Written by
Anne Sexton |
Live or die, but don't poison everything...
Well, death's been here
for a long time --
it has a hell of a lot
to do with hell
and suspicion of the eye
and the religious objects
and how I mourned them
when they were made obscene
by my dwarf-heart's doodle.
The chief ingredient
is mutilation.
And mud, day after day,
mud like a ritual,
and the baby on the platter,
cooked but still human,
cooked also with little maggots,
sewn onto it maybe by somebody's mother,
the damn *****!
Even so,
I kept right on going on,
a sort of human statement,
lugging myself as if
I were a sawed-off body
in the trunk, the steamer trunk.
This became perjury of the soul.
It became an outright lie
and even though I dressed the body
it was still naked, still killed.
It was caught
in the first place at birth,
like a fish.
But I play it, dressed it up,
dressed it up like somebody's doll.
Is life something you play?
And all the time wanting to get rid of it?
And further, everyone yelling at you
to shut up. And no wonder!
People don't like to be told
that you're sick
and then be forced
to watch
you
come
down with the hammer.
Today life opened inside me like an egg
and there inside
after considerable digging
I found the answer.
What a bargain!
There was the sun,
her yolk moving feverishly,
tumbling her prize --
and you realize she does this daily!
I'd known she was a purifier
but I hadn't thought
she was solid,
hadn't known she was an answer.
God! It's a dream,
lovers sprouting in the yard
like celery stalks
and better,
a husband straight as a redwood,
two daughters, two sea urchings,
picking roses off my hackles.
If I'm on fire they dance around it
and cook marshmallows.
And if I'm ice
they simply skate on me
in little ballet costumes.
Here,
all along,
thinking I was a killer,
anointing myself daily
with my little poisons.
But no.
I'm an empress.
I wear an apron.
My typewriter writes.
It didn't break the way it warned.
Even crazy, I'm as nice
as a chocolate bar.
Even with the witches' gymnastics
they trust my incalculable city,
my corruptible bed.
O dearest three,
I make a soft reply.
The witch comes on
and you paint her pink.
I come with kisses in my hood
and the sun, the smart one,
rolling in my arms.
So I say Live
and turn my shadow three times round
to feed our puppies as they come,
the eight Dalmatians we didn't drown,
despite the warnings: The abort! The destroy!
Despite the pails of water that waited,
to drown them, to pull them down like stones,
they came, each one headfirst, blowing bubbles the color of cataract-blue
and fumbling for the tiny ****.
Just last week, eight Dalmatians,
3/4 of a lb., lined up like cord wood
each
like a
birch tree.
I promise to love more if they come,
because in spite of cruelty
and the stuffed railroad cars for the ovens,
I am not what I expected. Not an Eichmann.
The poison just didn't take.
So I won't hang around in my hospital shift,
repeating The Black Mass and all of it.
I say Live, Live because of the sun,
the dream, the excitable gift.
|
Written by
Victor Hugo |
("Il semblait grelotter.")
{XXXVI., December, 1837.}
He seemed to shiver, for the wind was keen.
'Twas a poor statue underneath a mass
Of leafless branches, with a blackened back
And a green foot—an isolated Faun
In old deserted park, who, bending forward,
Half-merged himself in the entangled boughs,
Half in his marble settings. He was there,
Pensive, and bound to earth; and, as all things
Devoid of movement, he was there—forgotten.
Trees were around him, whipped by icy blasts—
Gigantic chestnuts, without leaf or bird,
And, like himself, grown old in that same place.
Through the dark network of their undergrowth,
Pallid his aspect; and the earth was brown.
Starless and moonless, a rough winter's night
Was letting down her lappets o'er the mist.
This—nothing more: old Faun, dull sky, dark wood.
Poor, helpless marble, how I've pitied it!
Less often man—the harder of the two.
So, then, without a word that might offend
His ear deformed—for well the marble hears
The voice of thought—I said to him: "You hail
From the gay amorous age. O Faun, what saw you
When you were happy? Were you of the Court?
