Written by
Robert Pinsky |
to Robert Hass and in memory of Elliot Gilbert
Slow dulcimer, gavotte and bow, in autumn,
Bashõ and his friends go out to view the moon;
In summer, gasoline rainbow in the gutter,
The secret courtesy that courses like ichor
Through the old form of the rude, full-scale joke,
Impossible to tell in writing.
"Bashõ"
He named himself, "Banana Tree": banana
After the plant some grateful students gave him,
Maybe in appreciation of his guidance
Threading a long night through the rules and channels
Of their collaborative linking-poem
Scored in their teacher's heart: live, rigid, fluid
Like passages etched in a microscopic cicuit.
Elliot had in his memory so many jokes
They seemed to breed like microbes in a culture
Inside his brain, one so much making another
It was impossible to tell them all:
In the court-culture of jokes, a top banana.
Imagine a court of one: the queen a young mother,
Unhappy, alone all day with her firstborn child
And her new baby in a squalid apartment
Of too few rooms, a different race from her neighbors.
She tells the child she's going to kill herself.
She broods, she rages.
Hoping to distract her,
The child cuts capers, he sings, he does imitations
Of different people in the building, he jokes,
He feels if he keeps her alive until the father
Gets home from work, they'll be okay till morning.
It's laughter versus the bedroom and the pills.
What is he in his efforts but a courtier?
Impossible to tell his whole delusion.
In the first months when I had moved back East
From California and had to leave a message
On Bob's machine, I used to make a habit
Of telling the tape a joke; and part-way through,
I would pretend that I forgot the punchline,
Or make believe that I was interrupted--
As though he'd be so eager to hear the end
He'd have to call me back.
The joke was Elliot's,
More often than not.
The doctors made the blunder
That killed him some time later that same year.
One day when I got home I found a message
On my machine from Bob.
He had a story
About two rabbis, one of them tall, one short,
One day while walking along the street together
They see the corpse of a Chinese man before them,
And Bob said, sorry, he forgot the rest.
Of course he thought that his joke was a dummy,
Impossible to tell--a dead-end challenge.
But here it is, as Elliot told it to me:
The dead man's widow came to the rabbis weeping,
Begging them, if they could, to resurrect him.
Shocked, the tall rabbi said absolutely not.
But the short rabbi told her to bring the body
Into the study house, and ordered the shutters
Closed so the room was night-dark.
Then he prayed
Over the body, chanting a secret blessing
Out of Kabala.
"Arise and breathe," he shouted;
But nothing happened.
The body lay still.
So then
The little rabbi called for hundreds of candles
And danced around the body, chanting and praying
In Hebrew, then Yiddish, then Aramaic.
He prayed
In Turkish and Egyptian and Old Galician
For nearly three hours, leaping about the coffin
In the candlelight so that his tiny black shoes
Seemed not to touch the floor.
With one last prayer
Sobbed in the Spanish of before the Inquisition
He stopped, exhausted, and looked in the dead man's face.
Panting, he raised both arms in a mystic gesture
And said, "Arise and breathe!" And still the body
Lay as before.
Impossible to tell
In words how Elliot's eyebrows flailed and snorted
Like shaggy mammoths as--the Chinese widow
Granting permission--the little rabbi sang
The blessing for performing a circumcision
And removed the dead man's foreskin, chanting blessings
In Finnish and Swahili, and bathed the corpse
From head to foot, and with a final prayer
In Babylonian, gasping with exhaustion,
He seized the dead man's head and kissed the lips
And dropped it again and leaping back commanded,
"Arise and breathe!" The corpse lay still as ever.
At this, as when Bashõ's disciples wind
Along the curving spine that links the renga
Across the different voices, each one adding
A transformation according to the rules
Of stasis and repetition, all in order
And yet impossible to tell beforehand,
Elliot changes for the punchline: the wee
Rabbi, still panting, like a startled boxer,
Looks at the dead one, then up at all those watching,
A kind of Mel Brooks gesture: "Hoo boy!" he says,
"Now that's what I call really dead.
" O mortal
Powers and princes of earth, and you immortal
Lords of the underground and afterlife,
Jehovah, Raa, Bol-Morah, Hecate, Pluto,
What has a brilliant, living soul to do with
Your harps and fires and boats, your bric-a-brac
And troughs of smoking blood? Provincial stinkers,
Our languages don't touch you, you're like that mother
Whose small child entertained her to beg her life.
Possibly he grew up to be the tall rabbi,
The one who washed his hands of all those capers
Right at the outset.
Or maybe he became
The author of these lines, a one-man renga
The one for whom it seems to be impossible
To tell a story straight.
It was a routine
Procedure.
When it was finished the physicians
Told Sandra and the kids it had succeeded,
But Elliot wouldn't wake up for maybe an hour,
They should go eat.
