Written by
Alan Seeger |
First, London, for its myriads; for its height,
Manhattan heaped in towering stalagmite;
But Paris for the smoothness of the paths
That lead the heart unto the heart's delight. . . .
Fair loiterer on the threshold of those days
When there's no lovelier prize the world displays
Than, having beauty and your twenty years,
You have the means to conquer and the ways,
And coming where the crossroads separate
And down each vista glories and wonders wait,
Crowning each path with pinnacles so fair
You know not which to choose, and hesitate --
Oh, go to Paris. . . . In the midday gloom
Of some old quarter take a little room
That looks off over Paris and its towers
From Saint Gervais round to the Emperor's Tomb, --
So high that you can hear a mating dove
Croon down the chimney from the roof above,
See Notre Dame and know how sweet it is
To wake between Our Lady and our love.
And have a little balcony to bring
Fair plants to fill with verdure and blossoming,
That sparrows seek, to feed from pretty hands,
And swallows circle over in the Spring.
There of an evening you shall sit at ease
In the sweet month of flowering chestnut-trees,
There with your little darling in your arms,
Your pretty dark-eyed Manon or Louise.
And looking out over the domes and towers
That chime the fleeting quarters and the hours,
While the bright clouds banked eastward back of them
Blush in the sunset, pink as hawthorn flowers,
You cannot fail to think, as I have done,
Some of life's ends attained, so you be one
Who measures life's attainment by the hours
That Joy has rescued from oblivion.
II
Come out into the evening streets. The green light lessens in the west.
The city laughs and liveliest her fervid pulse of pleasure beats.
The belfry on Saint Severin strikes eight across the smoking eaves:
Come out under the lights and leaves
to the Reine Blanche on Saint Germain. . . .
Now crowded diners fill the floor of brasserie and restaurant.
Shrill voices cry "L'Intransigeant," and corners echo "Paris-Sport."
Where rows of tables from the street are screened with shoots of box and bay,
The ragged minstrels sing and play and gather sous from those that eat.
And old men stand with menu-cards, inviting passers-by to dine
On the bright terraces that line the Latin Quarter boulevards. . . .
But, having drunk and eaten well, 'tis pleasant then to stroll along
And mingle with the merry throng that promenades on Saint Michel.
Here saunter types of every sort. The shoddy jostle with the chic:
Turk and Roumanian and Greek; student and officer and sport;
Slavs with their peasant, Christ-like heads,
and courtezans like powdered moths,
And peddlers from Algiers, with cloths
bright-hued and stitched with golden threads;
And painters with big, serious eyes go rapt in dreams, fantastic shapes
In corduroys and Spanish capes and locks uncut and flowing ties;
And lovers wander two by two, oblivious among the press,
And making one of them no less, all lovers shall be dear to you:
All laughing lips you move among, all happy hearts that, knowing what
Makes life worth while, have wasted not the sweet reprieve of being young.
"Comment ca va!" "Mon vieux!" "Mon cher!"
Friends greet and banter as they pass.
'Tis sweet to see among the mass comrades and lovers everywhere,
A law that's sane, a Love that's free, and men of every birth and blood
Allied in one great brotherhood of Art and Joy and Poverty. . . .
The open cafe-windows frame loungers at their liqueurs and beer,
And walking past them one can hear fragments of Tosca and Boheme.
And in the brilliant-lighted door of cinemas the barker calls,
And lurid posters paint the walls with scenes of Love and crime and war.
But follow past the flaming lights, borne onward with the stream of feet,
Where Bullier's further up the street is marvellous on Thursday nights.
Here all Bohemia flocks apace; you could not often find elsewhere
So many happy heads and fair assembled in one time and place.
Under the glare and noise and heat the galaxy of dancing whirls,
Smokers, with covered heads, and girls dressed in the costume of the street.
From tables packed around the wall the crowds that drink and frolic there
Spin serpentines into the air far out over the reeking hall,
That, settling where the coils unroll, tangle with pink and green and blue
The crowds that rag to "Hitchy-koo" and boston to the "Barcarole". . . .