"Speak to me, comely Faun, as you would speak
To tree, or zephyr, or untrodden grass.
Have you, O Greek, O mocker of old days,
Have you not sometimes with that oblique eye
Winked at the Farnese Hercules?—Alone,
Have you, O Faun, considerately turned
From side to side when counsel-seekers came,
And now advised as shepherd, now as satyr?—
Have you sometimes, upon this very bench,
Seen, at mid-day, Vincent de Paul instilling
Grace into Gondi?—Have you ever thrown
That searching glance on Louis with Fontange,
On Anne with Buckingham; and did they not
Start, with flushed cheeks, to hear your laugh ring forth
From corner of the wood?—Was your advice
As to the thyrsis or the ivy asked,
When, in grand ballet of fantastic form,
God Phoebus, or God Pan, and all his court,
Turned the fair head of the proud Montespan,
Calling her Amaryllis?—La Fontaine,
Flying the courtiers' ears of stone, came he,
Tears on his eyelids, to reveal to you
The sorrows of his nymphs of Vaux?—What said
Boileau to you—to you—O lettered Faun,
Who once with Virgil, in the Eclogue, held
That charming dialogue?—Say, have you seen
Young beauties sporting on the sward?—Have you
Been honored with a sight of Molière
In dreamy mood?—Has he perchance, at eve,
When here the thinker homeward went, has he,
Who—seeing souls all naked—could not fear
Your nudity, in his inquiring mind,
Confronted you with Man?"
Under the thickly-tangled branches, thus
Did I speak to him; he no answer gave.
I shook my head, and moved myself away;
Then, from the copses, and from secret caves
Hid in the wood, methought a ghostly voice
Came forth and woke an echo in my souls
As in the hollow of an amphora.
"Imprudent poet," thus it seemed to say,
"What dost thou here? Leave the forsaken Fauns
In peace beneath their trees! Dost thou not know,
Poet, that ever it is impious deemed,
In desert spots where drowsy shades repose—
Though love itself might prompt thee—to shake down
The moss that hangs from ruined centuries,
And, with the vain noise of throe ill-timed words,
To mar the recollections of the dead?"
Then to the gardens all enwrapped in mist
I hurried, dreaming of the vanished days,
And still behind me—hieroglyph obscure
Of antique alphabet—the lonely Faun
Held to his laughter, through the falling night.
I went my way; but yet—in saddened spirit
Pondering on all that had my vision crossed,
Leaves of old summers, fair ones of old time—
Through all, at distance, would my fancy see,
In the woods, statues; shadows in the past!
WILLIAM YOUNG
A LOVE FOR WINGED THINGS.
{XXXVII., April 12, 1840.}
My love flowed e'er for things with wings.
When boy I sought for forest fowl,
And caged them in rude rushes' mesh,
And fed them with my breakfast roll;
So that, though fragile were the door,
They rarely fled, and even then
Would flutter back at faintest call!
Man-grown, I charm for men.
|
Written by
Robert Browning |
I. THE FLOWER'S NAME
Here's the garden she walked across,
Arm in my arm, such a short while since:
Hark, now I push its wicket, the moss
Hinders the hinges and makes them wince!
She must have reached this shrub ere she turned,
As back with that murmur the wicket swung;
For she laid the poor snail, my chance foot spurned,
To feed and forget it the leaves among.
II.
Down this side ofthe gravel-walk
She went while her rope's edge brushed the box:
And here she paused in her gracious talk
To point me a moth on the milk-white phlox.
Roses, ranged in valiant row,
I will never think that she passed you by!
She loves you noble roses, I know;
But yonder, see, where the rock-plants lie!
III.
This flower she stopped at, finger on lip,
Stooped over, in doubt, as settling its claim;
Till she gave me, with pride to make no slip,
Its soft meandering Spanish name:
What a name! Was it love or praise?
Speech half-asleep or song half-awake?