The two of them loved to bicker
In a way that on his side went back to Yiddish,
On Sandra's to some Sicilian dialect.
He used to scold her endlessly for smoking.
When she got back from dinner with their children
The doctors had to tell them about the mistake.
Oh swirling petals, falling leaves! The movement
Of linking renga coursing from moment to moment
Is meaning, Bob says in his Haiku book.
Oh swirling petals, all living things are contingent,
Falling leaves, and transient, and they suffer.
But the Universal is the goal of jokes,
Especially certain ethnic jokes, which taper
Down through the swirling funnel of tongues and gestures
Toward their preposterous Ithaca.
There's one
A journalist told me.
He heard it while a hero
Of the South African freedom movement was speaking
To elderly Jews.
The speaker's own right arm
Had been blown off by right-wing letter-bombers.
He told his listeners they had to cast their ballots
For the ANC--a group the old Jews feared
As "in with the Arabs.
" But they started weeping
As the old one-armed fighter told them their country
Needed them to vote for what was right, their vote
Could make a country their children could return to
From London and Chicago.
The moved old people
Applauded wildly, and the speaker's friend
Whispered to the journalist, "It's the Belgian Army
Joke come to life.
" I wish I could tell it
To Elliot.
In the Belgian Army, the feud
Between the Flemings and Walloons grew vicious,
So out of hand the army could barely function.
Finally one commander assembled his men
In one great room, to deal with things directly.
They stood before him at attention.
"All Flemings,"
He ordered, "to the left wall.
" Half the men
Clustered to the left.
"Now all Walloons," he ordered,
"Move to the right.
" An equal number crowded
Against the right wall.
Only one man remained
At attention in the middle: "What are you, soldier?"
Saluting, the man said, "Sir, I am a Belgian.
"
"Why, that's astonishing, Corporal--what's your name?"
Saluting again, "Rabinowitz," he answered:
A joke that seems at first to be a story
About the Jews.
But as the renga describes
Religious meaning by moving in drifting petals
And brittle leaves that touch and die and suffer
The changing winds that riffle the gutter swirl,
So in the joke, just under the raucous music
Of Fleming, Jew, Walloon, a courtly allegiance
Moves to the dulcimer, gavotte and bow,
Over the banana tree the moon in autumn--
Allegiance to a state impossible to tell.
|
Written by
William Butler Yeats |
An old man cocked his car upon a bridge;
He and his friend, their faces to the South,
Had trod the uneven road.
Their hoots were soiled,
Their Connemara cloth worn out of shape;
They had kept a steady pace as though their beds,
Despite a dwindling and late-risen moon,
Were distant still.
An old man cocked his ear.
Aherne.
What made that Sound?
Robartes.
A rat or water-hen
Splashed, or an otter slid into the stream.
We are on the bridge; that shadow is the tower,
And the light proves that he is reading still.
He has found, after the manner of his kind,
Mere images; chosen this place to live in
Because, it may be, of the candle-light
From the far tower where Milton's Platonist
Sat late, or Shelley's visionary prince:
The lonely light that Samuel Palmer engraved,
An image of mysterious wisdom won by toil;
And now he seeks in book or manuscript
What he shall never find.
Ahernc.
Why should not you
Who know it all ring at his door, and speak
Just truth enough to show that his whole life
Will scarcely find for him a broken crust
Of all those truths that are your daily bread;
And when you have spoken take the roads again?
Robartes.
He wrote of me in that extravagant style
He had learnt from pater, and to round his tale
Said I was dead; and dead I choose to be.
Aherne.
Sing me the changes of the moon once more;
True song, though speech: "mine author sung it me.
'
Robartes.
Twenty-and-eight the phases of the moon,
The full and the moon's dark and all the crescents,
Twenty-and-eight, and yet but six-and-twenty
The cradles that a man must needs be rocked in:
For there's no human life at the full or the dark.
From the first crescent to the half, the dream
But summons to adventure and the man
Is always happy like a bird or a beast;
But while the moon is rounding towards the full
He follows whatever whim's most difficult
Among whims not impossible, and though scarred.
As with the cat-o'-nine-tails of the mind,
His body moulded from within his body
Grows comelier.
Eleven pass, and then
Athene takes Achilles by the hair,
Hector is in the dust, Nietzsche is born,
Because the hero's crescent is the twelfth.
And yet, twice born, twice buried, grow he must,
Before the full moon, helpless as a worm.
The thirteenth moon but sets the soul at war
In its own being, and when that war's begun
There is no muscle in the arm; and after,
Under the frenzy of the fourteenth moon,
The soul begins to tremble into stillness,
To die into the labyrinth of itself!
Aherne.
Sing out the song; sing to the end, and sing
The strange reward of all that discipline.
Robartes.
All thought becomes an image and the soul
Becomes a body: that body and that soul
Too perfect at the full to lie in a cradle,
Too lonely for the traffic of the world:
Body and soul cast out and cast away
Beyond the visible world.
