Written by
Mark Strand |
1
We are reading the story of our lives
which takes place in a room.
The room looks out on a street.
There is no one there,
no sound of anything.
The tress are heavy with leaves,
the parked cars never move.
We keep turning the pages, hoping for something,
something like mercy or change,
a black line that would bind us
or keep us apart.
The way it is, it would seem
the book of our lives is empty.
The furniture in the room is never shifted,
and the rugs become darker each time
our shadows pass over them.
It is almost as if the room were the world.
We sit beside each other on the couch,
reading about the couch.
We say it is ideal.
It is ideal.
2
We are reading the story of our lives,
as though we were in it,
as though we had written it.
This comes up again and again.
In one of the chapters
I lean back and push the book aside
because the book says
it is what I am doing.
I lean back and begin to write about the book.
I write that I wish to move beyond the book.
Beyond my life into another life.
I put the pen down.
The book says: "He put the pen down
and turned and watched her reading
the part about herself falling in love."
The book is more accurate than we can imagine.
I lean back and watch you read
about the man across the street.
They built a house there,
and one day a man walked out of it.
You fell in love with him
because you knew that he would never visit you,
would never know you were waiting.
Night after night you would say
that he was like me.
I lean back and watch you grow older without me.
Sunlight falls on your silver hair.
The rugs, the furniture,
seem almost imaginary now.
"She continued to read.
She seemed to consider his absence
of no special importance,
as someone on a perfect day will consider
the weather a failure
because it did not change his mind."
You narrow your eyes.
You have the impulse to close the book
which describes my resistance:
how when I lean back I imagine
my life without you, imagine moving
into another life, another book.
It describes your dependence on desire,
how the momentary disclosures
of purpose make you afraid.
The book describes much more than it should.
It wants to divide us.
3
This morning I woke and believed
there was no more to to our lives
than the story of our lives.
When you disagreed, I pointed
to the place in the book where you disagreed.
You fell back to sleep and I began to read
those mysterious parts you used to guess at
while they were being written
and lose interest in after they became
part of the story.
In one of them cold dresses of moonlight
are draped over the chairs in a man's room.
He dreams of a woman whose dresses are lost,
who sits in a garden and waits.
She believes that love is a sacrifice.
The part describes her death
and she is never named,
which is one of the things
you could not stand about her.
A little later we learn
that the dreaming man lives
in the new house across the street.
This morning after you fell back to sleep
I began to turn the pages early in the book:
it was like dreaming of childhood,
so much seemed to vanish,
so much seemed to come to life again.
I did not know what to do.
The book said: "In those moments it was his book.
A bleak crown rested uneasily on his head.
He was the brief ruler of inner and outer discord,
anxious in his own kingdom."
4
Before you woke
I read another part that described your absence
and told how you sleep to reverse
the progress of your life.
I was touched by my own loneliness as I read,
knowing that what I feel is often the crude
and unsuccessful form of a story
that may never be told.
"He wanted to see her naked and vulnerable,
to see her in the refuse, the discarded
plots of old dreams, the costumes and masks
of unattainable states.
It was as if he were drawn
irresistably to failure."
It was hard to keep reading.
I was tired and wanted to give up.
The book seemed aware of this.
It hinted at changing the subject.
I waited for you to wake not knowing
how long I waited,
and it seemed that I was no longer reading.
I heard the wind passing
like a stream of sighs
and I heard the shiver of leaves
in the trees outside the window.
It would be in the book.
Everything would be there.
I looked at your face
and I read the eyes, the nose, the mouth . . .
5
If only there were a perfect moment in the book;
if only we could live in that moment,
we could being the book again
as if we had not written it,
as if we were not in it.
But the dark approaches
to any page are too numerous
and the escapes are too narrow.
We read through the day.
Each page turning is like a candle
moving through the mind.
Each moment is like a hopeless cause.
If only we could stop reading.
"He never wanted to read another book
and she kept staring into the street.
The cars were still there,
the deep shade of trees covered them.
The shades were drawn in the new house.
Maybe the man who lived there,
the man she loved, was reading
the story of another life.