I must learn Spanish, one of these days,
Only for that slow sweet name's sake.
IV.
Roses, if I live and do well,
I may bring her, one of these days,
To fix you fast with as fine a spell,
Fit you each with his Spanish phrase;
But do not detain me now; for she lingers
There, like sunshine over the ground,
And ever I see her soft white fingers
Searching after the bud she found.
V.
Flower, you Spaniard, look that you grow not,
Stay as you are and be loved for ever!
Bud, if I kiss you 'tis that you blow not:
Mind, the shut pink mouth opens never!
For while it pouts, her fingers wrestle,
Twinkling the audacious leaves between,
Till round they turn and down they nestle---
Is not the dear mark still to be seen?
VI.
Where I find her not, beauties vanish;
Whither I follow ber, beauties flee;
Is there no method to tell her in Spanish
June's twice June since she breathed it with me?
Come, bud, show me the least of her traces,
Treasure my lady's lightest footfall!
---Ah, you may flout and turn up your faces---
Roses, you are not so fair after all!
II. SIBRANDUS SCHAFNABURGENSIS.
Plague take all your pedants, say I!
He who wrote what I hold in my hand,
Centuries back was so good as to die,
Leaving this rubbish to cumber the land;
This, that was a book in its time,
Printed on paper and bound in leather,
Last month in the white of a matin-prime
Just when the birds sang all together.
II.
Into the garden I brought it to read,
And under the arbute and laurustine
Read it, so help me grace in my need,
From title-page to closing line.
Chapter on chapter did I count,
As a curious traveller counts Stonehenge;
Added up the mortal amount;
And then proceeded to my revenge.
III.
Yonder's a plum-tree with a crevice
An owl would build in, were he but sage;
For a lap of moss, like a fine pont-levis
In a castle of the Middle Age,
Joins to a lip of gum, pure amber;
When he'd be private, there might he spend
Hours alone in his lady's chamber:
Into this crevice I dropped our friend.
IV.
Splash, went he, as under he ducked,
---At the bottom, I knew, rain-drippings stagnate:
Next, a handful of blossoms I plucked
To bury him with, my bookshelf's magnate;
Then I went in-doors, brought out a loaf,
Half a cheese, and a bottle of Chablis;
Lay on the grass and forgot the oaf
Over a jolly chapter of Rabelais.
V.
Now, this morning, betwixt the moss
And gum that locked our friend in limbo,
A spider had spun his web across,
And sat in the midst with arms akimbo:
So, I took pity, for learning's sake,
And, _de profundis, accentibus ltis,
Cantate!_ quoth I, as I got a rake;
And up I fished his delectable treatise.
VI.
Here you have it, dry in the sun,
With all the binding all of a blister,
And great blue spots where the ink has run,
And reddish streaks that wink and glister
O'er the page so beautifully yellow:
Oh, well have the droppings played their tricks!
Did he guess how toadstools grow, this fellow?
Here's one stuck in his chapter six!
VII.
How did he like it when the live creatures
Tickled and toused and browsed him all over,
And worm, slug, eft, with serious features,
Came in, each one, for his right of trover?
---When the water-beetle with great blind deaf face
Made of her eggs the stately deposit,
And the newt borrowed just so much of the preface
As tiled in the top of his black wife's closet?
VIII.
All that life and fun and romping,
All that frisking and twisting and coupling,
While slowly our poor friend's leaves were swamping
And clasps were cracking and covers suppling!
As if you bad carried sour John Knox
To the play-house at Paris, Vienna or Munich,
Fastened him into a front-row box,
And danced off the ballet with trousers and tunic.
IX.
Come, old martyr! What, torment enough is it?
Back to my room shall you take your sweet self.
Good-bye, mother-beetle; husband-eft, _sufficit!_
See the snug niche I have made on my shelf!
A.'s book shall prop you up, B.'s shall cover you,
Here's C. to be grave with, or D. to be gay,
And with E. on each side, and F. right over you,
Dry-rot at ease till the Judgment-day!
|
Written by
Jennifer Reeser |
Moscow ballet at seven in the evening.
