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
Margaret Atwood |
This is the lair of the landlady
She is
a raw voice
loose in the rooms beneath me.
the continuous henyard
squabble going on below
thought in this house like
the bicker of blood through the head.
She is everywhere, intrusive as the smells
that bulge in under my doorsill;
she presides over my
meagre eating, generates
the light for eyestrain.
From her I rent my time:
she slams
my days like doors.
Nothing is mine.
and when I dream images
of daring escapes through the snow
I find myself walking
always over a vast face
which is the land-
lady's, and wake up shouting.
She is a bulk, a knot
swollen in a space. Though I have tried
to find some way around
her, my senses
are cluttered by perception
and can't see through her.
She stands there, a raucous fact
blocking my way:
immutable, a slab
of what is real.
solid as bacon.
|
Written by
Alfred Lord Tennyson |
I come from haunts of coot and hern,
I make a sudden sally
And sparkle out among the fern,
To bicker down a valley.
By thirty hills I hurry down,
Or slip between the ridges,
By twenty thorpes, a little town,
And half a hundred bridges.
Till last by Philip's farm I flow
To join the brimming river,
For men may come and men may go,
But I go on for ever.
I chatter over stony ways,
In little sharps and trebles,
I bubble into eddying bays,
I babble on the pebbles.
With many a curve my banks I fret
By many a field and fallow,
And many a fairy foreland set
With willow-weed and mallow.
I chatter, chatter, as I flow
To join the brimming river,
For men may come and men may go,
But I go on for ever.
I wind about, and in and out,
With here a blossom sailing,
And here and there a lusty trout,
And here and there a grayling,
And here and there a foamy flake
Upon me, as I travel
With many a silvery waterbreak
Above the golden gravel,
And draw them all along, and flow
To join the brimming river
For men may come and men may go,
But I go on for ever.
I steal by lawns and grassy plots,
I slide by hazel covers;
I move the sweet forget-me-nots
That grow for happy lovers.
I slip, I slide, I gloom, I glance,
Among my skimming swallows;
I make the netted sunbeam dance
Against my sandy shallows.
I murmur under moon and stars
In brambly wildernesses;
I linger by my shingly bars;
I loiter round my cresses;
And out again I curve and flow
To join the brimming river,
For men may come and men may go,
But I go on for ever.
|
Written by
Robert William Service |
All day long when the shells sail over
I stand at the sandbags and take my chance;
But at night, at night I'm a reckless rover,
And over the parapet gleams Romance.
Romance! Romance! How I've dreamed it, writing
Dreary old records of money and mart,
Me with my head chuckful of fighting
And the blood of vikings to thrill my heart.
But little I thought that my time was coming,
Sudden and splendid, supreme and soon;
And here I am with the bullets humming
As I crawl and I curse the light of the moon.
Out alone, for adventure thirsting,
Out in mysterious No Man's Land;
Prone with the dead when a star-shell, bursting,
Flares on the horrors on every hand.
There are ruby stars and they drip and wiggle;
And the grasses gleam in a light blood-red;
There are emerald stars, and their tails they wriggle,
And ghastly they glare on the face of the dead.
But the worst of all are the stars of whiteness,
That spill in a pool of pearly flame,
Pretty as gems in their silver brightness,
And etching a man for a bullet's aim.
Yet oh, it's great to be here with danger,
Here in the weird, death-pregnant dark,
In the devil's pasture a stealthy ranger,
When the moon is decently hiding. Hark!
What was that? Was it just the shiver
Of an eerie wind or a clammy hand?
The rustle of grass, or the passing quiver
Of one of the ghosts of No Man's Land?
It's only at night when the ghosts awaken,
And gibber and whisper horrible things;
For to every foot of this God-forsaken
Zone of jeopard some horror clings.
Ugh! What was that? It felt like a jelly,
That flattish mound in the noisome grass;
You three big rats running free of its belly,
Out of my way and let me pass!
But if there's horror, there's beauty, wonder;
The trench lights gleam and the rockets play.
That flood of magnificent orange yonder
Is a battery blazing miles away.
With a rush and a singing a great shell passes;
The rifles resentfully bicker and brawl,
And here I crouch in the dew-drenched grasses,
And look and listen and love it all.
God! What a life! But I must make haste now,
Before the shadow of night be spent.
It's little the time there is to waste now,
If I'd do the job for which I was sent.
My bombs are right and my clippers ready,
And I wriggle out to the chosen place,
When I hear a rustle . . . Steady! . . . Steady!
Who am I staring slap in the face?
There in the dark I can hear him breathing,
A foot away, and as still as death;
And my heart beats hard, and my brain is seething,
And I know he's a Hun by the smell of his breath.
Then: "Will you surrender?" I whisper hoarsely,
For it's death, swift death to utter a cry.
"English schwein-hund!" he murmurs coarsely.
"Then we'll fight it out in the dark," say I.
So we grip and we slip and we trip and wrestle
There in the gutter of No Man's Land;
And I feel my nails in his wind-pipe nestle,
And he tries to gouge, but I bite his hand.
