Written by
Robert Frost |
Her teacher's certainty it must be Mabel
Made Maple first take notice of her name.
She asked her father and he told her, "Maple—
Maple is right."
"But teacher told the school
There's no such name."
"Teachers don't know as much
As fathers about children, you tell teacher.
You tell her that it's M-A-P-L-E.
You ask her if she knows a maple tree.
Well, you were named after a maple tree.
Your mother named you. You and she just saw
Each other in passing in the room upstairs,
One coming this way into life, and one
Going the other out of life—you know?
So you can't have much recollection of her.
She had been having a long look at you.
She put her finger in your cheek so hard
It must have made your dimple there, and said,
'Maple.' I said it too: 'Yes, for her name.'
She nodded. So we're sure there's no mistake.
I don't know what she wanted it to mean,
But it seems like some word she left to bid you
Be a good girl—be like a maple tree.
How like a maple tree's for us to guess.
Or for a little girl to guess sometime.
Not now—at least I shouldn't try too hard now.
By and by I will tell you all I know
About the different trees, and something, too,
About your mother that perhaps may help."
Dangerous self-arousing words to sow.
Luckily all she wanted of her name then
Was to rebuke her teacher with it next day,
And give the teacher a scare as from her father.
Anything further had been wasted on her,
Or so he tried to think to avoid blame.
She would forget it. She all but forgot it.
What he sowed with her slept so long a sleep,
And came so near death in the dark of years,
That when it woke and came to life again
The flower was different from the parent seed.
It carne back vaguely at the glass one day,
As she stood saying her name over aloud,
Striking it gently across her lowered eyes
To make it go well with the way she looked.
What was it about her name? Its strangeness lay
In having too much meaning. Other names,
As Lesley, Carol, Irma, Marjorie,
Signified nothing. Rose could have a meaning,
But hadn't as it went. (She knew a Rose.)
This difference from other names it was
Made people notice it—and notice her.
(They either noticed it, or got it wrong.)
Her problem was to find out what it asked
In dress or manner of the girl who bore it.
If she could form some notion of her mother—
What she bad thought was lovely, and what good.
This was her mother's childhood home;
The house one story high in front, three stories
On the end it presented to the road.
(The arrangement made a pleasant sunny cellar.)
Her mother's bedroom was her father's still,
Where she could watch her mother's picture fading.
Once she found for a bookmark in the Bible
A maple leaf she thought must have been laid
In wait for her there. She read every word
Of the two pages it was pressed between,
As if it was her mother speaking to her.
But forgot to put the leaf back in closing
And lost the place never to read again.
She was sure, though, there had been nothing in it.
So she looked for herself, as everyone
Looks for himself, more or less outwardly.
And her self-seeking, fitful though it was,
May still have been what led her on to read,
And think a little, and get some city schooling.
She learned shorthand, whatever shorthand may
Have had to do with it--she sometimes wondered.
So, till she found herself in a strange place
For the name Maple to have brought her to,
Taking dictation on a paper pad
And, in the pauses when she raised her eyes,
Watching out of a nineteenth story window
An airship laboring with unshiplike motion
And a vague all-disturbing roar above the river
Beyond the highest city built with hands.
Someone was saying in such natural tones
She almost wrote the words down on her knee,
"Do you know you remind me of a tree--
A maple tree?"
"Because my name is Maple?"
"Isn't it Mabel? I thought it was Mabel."
"No doubt you've heard the office call me Mabel.
I have to let them call me what they like."
They were both stirred that he should have divined
Without the name her personal mystery.
It made it seem as if there must be something
She must have missed herself. So they were married,
And took the fancy home with them to live by.
They went on pilgrimage once to her father's
(The house one story high in front, three stories
On the side it presented to the road)
To see if there was not some special tree
She might have overlooked. They could find none,
Not so much as a single tree for shade,
Let alone grove of trees for sugar orchard.
