Written by
Tristan Tzara |
Art is going to sleep for a new world to be born
"ART"-parrot word-replaced by DADA,
PLESIOSAURUS, or handkerchief
The talent THAT CAN BE LEARNED makes the
poet a druggist TODAY the criticism
of balances no longer challenges with resemblances
Hypertrophic painters hyperaes-
theticized and hypnotized by the hyacinths
of the hypocritical-looking muezzins
CONSOLIDATE THE HARVEST OF EX-
ACT CALCULATIONS
Hypodrome of immortal guarantees: there is
no such thing as importance there is no transparence
or appearance
MUSICIANS SMASH YOUR INSTRUMENTS
BLIND MEN take the stage
THE SYRINGE is only for my understanding. I write because it is
natural exactly the way I piss the way I'm sick
ART NEEDS AN OPERATION
Art is a PRETENSION warmed by the
TIMIDITY of the urinary basin, the hysteria born
in THE STUDIO
We are in search of
the force that is direct pure sober
UNIQUE we are in search of NOTHING
we affirm the VITALITY of every IN-
STANT
the anti-philosophy of spontaneous acrobatics
At this moment I hate the man who whispers
before the intermission-eau de cologne-
sour theatre. THE JOYOUS WIND
If each man says the opposite it is because he is
right
Get ready for the action of the geyser of our blood
-submarine formation of transchromatic aero-
planes, cellular metals numbered in
the flight of images
above the rules of the
and its control
BEAUTIFUL
It is not for the sawed-off imps
who still worship their navel
|
Written by
T S (Thomas Stearns) Eliot |
TWELVE o’clock.
Along the reaches of the street
Held in a lunar synthesis,
Whispering lunar incantations
Dissolve the floors of memory
And all its clear relations
Its divisions and precisions,
Every street lamp that I pass
Beats like a fatalistic drum,
And through the spaces of the dark
Midnight shakes the memory
As a madman shakes a dead geranium.
Half-past one,
The street-lamp sputtered,
The street-lamp muttered,
The street-lamp said, “Regard that woman
Who hesitates toward you in the light of the door
Which opens on her like a grin.
You see the border of her dress
Is torn and stained with sand,
And you see the corner of her eye
Twists like a crooked pin.”
The memory throws up high and dry
A crowd of twisted things;
A twisted branch upon the beach
Eaten smooth, and polished
As if the world gave up
The secret of its skeleton,
Stiff and white.
A broken spring in a factory yard,
Rust that clings to the form that the strength has left
Hard and curled and ready to snap.
Half-past two,
The street-lamp said,
“Remark the cat which flattens itself in the gutter,
Slips out its tongue
And devours a morsel of rancid butter.”
So the hand of the child, automatic,
Slipped out and pocketed a toy that was running along the quay.
I could see nothing behind that child’s eye.
I have seen eyes in the street
Trying to peer through lighted shutters,
And a crab one afternoon in a pool,
An old crab with barnacles on his back,
Gripped the end of a stick which I held him.
Half-past three,
The lamp sputtered,
The lamp muttered in the dark.
The lamp hummed:
“Regard the moon,
La lune ne garde aucune rancune,
She winks a feeble eye,
She smiles into corners.
She smooths the hair of the grass.
The moon has lost her memory.
A washed-out smallpox cracks her face,
Her hand twists a paper rose,
That smells of dust and eau de Cologne,
She is alone
With all the old nocturnal smells
That cross and cross across her brain.”
The reminiscence comes
Of sunless dry geraniums
And dust in crevices,
Smells of chestnuts in the streets,
And female smells in shuttered rooms,
And cigarettes in corridors
And cocktail smells in bars.
The lamp said,
“Four o’clock,
Here is the number on the door.
Memory!
You have the key,
The little lamp spreads a ring on the stair.
Mount.
The bed is open; the tooth-brush hangs on the wall,
Put your shoes at the door, sleep, prepare for life.”