Aherne.
All dreams of the soul
End in a beautiful man's or woman's body.
Robartes, Have you not always known it?
Aherne.
The song will have it
That those that we have loved got their long fingers
From death, and wounds, or on Sinai's top,
Or from some bloody whip in their own hands.
They ran from cradle to cradle till at last
Their beauty dropped out of the loneliness
Of body and soul.
Robartes.
The lover's heart knows that.
Aherne.
It must be that the terror in their eyes
Is memory or foreknowledge of the hour
When all is fed with light and heaven is bare.
Robartes.
When the moon's full those creatures of the
full
Are met on the waste hills by countrymen
Who shudder and hurry by: body and soul
Estranged amid the strangeness of themselves,
Caught up in contemplation, the mind's eye
Fixed upon images that once were thought;
For separate, perfect, and immovable
Images can break the solitude
Of lovely, satisfied, indifferent eyes.
And thereupon with aged, high-pitched voice
Aherne laughed, thinking of the man within,
His sleepless candle and lahorious pen.
Robartes.
And after that the crumbling of the moon.
The soul remembering its loneliness
Shudders in many cradles; all is changed,
It would be the world's servant, and as it serves,
Choosing whatever task's most difficult
Among tasks not impossible, it takes
Upon the body and upon the soul
The coarseness of the drudge.
Aherne.
Before the full
It sought itself and afterwards the world.
Robartes.
Because you are forgotten, half out of life,
And never wrote a book, your thought is clear.
Reformer, merchant, statesman, learned man,
Dutiful husband, honest wife by turn,
Cradle upon cradle, and all in flight and all
Deformed because there is no deformity
But saves us from a dream.
Aherne.
And what of those
That the last servile crescent has set free?
Robartes.
Because all dark, like those that are all light,
They are cast beyond the verge, and in a cloud,
Crying to one another like the bats;
And having no desire they cannot tell
What's good or bad, or what it is to triumph
At the perfection of one's own obedience;
And yet they speak what's blown into the mind;
Deformed beyond deformity, unformed,
Insipid as the dough before it is baked,
They change their bodies at a word.
Aherne.
And then?
Rohartes.
When all the dough has been so kneaded up
That it can take what form cook Nature fancies,
The first thin crescent is wheeled round once more.
Aherne.
But the escape; the song's not finished yet.
Robartes.
Hunchback and Saint and Fool are the last
crescents.
The burning bow that once could shoot an arrow
Out of the up and down, the wagon-wheel
Of beauty's cruelty and wisdom's chatter -
Out of that raving tide - is drawn betwixt
Deformity of body and of mind.
Aherne.
Were not our beds far off I'd ring the bell,
Stand under the rough roof-timbers of the hall
Beside the castle door, where all is stark
Austerity, a place set out for wisdom
That he will never find; I'd play a part;
He would never know me after all these years
But take me for some drunken countryman:
I'd stand and mutter there until he caught
"Hunchback and Sant and Fool,' and that they came
Under the three last crescents of the moon.
And then I'd stagger out.
He'd crack his wits
Day after day, yet never find the meaning.
And then he laughed to think that what seemed hard
Should be so simple - a bat rose from the hazels
And circled round him with its squeaky cry,
The light in the tower window was put out.
|
Written by
Billy Collins |
The name of the author is the first to go
followed obediently by the title, the plot,
the heartbreaking conclusion, the entire novel
which suddenly becomes one you have never read,
never even heard of,
as if, one by one, the memories you used to harbor
decided to retire to the southern hemisphere of the brain,
to a little fishing village where there are no phones.
Long ago you kissed the names of the nine Muses goodbye
and watched the quadratic equation pack its bag,
and even now as you memorize the order of the planets,
something else is slipping away, a state flower perhaps,
the address of an uncle, the capital of Paraguay.
Whatever it is you are struggling to remember,
it is not poised on the tip of your tongue,
not even lurking in some obscure corner of your spleen.
It has floated away down a dark mythological river
whose name begins with an L as far as you can recall,
well on your own way to oblivion where you will join those
who have even forgotten how to swim and how to ride a bicycle.
No wonder you rise in the middle of the night
to look up the date of a famous battle in a book on war.
No wonder the moon in the window seems to have drifted
out of a love poem that you used to know by heart.
|
Written by
Anne Bradstreet |
Thou ill-formed offspring of my feeble brain,
Who after birth didst by my side remain,
Till snatched from thence by friends, less wise than true,
Who thee abroad, exposed to public view,
Made thee in rags, halting to th' press to trudge,
Where errors were not lessened (all may judge).
At thy return my blushing was not small,
My rambling brat (in print) should mother call,
I cast thee by as one unfit for light,
Thy visage was so irksome in my sight;
Yet being mine own, at length affection would
Thy blemishes amend, if so I could:
I washed thy face, but more defects I saw,
And rubbing off a spot still made a flaw.