She told him of the bookmark maple leaf
In the big Bible, and all she remembered
of the place marked with it—"Wave offering,
Something about wave offering, it said."
"You've never asked your father outright, have you?"
"I have, and been Put off sometime, I think."
(This was her faded memory of the way
Once long ago her father had put himself off.)
"Because no telling but it may have been
Something between your father and your mother
Not meant for us at all."
"Not meant for me?
Where would the fairness be in giving me
A name to carry for life and never know
The secret of?"
"And then it may have been
Something a father couldn't tell a daughter
As well as could a mother. And again
It may have been their one lapse into fancy
'Twould be too bad to make him sorry for
By bringing it up to him when be was too old.
Your father feels us round him with our questing,
And holds us off unnecessarily,
As if he didn't know what little thing
Might lead us on to a discovery.
It was as personal as be could be
About the way he saw it was with you
To say your mother, bad she lived, would be
As far again as from being born to bearing."
"Just one look more with what you say in mind,
And I give up"; which last look came to nothing.
But though they now gave up the search forever,
They clung to what one had seen in the other
By inspiration. It proved there was something.
They kept their thoughts away from when the maples
Stood uniform in buckets, and the steam
Of sap and snow rolled off the sugarhouse.
When they made her related to the maples,
It was the tree the autumn fire ran through
And swept of leathern leaves, but left the bark
Unscorched, unblackened, even, by any smoke.
They always took their holidays in autumn.
Once they came on a maple in a glade,
Standing alone with smooth arms lifted up,
And every leaf of foliage she'd worn
Laid scarlet and pale pink about her feet.
But its age kept them from considering this one.
Twenty-five years ago at Maple's naming
It hardly could have been a two-leaved seedling
The next cow might have licked up out at pasture.
Could it have been another maple like it?
They hovered for a moment near discovery,
Figurative enough to see the symbol,
But lacking faith in anything to mean
The same at different times to different people.
Perhaps a filial diffidence partly kept them
From thinking it could be a thing so bridal.
And anyway it came too late for Maple.
She used her hands to cover up her eyes.
"We would not see the secret if we could now:
We are not looking for it any more."
Thus had a name with meaning, given in death,
Made a girl's marriage, and ruled in her life.
No matter that the meaning was not clear.
A name with meaning could bring up a child,
Taking the child out of the parents' hands.
Better a meaningless name, I should say,
As leaving more to nature and happy chance.
Name children some names and see what you do.
|
Written by
Robert Frost |
My long two-pointed ladder's sticking through a tree
Toward heaven still,
And there's a barrel that I didn't fill
Beside it, and there may be two or three
Apples I didn't pick upon some bough.
But I am done with apple-picking now.
Essence of winter sleep is on the night,
The scent of apples: I am drowsing off.
I cannot rub the strangeness from my sight
I got from looking through a pane of glass
I skimmed this morning from the drinking trough
And held against the world of hoary grass.
It melted, and I let it fall and break.
But I was well
Upon my way to sleep before it fell,
And I could tell
What form my dreaming was about to take.
Magnified apples appear and disappear,
Stem end and blossom end,
And every fleck of russet showing dear.
My instep arch not only keeps the ache,
It keeps the pressure of a ladder-round.
I feel the ladder sway as the boughs bend.
And I keep hearing from the cellar bin
The rumbling sound
Of load on load of apples coming in.
For I have had too much
Of apple-picking: I am overtired
Of the great harvest I myself desired.
There were ten thousand thousand fruit to touch,
Cherish in hand, lift down, and not let fall.
For all
That struck the earth,
No matter if not bruised or spiked with stubble,
Went surely to the cider-apple heap
As of no worth.
One can see what will trouble
This sleep of mine, whatever sleep it is.
