Written by
Delmira Agustini |
Spanish Su idilio fue una larga sonrisa a cuatro labios…En el regazo cálido de rubia primaveraAmáronse talmente que entre sus dedos sabiosPalpitó la divina forma de la Quimera.
En los palacios fúlgidos de las tardes en calmaHablábanse un lenguaje sentido como un lloro,Y se besaban hondo hasta morderse el alma!…Las horas deshojáronse como flores de oro, Y el Destino interpuso sus dos manos heladas…Ah! los cuerpos cedieron, mas las almas trenzadasSon el más intrincado nudo que nunca fue…En lucha con sus locos enredos sobrehumanosLas Furias de la vida se rompieron las manosY fatigó sus dedos supremos Ananké… English Their idyll was a smile of four lips…In the warm lap of blond springThey loved such that between their wise fingersthe divine form of Chimera trembled.
In the glimmering palaces of quiet afternoonsThey spoke in a language heartfelt as weeping,And they kissed each other deeply, biting the soul!The hours fluttered away like petals of gold, Then Fate interposed its two icy hands…Ah! the bodies yielded, but tangled soulsAre the most intricate knot that never unfolds…In strife with its mad superhuman entanglements,Life’s Furies rent their coupled handsAnd wearied your powerful fingers, Ananké… Ananké: Goddess (Greek) of Unalterable Necessity
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Written by
Barry Tebb |
I was never a film buff, give me Widmark and Wayne any day
Saturday matin?es with Margaret Gardener still hold sway
As my memory veers backwards this temperate Boxing Day-
Westerns and war films and a blurred Maigret,
Coupled with a worn-out sixties Penguin Mallarm?-
How about that mix for a character trait?
Try as I may I can’t get my head round the manifold virtues
Of Geraldine Monk or either Riley
Poetry has to have a meaning, not just patterns on a page,
Vertical words and snips of scores just make me rage.
Is Thom Gunn really the age-old sleaze-weasel Andrew Duncan says?
Is Tim Allen right to give Geraldine Monk an eleven page review?
At least they care for poetry to give their lives to it
As we do, too.
My syntax far from perfect, my writing illegible
But somehow I’ll get through, Bloodaxe and Carcourt
May jeer but an Indian printer’s busy with my ‘Collected’
And, Calcutta typesetters permitting, it will be out this year
With the red gold script of sari cloth on the spine
And **** those dusty grey contemporary voices
Those verses will be mine.
Haslam’s a whole lot better but touchy as a prima donna
And couldn’t take it when I said he’d be a whole lot better
If he’d unloose his affects and let them scatter
I’m envious of his habitat, The Haworth Moors
Living there should be the inspiration of my old age
But being monophobic I can’t face the isolation
Or persuade my passionate friend to join me.
What urban experiences can improve
Upon a cottage life with my own muse!
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Written by
Jonathan Swift |
Five hours, (and who can do it less in?)
By haughty Celia spent in dressing;
The goddess from her chamber issues,
Arrayed in lace, brocades, and tissues.
Strephon, who found the room was void
And Betty otherwise employed,
Stole in and took a strict survey
Of all the litter as it lay;
Whereof, to make the matter clear,
An inventory follows here.
And first a dirty smock appeared,
Beneath the arm-pits well besmeared.
Strephon, the rogue, displayed it wide
And turned it round on every side.
On such a point few words are best,
And Strephon bids us guess the rest;
And swears how damnably the men lie
In calling Celia sweet and cleanly.
Now listen while he next produces
The various combs for various uses,
Filled up with dirt so closely fixt,
No brush could force a way betwixt.
A paste of composition rare,
Sweat, dandruff, powder, lead and hair;
A forehead cloth with oil upon't
To smooth the wrinkles on her front.
Here alum flower to stop the steams
Exhaled from sour unsavory streams;
There night-gloves made of Tripsy's hide,
Bequeath'd by Tripsy when she died,
With puppy water, beauty's help,
Distilled from Tripsy's darling whelp;
Here gallypots and vials placed,
Some filled with washes, some with paste,
Some with pomatum, paints and slops,
And ointments good for scabby chops.
Hard by a filthy basin stands,
Fouled with the scouring of her hands;
The basin takes whatever comes,
The scrapings of her teeth and gums,
A nasty compound of all hues,
For here she spits, and here she spews.