And he tries to squeal, but I squeeze him tighter:
"Now," I say, "I can kill you fine;
But tell me first, you Teutonic blighter!
Have you any children?" He answers: "Nein."
Nine! Well, I cannot kill such a father,
So I tie his hands and I leave him there.
Do I finish my little job? Well, rather;
And I get home safe with some light to spare.
Heigh-ho! by day it's just prosy duty,
Doing the same old song and dance;
But oh! with the night -- joy, glory, beauty:
Over the parapet -- Life, Romance!
|
Written by
Robert Burns |
SOME books are lies frae end to end,
And some great lies were never penn’d:
Ev’n ministers they hae been kenn’d,
In holy rapture,
A rousing whid at times to vend,
And nail’t wi’ Scripture.
But this that I am gaun to tell,
Which lately on a night befell,
Is just as true’s the Deil’s in hell
Or Dublin city:
That e’er he nearer comes oursel’
’S a muckle pity.
The clachan yill had made me canty,
I was na fou, but just had plenty;
I stacher’d whiles, but yet too tent aye
To free the ditches;
An’ hillocks, stanes, an’ bushes, kenn’d eye
Frae ghaists an’ witches.
The rising moon began to glowre
The distant Cumnock hills out-owre:
To count her horns, wi’ a my pow’r,
I set mysel’;
But whether she had three or four,
I cou’d na tell.
I was come round about the hill,
An’ todlin down on Willie’s mill,
Setting my staff wi’ a’ my skill,
To keep me sicker;
Tho’ leeward whiles, against my will,
I took a bicker.
I there wi’ Something did forgather,
That pat me in an eerie swither;
An’ awfu’ scythe, out-owre ae shouther,
Clear-dangling, hang;
A three-tae’d leister on the ither
Lay, large an’ lang.
Its stature seem’d lang Scotch ells twa,
The queerest shape that e’er I saw,
For fient a wame it had ava;
And then its shanks,
They were as thin, as sharp an’ sma’
As cheeks o’ branks.
“Guid-een,” quo’ I; “Friend! hae ye been mawin,
When ither folk are busy sawin!” 1
I seem’d to make a kind o’ stan’
But naething spak;
At length, says I, “Friend! whare ye gaun?
Will ye go back?”
It spak right howe,—“My name is Death,
But be na fley’d.”—Quoth I, “Guid faith,
Ye’re maybe come to stap my breath;
But tent me, billie;
I red ye weel, tak care o’ skaith
See, there’s a gully!”
“Gudeman,” quo’ he, “put up your whittle,
I’m no designed to try its mettle;
But if I did, I wad be kittle
To be mislear’d;
I wad na mind it, no that spittle
Out-owre my beard.”
“Weel, weel!” says I, “a bargain be’t;
Come, gie’s your hand, an’ sae we’re gree’t;
We’ll ease our shanks an tak a seat—
Come, gie’s your news;
This while ye hae been mony a gate,
At mony a house.” 2
“Ay, ay!” quo’ he, an’ shook his head,
“It’s e’en a lang, lang time indeed
Sin’ I began to nick the thread,
An’ choke the breath:
Folk maun do something for their bread,
An’ sae maun Death.
“Sax thousand years are near-hand fled
Sin’ I was to the butching bred,
An’ mony a scheme in vain’s been laid,
To stap or scar me;
Till ane Hornbook’s 3 ta’en up the trade,
And faith! he’ll waur me.
“Ye ken Hornbook i’ the clachan,
Deil mak his king’s-hood in spleuchan!
He’s grown sae weel acquaint wi’ Buchan 4
And ither chaps,
The weans haud out their fingers laughin,
An’ pouk my hips.
“See, here’s a scythe, an’ there’s dart,
They hae pierc’d mony a gallant heart;
But Doctor Hornbook, wi’ his art
An’ cursed skill,
Has made them baith no worth a f—t,
D—n’d haet they’ll kill!
“’Twas but yestreen, nae farther gane,
I threw a noble throw at ane;
Wi’ less, I’m sure, I’ve hundreds slain;
But deil-ma-care,
It just play’d dirl on the bane,
But did nae mair.
“Hornbook was by, wi’ ready art,
An’ had sae fortify’d the part,
That when I looked to my dart,
It was sae blunt,
Fient haet o’t wad hae pierc’d the heart
Of a kail-runt.
“I drew my scythe in sic a fury,
I near-hand cowpit wi’ my hurry,
But yet the bauld Apothecary
Withstood the shock;
I might as weel hae tried a quarry
O’ hard whin rock.
“Ev’n them he canna get attended,
Altho’ their face he ne’er had kend it,
Just —— in a kail-blade, an’ sent it,
As soon’s he smells ’t,
Baith their disease, and what will mend it,
At once he tells ’t.
“And then, a’ doctor’s saws an’ whittles,
Of a’ dimensions, shapes, an’ mettles,
A’ kind o’ boxes, mugs, an’ bottles,
He’s sure to hae;
Their Latin names as fast he rattles
As A B C.