The last twist of the knife.
|
Written by
Paul Celan |
In Kohln, a town of monks and bones,
And pavements fang'd with murderous stones
And rags, and hags, and hideous wenches;
I counted two and seventy stenches,
All well defined, and several stinks!
Ye Nymphs that reign o'er sewers and sinks,
The river Rhine, it is well known,
Doth wash your city of Cologne;
But tell me, Nymphs, what power divine
Shall henceforth wash the river Rhine?
|
Written by
Guillaume Apollinaire |
Dans la Haute-Rue à Cologne
Elle allait et venait le soir
Offerte à tous en tout mignonne
Puis buvait lasse des trottoirs
Très tard dans les brasseries borgnes
Elle se mettait sur la paille
Pour un maquereau roux et rose
C'était un juif il sentait l'ail
Et l'avait venant de Formose
Tirée d'un bordel de Changaï
Je connais des gens de toutes sortes
Ils n'égalent pas leurs destins
Indécis comme feuilles mortes
Leurs yeux sont des feux mal éteints
Leurs coeurs bougent comme leurs portes
|
Written by
Rg Gregory |
when you step out of the wood and go first time to school
you have to be so specially careful if you're really a dragon
to put the most innocent expression on your face you can find
and not flip your flappers (unless the others don't mind)
you must be very strict with yourself - be sure not to act the fool
you'd be far happier i think to get your mother to tie a tag on
saying - this dragon is sweet no matter how fierce she seems
and letting everyone know you were born in a wood (well at least
a sylv-i-an creature) and not used to clatterings and bangings
that can set a dragon's scales on edge with their thwangings
schools never are you know the paradise of your dreams
they have a tendency in everyone to bring out the beast
or maybe when you get there you should do a dragon-dance
and get everyone hopping around the place breathing fire
or burn up a prince or two - to show how that game is played
taking their minds off the fact you have a back like a saw-blade
and a tail so fierce it would keep the bravest child at a distance
but whatever else you do dear dragon definitely do not perspire
a perspiring dragon will have the whole school holding its noses
dainty dragons do not sweat - the first lesson to be deeply learned
in any dragon's book of school-etiquette - a proper dragon-daughter
must always carry with her a large supply of odour-cologne-water
(for use ten times a day) to keep her sweeter than a bunch of roses -
so advised (o young sylv-i-an dragon) you will never be spurned
|
Written by
Victor Hugo |
("Avez-vous oui dire?")
{LES BURGRAVES, Part I., March, 1843.}
JOB. Hast thou ne'er heard men say
That, in the Black Wood, 'twixt Cologne and Spire,
Upon a rock flanked by the towering mountains,
A castle stands, renowned among all castles?
And in this fort, on piles of lava built,
A burgrave dwells, among all burgraves famed?
Hast heard of this wild man who laughs at laws—
Charged with a thousand crimes—for warlike deeds
Renowned—and placed under the Empire's ban
By the Diet of Frankfort; by the Council
Of Pisa banished from the Holy Church;
Reprobate, isolated, cursed—yet still
Unconquered 'mid his mountains and in will;
The bitter foe of the Count Palatine
And Treves' proud archbishop; who has spurned
For sixty years the ladder which the Empire
Upreared to scale his walls? Hast heard that he
Shelters the brave—the flaunting rich man strips—
Of master makes a slave? That here, above
All dukes, aye, kings, eke emperors—in the eyes
Of Germany to their fierce strife a prey,
He rears upon his tower, in stern defiance,
A signal of appeal to the crushed people,
A banner vast, of Sorrow's sable hue,
Snapped by the tempest in its whirlwind wrath,
So that kings quiver as the jades at whips?
Hast heard, he touches now his hundredth year—
And that, defying fate, in face of heaven,
On his invincible peak, no force of war
Uprooting other holds—nor powerful Cæsar—
Nor Rome—nor age, that bows the pride of man—
Nor aught on earth—hath vanquished, or subdued,
Or bent this ancient Titan of the Rhine,
The excommunicated Job?
Democratic Review.
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