But oh! it turned poor Strephon's bowels,
When he beheld and smelt the towels,
Begummed, besmattered, and beslimed
With dirt, and sweat, and ear-wax grimed.
No object Strephon's eye escapes:
Here petticoats in frowzy heaps;
Nor be the handkerchiefs forgot
All varnished o'er with snuff and snot.
The stockings, why should I expose,
Stained with the marks of stinking toes;
Or greasy coifs and pinners reeking,
Which Celia slept at least a week in?
A pair of tweezers next he found
To pluck her brows in arches round,
Or hairs that sink the forehead low,
Or on her chin like bristles grow.
The virtues we must not let pass,
Of Celia's magnifying glass.
When frighted Strephon cast his eye on't
It shewed the visage of a giant.
A glass that can to sight disclose
The smallest worm in Celia's nose,
And faithfully direct her nail
To squeeze it out from head to tail;
(For catch it nicely by the head,
It must come out alive or dead.
)
Why Strephon will you tell the rest?
And must you needs describe the chest?
That careless wench! no creature warn her
To move it out from yonder corner;
But leave it standing full in sight
For you to exercise your spite.
In vain, the workman shewed his wit
With rings and hinges counterfeit
To make it seem in this disguise
A cabinet to vulgar eyes;
For Strephon ventured to look in,
Resolved to go through thick and thin;
He lifts the lid, there needs no more:
He smelt it all the time before.
As from within Pandora's box,
When Epimetheus oped the locks,
A sudden universal crew
Of humane evils upwards flew,
He still was comforted to find
That Hope at last remained behind;
So Strephon lifting up the lid
To view what in the chest was hid,
The vapours flew from out the vent.
But Strephon cautious never meant
The bottom of the pan to grope
And foul his hands in search of Hope.
O never may such vile machine
Be once in Celia's chamber seen!
O may she better learn to keep
"Those secrets of the hoary deep"!
As mutton cutlets, prime of meat,
Which, though with art you salt and beat
As laws of cookery require
And toast them at the clearest fire,
If from adown the hopeful chops
The fat upon the cinder drops,
To stinking smoke it turns the flame
Poisoning the flesh from whence it came;
And up exhales a greasy stench
For which you curse the careless wench;
So things which must not be exprest,
When plumpt into the reeking chest,
Send up an excremental smell
To taint the parts from whence they fell,
The petticoats and gown perfume,
Which waft a stink round every room.
Thus finishing his grand survey,
Disgusted Strephon stole away
Repeating in his amorous fits,
Oh! Celia, Celia, Celia shits!
But vengeance, Goddess never sleeping,
Soon punished Strephon for his peeping:
His foul Imagination links
Each dame he see with all her stinks;
And, if unsavory odors fly,
Conceives a lady standing by.
All women his description fits,
And both ideas jump like wits
By vicious fancy coupled fast,
And still appearing in contrast.
I pity wretched Strephon blind
To all the charms of female kind.
Should I the Queen of Love refuse
Because she rose from stinking ooze?
To him that looks behind the scene
Satira's but some pocky queen.
When Celia in her glory shows,
If Strephon would but stop his nose
(Who now so impiously blasphemes
Her ointments, daubs, and paints and creams,
Her washes, slops, and every clout
With which he makes so foul a rout),
He soon would learn to think like me
And bless his ravished sight to see
Such order from confusion sprung,
Such gaudy tulips raised from dung.
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Written by
Anne Bradstreet |
I had eight birds hatched in one nest,
Four cocks there were, and hens the rest.
I nursed them up with pain and care,
Nor cost, nor labour did I spare,
Till at the last they felt their wing,
Mounted the trees, and learned to sing;
Chief of the brood then took his flight
To regions far and left me quite.
My mournful chirps I after send,
Till he return, or I do end:
Leave not thy nest, thy dam and sire,
Fly back and sing amidst this choir.
My second bird did take her flight,
And with her mate flew out of sight;
Southward they both their course did bend,
And seasons twain they there did spend,
Till after blown by southern gales,
They norward steered with filled sails.
A prettier bird was no where seen,
Along the beach among the treen.
I have a third of colour white,
On whom I placed no small delight;
Coupled with mate loving and true,
Hath also bid her dam adieu;
And where Aurora first appears,
She now hath perched to spend her years.
