Written by
Vladimir Mayakovsky |
No.
It can’t be.
No!
You too, beloved?
Why? What for?
Darling, look -
I came,
I brought flowers,
but, but.
.
.
I never took
silver spoons from your drawer!
Ashen-faced,
I staggered down five flights of stairs.
The street eddied round me.
Blasts.
Blares.
Tires screeched.
It was gusty.
The wind stung my cheeks.
Horn mounted horn lustfully.
Above the capital’s madness
I raised my face,
stern as the faces of ancient icons.
Sorrow-rent,
on your body as on a death-bed, its days
my heart ended.
You did not sully your hands with brute murder.
Instead,
you let drop calmly:
“He’s in bed.
There’s fruit and wine
On the bedstand’s palm.
”
Love!
You only existed in my inflamed brain.
Enough!
Stop this foolish comedy
and take notice:
I’m ripping off
my toy armour,
I,
the greatest of all Don Quixotes!
Remember?
Weighed down by the cross,
Christ stopped for a moment,
weary.
Watching him, the mob
yelled, jeering:
“Get movin’, you clod!”
That’s right!
Be spiteful.
Spit upon him who begs for a rest
on his day of days,
harry and curse him.
To the army of zealots, doomed to do good,
man shows no mercy!
That does it!
I swear by my pagan strength -
gimme a girl,
young,
eye-filling,
and I won’t waste my feelings on her.
I'll rape her
and spear her heart with a gibe
willingly.
An eye for an eye!
A thousand times over reap of revenge the crops'
Never stop!
Petrify, stun,
howl into every ear:
“The earth is a convict, hear,
his head half shaved by the sun!”
An eye for an eye!
Kill me,
bury me -
I’ll dig myself out,
the knives of my teeth by stone — no wonder!-
made sharper,
A snarling dog, under
the plank-beds of barracks I’ll crawl,
sneaking out to bite feet that smell
of sweat and of market stalls!
You'll leap from bed in the night’s early hours.
“Moo!” I’ll roar.
Over my neck,
a yoke-savaged sore,
tornados of flies
will rise.
I'm a white bull over the earth towering!
Into an elk I’ll turn,
my horns-branches entangled in wires,
my eyes red with blood.
Above the world,
a beast brought to bay,
I'll stand tirelessly.
Man can’t escape!
Filthy and humble,
a prayer mumbling,
on cold stone he lies.
What I’ll do is paint
on the royal gates,
over God’s own
the face of Razin.
Dry up, rivers, stop him from quenching his thirst! Scorn him!
Don’t waste your rays, sun! Glare!
Let thousands of my disciples be born
to trumpet anathemas on the squares!
And when at last there comes,
stepping onto the peaks of the ages,
chillingly,
the last of their days,
in the black souls of anarchists and killers
I, a gory vision, will blaze!
It’s dawning,
The sky’s mouth stretches out more and more,
it drinks up the night
sip by sip, thirstily.
The windows send off a glow.
Through the panes heat pours.
The sun, viscous, streams down onto the sleeping city.
O sacred vengeance!
Lead me again
above the dust without
and up the steps of my poetic lines.
This heart of mine,
full to the brim,
in a confession
I will pour out.
Men of the future!
Who are you?
I must know.
Please!
Here am I,
all bruises and aches,
pain-scorched.
.
.
To you of my great soul I bequeath
the orchard.
|
Written by
Rudyard Kipling |
1903
After Boer War
Duly with knees that feign to quake--
Bent head and shaded brow,--
Yet once again, for my father's sake,
In Rimmon's House I bow.
The curtains part, the trumpet blares,
And the eunuchs howl aloud;
And the gilt, swag-bellied idol glares
Insolent over the crowd.
"This is Rimmon, Lord of the Earth--
"Fear Him and bow the knee!"
And I watch my comrades hide their mirth
That rode to the wars with me.
For we remember the sun and the sand
And the rocks whereon we trod,
Ere we came to a scorched and a scornful land
That did not know our God;
As we remember the sacrifice,
Dead men an hundred laid--
Slain while they served His mysteries,
And that He would not aid--
Not though we gashed ourselves and wept,
For the high-priest bade us wait;
Saying He went on a journey or slept,
Or was drunk or had taken a mate.
(Praise ye Rimmon, King of Kings,
Who ruleth Earth and Sky!
