Written by
Allen Ginsberg |
Drinking my tea
Without sugar-
No difference.
The sparrow shits
upside down
--ah! my brain & eggs
Mayan head in a
Pacific driftwood bole
--Someday I'll live in N.
Y.
Looking over my shoulder
my behind was covered
with cherry blossoms.
Winter Haiku
I didn't know the names
of the flowers--now
my garden is gone.
I slapped the mosquito
and missed.
What made me do that?
Reading haiku
I am unhappy,
longing for the Nameless.
A frog floating
in the drugstore jar:
summer rain on grey pavements.
(after Shiki)
On the porch
in my shorts;
auto lights in the rain.
Another year
has past-the world
is no different.
The first thing I looked for
in my old garden was
The Cherry Tree.
My old desk:
the first thing I looked for
in my house.
My early journal:
the first thing I found
in my old desk.
My mother's ghost:
the first thing I found
in the living room.
I quit shaving
but the eyes that glanced at me
remained in the mirror.
The madman
emerges from the movies:
the street at lunchtime.
Cities of boys
are in their graves,
and in this town.
.
.
Lying on my side
in the void:
the breath in my nose.
On the fifteenth floor
the dog chews a bone-
Screech of taxicabs.
A hardon in New York,
a boy
in San Fransisco.
The moon over the roof,
worms in the garden.
I rent this house.
[Haiku composed in the backyard cottage at 1624
Milvia Street, Berkeley 1955, while reading R.
H.
Blyth's 4 volumes, "Haiku.
"]
|
Written by
Marilyn Hacker |
We pace each other for a long time.
I packed my anger with the beef jerky.
You are the baby on the mountain.
I am
in a cold stream where I led you.
I packed my anger with the beef jerky.
You are the woman sticking her tongue out
in a cold stream where I led you.
You are the woman with spring water palms.
You are the woman sticking her tongue out.
I am the woman who matches sounds.
You are the woman with spring water palms.
I am the woman who copies.
You are the woman who matches sounds.
You are the woman who makes up words.
You are the woman who copies
her cupped palm with her fist in clay.
I am the woman who makes up words.
You are the woman who shapes
a drinking bowl with her fist in clay.
I am the woman with rocks in her pockets.
I am the woman who shapes.
I was a baby who knew names.
You are the child with rocks in her pockets.
You are the girl in a plaid dress.
You are the woman who knows names.
You are the baby who could fly.
You are the girl in a plaid dress
upside-down on the monkey bars.
You are the baby who could fly
over the moon from a swinging perch
upside-down on the monkey bars.
You are the baby who eats meat.
Over the moon from a swinging perch
the feathery goblin calls her sister.
You are the baby who eats meat
the ***** wolf hunts and chews for you.
The feathery goblin calls her sister:
"You are braver than your mother.
The ***** wolf hunts and chews for you.
What are you whining about now?"
You are braver than your mother
and I am not a timid woman:
what are you whining about now?
My palms itch with slick anger,
and I'm not a timid woman.
You are the woman I can't mention;
my palms itch with slick anger.
You are the heiress of scraped knees.
You are the woman I can't mention
to a woman I want to love.
You are the heiress of scaped knees:
scrub them in mountain water.
To a woman, I want to love
women you could turn into,
scrub them in mountain water,
stroke their astonishing faces.
Women you could turn into
the scare mask of Bad Mother
stroke their astonishing faces
in the silver-scratched sink mirror.
The scare mask of Bad Mother
crumbles to chunked, pinched clay,
sinks in the silver-scratched mirror.
You are the Little Robber Girl, who
crumbles the clay chunks, pinches
her friend, givers her a sharp knife.
You are the Little Robber Girl, who
was any witch's youngest daughter.
Our friend gives you a sharp knife,
shows how the useful blades open.
Was any witch's youngest daughter
golden and bold as you? You run and
show how the useful blades open.
You are the baby on the mountain.
I am
golden and bold as you.
You run and
we pace each other for a long time.
|
Written by
Carl Sandburg |
WHEN the jury files in to deliver a verdict after weeks of direct and cross examinations, hot clashes of lawyers and cool decisions of the judge,
There are points of high silence—twiddling of thumbs is at an end—bailiffs near cuspidors take fresh chews of tobacco and wait—and the clock has a chance for its ticking to be heard.