I stretched thy joints to make thee even feet,
Yet still thou run'st more hobbling than is meet;
In better dress to trim thee was my mind,
But nought save homespun cloth i' th' house I find.
In this array 'mongst vulgars may'st thou roam.
In critic's hands beware thou dost not come,
And take thy way where yet thou art not known;
If for thy father asked, say thou hadst none;
And for thy mother, she alas is poor,
Which caused her thus to send thee out of door.
|
Written by
Billy Collins |
Sometimes the notes are ferocious,
skirmishes against the author
raging along the borders of every page
in tiny black script.
If I could just get my hands on you,
Kierkegaard, or Conor Cruise O'Brien,
they seem to say,
I would bolt the door and beat some logic into your head.
Other comments are more offhand, dismissive -
"Nonsense.
" "Please!" "HA!!" -
that kind of thing.
I remember once looking up from my reading,
my thumb as a bookmark,
trying to imagine what the person must look like
why wrote "Don't be a ninny"
alongside a paragraph in The Life of Emily Dickinson.
Students are more modest
needing to leave only their splayed footprints
along the shore of the page.
One scrawls "Metaphor" next to a stanza of Eliot's.
Another notes the presence of "Irony"
fifty times outside the paragraphs of A Modest Proposal.
Or they are fans who cheer from the empty bleachers,
Hands cupped around their mouths.
"Absolutely," they shout
to Duns Scotus and James Baldwin.
"Yes.
" "Bull's-eye.
" "My man!"
Check marks, asterisks, and exclamation points
rain down along the sidelines.
And if you have managed to graduate from college
without ever having written "Man vs.
Nature"
in a margin, perhaps now
is the time to take one step forward.
We have all seized the white perimeter as our own
and reached for a pen if only to show
we did not just laze in an armchair turning pages;
we pressed a thought into the wayside,
planted an impression along the verge.
Even Irish monks in their cold scriptoria
jotted along the borders of the Gospels
brief asides about the pains of copying,
a bird signing near their window,
or the sunlight that illuminated their page-
anonymous men catching a ride into the future
on a vessel more lasting than themselves.
And you have not read Joshua Reynolds,
they say, until you have read him
enwreathed with Blake's furious scribbling.
Yet the one I think of most often,
the one that dangles from me like a locket,
was written in the copy of Catcher in the Rye
I borrowed from the local library
one slow, hot summer.
I was just beginning high school then,
reading books on a davenport in my parents' living room,
and I cannot tell you
how vastly my loneliness was deepened,
how poignant and amplified the world before me seemed,
when I found on one page
A few greasy looking smears
and next to them, written in soft pencil-
by a beautiful girl, I could tell,
whom I would never meet-
"Pardon the egg salad stains, but I'm in love.
"
|
Written by
Robert Southey |
Author Note: The story of the following ballad was related to me, when a school boy, as a fact which had really happened in the North of England.
I have
adopted the metre of Mr.
Lewis's Alonzo and Imogene--a poem deservedly
popular.
I.
Who is she, the poor Maniac, whose wildly-fix'd eyes
Seem a heart overcharged to express?
She weeps not, yet often and deeply she sighs,
She never complains, but her silence implies
The composure of settled distress.
II.
No aid, no compassion the Maniac will seek,
Cold and hunger awake not her care:
Thro' her rags do the winds of the winter blow bleak
On her poor withered bosom half bare, and her cheek
Has the deathy pale hue of despair.
III.
Yet chearful and happy, nor distant the day,
Poor Mary the Maniac has been;
The Traveller remembers who journeyed this way
No damsel so lovely, no damsel so gay
As Mary the Maid of the Inn.
IV.
Her chearful address fill'd the guests with delight
As she welcomed them in with a smile:
Her heart was a stranger to childish affright,
And Mary would walk by the Abbey at night
When the wind whistled down the dark aisle.
V.
She loved, and young Richard had settled the day,
And she hoped to be happy for life;
But Richard was idle and worthless, and they
Who knew him would pity poor Mary and say
That she was too good for his wife.
VI.
'Twas in autumn, and stormy and dark was the night,
And fast were the windows and door;
Two guests sat enjoying the fire that burnt bright,
And smoking in silence with tranquil delight
They listen'd to hear the wind roar.
VII.
"Tis pleasant," cried one, "seated by the fire side
"To hear the wind whistle without.
"
"A fine night for the Abbey!" his comrade replied,
"Methinks a man's courage would now be well tried
"Who should wander the ruins about.
VIII.
"I myself, like a school-boy, should tremble to hear
"The hoarse ivy shake over my head;
"And could fancy I saw, half persuaded by fear,
"Some ugly old Abbot's white spirit appear,
"For this wind might awaken the dead!"
IX.
"I'll wager a dinner," the other one cried,
"That Mary would venture there now.
