Written by
Heather McHugh |
We were supposed to do a job in Italy
and, full of our feeling for
ourselves (our sense of being
Poets from America) we went
from Rome to Fano, met
the Mayor, mulled a couple
matters over.
The Italian literati seemed
bewildered by the language of America: they asked us
what does "flat drink" mean? and the mysterious
"cheap date" (no explanation lessened
this one's mystery).
Among Italian writers we
could recognize our counterparts: the academic,
the apologist, the arrogant, the amorous,
the brazen and the glib.
And there was one
administrator (The Conservative), in suit
of regulation gray, who like a good tour guide
with measured pace and uninflected tone
narrated sights and histories
the hired van hauled us past.
Of all he was most politic--
and least poetic-- so
it seemed.
Our last
few days in Rome
I found a book of poems this
unprepossessing one had written: it was there
in the pensione room (a room he'd recommended)
where it must have been abandoned by
the German visitor (was there a bus of them?) to whom
he had inscribed and dated it a month before.
I couldn't
read Italian either, so I put the book
back in the wardrobe's dark.
We last Americans
were due to leave
tomorrow.
For our parting evening then
our host chose something in a family restaurant,
and there we sat and chatted, sat and chewed, till,
sensible it was our last big chance to be Poetic, make
our mark, one of us asked
"What's poetry?
Is it the fruits and vegetables
and marketplace at Campo dei Fiori
or the statue there?" Because I was
the glib one, I identified the answer
instantly, I didn't have to think-- "The truth
is both, it's both!" I blurted out.
But that
was easy.
That was easiest
to say.
What followed taught me something
about difficulty,
for our underestimated host spoke out
all of a sudden, with a rising passion, and he said:
The statue represents
Giordano Bruno, brought
to be burned in the public square
because of his offence against authority, which was to say
the Church.
His crime was his belief
the universe does not revolve around
the human being: God is no
fixed point or central government
but rather is poured in waves, through
all things: all things
move.
"If God is not the soul itself,
he is the soul OF THE SOUL of the world.
" Such was
his heresy.
The day they brought him forth to die
they feared he might incite the crowd (the man
was famous for his eloquence).
And so his captors
placed upon his face
an iron mask
in which he could not speak.
That is how they burned him.
That is how he died,
without a word,
in front of everyone.
And poetry--
(we'd all put down our forks by now, to listen to
the man in gray; he went on softly)-- poetry
is what he thought, but did not say.
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Written by
Adela Florence Cory Nicolson |
Love me a little, Lord, or let me go,
I am so weary walking to and fro
Through all your lonely halls that were so sweet
Did they but echo to your coming feet.
When by the flowered scrolls of lace-like stone
Our women's windows—I am left alone,
Across the yellow Desert, looking forth,
I see the purple hills towards the north.
Behind those jagged Mountains' lilac crest
Once lay the captive bird's small rifled nest.
There was my brother slain, my sister bound;
His blood, her tears, drunk by the thirsty ground.
Then, while the burning village smoked on high,
And desecrated all the peaceful sky,
They took us captive, us, born frank and free,
On fleet, strong camels through the sandy sea.
Yet, when we rested, night-times, on the sand
By the rare waters of this dreary land,
Our captors, ere the camp was wrapped in sleep,
Talked, and I listened, and forgot to weep.
"Is he not brave and fair?" they asked, "our King,
Slender as one tall palm-tree by a spring;
Erect, serene, with gravely brilliant eyes,
As deeply dark as are these desert skies.
"Truly no bitter fate," they said, and smiled,
"Awaits the beauty of this captured child!"
Then something in my heart began to sing,
And secretly I longed to see the King.
Sometimes the other maidens sat in tears,
Sometimes, consoled, they jested at their fears,
Musing what lovers Time to them would bring;
But I was silent, thinking of the King.
Till, when the weary endless sands were passed,
When, far to south, the city rose at last,
All speech forsook me and my eyelids fell,
Since I already loved my Lord so well.
Then the division: some were sent away
To merchants in the city; some, they say,
To summer palaces, beyond the walls.
But me they took straight to the Sultan's halls.
Every morning I would wake and say
"Ah, sisters, shall I see our Lord to-day?"
The women robed me, perfumed me, and smiled;
"When were his feet unfleet to pleasure, child?"
And tales they told me of his deeds in war,
Of how his name was reverenced afar;
And, crouching closer in the lamp's faint glow,
They told me of his beauty, speaking low.
What need, what need? the women wasted art;
I love you with every fibre of my heart
Already. My God! when did I not love you,
In life, in death, when shall I not love you?
You never seek me. All day long I lie
Watching the changes of the far-off sky
Behind the lattice-work of carven stone.
And all night long, alas! I lie alone.
But you come never. Ah, my Lord the King,
How can you find it well to do this thing?
Come once, come only: sometimes, as I lie,
I doubt if I shall see you first, or die.
Ah, could I hear your footsteps at the door
Hallow the lintel and caress the floor,
Then I might drink your beauty, satisfied,
Die of delight, ere you could reach my side.
Alas, you come not, Lord: life's flame burns low,
Faint for a loveliness it may not know,
Faint for your face, Oh, come—come soon to me—
Lest, though you should not, Death should, set me free!
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