A lawyer for the defense clears his throat and holds himself ready if the word is “Guilty” to enter motion for a new trial, speaking in a soft voice, speaking in a voice slightly colored with bitter wrongs mingled with monumental patience, speaking with mythic Atlas shoulders of many preposterous, unjust circumstances.
|
Written by
Louis Untermeyer |
"Old Jews!" Well, David, aren't we?
What news is that to make you see so red,
To swear and almost tear your beard in half?
Jeered at? Well, let them laugh.
You can laugh longer when you're dead.
What? Are you still too blind to see?
Have you forgot your Midrash!... They were right,
The little goyim, with their angry stones.
You should be buried in the desert out of sight
And not a dog should howl miscarried moans
Over your foul bones....
Have you forgotten what is promised us,
Because of stinking days and rotting nights?
Eternal feasting, drinking, blazing lights
With endless leisure, periods of play!
Supernal pleasures, myriads of gay
Discussions, great debates with prophet-kings!
And rings of riddling scholars all surrounding
God who sits in the very middle, expounding
The Torah.... Now your dull eyes glisten!
Listen:
It is the final Day.
A blast of Gabriel's horn has torn away
The last haze from our eyes, and we can see
Past the three hundred skies and gaze upon
The Ineffable Name engraved deep in the sun.
Now one by one, the pious and the just
Are seated by us, radiantly risen
From their dull prison in the dust.
And then the festival begins!
A sudden music spins great webs of sound
Spanning the ground, the stars and their companions;
While from the cliffs and cañons of blue air,
Prayers of all colors, cries of exultation
Rise into choruses of singing gold.
And at the height of this bright consecration,
The whole Creation's rolled before us.
The seven burning heavens unfold....
We see the first (the only one we know)
Dispersed and, shining through,
The other six declining: Those that hold
The stars and moons, together with all those
Containing rain and fire and sullen weather;
Cellars of dew-fall higher than the brim;
Huge arsenals with centuries of snows;
Infinite rows of storms and swarms of seraphim....
Divided now are winds and waters. Sea and land,
Tohu and Bohu, light and darkness, stand
Upright on either hand.
And down this terrible aisle,
While heaven's ranges roar aghast,
Pours a vast file of strange and hidden things:
Forbidden monsters, crocodiles with wings
And perfumed flesh that sings and glows
With more fresh colors than the rainbow knows....
The reëm, those great beasts with eighteen horns,
Who mate but once in seventy years and die
In their own tears which flow ten stadia high.
The shamir, made by God on the sixth morn,
No longer than a grain of barley corn
But stronger than the bull of Bashan and so hard
It cuts through diamonds. Meshed and starred
With precious stones, there struts the shattering ziz
Whose groans are wrinkled thunder....
For thrice three hundred years the full parade
Files past, a cavalcade of fear and wonder.
And then the vast aisle clears.
Now comes our constantly increased reward.
The Lord commands that monstrous beast,
Leviathan, to be our feast.
What cheers ascend from horde on ravenous horde!
One hears the towering creature rend the seas,
Frustrated, cowering, and his pleas ignored.
In vain his great, belated tears are poured—
For this he was created, kept and nursed.
Cries burst from all the millions that attend:
"Ascend, Leviathan, it is the end!
We hunger and we thirst! Ascend!" ...
Observe him first, my friend.
God's deathless plaything rolls an eye
Five hundred thousand cubits high.
The smallest scale upon his tail
Could hide six dolphins and a whale.
His nostrils breathe—and on the spot
The churning waves turn seething hot.
If he be hungry, one huge fin
Drives seven thousand fishes in;
And when he drinks what he may need,
The rivers of the earth recede.
Yet he is more than huge and strong—
Twelve brilliant colors play along
His sides until, compared to him,
The naked, burning sun seems dim.
New scintillating rays extend
Through endless singing space and rise
Into an ecstasy that cries:
"Ascend, Leviathan, ascend!"
God now commands the multi-colored bands
Of angels to intrude and slay the beast
That His good sons may have a feast of food.
But as they come, Leviathan sneezes twice ...
And, numb with sudden pangs, each arm hangs slack.
Black terror seizes them; blood freezes into ice
And every angel flees from the attack!
God, with a look that spells eternal law,
Compels them back.
But, though they fight and smite him tail and jaw,
Nothing avails; upon his scales their swords
Break like frayed cords or, like a blade of straw,
Bend towards the hilt and wilt like faded grass.