She imagine a bare parlor,
a cold fireplace, a man sitting
writing a letter to a woman
who has sacrificed her life for love."
If there were a perfect moment in the book,
it would be the last.
The book never discusses the causes of love.
It claims confusion is a necessary good.
It never explains. It only reveals.
6
The day goes on.
We study what we remember.
We look into the mirror across the room.
We cannot bear to be alone.
The book goes on.
"They became silent and did not know how to begin
the dialogue which was necessary.
It was words that created divisions in the first place,
that created loneliness.
They waited
they would turn the pages, hoping
something would happen.
They would patch up their lives in secret:
each defeat forgiven because it could not be tested,
each pain rewarded because it was unreal.
They did nothing."
7
The book will not survive.
We are the living proof of that.
It is dark outside, in the room it is darker.
I hear your breathing.
You are asking me if I am tired,
if I want to keep reading.
Yes, I am tired.
Yes, I want to keep reading.
I say yes to everything.
You cannot hear me.
"They sat beside each other on the couch.
They were the copies, the tired phantoms
of something they had been before.
The attitudes they took were jaded.
They stared into the book
and were horrified by their innocence,
their reluctance to give up.
They sat beside each other on the couch.
They were determined to accept the truth.
Whatever it was they would accept it.
The book would have to be written
and would have to be read.
They are the book and they are
nothing else.
|
Written by
Marianne Moore |
This institution,
perhaps one should say enterprise
out of respect for which
one says one need not change one's mind
about a thing one has believed in,
requiring public promises
of one's intention
to fulfill a private obligation:
I wonder what Adam and Eve
think of it by this time,
this firegilt steel
alive with goldenness;
how bright it shows --
"of circular traditions and impostures,
committing many spoils,"
requiring all one's criminal ingenuity
to avoid!
Psychology which explains everything
explains nothing
and we are still in doubt.
Eve: beautiful woman --
I have seen her
when she was so handsome
she gave me a start,
able to write simultaneously
in three languages --
English, German and French
and talk in the meantime;
equally positive in demanding a commotion
and in stipulating quiet:
"I should like to be alone;"
to which the visitor replies,
"I should like to be alone;
why not be alone together?"
Below the incandescent stars
below the incandescent fruit,
the strange experience of beauty;
its existence is too much;
it tears one to pieces
and each fresh wave of consciousness
is poison.
"See her, see her in this common world,"
the central flaw
in that first crystal-fine experiment,
this amalgamation which can never be more
than an interesting possibility,
describing it
as "that strange paradise
unlike flesh, gold, or stately buildings,
the choicest piece of my life:
the heart rising
in its estate of peace
as a boat rises
with the rising of the water;"
constrained in speaking of the serpent --
that shed snakeskin in the history of politeness
not to be returned to again --
that invaluable accident
exonerating Adam.
And he has beauty also;
it's distressing -- the O thou
to whom, from whom,
without whom nothing -- Adam;
"something feline,
something colubrine" -- how true!
a crouching mythological monster
in that Persian miniature of emerald mines,
raw silk -- ivory white, snow white,
oyster white and six others --
that paddock full of leopards and giraffes --
long lemonyellow bodies
sown with trapezoids of blue.
Alive with words,
vibrating like a cymbal
touched before it has been struck,
he has prophesied correctly --
the industrious waterfall,
"the speedy stream
which violently bears all before it,
at one time silent as the air
and now as powerful as the wind."
"Treading chasms
on the uncertain footing of a spear,"
forgetting that there is in woman
a quality of mind
which is an instinctive manifestation
is unsafe,
he goes on speaking
in a formal, customary strain
of "past states," the present state,
seals, promises,
the evil one suffered,
the good one enjoys,
hell, heaven,
everything convenient
to promote one's joy."
There is in him a state of mind
by force of which,
perceiving what it was not
intended that he should,
"he experiences a solemn joy
in seeing that he has become an idol."
Plagued by the nightingale
in the new leaves,
with its silence --
not its silence but its silences,
he says of it:
"It clothes me with a shirt of fire."