One to the academy flew
To chat among that learned crew;
Ambition moves still in his breast
That he might chant above the rest
Striving for more than to do well,
That nightingales he might excel.
My fifth, whose down is yet scarce gone,
Is 'mongst the shrubs and bushes flown,
And as his wings increase in strength,
On higher boughs he'll perch at length.
My other three still with me nest,
Until they're grown, then as the rest,
Or here or there they'll take their flight,
As is ordained, so shall they light.
If birds could weep, then would my tears
Let others know what are my fears
Lest this my brood some harm should catch,
And be surprised for want of watch,
Whilst pecking corn and void of care,
They fall un'wares in fowler's snare,
Or whilst on trees they sit and sing,
Some untoward boy at them do fling,
Or whilst allured with bell and glass,
The net be spread, and caught, alas.
Or lest by lime-twigs they be foiled,
Or by some greedy hawks be spoiled.
O would my young, ye saw my breast,
And knew what thoughts there sadly rest,
Great was my pain when I you fed,
Long did I keep you soft and warm,
And with my wings kept off all harm,
My cares are more and fears than ever,
My throbs such now as 'fore were never.
Alas, my birds, you wisdom want,
Of perils you are ignorant;
Oft times in grass, on trees, in flight,
Sore accidents on you may light.
O to your safety have an eye,
So happy may you live and die.
Meanwhile my days in tunes I'll spend,
Till my weak lays with me shall end.
In shady woods I'll sit and sing,
And things that past to mind I'll bring.
Once young and pleasant, as are you,
But former toys (no joys) adieu.
My age I will not once lament,
But sing, my time so near is spent.
And from the top bough take my flight
Into a country beyond sight,
Where old ones instantly grow young,
And there with seraphims set song;
No seasons cold, nor storms they see;
But spring lasts to eternity.
When each of you shall in your nest
Among your young ones take your rest,
In chirping language, oft them tell,
You had a dam that loved you well,
That did what could be done for young,
And nursed you up till you were strong,
And 'fore she once would let you fly,
She showed you joy and misery;
Taught what was good, and what was ill,
What would save life, and what would kill.
Thus gone, amongst you I may live,
And dead, yet speak, and counsel give:
Farewell, my birds, farewell adieu,
I happy am, if well with you.
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Written by
Rudyard Kipling |
As I left the Halls at Lumley, rose the vision of a comely
Maid last season worshipped dumbly, watched with fervor from afar;
And I wondered idly, blindly, if the maid would greet me kindly.
That was all -- the rest was settled by the clinking tonga-bar.
Yea, my life and hers were coupled by the tonga coupling-bar.
For my misty meditation, at the second changin-station,
Suffered sudden dislocation, fled before the tuneless jar
Of a Wagner obbligato, scherzo, doublehand staccato,
Played on either pony's saddle by the clacking tonga-bar --
Played with human speech, I fancied, by the jigging, jolting bar.
"She was sweet," thought I, "last season, but 'twere surely wild unreason
Such tiny hope to freeze on as was offered by my Star,
When she whispered, something sadly: 'I -- we feel your going badly!'"
"And you let the chance escape you?" rapped the rattling tonga-bar.
"What a chance and what an idiot!" clicked the vicious tonga-bar.
Heart of man -- oh, heart of putty! Had I gone by Kakahutti,
On the old Hill-road and rutty, I had 'scaped that fatal car.
But his fortune each must bide by, so I watched the milestones slide by,
To "You call on Her to-morrow!" -- fugue with cymbals by the bar --
You must call on Her to-morrow!" -- post-horn gallop by the bar.
Yet a further stage my goal on -- we were whirling down to Solon,
With a double lurch and roll on, best foot foremost, ganz und gar --
"She was very sweet," I hinted.
"If a kiss had been imprinted?" --
"'Would ha' saved a world of trouble!" clashed the busy tonga-bar.
"'Been accepted or rejected!" banged and clanged the tonga-bar.
Then a notion wild and daring, 'spite the income tax's paring,
And a hasty thought of sharing -- less than many incomes are,
Made me put a question private, you can guess what I would drive at.
"You must work the sum to prove it," clanked the careless tonga-bar.
"Simple Rule of Two will prove it," litled back the tonga-bar.
It was under Khyraghaut I muse.
"Suppose the maid be haughty --
(There are lovers rich -- and roty) -- wait some wealthy Avatar?