Were he not gone,
The woodchuck could say whether it's like his
Long sleep, as I describe its coming on,
Or just some human sleep.
|
Written by
Alan Seeger |
To see the clouds his spirit yearned toward so
Over new mountains piled and unploughed waves,
Back of old-storied spires and architraves
To watch Arcturus rise or Fomalhaut,
And roused by street-cries in strange tongues when day
Flooded with gold some domed metropolis,
Between new towers to waken and new bliss
Spread on his pillow in a wondrous way:
These were his joys. Oft under bulging crates,
Coming to market with his morning load,
The peasant found him early on his road
To greet the sunrise at the city-gates,---
There where the meadows waken in its rays,
Golden with mist, and the great roads commence,
And backward, where the chimney-tops are dense,
Cathedral-arches glimmer through the haze.
White dunes that breaking show a strip of sea,
A plowman and his team against the blue
Swiss pastures musical with cowbells, too,
And poplar-lined canals in Picardie,
And coast-towns where the vultures back and forth
Sail in the clear depths of the tropic sky,
And swallows in the sunset where they fly
Over gray Gothic cities in the north,
And the wine-cellar and the chorus there,
The dance-hall and a face among the crowd,---
Were all delights that made him sing aloud
For joy to sojourn in a world so fair.
Back of his footsteps as he journeyed fell
Range after range; ahead blue hills emerged.
Before him tireless to applaud it surged
The sweet interminable spectacle.
And like the west behind a sundown sea
Shone the past joys his memory retraced,
And bright as the blue east he always faced
Beckoned the loves and joys that were to be.
From every branch a blossom for his brow
He gathered, singing down Life's flower-lined road,
And youth impelled his spirit as he strode
Like winged Victory on the galley's prow.
That Loveliness whose being sun and star,
Green Earth and dawn and amber evening robe,
That lamp whereof the opalescent globe
The season's emulative splendors are,
That veiled divinity whose beams transpire
From every pore of universal space,
As the fair soul illumes the lovely face---
That was his guest, his passion, his desire.
His heart the love of Beauty held as hides
One gem most pure a casket of pure gold.
It was too rich a lesser thing to bold;
It was not large enough for aught besides.
|
Written by
Ralph Waldo Emerson |
Fate is above me. Why should I browse?
Sleeping in dosses, an outcast, I rove.
Grief is a cellar,
that opens in every old house.
A ditch is below me and fate is above.
What did I want? Well, a life of contentment.
What did I get? Just a coffin and wreath...
Under the cradle a grave has been latent.
Fate is above me, a ditch is beneath.
Up in the sky my soul, like a hound,
howls, despaired,
the trigger to pull it was keen.
Fate has come over my family background,
and on the earth where fate is my kin.
What have I done, apart from the simple
poems I've written in passing to date?
I've been a lightening conductor for people.
Now I have broken my back. Such is fate.
© Copyright Alec Vagapov's translation
|
Written by
Robert Frost |
All out of doors looked darkly in at him
Through the thin frost, almost in separate stars,
That gathers on the pane in empty rooms.
What kept his eyes from giving back the gaze
Was the lamp tilted near them in his hand.
What kept him from remembering what it was
That brought him to that creaking room was age.
He stood with barrels round him -- at a loss.
And having scared the cellar under him
In clomping there, he scared it once again
In clomping off; -- and scared the outer night,
Which has its sounds, familiar, like the roar
Of trees and crack of branches, common things,
But nothing so like beating on a box.
A light he was to no one but himself
Where now he sat, concerned with he knew what,
A quiet light, and then not even that.
He consigned to the moon, such as she was,
So late-arising, to the broken moon
As better than the sun in any case
For such a charge, his snow upon the roof,
His icicles along the wall to keep;
And slept. The log that shifted with a jolt
Once in the stove, disturbed him and he shifted,
And eased his heavy breathing, but still slept.
One aged man -- one man -- can't keep a house,
A farm, a countryside, or if he can,
It's thus he does it of a winter night.
|
Written by
Galway Kinnell |
There is a fork in a branch
of an ancient, enormous maple,
one of a grove of such trees,
where I climb sometimes and sit and look out
over miles of valleys and low hills.