"He dares not clap his hands
to make it go on
lest it should fly off;
if he does nothing, it will sleep;
if he cries out, it will not understand."
Unnerved by the nightingale
and dazzled by the apple,
impelled by "the illusion of a fire
effectual to extinguish fire,"
compared with which
the shining of the earth
is but deformity -- a fire
"as high as deep as bright as broad
as long as life itself,"
he stumbles over marriage,
"a very trivial object indeed"
to have destroyed the attitude
in which he stood --
the ease of the philosopher
unfathered by a woman.
Unhelpful Hymen!
"a kind of overgrown cupid"
reduced to insignificance
by the mechanical advertising
parading as involuntary comment,
by that experiment of Adam's
with ways out but no way in --
the ritual of marriage,
augmenting all its lavishness;
its fiddle-head ferns,
lotus flowers, opuntias, white dromedaries,
its hippopotamus --
nose and mouth combined
in one magnificent hopper,
"the crested screamer --
that huge bird almost a lizard,"
its snake and the potent apple.
He tells us
that "for love
that will gaze an eagle blind,
that is like a Hercules
climbing the trees
in the garden of the Hesperides,
from forty-five to seventy
is the best age,"
commending it
as a fine art, as an experiment,
a duty or as merely recreation.
One must not call him ruffian
nor friction a calamity --
the fight to be affectionate:
"no truth can be fully known
until it has been tried
by the tooth of disputation."
The blue panther with black eyes,
the basalt panther with blue eyes,
entirely graceful --
one must give them the path --
the black obsidian Diana
who "darkeneth her countenance
as a bear doth,
causing her husband to sigh,"
the spiked hand
that has an affection for one
and proves it to the bone,
impatient to assure you
that impatience is the mark of independence
not of bondage.
"Married people often look that way" --
"seldom and cold, up and down,
mixed and malarial
with a good day and bad."
"When do we feed?"
We occidentals are so unemotional,
we quarrel as we feed;
one's self is quite lost,
the irony preserved
in "the Ahasuerus t?te ? t?te banquet"
with its "good monster, lead the way,"
with little laughter
and munificence of humor
in that quixotic atmosphere of frankness
in which "Four o'clock does not exist
but at five o'clock
the ladies in their imperious humility
are ready to receive you";
in which experience attests
that men have power
and sometimes one is made to feel it.
He says, "what monarch would not blush
to have a wife
with hair like a shaving-brush?
The fact of woman
is not `the sound of the flute
but every poison.'"
She says, "`Men are monopolists
of stars, garters, buttons
and other shining baubles' --
unfit to be the guardians
of another person's happiness."
He says, "These mummies
must be handled carefully --
`the crumbs from a lion's meal,
a couple of shins and the bit of an ear';
turn to the letter M
and you will find
that `a wife is a coffin,'
that severe object
with the pleasing geometry
stipulating space and not people,
refusing to be buried
and uniquely disappointing,
revengefully wrought in the attitude
of an adoring child
to a distinguished parent."
She says, "This butterfly,
this waterfly, this nomad
that has `proposed
to settle on my hand for life.' --
What can one do with it?
There must have been more time
in Shakespeare's day
to sit and watch a play.
You know so many artists are fools."
He says, "You know so many fools
who are not artists."
The fact forgot
that "some have merely rights
while some have obligations,"
he loves himself so much,
he can permit himself
no rival in that love.
She loves herself so much,
she cannot see herself enough --
a statuette of ivory on ivory,
the logical last touch
to an expansive splendor
earned as wages for work done:
one is not rich but poor
when one can always seem so right.
What can one do for them --
these savages
condemned to disaffect
all those who are not visionaries
alert to undertake the silly task
of making people noble?
This model of petrine fidelity
who "leaves her peaceful husband
only because she has seen enough of him" --
that orator reminding you,
"I am yours to command."
"Everything to do with love is mystery;
it is more than a day's work
to investigate this science."