"
"Then wager and lose!" with a sneer he replied,
"I'll warrant she'd fancy a ghost by her side,
"And faint if she saw a white cow.
"
X.
"Will Mary this charge on her courage allow?"
His companion exclaim'd with a smile;
"I shall win, for I know she will venture there now,
"And earn a new bonnet by bringing a bough
"From the elder that grows in the aisle.
"
XI.
With fearless good humour did Mary comply,
And her way to the Abbey she bent;
The night it was dark, and the wind it was high
And as hollowly howling it swept thro' the sky
She shiver'd with cold as she went.
XII.
O'er the path so well known still proceeded the Maid
Where the Abbey rose dim on the sight,
Thro' the gate-way she entered, she felt not afraid
Yet the ruins were lonely and wild, and their shade
Seem'd to deepen the gloom of the night.
XIII.
All around her was silent, save when the rude blast
Howl'd dismally round the old pile;
Over weed-cover'd fragments still fearless she past,
And arrived in the innermost ruin at last
Where the elder tree grew in the aisle.
XIV.
Well-pleas'd did she reach it, and quickly drew near
And hastily gather'd the bough:
When the sound of a voice seem'd to rise on her ear,
She paus'd, and she listen'd, all eager to hear,
Aud her heart panted fearfully now.
XV.
The wind blew, the hoarse ivy shook over her head,
She listen'd,--nought else could she hear.
The wind ceas'd, her heart sunk in her bosom with dread
For she heard in the ruins distinctly the tread
Of footsteps approaching her near.
XVI.
Behind a wide column half breathless with fear
She crept to conceal herself there:
That instant the moon o'er a dark cloud shone clear,
And she saw in the moon-light two ruffians appear
And between them a corpse did they bear.
XVII.
Then Mary could feel her heart-blood curdle cold!
Again the rough wind hurried by,--
It blew off the hat of the one, and behold
Even close to the feet of poor Mary it roll'd,--
She felt, and expected to die.
XVIII.
"Curse the hat!" he exclaims.
"Nay come on and first hide
"The dead body," his comrade replies.
She beheld them in safety pass on by her side,
She seizes the hat, fear her courage supplied,
And fast thro' the Abbey she flies.
XIX.
She ran with wild speed, she rush'd in at the door,
She gazed horribly eager around,
Then her limbs could support their faint burthen no more,
And exhausted and breathless she sunk on the floor
Unable to utter a sound.
XX.
Ere yet her pale lips could the story impart,
For a moment the hat met her view;--
Her eyes from that object convulsively start,
For--oh God what cold horror then thrill'd thro' her heart,
When the name of her Richard she knew!
XXI.
Where the old Abbey stands, on the common hard by
His gibbet is now to be seen.
Not far from the road it engages the eye,
The Traveller beholds it, and thinks with a sigh
Of poor Mary the Maid of the Inn.
|
Written by
W. E. B. Du Bois |
Of course you have faced the dilemma: it is announced, they all smirk and rise. If they are ultra, they remove their hats and look ecstatic; then they look at you. What shall you do? Noblesse oblige; you cannot be boorish, or ungracious; and too, after all it is your country and you do love its ideals if not all of its realities. Now, then, I have thought of a way out: Arise, gracefully remove your hat, and tilt your head. Then sing as follows, powerfully and with deep unction. They’ll hardly note the little changes and their feelings and your conscience will thus be saved:
My country tis of thee,
Late land of slavery,
Of thee I sing.
Land where my father’s pride
Slept where my mother died,
From every mountain side
Let freedom ring!
My native country thee
Land of the slave set free,
Thy fame I love.
I love thy rocks and rills
And o’er thy hate which chills,
My heart with purpose thrills,
To rise above.
Let laments swell the breeze
And wring from all the trees
Sweet freedom’s song.
Let laggard tongues awake,
Let all who hear partake,
Let Southern silence quake,
The sound prolong.
Our fathers’ God to thee
Author of Liberty,
To thee we sing
Soon may our land be bright,
With Freedom’s happy light
Protect us by Thy might,
Great God our King.
|
Written by
Robert Burns |
SING on, sweet thrush, upon the leafless bough,
Sing on, sweet bird, I listen to thy strain,
See aged Winter, ’mid his surly reign,
At thy blythe carol, clears his furrowed brow.
So in lone Poverty’s dominion drear,
Sits meek Content with light, unanxious heart;
Welcomes the rapid moments, bids them part,
Nor asks if they bring ought to hope or fear.
I thank thee, Author of this opening day!
Thou whose bright sun now gilds yon orient skies!
Riches denied, thy boon was purer joys—
What wealth could never give nor take away!