Today on skis I took a friend
to show her the trees. We set out
down the road, turned in at
the lane which a few weeks ago,
when the trees were almost empty
and the November snows had not yet come,
lay thickly covered in bright red
and yellow leaves, crossed the swamp,
passed the cellar hole holding
the remains of the 1850s farmhouse
that had slid down into it by stages
in the thirties and forties, followed
the overgrown logging road
and came to the trees. I climbed up
to the perch, and this time looked
not into the distance but at
the tree itself, its trunk
contorted by the terrible struggle
of that time when it had its hard time.
After the trauma it grows less solid.
It may be some such time now comes upon me.
It would have to do with the unaccomplished,
and with the attempted marriage
of solitude and happiness. Then a rifle
sounded, several times, quite loud,
from across the valley, percussions
of the custom of male mastery
over the earth ¡ª the most graceful,
most alert of the animals
being chosen to die. I looked
to see if my friend had heard,
but she was stepping about on her skis,
studying the trees, smiling to herself,
her lips still filled, for all
we had drained them, with hundreds
and thousands of kisses. Just then
she looked up ¡ª the way, from low
to high, the god blesses ¡ª and the blue
of her eyes shone out of the black
and white of bark and snow, as lovers
who are walking on a freezing day
touch icy cheek to icy cheek,
kiss, then shudder to discover
the heat waiting inside their mouths.
|
Written by
Charles Bukowski |
we have everything and we have nothing
and some men do it in churches
and some men do it by tearing butterflies
in half
and some men do it in Palm Springs
laying it into butterblondes
with Cadillac souls
Cadillacs and butterflies
nothing and everything,
the face melting down to the last puff
in a cellar in Corpus Christi.
there's something for the touts, the nuns,
the grocery clerks and you . . .
something at 8 a.m., something in the library
something in the river,
everything and nothing.
in the slaughterhouse it comes running along
the ceiling on a hook, and you swing it --
one
two
three
and then you've got it, $200 worth of dead
meat, its bones against your bones
something and nothing.
it's always early enough to die and
it's always too late,
and the drill of blood in the basin white
it tells you nothing at all
and the gravediggers playing poker over
5 a.m. coffee, waiting for the grass
to dismiss the frost . . .
they tell you nothing at all.
we have everything and we have nothing --
days with glass edges and the impossible stink
of river moss -- worse than ****;
checkerboard days of moves and countermoves,
fagged interest, with as much sense in defeat as
in victory; slow days like mules
humping it slagged and sullen and sun-glazed
up a road where a madman sits waiting among
bluejays and wrens netted in and sucked a flakey
grey.
good days too of wine and shouting, fights
in alleys, fat legs of women striving around
your bowels buried in moans,
the signs in bullrings like diamonds hollering
Mother Capri, violets coming out of the ground
telling you to forget the dead armies and the loves
that robbed you.
days when children say funny and brilliant things
like savages trying to send you a message through
their bodies while their bodies are still
alive enough to transmit and feel and run up
and down without locks and paychecks and
ideals and possessions and beetle-like
opinions.
days when you can cry all day long in
a green room with the door locked, days
when you can laugh at the breadman
because his legs are too long, days
of looking at hedges . . .
and nothing, and nothing, the days of
the bosses, yellow men
with bad breath and big feet, men
who look like frogs, hyenas, men who walk
as if melody had never been invented, men
who think it is intelligent to hire and fire and
profit, men with expensive wives they possess
like 60 acres of ground to be drilled
or shown-off or to be walled away from
the incompetent, men who'd kill you
because they're crazy and justify it because
it's the law, men who stand in front of
windows 30 feet wide and see nothing,
men with luxury yachts who can sail around
the world and yet never get out of their vest
pockets, men like snails, men like eels, men
like slugs, and not as good . . .
and nothing, getting your last paycheck
at a harbor, at a factory, at a hospital, at an
aircraft plant, at a penny arcade, at a
barbershop, at a job you didn't want
anyway.
