one forefather ram, though pure as chalk
From tinge on fleece, should still display a tongue
Black 'neath the beast's moist palate, prompt men balk
The propagating plague: he gets no young:
They rather slay him,--sell his hide to calk
Ships with, first steeped with pitch,--nor hands are wrung
In sorrow for his fate: protected thus,
The purity we loved is gained for us. So did girl-Moon, by just her attribute
Of unmatched modesty betrayed, lie trapped,
Bruised to the breast of Pan, half god half brute,
Raked by his bristly boar-sward while he lapped
--Never say, kissed her! that were to pollute
Love's language--which moreover proves unapt
To tell how she recoiled--as who finds thorns
Where she sought flowers--when, feeling, she touched--horns!
Then--does the legend say?--first moon-eclipse
Happened, first swooning-fit which puzzled sore
The early sages? Is that why she dips
Into the dark, a minute and no more,
Only so long as serves her while she rips
The cloud's womb through and, faultless as before,
Pursues her way? No lesson for a maid
Left she, a maid herself thus trapped, betrayed?
Ha, Virgil? Tell the rest, you! "To the deep
Of his domain the wildwood, Pan forthwith
Called her, and so she followed"--in her sleep,
Surely?--"by no means spurning him." The myth
Explain who may! Let all else go, I keep
--As of a ruin just a monolith--
Thus much, one verse of five words, each a boon:
Arcadia, night, a cloud, Pan, and the moon.
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Written by
Federico García Lorca |
The fat lady came out first,
tearing out roots and moistening drumskins.
The fat lady
who turns dying octopuses inside out.
The fat lady, the moon's antagonist,
was running through the streets and deserted buildings
and leaving tiny skulls of pigeons in the corners
and stirring up the furies of the last centuries' feasts
and summoning the demon of bread through the sky's clean-swept hills
and filtering a longing for light into subterranean tunnels.
The graveyards, yes the graveyards
and the sorrow of the kitchens buried in sand,
the dead, pheasants and apples of another era,
pushing it into our throat.
There were murmuring from the jungle of vomit
with the empty women, with hot wax children,
with fermented trees and tireless waiters
who serve platters of salt beneath harps of saliva.
There's no other way, my son, vomit! There's no other way.
It's not the vomit of hussars on the breasts of their whores,
nor the vomit of cats that inadvertently swallowed frogs,
but the dead who scratch with clay hands
on flint gates where clouds and desserts decay.
The fat lady came first
with the crowds from the ships, taverns, and parks.
Vomit was delicately shaking its drums
among a few little girls of blood
who were begging the moon for protection.
Who could imagine my sadness?
The look on my face was mine, but now isn't me,
the naked look on my face, trembling for alcohol
and launching incredible ships
through the anemones of the piers.
I protect myself with this look
that flows from waves where no dawn would go,
I, poet without arms, lost
in the vomiting multitude,
with no effusive horse to shear
the thick moss from my temples.
The fat lady went first
and the crowds kept looking for pharmacies
where the bitter tropics could be found.
Only when a flag went up and the first dogs arrived
did the entire city rush to the railings of the boardwalk.
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Written by
Francesco Petrarch |
SONNET CXXXVI. Pien d' un vago pensier, che me desvia. HIS TONGUE IS TIED BY EXCESS OF PASSION. Such vain thought as wonted to mislead meIn desert hope, by well-assurèd moan,Makes me from company to live alone,In following her whom reason bids me flee.She fleeth as fast by gentle cruelty;And after her my heart would fain be gone,But armèd sighs my way do stop anon,'Twixt hope and dread locking my liberty;Yet as I guess, under disdainful browOne beam of ruth is in her cloudy look:Which comforteth the mind, that erst for fear shook:And therewithal bolded I seek the way howTo utter the smart I suffer within;But such it is, I not how to begin. Wyatt. Full of a tender thought, which severs meFrom all my kind, a lonely musing thing,From my breast's solitude I sometimes spring,Still seeking her whom most I ought to flee;And see her pass though soft, so adverse she,[Pg 160]That my soul spreads for flight a trembling wing:Of armèd sighs such legions does she bring,The fair antagonist of Love and me.Yet from beneath that dark disdainful brow,Or much I err, one beam of pity flows,Soothing with partial warmth my heart's distress:Again my bosom feels its wonted glow!But when my simple hope I would disclose,My o'er-fraught faltering tongue the crowded thoughts oppress. Wrangham.
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