Defeat and fresh retreat.... But once again
God's murmurs pass among them and they mass
With firmer steps upon the crowded plain.
Vast clouds of spears and stones rise from the ground;
But every dart flies past and rocks rebound
To the disheartened angels falling around.
A pause.
The angel host withdraws
With empty boasts throughout its sullen files.
Suddenly God smiles....
On the walls of heaven a tumble of light is caught.
Low thunder rumbles like an afterthought;
And God's slow laughter calls:
"Behemot!"
Behemot, sweating blood,
Uses for his daily food
All the fodder, flesh and juice
That twelve tall mountains can produce.
Jordan, flooded to the brim,
Is a single gulp to him;
Two great streams from Paradise
Cool his lips and scarce suffice.
When he shifts from side to side
Earthquakes gape and open wide;
When a nightmare makes him snore,
All the dead volcanoes roar.
In the space between each toe,
Kingdoms rise and saviours go;
Epochs fall and causes die
In the lifting of his eye.
Wars and justice, love and death,
These are but his wasted breath;
Chews a planet for his cud—
Behemot sweating blood.
Roused from his unconcern,
Behemot burns with anger.
Dripping sleep and languor from his heavy haunches,
He turns from deep disdain and launches
Himself upon the thickening air,
And, with weird cries of sickening despair,
Flies at Leviathan.
None can surmise the struggle that ensues—
The eyes lose sight of it and words refuse
To tell the story in its gory might.
Night passes after night,
And still the fight continues, still the sparks
Fly from the iron sinews,... till the marks
Of fire and belching thunder fill the dark
And, almost torn asunder, one falls stark,
Hammering upon the other!...
What clamor now is born, what crashings rise!
Hot lightnings lash the skies and frightening cries
Clash with the hymns of saints and seraphim.
The bloody limbs thrash through a ruddy dusk,
Till one great tusk of Behemot has gored
Leviathan, restored to his full strength,
Who, dealing fiercer blows in those last throes,
Closes on reeling Behemot at length—
Piercing him with steel-pointed claws,
Straight through the jaws to his disjointed head.
And both lie dead.
Then come the angels!
With hoists and levers, joists and poles,
With knives and cleavers, ropes and saws,
Down the long slopes to the gaping maws,
The angels hasten; hacking and carving,
So nought will be lacking for the starving
Chosen of God, who in frozen wonderment
Realize now what the terrible thunder meant.
How their mouths water while they are looking
At miles of slaughter and sniffing the cooking!
Whiffs of delectable fragrance swim by;
Spice-laden vagrants that float and entice,
Tickling the throat and brimming the eye.
Ah! what rejoicing and crackling and roasting!
Ah! How the boys sing as, cackling and boasting,
The angels' old wives and their nervous assistants
Run in to serve us....
And while we are toasting
The Fairest of All, they call from the distance
The rare ones of Time, they share our enjoyment;
Their only employment to bear jars of wine
And shine like the stars in a circle of glory.
Here sways Rebekah accompanied by Zilpah;
Miriam plays to the singing of Bilhah;
Hagar has tales for us, Judith her story;
Esther exhales bright romances and musk.
There, in the dusky light, Salome dances.
Sara and Rachel and Leah and Ruth,
Fairer than ever and all in their youth,
Come at our call and go by our leave.
And, from her bower of beauty, walks Eve
While, with the voice of a flower, she sings
Of Eden, young earth and the birth of all things....
Peace without end.
Peace will descend on us, discord will cease;
And we, now so wretched, will lie stretched out
Free of old doubt, on our cushions of ease.
And, like a gold canopy over our bed,
The skin of Leviathan, tail-tip to head,
Soon will be spread till it covers the skies.
Light will still rise from it; millions of bright
Facets of brilliance, shaming the white
Glass of the moon, inflaming the night.
So Time shall pass and rest and pass again,
Burn with an endless zest and then return,
Walk at our side and tide us to new joys;
God's voice to guide us, beauty as our staff.
Thus shall Life be when Death has disappeared....
Jeered at? Well, let them laugh.
|
Written by
Sidney Lanier |
Inscribed to the Memory of John Keats.
Dear uplands, Chester's favorable fields,
My large unjealous Loves, many yet one --
A grave good-morrow to your Graces, all,
Fair tilth and fruitful seasons!
Lo, how still!