One sees that it is rare --
that striking grasp of opposites
opposed each to the other, not to unity,
which in cycloid inclusiveness
has dwarfed the demonstration
of Columbus with the egg --
a triumph of simplicity --
that charitive Euroclydon
of frightening disinterestedness
which the world hates,
admitting:
"I am such a cow,
if I had a sorrow,
I should feel it a long time;
I am not one of those
who have a great sorrow
in the morning
and a great joy at noon;"
which says: "I have encountered it
among those unpretentious
proteg?s of wisdom,
where seeming to parade
as the debater and the Roman,
the statesmanship
of an archaic Daniel Webster
persists to their simplicity of temper
as the essence of the matter:
`Liberty and union
now and forever;'
the book on the writing-table;
the hand in the breast-pocket."
|
Written by
William Shakespeare |
For shame, deny that thou bear'st love to any
Who for thy self art so unprovident.
Grant, if thou wilt, thou art beloved of many,
But that thou none lov'st is most evident;
For thou art so possessed with murd'rous hate,
That 'gainst thy self thou stick'st not to conspire,
Seeking that beauteous roof to ruinate
Which to repair should be thy chief desire.
O, change thy thought, that I may change my mind!
Shall hate be fairer lodged than gentle love?
Be as thy presence is gracious and kind,
Or to thy self at least kind-hearted prove,
Make thee another self, for love of me,
That beauty still may live in thine or thee.
|
Written by
Charlotte Bronte |
NOT in scorn do I reprove thee,
Not in pride thy vows I waive,
But, believe, I could not love thee,
Wert thou prince, and I a slave.
These, then, are thine oaths of passion ?
This, thy tenderness for me ?
Judged, even, by thine own confession,
Thou art steeped in perfidy.
Having vanquished, thou wouldst leave me !
Thus I read thee long ago;
Therefore, dared I not deceive thee,
Even with friendship's gentle show.
Therefore, with impassive coldness
Have I ever met thy gaze;
Though, full oft, with daring boldness,
Thou thine eyes to mine didst raise.
Why that smile ? Thou now art deeming
This my coldness all untrue,
But a mask of frozen seeming,
Hiding secret fires from view.
Touch my hand, thou self-deceiver,
Naybe calm, for I am so:
Does it burn ? Does my lip quiver ?
Has mine eye a troubled glow ?
Canst thou call a moment's colour
To my foreheadto my cheek ?
Canst thou tinge their tranquil pallor
With one flattering, feverish streak?
Am I marble ? What ! no woman
Could so calm before thee stand ?
Nothing living, sentient, human,
Could so coldly take thy hand ?
Yesa sister might, a mother:
My good-will is sisterly:
Dream not, then, I strive to smother
Fires that inly burn for thee.
Rave not, rage not, wrath is fruitless,
Fury cannot change my mind;
I but deem the feeling rootless
Which so whirls in passion's wind.
Can I love ? Oh, deeplytruly
Warmlyfondlybut not thee;
And my love is answered duly,
With an equal energy.
Wouldst thou see thy rival ? Hasten,
Draw that curtain soft aside,
Look where yon thick branches chasten
Noon, with shades of eventide.
In that glade, where foliage blending
Forms a green arch overhead,
Sits thy rival thoughtful bending
O'er a stand with papers spread
Motionless, his fingers plying
That untired, unresting pen;
Time and tide unnoticed flying,
There he sitsthe first of men !
Man of conscienceman of reason;
Stern, perchance, but ever just;
Foe to falsehood, wrong, and treason,
Honour's shield, and virtue's trust !
Worker, thinker, firm defender
Of Heaven's truthman's liberty;
Soul of ironproof to slander,
Rock where founders tyranny.
Fame he seeks notbut full surely
She will seek him, in his home;
This I know, and wait securely
For the atoning hour to come.
To that man my faith is given,
Therefore, soldier, cease to sue;
While God reigns in earth and heaven,
I to him will still be true !
|
Written by
John Wilmot |
Love bade me hope, and I obeyed;
Phyllis continued still unkind:
Then you may e'en despair, he said,
In vain I strive to change her mind.
Honour's got in, and keeps her heart,
Durst he but venture once abroad,
In my own right I'd take your part,
And show myself the mightier God.