Here Mimi ventures, at fifteen, to make her debut in romance,
And join her sisters in the dance and see the life that they have seen.
Her hair, a tight hat just allows to brush beneath the narrow brim,
Docked, in the model's present whim, `frise' and banged above the brows.
Uncorseted, her clinging dress with every step and turn betrays,
In pretty and provoking ways her adolescent loveliness,
As guiding Gaby or Lucile she dances, emulating them
In each disturbing stratagem and each lascivious appeal.
Each turn a challenge, every pose an invitation to compete,
Along the maze of whirling feet the grave-eyed little wanton goes,
And, flaunting all the hue that lies in childish cheeks and nubile waist,
She passes, charmingly unchaste, illumining ignoble eyes. . . .
But now the blood from every heart leaps madder through abounding veins
As first the fascinating strains of "El Irresistible" start.
Caught in the spell of pulsing sound, impatient elbows lift and yield
The scented softnesses they shield to arms that catch and close them round,
Surrender, swift to be possessed, the silken supple forms beneath
To all the bliss the measures breathe and all the madness they suggest.
Crowds congregate and make a ring. Four deep they stand and strain to see
The tango in its ecstasy of glowing lives that clasp and cling.
Lithe limbs relaxed, exalted eyes fastened on vacancy, they seem
To float upon the perfumed stream of some voluptuous Paradise,
Or, rapt in some Arabian Night, to rock there, cradled and subdued,
In a luxurious lassitude of rhythm and sensual delight.
And only when the measures cease and terminate the flowing dance
They waken from their magic trance and join the cries that clamor "Bis!" . . .
Midnight adjourns the festival. The couples climb the crowded stair,
And out into the warm night air go singing fragments of the ball.
Close-folded in desire they pass, or stop to drink and talk awhile
In the cafes along the mile from Bullier's back to Montparnasse:
The "Closerie" or "La Rotonde", where smoking, under lamplit trees,
Sit Art's enamored devotees, chatting across their `brune' and `blonde'. . . .
Make one of them and come to know sweet Paris -- not as many do,
Seeing but the folly of the few, the froth, the tinsel, and the show --
But taking some white proffered hand that from Earth's barren every day
Can lead you by the shortest way into Love's florid fairyland.
And that divine enchanted life that lurks under Life's common guise --
That city of romance that lies within the City's toil and strife --
Shall, knocking, open to your hands, for Love is all its golden key,
And one's name murmured tenderly the only magic it demands.
And when all else is gray and void in the vast gulf of memory,
Green islands of delight shall be all blessed moments so enjoyed:
When vaulted with the city skies, on its cathedral floors you stood,
And, priest of a bright brotherhood, performed the mystic sacrifice,
At Love's high altar fit to stand, with fire and incense aureoled,
The celebrant in cloth of gold with Spring and Youth on either hand.
III
Choral Song
Have ye gazed on its grandeur
Or stood where it stands
With opal and amber
Adorning the lands,
And orcharded domes
Of the hue of all flowers?
Sweet melody roams
Through its blossoming bowers,
Sweet bells usher in from its belfries the train of the honey-sweet hour.
A city resplendent,
Fulfilled of good things,
On its ramparts are pendent
The bucklers of kings.
Broad banners unfurled
Are afloat in its air.
The lords of the world
Look for harborage there.
None finds save he comes as a bridegroom, having roses and vine in his hair.
'Tis the city of Lovers,
There many paths meet.
Blessed he above others,
With faltering feet,
Who past its proud spires
Intends not nor hears
The noise of its lyres
Grow faint in his ears!
Men reach it through portals of triumph, but leave through a postern of tears.
It was thither, ambitious,
We came for Youth's right,
When our lips yearned for kisses
As moths for the light,
When our souls cried for Love
As for life-giving rain
Wan leaves of the grove,
Withered grass of the plain,
And our flesh ached for Love-flesh beside it with bitter, intolerable pain.