Answer monitor untiring, 'twixt the ponies twain perspiring!"
"Faint heart never won fair lady," creaked the straining tonga-bar.
"Can I tell you ere you ask Her?" pounded slow the tonga-bar.
Last, the Tara Devi turning showed the lights of Simla burning,
Lit my little lazy yearning to a fiercer flame by far.
As below the Mall we jingled, through my very heart it tingled --
Did the iterated order of the threshing tonga-bar --
Truy your luck -- you can't do better!" twanged the loosened tongar-bar.
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Written by
William Butler Yeats |
I cried when the moon was mutmuring to the birds:
'Let peewit call and curlew cry where they will,
I long for your merry and tender and pitiful words,
For the roads are unending, and there is no place to my mind.
'
The honey-pale moon lay low on the sleepy hill,
And I fell asleep upon lonely Echtge of streams.
No boughs have withered because of the wintry wind;
The boughs have withered because I have told them my, dreams.
I know of the leafy paths that the witches take
Who come with their crowns of pearl and their spindles of wool,
And their secret smile, out of the depths of the lake;
I know where a dim moon drifts, where the Danaan kind
Wind and unwind their dances when the light grows cool
On the island lawns, their feet where the pale foam gleams.
No boughs have withered because of the wintry wind;
The boughs have withered because I have told them my dreams.
I know of the sleepy country, where swans fly round
Coupled with golden chains, and sing as they fly.
A king and a queen are wandering there, and the sound
Has made them so happy and hopeless, so deaf and so blind
With wisdom, they wander till all the years have gone by;
I know, and the curlew and peewit on Echtge of streams.
No boughs have withered because of the wintry wind;
The boughs have withered because I have told them my dreams.
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Written by
Ella Wheeler Wilcox |
Somebody said, in the crowd, last eve,
That you were married, or soon to be.
I have not thought of you, I believe,
Since last we parted.
Let me see:
Five long Summers have passed since then –
Each has been pleasant in its own way –
And you are but one of a dozen men
Who have played the suitor a Summer day.
But, nevertheless, when I heard your name,
Coupled with some one’s, not my own,
There burned in my bosom a sudden flame,
That carried me back to the day that is flown.
I was sitting again by the laughing brook,
With you at my feet, and the sky above,
And my heart was fluttering under your look –
The unmistakable look of Love.
Again your breath, like a South wind, fanned
My cheek, where the blushes came and went;
And the tender clasp of your strong, warm hand
Sudden thrills through my pulses sent.
Again you were mine by Love’s decree:
So for a moment it seemed last night,
When somebody mentioned your name to me.
Just for the moment I thought you mine –
Loving me, wooing me, as of old.
The tale remembered seemed half divine –
Though I held it lightly enough when told.
The past seemed fairer than when it was near,
As ‘blessings brighten when taking flight, ’
And just for the moment I held you near –
When somebody mentioned your name last night.
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Written by
Dylan Thomas |
I
All all and all the dry worlds lever,
Stage of the ice, the solid ocean,
All from the oil, the pound of lava.
City of spring, the governed flower,
Turns in the earth that turns the ashen
Towns around on a wheel of fire.
How now my flesh, my naked fellow,
Dug of the sea, the glanded morrow,
Worm in the scalp, the staked and fallow.
All all and all, the corpse's lover,
Skinny as sin, the foaming marrow,
All of the flesh, the dry worlds lever.
II
Fear not the waking world, my mortal,
Fear not the flat, synthetic blood,
Nor the heart in the ribbing metal.
Fear not the tread, the seeded milling,
The trigger and scythe, the bridal blade,
Nor the flint in the lover's mauling.
Man of my flesh, the jawbone riven,
Know now the flesh's lock and vice,
And the cage for the scythe-eyed raver.
Know, O my bone, the jointed lever,
Fear not the screws that turn the voice,
And the face to the driven lover.
III
All all and all the dry worlds couple,
Ghost with her ghost, contagious man
With the womb of his shapeless people.
All that shapes from the caul and suckle,
Stroke of mechanical flesh on mine,
Square in these worlds the mortal circle.
Flower, flower the people's fusion,
O light in zenith, the coupled bud,
And the flame in the flesh's vision.
Out of the sea, the drive of oil,
Socket and grave, the brassy blood,
Flower, flower, all all and all.
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