This huffing Honour domineers
In breasts alone where he has place:
But if true generous Love appears,
The hector dares not show his face.
Let me still languish and complain,
Be most unhumanly denied:
I have some pleasure in my pain,
She can have none with all her pride.
I fall a sacrifice to Love,
She lives a wretch for Honour's sake;
Whose tyrant does most cruel prove,
The difference is not hard to make.
Consider real Honour then,
You'll find hers cannot be the same;
'Tis noble confidence in men,
In women, mean, mistrustful shame.
|
Written by
Howard Nemerov |
What gives it power makes it change its mind
At each extreme, and lean its rising rain
Down low, first one and then the other way;
In which exchange humility and pride
Reverse, forgive, arise, and die again,
Wherefore it holds at both ends of the day
The rainbow in its scattering grains of spray.
|
Written by
Francesco Petrarch |
SONNET XLII. Zefiro torna, e 'l bel tempo rimena. RETURNING SPRING BRINGS TO HIM ONLY INCREASE OF GRIEF. Zephyr returns; and in his jocund trainBrings verdure, flowers, and days serenely clear;Brings Progne's twitter, Philomel's lorn strain,With every bloom that paints the vernal year;Cloudless the skies, and smiling every plain;With joyance flush'd, Jove views his daughter dear;Love's genial power pervades earth, air, and main;All beings join'd in fond accord appear.But nought to me returns save sorrowing sighs,Forced from my inmost heart by her who boreThose keys which govern'd it unto the skies:The blossom'd meads, the choristers of air,Sweet courteous damsels can delight no more;Each face looks savage, and each prospect drear. Nott. [Pg 267] The spring returns, with all her smiling train;The wanton Zephyrs breathe along the bowers,The glistening dew-drops hang on bending flowers,And tender green light-shadows o'er the plain:And thou, sweet Philomel, renew'st thy strain,Breathing thy wild notes to the midnight grove:All nature feels the kindling fire of love,The vital force of spring's returning reign.But not to me returns the cheerful spring!O heart! that know'st no period to thy grief,Nor Nature's smiles to thee impart relief,Nor change of mind the varying seasons bring:She, she is gone! All that e'er pleased before,Adieu! ye birds ye flowers, ye fields, that charm no more! Woodhouselee. Returning Zephyr the sweet season brings,With flowers and herbs his breathing train among,And Progne twitters, Philomela sings,Leading the many-colour'd spring along;Serene the sky, and fair the laughing field,Jove views his daughter with complacent brow;Earth, sea, and air, to Love's sweet influence yield,And creatures all his magic power avow:But nought, alas! for me the season brings,Save heavier sighs, from my sad bosom drawnBy her who can from heaven unlock its springs;And warbling birds and flower-bespangled lawn,And fairest acts of ladies fair and mild,A desert seem, and its brute tenants wild. Dacre. Zephyr returns and winter's rage restrains,With herbs, with flowers, his blooming progeny!Now Progne prattles, Philomel complains,And spring assumes her robe of various dye;The meadows smile, heaven glows, nor Jove disdainsTo view his daughter with delighted eye;While Love through universal nature reigns,And life is fill'd with amorous sympathy!But grief, not joy, returns to me forlorn,And sighs, which from my inmost heart proceedFor her, by whom to heaven its keys were borne.[Pg 268]The song of birds, the flower-enamell'd mead,And graceful acts, which most the fair adorn,A desert seem, and beasts of savage prey! Charlemont.
|
Written by
Conrad Aiken |
Well,—it was two days after my husband died—
Two days! And the earth still raw above him.
And I was sweeping the carpet in their hall.
In number four—the room with the red wall-paper—
Some chorus girls and men were singing that song
'They'll soon be lighting candles
Round a box with silver handles'—and hearing them sing it
I started to cry. Just then he came along
And stopped on the stairs and turned and looked at me,
And took the cigar from his mouth and sort of smiled
And said, 'Say, what's the matter?' and then came down
Where I was leaning against the wall,
And touched my shoulder, and put his arm around me . . .