Under arbor and trellis,
Full of flutes, full of flowers,
What mad fortunes befell us,
What glad orgies were ours!
In the days of our youth,
In our festal attire,
When the sweet flesh was smooth,
When the swift blood was fire,
And all Earth paid in orange and purple to pavilion the bed of Desire!
|
Written by
Larry Levis |
--The Carpathian Frontier, October, 1968
--for my brother
Once, in a foreign country, I was suddenly ill.
I was driving south toward a large city famous
For so little it had a replica, in concrete,
In two-thirds scale, of the Arc de Triomphe stuck
In the midst of traffic, & obstructing it.
But the city was hours away, beyond the hills
Shaped like the bodies of sleeping women.
Often I had to slow down for herds of goats
Or cattle milling on those narrow roads, & for
The narrower, lost, stone streets of villages
I passed through. The pains in my stomach had grown
Gradually sharper & more frequent as the day
Wore on, & now a fever had set up house.
In the villages there wasn't much point in asking
Anyone for help. In those places, where tanks
Were bivouacked in shade on their way back
From some routine exercise along
The Danube, even food was scarce that year.
And the languages shifted for no clear reason
From two hard quarries of Slavic into German,
Then to a shred of Latin spliced with oohs
And hisses. Even when I tried the simplest phrases,
The peasants passing over those uneven stones
Paused just long enough to look up once,
Uncomprehendingly. Then they turned
Quickly away, vanishing quietly into that
Moment, like bark chips whirled downriver.
It was autumn. Beyond each village the wind
Threw gusts of yellowing leaves across the road.
The goats I passed were thin, gray; their hind legs,
Caked with dried ****, seesawed along--
Not even mild contempt in their expressionless,
Pale eyes, & their brays like the scraping of metal.
Except for one village that had a kind
Of museum where I stopped to rest, & saw
A dead Scythian soldier under glass,
Turning to dust while holding a small sword
At attention forever, there wasn't much to look at.
Wind, leaves, goats, the higher passes
Locked in stone, the peasants with their fate
Embroidering a stillness into them,
And a spell over all things in that landscape,
Like . . .
That was the trouble; it couldn't be
Compared to anything else, not even the sleep
Of some asylum at a wood's edge with the sound
Of a pond's spillway beside it. But as each cramp
Grew worse & lasted longer than the one before,
It was hard to keep myself aloof from the threadbare
World walking on that road. After all,
Even as they moved, the peasants, the herds of goats
And cattle, the spiralling leaves, at least were part
Of that spell, that stillness.
After a while,
The villages grew even poorer, then thinned out,
Then vanished entirely. An hour later,
There were no longer even the goats, only wind,
Then more & more leaves blown over the road, sometimes
Covering it completely for a second.
And yet, except for a random oak or some brush
Writhing out of the ravine I drove beside,
The trees had thinned into rock, into large,
Tough blonde rosettes of fading pasture grass.
Then that gave out in a bare plateau. . . . And then,
Easing the Dacia down a winding grade
In second gear, rounding a long, funneled curve--
In a complete stillness of yellow leaves filling
A wide field--like something thoughtlessly,
Mistakenly erased, the road simply ended.
I stopped the car. There was no wind now.
I expected that, & though I was sick & lost,
I wasn't afraid. I should have been afraid.
To this day I don't know why I wasn't.
I could hear time cease, the field quietly widen.
I could feel the spreading stillness of the place
Moving like something I'd witnessed as a child,
Like the ancient, armored leisure of some reptile
Gliding, gray-yellow, into the slightly tepid,
Unidentical gray-brown stillness of the water--
Something blank & unresponsive in its tough,
Pimpled skin--seen only a moment, then unseen
As it submerged to rest on mud, or glided just
Beneath the lustreless, calm yellow leaves
That clustered along a log, or floated there
In broken ringlets, held by a gray froth
On the opaque, unbroken surface of the pond,
Which reflected nothing, no one.