The midmorn empties you of men, save me;
Speak to your lover, meadows! None can hear.
I lie as lies yon placid Brandywine,
Holding the hills and heavens in my heart
For contemplation.
'Tis a perfect hour.
From founts of dawn the fluent autumn day
Has rippled as a brook right pleasantly
Half-way to noon; but now with widening turn
Makes pause, in lucent meditation locked,
And rounds into a silver pool of morn,
Bottom'd with clover-fields.
My heart just hears
Eight lingering strokes of some far village-bell,
That speak the hour so inward-voiced, meseems
Time's conscience has but whispered him eight hints
Of revolution.
Reigns that mild surcease
That stills the middle of each rural morn --
When nimble noises that with sunrise ran
About the farms have sunk again to rest;
When Tom no more across the horse-lot calls
To sleepy Dick, nor Dick husk-voiced upbraids
The sway-back'd roan for stamping on his foot
With sulphurous oath and kick in flank, what time
The cart-chain clinks across the slanting shaft,
And, kitchenward, the rattling bucket plumps
Souse down the well, where quivering ducks quack loud,
And Susan Cook is singing.
Up the sky
The hesitating moon slow trembles on,
Faint as a new-washed soul but lately up
From out a buried body.
Far about,
A hundred slopes in hundred fantasies
Most ravishingly run, so smooth of curve
That I but seem to see the fluent plain
Rise toward a rain of clover-blooms, as lakes
Pout gentle mounds of plashment up to meet
Big shower-drops.
Now the little winds, as bees,
Bowing the blooms come wandering where I lie
Mixt soul and body with the clover-tufts,
Light on my spirit, give from wing and thigh
Rich pollens and divine sweet irritants
To every nerve, and freshly make report
Of inmost Nature's secret autumn-thought
Unto some soul of sense within my frame
That owns each cognizance of the outlying five,
And sees, hears, tastes, smells, touches, all in one.
Tell me, dear Clover (since my soul is thine,
Since I am fain give study all the day,
To make thy ways my ways, thy service mine,
To seek me out thy God, my God to be,
And die from out myself to live in thee) --
Now, Cousin Clover, tell me in mine ear:
Go'st thou to market with thy pink and green?
Of what avail, this color and this grace?
Wert thou but squat of stem and brindle-brown,
Still careless herds would feed.
A poet, thou:
What worth, what worth, the whole of all thine art?
Three-Leaves, instruct me! I am sick of price.
Framed in the arching of two clover-stems
Where-through I gaze from off my hill, afar,
The spacious fields from me to Heaven take on
Tremors of change and new significance
To th' eye, as to the ear a simple tale
Begins to hint a parable's sense beneath.
The prospect widens, cuts all bounds of blue
Where horizontal limits bend, and spreads
Into a curious-hill'd and curious-valley'd Vast,
Endless before, behind, around; which seems
Th' incalculable Up-and-Down of Time
Made plain before mine eyes.
The clover-stems
Still cover all the space; but now they bear,
For clover-blooms, fair, stately heads of men
With poets' faces heartsome, dear and pale --
Sweet visages of all the souls of time
Whose loving service to the world has been
In the artist's way expressed and bodied.
Oh,
In arms' reach, here be Dante, Keats, Chopin,
Raphael, Lucretius, Omar, Angelo,
Beethoven, Chaucer, Schubert, Shakespeare, Bach,
And Buddha (sweetest masters! Let me lay
These arms this once, this humble once, about
Your reverend necks -- the most containing clasp,
For all in all, this world e'er saw!) and there,
Yet further on, bright throngs unnamable
Of workers worshipful, nobilities
In the Court of Gentle Service, silent men,
Dwellers in woods, brooders on helpful art,
And all the press of them, the fair, the large,
That wrought with beauty.
Lo, what bulk is here?
Now comes the Course-of-things, shaped like an Ox,
Slow browsing, o'er my hillside, ponderously --
The huge-brawned, tame, and workful Course-of-things,
That hath his grass, if earth be round or flat,
And hath his grass, if empires plunge in pain
Or faiths flash out.
This cool, unasking Ox
Comes browsing o'er my hills and vales of Time,
And thrusts me out his tongue, and curls it, sharp,
And sicklewise, about my poets' heads,
And twists them in, all -- Dante, Keats, Chopin,
Raphael, Lucretius, Omar, Angelo,
Beethoven, Chaucer, Schubert, Shakespeare, Bach,
And Buddha, in one sheaf -- and champs and chews,
With slantly-churning jaws, and swallows down;
Then slowly plants a mighty forefoot out,
And makes advance to futureward, one inch.