“Calces o’ fossils, earths, and trees;
True sal-marinum o’ the seas;
The farina of beans an’ pease,
He has’t in plenty;
Aqua-fontis, what you please,
He can content ye.
“Forbye some new, uncommon weapons,
Urinus spiritus of capons;
Or mite-horn shavings, filings, scrapings,
Distill’d per se;
Sal-alkali o’ midge-tail clippings,
And mony mae.”
“Waes me for Johnie Ged’s-Hole 5 now,”
Quoth I, “if that thae news be true!
His braw calf-ward whare gowans grew,
Sae white and bonie,
Nae doubt they’ll rive it wi’ the plew;
They’ll ruin Johnie!”
The creature grain’d an eldritch laugh,
And says “Ye needna yoke the pleugh,
Kirkyards will soon be till’d eneugh,
Tak ye nae fear:
They’ll be trench’d wi’ mony a sheugh,
In twa-three year.
“Whare I kill’d ane, a fair strae-death,
By loss o’ blood or want of breath
This night I’m free to tak my aith,
That Hornbook’s skill
Has clad a score i’ their last claith,
By drap an’ pill.
“An honest wabster to his trade,
Whase wife’s twa nieves were scarce weel-bred
Gat tippence-worth to mend her head,
When it was sair;
The wife slade cannie to her bed,
But ne’er spak mair.
“A country laird had ta’en the batts,
Or some curmurring in his guts,
His only son for Hornbook sets,
An’ pays him well:
The lad, for twa guid gimmer-pets,
Was laird himsel’.
“A bonie lass—ye kend her name—
Some ill-brewn drink had hov’d her wame;
She trusts hersel’, to hide the shame,
In Hornbook’s care;
Horn sent her aff to her lang hame,
To hide it there.
“That’s just a swatch o’ Hornbook’s way;
Thus goes he on from day to day,
Thus does he poison, kill, an’ slay,
An’s weel paid for’t;
Yet stops me o’ my lawfu’ prey,
Wi’ his d—n’d dirt:
“But, hark! I’ll tell you of a plot,
Tho’ dinna ye be speakin o’t;
I’ll nail the self-conceited sot,
As dead’s a herrin;
Neist time we meet, I’ll wad a groat,
He gets his fairin!”
But just as he began to tell,
The auld kirk-hammer strak the bell
Some wee short hour ayont the twal’,
Which rais’d us baith:
I took the way that pleas’d mysel’,
And sae did Death.
Note 1. This recontre happened in seed-time, 1785.—R. B. [back]
Note 2. An epidemical fever was then raging in that country.—R. B. [back]
Note 3. This gentleman, Dr. Hornbook, is professionally a brother of the sovereign Order of the Ferula; but, by intuition and inspiration, is at once an apothecary, surgeon, and physician.—R. B. [back]
Note 4. Burchan’s Domestic Medicine.—R. B. [back]
Note 5. The grave-digger.—R. B. [back]
|
Written by
Robert Burns |
O GOWDIE, terror o’ the whigs,
Dread o’ blackcoats and rev’rend wigs!
Sour Bigotry, on her last legs,
Girns an’ looks back,
Wishing the ten Egyptian plagues
May seize you quick.
Poor gapin’, glowrin’ Superstition!
Wae’s me, she’s in a sad condition:
Fye: bring Black Jock, 1 her state physician,
To see her water;
Alas, there’s ground for great suspicion
She’ll ne’er get better.
Enthusiasm’s past redemption,
Gane in a gallopin’ consumption:
Not a’ her quacks, wi’ a’ their gumption,
Can ever mend her;
Her feeble pulse gies strong presumption,
She’ll soon surrender.
Auld Orthodoxy lang did grapple,
For every hole to get a stapple;
But now she fetches at the thrapple,
An’ fights for breath;
Haste, gie her name up in the chapel, 2
Near unto death.
It’s you an’ Taylor 3 are the chief
To blame for a’ this black mischief;
But, could the L—d’s ain folk get leave,
A toom tar barrel
An’ twa red peats wad bring relief,
And end the quarrel.
For me, my skill’s but very sma’,
An’ skill in prose I’ve nane ava’;
But quietlins-wise, between us twa,
Weel may you speed!
And tho’ they sud your sair misca’,
Ne’er fash your head.
E’en swinge the dogs, and thresh them sicker!
The mair they squeel aye chap the thicker;
And still ’mang hands a hearty bicker
O’ something stout;
It gars an owthor’s pulse beat quicker,
And helps his wit.
There’s naething like the honest nappy;
Whare’ll ye e’er see men sae happy,
Or women sonsie, saft an’ sappy,
’Tween morn and morn,
As them wha like to taste the drappie,
In glass or horn?
I’ve seen me dazed upon a time,
I scarce could wink or see a styme;
Just ae half-mutchkin does me prime,—
Ought less is little—
Then back I rattle on the rhyme,
As gleg’s a whittle.
Note 1. The Rev. J. Russell, Kilmarnock.—R. B. [back]
Note 2. Mr. Russell’s Kirk.—R. B. [back]
Note 3. Dr. Taylor of Norwich.—R. B. [back]
|