And again I bow as the censer swings
And the God Enthroned goes by.
)
Ay, we remember His sacred ark
And the virtuous men that knelt
To the dark and the hush behind the dark
Wherein we dreamed He dwelt;
Until we entered to hale Him out
And found no more than an old
Uncleanly image girded about
The loins with scarlet and gold.
Him we o'erset with the butts of our spears--
Him and his vast designs--
To be scorn of our muleteers
And the jest of our halted line.
By the picket-pins that the dogs defile,
In the dung and the dust He lay,
Till the priests ran and chattered awhile
And we wiped Him and took Him away.
Hushing the matter before it was known,
They returned to our fathers afar,
And hastily set Him afresh on His throne
Because he had won us the war.
Wherefore with knees that feign to quake--
Bent head and shaded brow--
To this dog, for my father's sake,
In the Rimmon's House I bow!
|
Written by
Joaquin Miller |
THE moon resumed all heaven now,
She shepherded the stars below
Along her wide, white steeps of snow,
Nor stooped nor rested, where or how.
She bared her full white breast, she dared
The sun e'er show his face again.
She seemed to know no change, she kept
Carousal constantly, nor slept,
Nor turned aside a breath, nor spared
The fearful meaning, the mad pain,
The weary eyes, the poor dazed brain,
That came at last to feel, to see
The dread, dead touch of lunacy.
How loud the silence! Oh, how loud!
How more than beautiful the shroud
Of dead Light in the moon-mad north
When great torch-tipping stars stand forth
Above the black, slow-moving pall
As at some fearful funeral!
The moon blares as mad trumpets blare
To marshaled warriors long and loud;
The cobalt blue knows not a cloud,
But oh, beware that moon, beware
Her ghostly, graveyard, moon-mad stare!
Beware white silence more than white!
Beware the five-horned starry rune;
Beware the groaning gorge below;
Beware the wide, white world of snow,
Where trees hang white as hooded nun--
No thing not white, not one, not one!
But most beware that mad white moon.
All day, all day, all night, all night
Nay, nay, not yet or night or day.
Just whiteness, whiteness, ghastly white,
Made doubly white by that mad moon
And strange stars jangled out of tune!
At last, he saw, or seemed to see,
Above, beyond, another world.
Far up the ice-hung path there curled
A red-veined cloud, a canopy
That topt the fearful ice-built peak
That seemed to prop the very porch
Of God's house; then, as if a torch
Burned fierce, there flushed a fiery streak,
A flush, a blush, on heaven's cheek!
The dogs sat down, men sat the sled
And watched the flush, the blush of red.
The little wooly dogs, they knew,
Yet scarcely knew what they were about.
They thrust their noses up and out,
They drank the Light, what else to do?
Their little feet, so worn, so true,
Could scarcely keep quiet for delight.
They knew, they knew, how much they knew
The mighty breaking up of night!
Their bright eyes sparkled with such joy
That they at last should see loved Light!
The tandem sudden broke all rule;
Swung back, each leaping like a boy
Let loose from some dark, ugly school--
Leaped up and tried to lick his hand--
Stood up as happy children stand.
How tenderly God's finger set
His crimson flower on that height
Above the battered walls of night!
A little space it flourished yet,
And then His angel, His first-born,
Burst through, as on that primal morn!
|
Written by
William Carlos (WCW) Williams |
Tracks of rain and light linger in
the spongy greens of a nature whose
flickering mountain—bulging nearer,
ebbing back into the sun
hollowing itself away to hold a lake,—
or brown stream rising and falling at the roadside, turning about,
churning itself white, drawing
green in over it,—plunging glassy funnels
fall—
And—the other world—
the windshield a blunt barrier:
Talk to me.
Sh! they would hear us.
—the backs of their heads facing us—
The stream continues its motion of
a hound running over rough ground.
Trees vanish—reappear—vanish:
detached dance of gnomes—as a talk
dodging remarks, glows and fades.
—The unseen power of words—
And now that a few of the moves
are clear the first desire is
to fling oneself out at the side into
the other dance, to other music.
Peer Gynt.
Rip Van Winkle.
Diana.
If I were young I would try a new alignment—
alight nimbly from the car, Good-bye!—
Childhood companions linked two and two
criss-cross: four, three, two, one.
Back into self, tentacles withdrawn.