income tax, sickness, servility, broken
arms, broken heads -- all the stuffing
come out like an old pillow.
we have everything and we have nothing.
some do it well enough for a while and
then give way. fame gets them or disgust
or age or lack of proper diet or ink
across the eyes or children in college
or new cars or broken backs while skiing
in Switzerland or new politics or new wives
or just natural change and decay --
the man you knew yesterday hooking
for ten rounds or drinking for three days and
three nights by the Sawtooth mountains now
just something under a sheet or a cross
or a stone or under an easy delusion,
or packing a bible or a golf bag or a
briefcase: how they go, how they go! -- all
the ones you thought would never go.
days like this. like your day today.
maybe the rain on the window trying to
get through to you. what do you see today?
what is it? where are you? the best
days are sometimes the first, sometimes
the middle and even sometimes the last.
the vacant lots are not bad, churches in
Europe on postcards are not bad. people in
wax museums frozen into their best sterility
are not bad, horrible but not bad. the
cannon, think of the cannon, and toast for
breakfast the coffee hot enough you
know your tongue is still there, three
geraniums outside a window, trying to be
red and trying to be pink and trying to be
geraniums, no wonder sometimes the women
cry, no wonder the mules don't want
to go up the hill. are you in a hotel room
in Detroit looking for a cigarette? one more
good day. a little bit of it. and as
the nurses come out of the building after
their shift, having had enough, eight nurses
with different names and different places
to go -- walking across the lawn, some of them
want cocoa and a paper, some of them want a
hot bath, some of them want a man, some
of them are hardly thinking at all. enough
and not enough. arcs and pilgrims, oranges
gutters, ferns, antibodies, boxes of
tissue paper.
in the most decent sometimes sun
there is the softsmoke feeling from urns
and the canned sound of old battleplanes
and if you go inside and run your finger
along the window ledge you'll find
dirt, maybe even earth.
and if you look out the window
there will be the day, and as you
get older you'll keep looking
keep looking
sucking your tongue in a little
ah ah no no maybe
some do it naturally
some obscenely
everywhere.
|
Written by
Ruth Padel |
(published on BLINKING EYE, http://www.blinking-eye.co.uk/writer/padel2.html )
Then spoke the thunder, shattering the looming blackness of our national life. The rumble that breaks a spell of the dry season
– Saro-Wiwa, "The Storm Breaks"
Does a zebra foal dream? Head lower, lower
under lenticular dark cloud,
he drags harlequin fetlocks, porcelain
quails' egg hooflets through pimpling dust,
slower, slower through the silver
rainbow night, this soot and fester
cellar-lighting, electricity of the blue
and evil eye. Night ringed with eyes,
gutter-glow of new-soused theatre,
hyena, leopard, caracal (that caramel cat
with ear tufts, anxious to feed her cubs)
watching the lame foal weakened by drought.
All you know is, that you don't know,
and are afraid. Moonshadow
where the big rocks laugh apart.
Predator-senses. Cilia. Heat detectors
crowd this long auditorium, segment
after segment of the midnight shuffle-plains.
They radar in on bodies, fluids, molecules
of flesh that do not know they glow, they draw.
Let's give him one dream-memory,
a zebra wish fulfilled in dazing plod,
some sheer green wall of sugarcane.
And look - he's made it through
into the bleach and blaze, rose curdling
over indigo and lard, this granult scar
of dawn. One more dawn nearer the water.
Sky blood-taggled, blood-tufted,
rushes over him like a white bowl
at the end of things, the little safe horizon
of a pilot's dial,
an inventory of therapeutic gems.
|
Written by
Philip Levine |
Still sober, César Vallejo comes home and finds a black ribbon
around the apartment building covering the front door.