You look at everything. You lay your cheek
against my shoulder, smoothing down my sleeve,
the Russian blizzards somehow less than bleak,
portrayed with whimsy on the backdrop screens
in dolloped watercolors as they are.
I ask if you know what their movement means.
You wish our situation not so far.
And everywhere, the audience defies
convention and conformity, some dressed
as though they had been made to improvise
at the last minute, some in black-tie best.
You’re happy, in new satin, having run
your fingers countless times from hip to hem –
Anastasia, whereas I am anyone
in tan, beside a jade and garnet gem.
With clarity and ease like these a-stage,
comparison with any else in life
seems but the smart annoyance of an age,
scissors beside a blunted paperknife.
“Sit up. Pay close attention. Sugar Plum
is dancing with such dignity,” I tell
you, half-disheartened, when I hear you hum,
you know Tchaikovsky’s symphony so well.
|
Written by
Emily Dickinson |
I cannot dance upon my Toes --
No Man instructed me --
But oftentimes, among my mind,
A Glee possesseth me,
That had I Ballet knowledge --
Would put itself abroad
In Pirouette to blanch a Troupe --
Or lay a Prima, mad,
And though I had no Gown of Gauze --
No Ringlet, to my Hair,
Nor hopped to Audiences -- like Birds,
One Claw upon the Air,
Nor tossed my shape in Eider Balls,
Nor rolled on wheels of snow
Till I was out of sight, in sound,
The House encore me so --
Nor any know I know the Art
I mention -- easy -- Here --
Nor any Placard boast me --
It's full as Opera --
|
Written by
Ogden Nash |
The people upstairs all practise ballet
Their living room is a bowling alley
Their bedroom is full of conducted tours.
Their radio is louder than yours,
They celebrate week-ends all the week.
When they take a shower, your ceilings leak.
They try to get their parties to mix
By supplying their guests with Pogo sticks,
And when their fun at last abates,
They go to the bathroom on roller skates.
I might love the people upstairs more
If only they lived on another floor.
|
Written by
Delmore Schwartz |
Where the sea gulls sleep or indeed where they fly
Is a place of different traffic. Although I
Consider the fishing bay (where I see them dip and curve
And purely glide) a place that weakens the nerve
Of will, and closes my eyes, as they should not be
(They should burn like the street-light all night quietly,
So that whatever is present will be known to me),
Nevertheless the gulls and the imagination
Of where they sleep, which comes to creation
In strict shape and color, from their dallying
Their wings slowly, and suddenly rallying
Over, up, down the arabesque of descent,
Is an old act enacted, my fabulous intent
When I skated, afraid of policemen, five years old,
In the winter sunset, sorrowful and cold,
Hardly attained to thought, but old enough to know
Such grace, so self-contained, was the best escape to know.
|
Written by
Katherine Mansfield |
White, white in the milky night
The moon danced over a tree.
"Wouldn't it be lovely to swim in the lake!"
Someone whispered to me.
"Oh, do-do-do!" cooed someone else,
And clasped her hands to her chin.
"I should so love to see the white bodies--
All the white bodies jump in!"
The big dark house hid secretly
Behind the magnolia and the spreading pear-tree;
But there was a sound of music--music rippled and ran
Like a lady laughing behind her fan,
Laughing and mocking and running away...
"Come into the garden--it's as light as day!"
"I can't dance to that Hungarian stuff,
The rhythm in it is not passionate enough,"
Said somebody. "I absolutely refuse...."
But he took off his socks and his shoes
And round he spun. "It's like Hungarian fruit dishes
Hard and bright--a mechanical blue!"
His white feet flicked in the grass like fishes...
Someone cried: "I want to dance, too!"
But one with a ***** Russian ballet head
Curled up on a blue wooden bench instead.
And another, shadowy--shadowy and tall--
Walked in the shadow of the dark house wall,
Someone beside her. It shone in the gloom,
His round grey hat, like a wet mushroom.