Feel about in warm self-flesh.
Since childhood, since childhood!
Childhood is a toad in the garden, a
happy toad.
All toads are happy
and belong in gardens.
A toad to Diana!
Lean forward.
Punch the steerman
behind the ear.
Twirl the wheel!
Over the edge! Screams! Crash!
The end.
I sit above my head—
a little removed—or
a thin wash of rain on the roadway
—I am never afraid when he is driving,—
interposes new direction,
rides us sidewise, unforseen
into the ditch! All threads cut!
Death! Black.
The end.
The very end—
I would sit separate weighing a
small red handful: the dirt of these parts,
sliding mists sheeting the alders
against the touch of fingers creeping
to mine.
All stuff of the blind emotions.
But—stirred, the eye seizes
for the first time—The eye awake!—
anything, a dirt bank with green stars
of scrawny weed flattened upon it under
a weight of air—For the first time!—
or a yawning depth: Big!
Swim around in it, through it—
all directions and find
vitreous seawater stuff—
God how I love you!—or, as I say,
a plunge into the ditch.
The End.
I sit
examining my red handful.
Balancing
—this—in and out—agh.
Love you? It's
a fire in the blood, willy-nilly!
It's the sun coming up in the morning.
Ha, but it's the grey moon too, already up
in the morning.
You are slow.
Men are not friends where it concerns
a woman? Fighters.
Playfellows.
White round thighs! Youth! Sighs—!
It's the fillip of novelty.
It's—
Mountains.
Elephants humping along
against the sky—indifferent to
light withdrawing its tattered shreds,
worn out with embraces.
It's
the fillip of novelty.
It's a fire in the blood.
Oh get a flannel shirt], white flannel
or pongee.
You'd look so well!
I married you because I liked your nose.
I wanted you! I wanted you
in spite of all they'd say—
Rain and light, mountain and rain,
rain and river.
Will you love me always?
—A car overturned and two crushed bodies
under it.
—Always! Always!
And the white moon already up.
White.
Clean.
All the colors.
A good head, backed by the eye—awake!
backed by the emotions—blind—
River and mountain, light and rain—or
rain, rock, light, trees—divided:
rain-light counter rocks-trees or
trees counter rain-light-rocks or—
Myriads of counter processions
crossing and recrossing, regaining
the advantage, buying here, selling there
—You are sold cheap everywhere in town!—
lingering, touching fingers, withdrawing
gathering forces into blares, hummocks,
peaks and rivers—rivers meeting rock
—I wish that you were lying there dead
and I sitting here beside you.
—
It's the grey moon—over and over.
It's the clay of these parts.
|
Written by
Amy Lowell |
Within the gold square of the proscenium arch,
A curtain of orange velvet hangs in stiff folds,
Its tassels jarring slightly when someone crosses the stage behind.
Gold carving edges the balconies,
Rims the boxes,
Runs up and down fluted pillars.
Little knife-stabs of gold
Shine out whenever a box door is opened.
Gold clusters
Flash in soft explosions
On the blue darkness,
Suck back to a point,
And disappear.
Hoops of gold
Circle necks, wrists, fingers,
Pierce ears,
Poise on heads
And fly up above them in coloured sparkles.
Gold!
Gold!
The opera house is a treasure-box of gold.
Gold in a broad smear across the orchestra pit:
Gold of horns, trumpets, tubas;
Gold -- spun-gold, twittering-gold, snapping-gold
Of harps.
The conductor raises his baton,
The brass blares out
Crass, crude,
Parvenu, fat, powerful,
Golden.
Rich as the fat, clapping hands in the boxes.
Cymbals, gigantic, coin-shaped,
Crash.
The orange curtain parts
And the prima-donna steps forward.
One note,
A drop: transparent, iridescent,
A gold bubble,
It floats .
.
.
floats .
.
.
And bursts against the lips of a bank president
In the grand tier.
|
Written by
Richard Wilbur |
A woman I have never seen before
Steps from the darkness of her town-house door
At just that crux of time when she is made
So beautiful that she or time must fade.
What use to claim that as she tugs her gloves
A phantom heraldry of all the loves
Blares from the lintel? That the staggered sun
Forgets, in his confusion, how to run?
Still, nothing changes as her perfect feet
Click down the walk that issues in the street,
Leaving the stations of her body there
Like whips that map the countries of the air.
|