Yet come, thou child of poverty and care,
The mite high heav’n bestow’d, that mite with thee I’ll share.
|
Written by
William Shakespeare |
Lo, here the gentle lark, weary of rest,
From his moist cabinet mounts up on high,
And wakes the morning, from whose silver breast
The sun ariseth in his majesty;
Who doth the world so gloriously behold
That cedar-tops and hills seem burnish'd gold.
Venus salutes him with this fair good-morrow;
"O thou clear god, and patron of all light,
From whom each lamp and shining star doth borrow
The beauteous influence that makes him bright,
There lives a son that suck'd an earthly mother,
May lend thee light, as thou dost lend to other.
"
This said, she hasteth to a myrtle grove,
Musing the morning is so much o'erworn,
And yet she hears no tidings of her love:
She hearkens for his hounds and for his horn:
Anon she hears them chant it lustily,
And all in haste she coasteth to the cry.
And as she runs, the bushes in the way
Some catch her by the neck, some kiss her face,
Some twine about her thigh to make her stay:
She wildly breaketh from their strict embrace,
Like a milch doe, whose swelling dugs do ache,
Hasting to feed her fawn, hid in some brake.
By this she hears the hounds are at a bay;
Whereat she starts, like one that spies an adder
Wreath'd up in fatal folds just in his way,
The fear whereof doth make him shake and shudder;
Even so the timorous yelping of the hounds
Appals her senses and her spirit confounds.
For now she knows it is no gentle chase,
But the blunt boar, rough bear, or lion proud,
Because the cry remaineth in one place,
Where fearfully the dogs exclaim aloud:
Finding their enemy to be so curst,
They all strain court'sy who shall cope him first.
This dismal cry rings sadly in her ear,
Through which it enters to surprise her heart;
Who, overcome by doubt and bloodless fear,
With cold-pale weakness numbs each feeling part:
Like soldiers, when their captain once doth yield,
They basely fly and dare not stay the field.
Thus stands she in a trembling ecstasy;
Till, cheering up her senses all dismay'd,
She tells them 'tis a causeless fantasy,
And childish error, that they are afraid;
Bids them leave quaking, bids them fear no more:--
And with that word she spied the hunted boar;
Whose frothy mouth, bepainted all with red,
Like milk and blood being mingled both together,
A second fear through all her sinews spread,
Which madly hurries her she knows not whither:
This way she runs, and now she will no further,
But back retires to rate the boar for murther.
A thousand spleens bear her a thousand ways;
She treads the path that she untreads again;
Her more than haste is mated with delays,
Like the proceedings of a drunken brain,
Full of respects, yet nought at all respecting;
In hand with all things, nought at all effecting.
Here kennell'd in a brake she finds a hound,
And asks the weary caitiff for his master,
And there another licking of his wound,
'Gainst venom'd sores the only sovereign plaster;
And here she meets another sadly scowling,
To whom she speaks, and he replies with howling.
When he hath ceas'd his ill-resounding noise,
Another flap-mouth'd mourner, black and grim,
Against the welkin volleys out his voice;
Another, and another, answer him,
Clapping their proud tails to the ground below,
Shaking their scratch'd ears, bleeding as they go.
Look, how the world's poor people are amazed
At apparitions, signs, and prodigies,
Whereon with fearful eyes they long have gazed,
Infusing them with dreadful prophecies;
So she at these sad signs draws up her breath
And sighing it again, exclaims on Death.
"Hard-favour'd tyrant, ugly, meagre, lean,
Hateful divorce of love,"--thus chides she Death,--
"Grim-grinning ghost, earth's worm, what dost thou mean
To stifle beauty and to steal his breath,
Who when he liv'd, his breath and beauty set
Gloss on the rose, smell to the violet?
"If he be dead,--O no, it cannot be,
Seeing his beauty, thou shouldst strike at it:--
O yes, it may; thou hast no eyes to see,
But hatefully at random dost thou hit.
Thy mark is feeble age, but thy false dart
Mistakes that aim and cleaves an infant's heart.
"Hadst thou but bid beware, then he had spoke,
And, hearing him, thy power had lost his power.
The Destinies will curse thee for this stroke;
They bid thee crop a weed, thou pluck'st a flower:
Love's golden arrow at him should have fled,
And not Death's ebon dart, to strike him dead.
"Dost thou drink tears, that thou provok'st such weeping?
What may a heavy groan advantage thee?
Why hast thou cast into eternal sleeping
Those eyes that taught all other eyes to see?
Now nature cares not for thy mortal vigour,
Since her best work is ruin'd with thy rigour.
"
Here overcome, as one full of despair,
She vail'd her eyelids, who, like sluices, stopt
The crystal tide that from her two cheeks fair
In the sweet channel of her bosom dropt;
But through the flood-gates breaks the silver rain,
And with his strong course opens them again.
O, how her eyes and tears did lend and borrow!
Her eyes seen in the tears, tears in her eye;
Both crystals, where they view'd each other's sorrow,
Sorrow that friendly sighs sought still to dry;
But like a stormy day, now wind, now rain,
Sighs dry her cheeks, tears make them wet again.