He puts down his cane, removes his greasy fedora, and begins
to untangle the mess. His neighbors line up behind him
wondering what's going on. A middle-aged woman carrying
a loaf of fresh bread asks him to step aside so she
can enter, ascend the two steep flights to her apartment,
and begin the daily task of preparing lunch for her Monsieur.
Vallejo pretends he hears nothing or perhaps he truly
hears nothing so absorbed is he in this odd task consuming
his late morning. Did I forget to mention that no one else
can see the black ribbon or understand why his fingers
seem so intent on unraveling what is not there? Remember
when you were only six and on especially hot days you
would descend the shaky steps to the cellar hoping at first
that someone, perhaps your mother, would gradually
become aware of your absence and feel a sudden seizure
of anxiety or terror. Of course no one noticed. Mother
sat for hours beside the phone waiting, and now and then
gazed at summer sunlight blazing through the parlor curtains
while below, cool and alone, seated on the damp concrete
you watched the same sunlight filter through the rising dust
from the two high windows. Beside the furnace a spider
worked brilliantly downward from the burned-out, overhead bulb
with a purpose you at that age could still comprehend.
1937 would last only six more months. It was a Thursday.
Rain was promised but never arrived. The brown spider worked
with or without hope, though when the dusty sunlight caught
in the web you beheld a design so perfect it remained
in your memory as a model of meaning. César Vallejo
untangled the black ribbon no one else saw and climbed
to his attic apartment and gazed out at the sullen rooftops
stretching southward toward Spain where his heart died. I know this.
I've walked by the same building year after year in late evening
when the swallows were settling noiselessly in the few sparse trees
beside the unused canal. I've come when the winter snow
blinded the distant brooding sky. I've come just after dawn,
I've come in spring, in autumn, in rain, and he was never there.
|
Written by
T S (Thomas Stearns) Eliot |
Mistah Kurtz -- he dead.
A penny for the Old Guy
I
We are the hollow men
We are the stuffed men
Leaning together
Headpiece filled with straw. Alas!
Our dried voices, when
We whisper together
Are quiet and meaningless
As wind in dry grass
Or rats' feet over broken glass
In our dry cellar
Shape without form, shade without colour,
Paralysed force, gesture without motion;
Those who have crossed
With direct eyes, to death's other Kingdom
Remember us -- if at all -- not as lost
Violent souls, but only
As the hollow men
The stuffed men.
II
Eyes I dare not meet in dreams
In death's dream kingdom
These do not appear:
There, the eyes are
Sunlight on a broken column
There, is a tree swinging
And voices are
In the wind's singing
More distant and more solemn
Than a fading star.
Let me be no nearer
In death's dream kingdom
Let me also wear
Such deliberate disguises
Rat's coat, crowskin, crossed staves
In a field
Behaving as the wind behaves
No nearer --
Not that final meeting
In the twilight kingdom
III
This is the dead land
This is cactus land
Here the stone images
Are raised, here they receive
The supplication of a dead man's hand
Under the twinkle of a fading star.
Is it like this
In death's other kingdom
Waking alone
At the hour when we are
Trembling with tenderness
Lips that would kiss
Form prayers to broken stone.
IV
The eyes are not here
There are no eyes here
In this valley of dying stars
In this hollow valley
This broken jaw of our lost kingdoms
In this last of meeting places
We grope together
And avoid speech
Gathered on this beach of the tumid river
Sightless, unless
The eyes reappear
As the perpetual star
Multifoliate rose
Of death's twilight kingdom
The hope only
Of empty men.
V
Here we go round the prickly pear
Prickly pear prickly pear
Here we go round the prickly pear
At five o'clock in the morning.
Between the idea
And the reality
Between the motion
And the act
Falls the Shadow
For Thine is the Kingdom
Between the conception
And the creation
Between the emotion
And the response
Falls the Shadow
Life is very long
Between the desire
And the spasm
Between the potency
And the existence
Between the essence
And the descent
Falls the Shadow
For Thine is the Kingdom
For Thine is
Life is
For Thine is the
This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper.
|