And I was so sad, thinking about it,—
Thinking that it was raining, and a cold night,
With Jim so unaccustomed to being dead,—
That I was happy to have him sympathize,
To feel his arm, and leaned against him and cried.
And before I knew it, he got me into a room
Where a table was set, and no one there,
And sat me down on a sofa, and held me close,
And talked to me, telling me not to cry,
That it was all right, he'd look after me,—
But not to cry, my eyes were getting red,
Which didn't make me pretty. And he was so nice,
That when he turned my face between his hands,
And looked at me, with those blue eyes of his,
And smiled, and leaned, and kissed me—
Somehow I couldn't tell him not to do it,
Somehow I didn't mind, I let him kiss me,
And closed my eyes! . . . Well, that was how it started.
For when my heart was eased with crying, and grief
Had passed and left me quiet, somehow it seemed
As if it wasn't honest to change my mind,
To send him away, or say I hadn't meant it—
And, anyway, it seemed so hard to explain!
And so we sat and talked, not talking much,
But meaning as much in silence as in words,
There in that empty room with palms about us,
That private dining-room . . . And as we sat there
I felt my future changing, day by day,
With unknown streets opening left and right,
New streets with farther lights, new taller houses,
Doors swinging into hallways filled with light,
Half-opened luminous windows, with white curtains
Streaming out in the night, and sudden music,—
And thinking of this, and through it half remembering
A quick and horrible death, my husband's eyes,
The broken-plastered walls, my boy asleep,—
It seemed as if my brain would break in two.
My voice began to tremble . . . and when I stood,
And told him I must go, and said good-night—
I couldn't see the end. How would it end?
Would he return to-morrow? Or would he not?
And did I want him to—or would I rather
Look for another job?—He took my shoulders
Between his hands, and looked down into my eyes,
And smiled, and said good-night. If he had kissed me,
That would have—well, I don't know; but he didn't . .
And so I went downstairs, then, half elated,
Hoping to close the door before that party
In number four should sing that song again—
'They'll soon be lighting candles round a box with silver handles'—
And sure enough, I did. I faced the darkness.
And my eyes were filled with tears. And I was happy.
|
Written by
William Henry Davies |
My walls outside must have some flowers,
My walls within must have some books;
A house that's small; a garden large,
And in it leafy nooks.
A little gold that's sure each week;
That comes not from my living kind,
But from a dead man in his grave,
Who cannot change his mind.
A lovely wife, and gentle too;
Contented that no eyes but mine
Can see her many charms, nor voice
To call her beauty fine.
Where she would in that stone cage live,
A self-made prisoner, with me;
While many a wild bird sang around,
On gate, on bush, on tree.
And she sometimes to answer them,
In her far sweeter voice than all;
Till birds, that loved to look on leaves,
Will doat on a stone wall.
With this small house, this garden large,
This little gold, this lovely mate,
With health in body, peace in heart--
Show me a man more great.
|
Written by
Rudyard Kipling |
I sent a message to my dear --
A thousand leagues and more to Her --
The dumb sea-levels thrilled to hear,
And Lost Atlantis bore to Her.
Behind my message hard I came,
And nigh had found a grave for me;
But that I launched of steel and flame
Did war against the wave for me.
Uprose the deep, by gale on gale,
To bid me change my mind again --
He broke his teeth along my rail,
And, roaring, swung behind again.
I stayed the sun at noon to tell
My way across the waste of it;
I read the storm before it fell
And made the better haste of it.
Afar, I hailed the land at night --
The towers I built had heard of me --
And, ere my rocket reached its height,
Had flashed my Love the word of me.
Earth sold her chosen men of strength
(They lived and strove and died for me)
To drive my road a nation's length,
And toss the miles aside for me.
I snatched their toil to serve my needs --
Too slow their fleetest flew for me --
I tired twenty smoking steeds,
And bade them bait a new for me.
I sent the lightnings forth to see
Where hour by hour She waited me.
Among ten million one was She,
And surely all men hated me!
Dawn ran to meet me at my goal --
Ah, day no tongue shall tell again!
And little folk of little soul
Rose up to buy and sell again!
|