Variable passions throng her constant woe,
As striving who should best become her grief;
All entertain'd, each passion labours so,
That every present sorrow seemeth chief,
But none is best: then join they all together,
Like many clouds consulting for foul weather.
By this, far off she hears some huntsman hollo;
A nurse's song ne'er pleased her babe so well:
The dire imagination she did follow
This sound of hope doth labour to expel;
For now reviving joy bids her rejoice,
And flatters her it is Adonis' voice.
Whereat her tears began to turn their tide,
Being prison'd in her eye like pearls in glass;
Yet sometimes falls an orient drop beside,
Which her cheek melts, as scorning it should pass,
To wash the foul face of the sluttish ground,
Who is but drunken when she seemeth drown'd.
O hard-believing love, how strange it seems
Not to believe, and yet too credulous!
Thy weal and woe are both of them extremes;
Despair and hope make thee ridiculous:
The one doth flatter thee in thoughts unlikely,
In likely thoughts the other kills thee quickly.
Now she unweaves the web that she hath wrought;
Adonis lives, and Death is not to blame;
It was not she that call'd him all to naught:
Now she adds honours to his hateful name;
She clepes him king of graves and grave for kings,
Imperious supreme of all mortal things.
"No, no," quoth she, "sweet Death, I did but jest;
Yet pardon me I felt a kind of fear
When as I met the boar, that bloody beast,
Which knows no pity, but is still severe;
Then, gentle shadow,--truth I must confess,--
I rail'd on thee, fearing my love's decease.
"'Tis not my fault: the boar provok'd my tongue;
Be wreak'd on him, invisible commander;
'Tis he, foul creature, that hath done thee wrong;
I did but act, he's author of thy slander:
Grief hath two tongues, and never woman yet
Could rule them both without ten women's wit.
"
Thus hoping that Adonis is alive,
Her rash suspect she doth extenuate;
And that his beauty may the better thrive,
With Death she humbly doth insinuate;
Tells him of trophies, statues, tombs, and stories
His victories, his triumphs and his glories.
"O Jove," quoth she, "how much a fool was I
To be of such a weak and silly mind
To wail his death who lives and must not die
Till mutual overthrow of mortal kind;
For he being dead, with him is beauty slain,
And, beauty dead, black chaos comes again.
"Fie, fie, fond love, thou art so full of fear
As one with treasure laden, hemm'd with thieves;
Trifles, unwitnessed with eye or ear,
Thy coward heart with false bethinking grieves.
"
Even at this word she hears a merry horn,
Whereat she leaps that was but late forlorn.
As falcon to the lure, away she flies;
The grass stoops not, she treads on it so light;
And in her haste unfortunately spies
The foul boar's conquest on her fair delight;
Which seen, her eyes, as murder'd with the view,
Like stars asham'd of day, themselves withdrew;
Or, as the snail, whose tender horns being hit,
Shrinks backward in his shelly cave with pain,
And there, all smother'd up, in shade doth sit,
Long after fearing to creep forth again;
So, at his bloody view, her eyes are fled
Into the deep dark cabins of her head:
Where they resign their office and their light
To the disposing of her troubled brain;
Who bids them still consort with ugly night,
And never wound the heart with looks again;
Who, like a king perplexed in his throne,
By their suggestion gives a deadly groan,
Whereat each tributary subject quakes;
As when the wind, imprison'd in the ground,
Struggling for passage, earth's foundation shakes,
Which with cold terror doth men's minds confound.
This mutiny each part doth so surprise
That from their dark beds once more leap her eyes;
And, being open'd, threw unwilling light
Upon the wide wound that the boar had trench'd
In his soft flank; whose wonted lily white
With purple tears, that his wound wept, was drench'd:
No flower was nigh, no grass, herb, leaf, or weed,
But stole his blood and seem'd with him to bleed.
This solemn sympathy poor Venus noteth;
Over one shoulder doth she hang her head;
Dumbly she passions, franticly she doteth;
She thinks he could not die, he is not dead:
Her voice is stopt, her joints forget to bow;
Her eyes are mad that they have wept till now.
|
Written by
Francesco Petrarch |
CANZONE VIII.
Vergine bella che di sol vestita.
TO THE VIRGIN MARY.
Beautiful Virgin! clothed with the sun,
Crown'd with the stars, who so the Eternal Sun
Well pleasedst that in thine his light he hid;
Love pricks me on to utter speech of thee,
And—feeble to commence without thy aid—
Of Him who on thy bosom rests in love.
Her I invoke who gracious still replies
To all who ask in faith,
Virgin! if ever yet
The misery of man and mortal things
To mercy moved thee, to my prayer incline;
Help me in this my strife,
Though I am but of dust, and thou heaven's radiant Queen!