So: they have played their part.
And to this end?
This, God? This, troublous-breeding Earth? This, Sun
Of hot, quick pains? To this no-end that ends,
These Masters wrought, and wept, and sweated blood,
And burned, and loved, and ached with public shame,
And found no friends to breathe their loves to, save
Woods and wet pillows? This was all? This Ox?
"Nay," quoth a sum of voices in mine ear,
"God's clover, we, and feed His Course-of-things;
The pasture is God's pasture; systems strange
Of food and fiberment He hath, whereby
The general brawn is built for plans of His
To quality precise.
Kinsman, learn this:
The artist's market is the heart of man;
The artist's price, some little good of man.
Tease not thy vision with vain search for ends.
The End of Means is art that works by love.
The End of Ends .
.
.
in God's Beginning's lost.
"
|
Written by
Robert William Service |
We're taking Marie Toro to her home in Père-La-Chaise;
We're taking Marie Toro to her last resting-place.
Behold! her hearse is hung with wreaths till everything is hid
Except the blossoms heaping high upon her coffin lid.
A week ago she roamed the street, a draggle and a ****,
A by-word of the Boulevard and everybody's butt;
A week ago she haunted us, we heard her whining cry,
We brushed aside the broken blooms she pestered us to buy;
A week ago she had not where to rest her weary head .
.
.
But now, oh, follow, follow on, for Marie Toro's dead.
Oh Marie, she was once a queen -- ah yes, a queen of queens.
High-throned above the Carnival she held her splendid sway.
For four-and-twenty crashing hours she knew what glory means,
The cheers of half a million throats, the délire of a day.
Yet she was only one of us, a little sewing-girl,
Though far the loveliest and best of all our laughing band;
Then Fortune beckoned; off she danced, amid the dizzy whirl,
And we who once might kiss her cheek were proud to kiss her hand.
For swiftly as a star she soared; she had her every wish;
We saw her roped with pearls of price, with princes at her call;
And yet, and yet I think her dreams were of the old Boul' Mich',
And yet I'm sure within her heart she loved us best of all.
For one night in the Purple Pig, upon the rue Saint-Jacques,
We laughed and quaffed .
.
.
a limousine came swishing to the door;
Then Raymond Jolicoeur cried out: "It's Queen Marie come back,
In satin clad to make us glad, and witch our hearts once more.
"
But no, her face was strangely sad, and at the evening's end:
"Dear lads," she said; "I love you all, and when I'm far away,
Remember, oh, remember, little Marie is your friend,
And though the world may lie between, I'm coming back some day.
"
And so she went, and many a boy who's fought his way to Fame,
Can look back on the struggle of his garret days and bless
The loyal heart, the tender hand, the Providence that came
To him and all in hour of need, in sickness and distress.
Time passed away.
She won their hearts in London, Moscow, Rome;
They worshiped her in Argentine, adored her in Brazil;
We smoked our pipes and wondered when she might be coming home,
And then we learned the luck had turned, the things were going ill.
Her health had failed, her beauty paled, her lovers fled away;
And some one saw her in Peru, a common drab at last.
So years went by, and faces changed; our beards were sadly gray,
And Marie Toro's name became an echo of the past.
You know that old and withered man, that derelict of art,
Who for a paltry franc will make a crayon sketch of you?
In slouching hat and shabby cloak he looks and is the part,
A sodden old Bohemian, without a single sou.
A boon companion of the days of Rimbaud and Verlaine,
He broods and broods, and chews the cud of bitter souvenirs;
Beneath his mop of grizzled hair his cheeks are gouged with pain,
The saffron sockets of his eyes are hollowed out with tears.
Well, one night in the D'Harcourt's din I saw him in his place,
When suddenly the door was swung, a woman halted there;
A woman cowering like a dog, with white and haggard face,
A broken creature, bent of spine, a daughter of Despair.
She looked and looked, as to her breast she held some withered bloom;
"Too late! Too late! .
.
.
they all are dead and gone," I heard her say.
And once again her weary eyes went round and round the room;
"Not one of all I used to know .
.
.
" she turned to go away .
.
.