"Don't you think perhaps..." piped someone's flute.
"How sweet the flowers smell!" I heard the other say.
Somebody picked a wet, wet pink,
Smelled it and threw it away.
"Is the moon a virgin or is she a harlot?"
Asked somebody. Nobody would tell.
The faces and the hands moved in a pattern
As the music rose and fell,
In a dancing, mysterious, moon-bright pattern
Like flowers nodding under the sea...
The music stopped and there was nothing left of them
But the moon dancing over the tree.
|
Written by
Andrew Barton Paterson |
Oh, some folk think vice-royalty is festive and hilarious,
The duties of an A.D.C. are manifold and various,
So listen, whilst I tell in song
The duties of an aide-de-cong.
Whatsoever betide
To the Governor's side
We must stick -- or the public would eat him --
For each bounder we see
Says, "Just introduce me
To His Lordship -- I'm anxious to meet him."
Then they grab at his paw
And they chatter and jaw
Till they'd talk him to death -- if we'd let 'em --
And the folk he has met,
They are all in a fret,
Just for fear he might chance to forget 'em.
When some local King Billy
Is talking him silly,
Or the pound-keeper's wife has waylaid him,
From folks of that stamp
When he has to decamp --
We're his aides to decamp -- so we aid him.
Then some feminine beauty
Will come and salute ye,
She may be a Miss or a Madam,
Or a man comes in view,
Bails you up, "How de do!"
And you don't know the fellow from Adam!
But you've got to keep sweet
With each man that you meet,
And a trifle like this mustn't bar you,
So you clutch at his fin,
And you say, with a grin,
"Oh, delighted to see you -- how are you?"
Then we do country shows
Where some prize-taker blows
Of his pig -- a great, vast forty-stoner --
"See, my Lord! ain't he fine!
How is that for a swine!"
When it isn't a patch on its owner!
We fix up the dinners
For parsons and sinners
And lawyers and bishops and showmen,
And a judge of the court
We put next to a "sport",
And an Orangeman next to a Roman.
We send invitations
To all celebrations,
Some Nobody's presence entreating,
And the old folks of all
We invite to a ball,
And the young -- to a grandmothers' meeting.
And when we go dancing,
Like cart-horses prancing,
We plunge where the people are thickenkn';
And each gay local swell
Thinks it's "off" to dance well,
So he copies our style -- ain't it sickenin'!
Then at banquets we dine
And swig cheap, nasty wine,
But the poor aide-de-camp mustn't funk it --
And they call it champagne,
But we're free to maintain
That he feels real pain when he's drunk it.
Then our horses bestriding
We go out a-riding
Lest our health by confinement we'd injure;
You can notice the glare
Of the Governor's hair
When the little boys say, "Go it, Ginger!"
Then some wandering lords --
They so often are frauds --
This out-of-way country invading,
If a man dresses well
And behaves like a swell,
Then he's somebody's cook masquerading.
But an out-an-out ass
With a thirst for the glass
And the symptoms of drink on his "boko",
Who is perpetually
Pursuing the ballet,
He is always the "true Orinoco".
We must slave with our quills --
Keep the cash -- pay the bills --
Keep account of the liquor and victuals --
So I think you'll agree
That the gay A.D.C.
Has a life that's not all beer and skittles!
|
Written by
Jennifer Reeser |
What would I do without your voice to wake me?
Cor ad cor loquitur, I’m loath to know.
Kitsch operas sound, unhesitant to shake me,
The sheers undrawn, the heavens hardly showing,
My camisole askew, of lace-trimmed black –
Not red, not white; not passionate or pure.
I raise the volume, and the voices crack—
Vanilla scores: accessible, obscure.
But what would I do without your certain voice?
Disjecta membra ... I am loath to think.
This negligée is sable, but my choice
If black had been forbidden, would be pink:
The blood of ballet satins, quartz, the lover,
That cut from which I never could recover.
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