Wise Virgin! of that lovely number one
Of Virgins blest and wise,
Even the first and with the brightest lamp:
O solid buckler of afflicted hearts!
'Neath which against the blows of Fate and Death,
Not mere deliverance but great victory is;
Relief from the blind ardour which consumes
Vain mortals here below!
Virgin! those lustrous eyes,
Which tearfully beheld the cruel prints
In the fair limbs of thy beloved Son,
Ah! turn on my sad doubt,
Who friendless, helpless thus, for counsel come to thee!
[Pg 319]O Virgin! pure and perfect in each part,
Maiden or Mother, from thy honour'd birth,
This life to lighten and the next adorn;
O bright and lofty gate of open'd heaven!
By thee, thy Son and His, the Almighty Sire,
In our worst need to save us came below:
And, from amid all other earthly seats,
Thou only wert elect,
Virgin supremely blest!
The tears of Eve who turnedst into joy;
Make me, thou canst, yet worthy of his grace,
O happy without end,
Who art in highest heaven a saint immortal shrined.
O holy Virgin! full of every good,
Who, in humility most deep and true,
To heaven art mounted, thence my prayers to hear,
That fountain thou of pity didst produce,
That sun of justice light, which calms and clears
Our age, else clogg'd with errors dark and foul.
Three sweet and precious names in thee combine,
Of mother, daughter, wife,
Virgin! with glory crown'd,
Queen of that King who has unloosed our bonds,
And free and happy made the world again,
By whose most sacred wounds,
I pray my heart to fix where true joys only are!
Virgin! of all unparallel'd, alone,
Who with thy beauties hast enamour'd Heaven,
Whose like has never been, nor e'er shall be;
For holy thoughts with chaste and pious acts
To the true God a sacred living shrine
In thy fecund virginity have made:
By thee, dear Mary, yet my life may be
Happy, if to thy prayers,
O Virgin meek and mild!
Where sin abounded grace shall more abound!
With bended knee and broken heart I pray
That thou my guide wouldst be,
And to such prosperous end direct my faltering way.
[Pg 320]Bright Virgin! and immutable as bright,
O'er life's tempestuous ocean the sure star
Each trusting mariner that truly guides,
Look down, and see amid this dreadful storm
How I am tost at random and alone,
And how already my last shriek is near,
Yet still in thee, sinful although and vile,
My soul keeps all her trust;
Virgin! I thee implore
Let not thy foe have triumph in my fall;
Remember that our sin made God himself,
To free us from its chain,
Within thy virgin womb our image on Him take!
Virgin! what tears already have I shed,
Cherish'd what dreams and breathed what prayers in vain
But for my own worse penance and sure loss;
Since first on Arno's shore I saw the light
Till now, whate'er I sought, wherever turn'd,
My life has pass'd in torment and in tears,
For mortal loveliness in air, act, speech,
Has seized and soil'd my soul:
O Virgin! pure and good,
Delay not till I reach my life's last year;
Swifter than shaft and shuttle are, my days
'Mid misery and sin
Have vanish'd all, and now Death only is behind!
Virgin! She now is dust, who, living, held
My heart in grief, and plunged it since in gloom;
She knew not of my many ills this one,
And had she known, what since befell me still
Had been the same, for every other wish
Was death to me and ill renown for her;
But, Queen of Heaven, our Goddess—if to thee
Such homage be not sin—
Virgin! of matchless mind,
Thou knowest now the whole; and that, which else
No other can, is nought to thy great power:
Deign then my grief to end,
Thus honour shall be thine, and safe my peace at last!
[Pg 321]Virgin! in whom I fix my every hope,
Who canst and will'st assist me in great need,
Forsake me not in this my worst extreme,
Regard not me but Him who made me thus;
Let his high image stamp'd on my poor worth
Towards one so low and lost thy pity move:
Medusa spells have made me as a rock
Distilling a vain flood;
Virgin! my harass'd heart
With pure and pious tears do thou fulfil,
That its last sigh at least may be devout,
And free from earthly taint,
As was my earliest vow ere madness fill'd my veins!
Virgin! benevolent, and foe of pride,
Ah! let the love of our one Author win,
Some mercy for a contrite humble heart:
For, if her poor frail mortal dust I loved
With loyalty so wonderful and long,
Much more my faith and gratitude for thee.
From this my present sad and sunken state
If by thy help I rise,
Virgin! to thy dear name
I consecrate and cleanse my thoughts, speech, pen,
My mind, and heart with all its tears and sighs;
Point then that better path,
And with complacence view my changed desires at last.
The day must come, nor distant far its date,
Time flies so swift and sure,
O peerless and alone!
When death my heart, now conscience struck, shall seize:
Commend me, Virgin! then to thy dear Son,
True God and Very Man,
That my last sigh in peace may, in his arms, be breathed!
Macgregor.
 PETRARCH'S HOUSE AT ARQUA.
|