But quick I saw the old man start: "Ah no!" he cried, "not all.
Oh Marie Toro, queen of queens, don't you remember Paul?"
"Oh Marie, Marie Toro, in my garret next the sky,
Where many a day and night I've crouched with not a crust to eat,
A picture hangs upon the wall a fortune couldn't buy,
A portrait of a girl whose face is pure and angel-sweet.
"
Sadly the woman looked at him: "Alas! it's true," she said;
"That little maid, I knew her once.
It's long ago -- she's dead.
"
He went to her; he laid his hand upon her wasted arm:
"Oh, Marie Toro, come with me, though poor and sick am I.
For old times' sake I cannot bear to see you come to harm;
Ah! there are memories, God knows, that never, never die.
.
.
.
"
"Too late!" she sighed; "I've lived my life of splendor and of shame;
I've been adored by men of power, I've touched the highest height;
I've squandered gold like heaps of dirt -- oh, I have played the game;
I've had my place within the sun .
.
.
and now I face the night.
Look! look! you see I'm lost to hope; I live no matter how .
.
.
To drink and drink and so forget .
.
.
that's all I care for now.
"
And so she went her heedless way, and all our help was vain.
She trailed along with tattered shawl and mud-corroded skirt;
She gnawed a crust and slept beneath the bridges of the Seine,
A garbage thing, a composite of alcohol and dirt.
The students learned her story and the cafes knew her well,
The Pascal and the Panthéon, the Sufflot and Vachette;
She shuffled round the tables with the flowers she tried to sell,
A living mask of misery that no one will forget.
And then last week I missed her, and they found her in the street
One morning early, huddled down, for it was freezing cold;
But when they raised her ragged shawl her face was still and sweet;
Some bits of broken bloom were clutched within her icy hold.
That's all.
.
.
.
Ah yes, they say that saw: her blue, wide-open eyes
Were beautiful with joy again, with radiant surprise.
.
.
.
A week ago she begged for bread; we've bought for her a stone,
And a peaceful place in Père-La-Chaise where she'll be well alone.
She cost a king his crown, they say; oh, wouldn't she be proud
If she could see the wreaths to-day, the coaches and the crowd!
So follow, follow, follow on with slow and sober tread,
For Marie Toro, gutter waif and queen of queens, is dead.
|
Written by
Osip Mandelstam |
I have studied the Science of departures,
in night’s sorrows, when a woman’s hair falls down.
The oxen chew, there’s the waiting, pure,
in the last hours of vigil in the town,
and I reverence night’s ritual cock-crowing,
when reddened eyes lift sorrow’s load and choose
to stare at distance, and a woman’s crying
is mingled with the singing of the Muse.
Who knows, when the word ‘departure’ is spoken
what kind of separation is at hand,
or of what that cock-crow is a token,
when a fire on the Acropolis lights the ground,
and why at the dawning of a new life,
when the ox chews lazily in its stall,
the cock, the herald of the new life,
flaps his wings on the city wall?
I like the monotony of spinning,
the shuttle moves to and fro,
the spindle hums.
Look, barefoot Delia’s running
to meet you, like swansdown on the road!
How threadbare the language of joy’s game,
how meagre the foundation of our life!
Everything was, and is repeated again:
it’s the flash of recognition brings delight.
So be it: on a dish of clean earthenware,
like a flattened squirrel’s pelt, a shape,
forms a small, transparent figure, where
a girl’s face bends to gaze at the wax’s fate.
Not for us to prophesy, Erebus, Brother of Night:
Wax is for women: Bronze is for men.
Our fate is only given in fight,
to die by divination is given to them.
|
Written by
Robert William Service |
Each sunny day upon my way
A goat I pass;
He has a beard of silver grey,
A bell of brass.
And all the while I am in sight
He seems to muse,
And stares at me with all his might
And chews and chews.
Upon the hill so thymy sweet
With joy of Spring,
He hails me with a tiny bleat
Of welcoming.
Though half the globe is drenched with blood
And cities flare,
Contentedly he chews the cud
And does not care.
Oh gentle friend, I know not what
Your age may be,
But of my years I'd give the lot
Yet left to me,
To chew a thistle and not choke,
But bright of eye
Gaze at the old world-weary bloke
Who hobbles by.
Alas! though bards make verse sublime,
And lines to quote,
It takes a fool like me to rhyme
About a goat.
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