And then I remembered.
When I was a child, our neighbors would disappear.
And there wasn't a pond of crocodiles at all.
And they hadn't moved. They couldn't move. They
Lived in the small, fenced-off backwater
Of a canal. I'd never seen them alive. They
Were in still photographs taken on the Ivory Coast.
I saw them only once in a studio when
I was a child in a city I once loved.
I was afraid until our neighbor, a photographer,
Explained it all to me, explained how far
Away they were, how harmless; how they were praised
In rituals as "powers." But they had no "powers,"
He said. The next week he vanished. I thought
Someone had cast a spell & that the crocodiles
Swam out of the pictures on the wall & grew
Silently & multiplied & then turned into
Shadows resting on the banks of lakes & streams
Or took the shapes of fallen logs in campgrounds
In the mountains. They ate our neighbor, Mr. Hirata.
They ate his whole family. That is what I believed,
Then. . .that someone had cast a spell. I did not
Know childhood was a spell, or that then there
Had been another spell, too quiet to hear,
Entering my city, entering the dust we ate. . . .
No one knew it then. No one could see it,
Though it spread through lawnless miles of housing tracts,
And the new, bare, treeless streets; it slipped
Into the vacant rows of warehouses & picked
The padlocked doors of working-class bars
And union halls & shuttered, empty diners.
And how it clung! (forever, if one had noticed)
To the brothel with the pastel tassels on the shade
Of an unlit table lamp. Farther in, it feasted
On the decaying light of failing shopping centers;
It spilled into the older, tree-lined neighborhoods,
Into warm houses, sealing itself into books
Of bedtime stories read each night by fathers--
The books lying open to the flat, neglected
Light of dawn; & it settled like dust on windowsills
Downtown, filling the smug cafés, schools,
Banks, offices, taverns, gymnasiums, hotels,
Newsstands, courtrooms, opium parlors, Basque
Restaurants, Armenian steam baths,
French bakeries, & two of the florists' shops--
Their plate glass windows smashed forever.
Finally it tried to infiltrate the exact
Center of my city, a small square bordered
With palm trees, olives, cypresses, a square
Where no one gathered, not even thieves or lovers.
It was a place which no longer had any purpose,
But held itself aloof, I thought, the way
A deaf aunt might, from opinions, styles, gossip.
I liked it there. It was completely lifeless,
Sad & clear in what seemed always a perfect,
Windless noon. I saw it first as a child,
Looking down at it from that as yet
Unvandalized, makeshift studio.
I remember leaning my right cheek against
A striped beach ball so that Mr. Hirata--
Who was Japanese, who would be sent the next week
To a place called Manzanar, a detention camp
Hidden in stunted pines almost above
The Sierra timberline--could take my picture.
I remember the way he lovingly relished
Each camera angle, the unwobbling tripod,
The way he checked each aperture against
The light meter, in love with all things
That were not accidental, & I remember
The care he took when focusing; how
He tried two different lens filters before
He found the one appropriate for that
Sensual, late, slow blush of afternoon
Falling through the one broad bay window.
I remember holding still & looking down
Into the square because he asked me to;
Because my mother & father had asked me please
To obey & be patient & allow the man--
Whose business was failing anyway by then--
To work as long as he wished to without any
Irritations or annoyances before
He would have to spend these years, my father said,
Far away, in snow, & without his cameras.
But Mr. Hirata did not work. He played.
His toys gleamed there. That much was clear to me . . . .
That was the day I decided I would never work.
It felt like a conversion. Play was sacred.
My father waited behind us on a sofa made
From car seats. One spring kept nosing through.
I remember the camera opening into the light . . . .
And I remember the dark after, the studio closed,
The cameras stolen, slivers of glass from the smashed
Bay window littering the unsanded floors,
And the square below it bathed in sunlight . . . . All this
Before Mr. Hirata died, months later,
From complications following pneumonia.
His death, a letter from a camp official said,
Was purely accidental. I didn't believe it.
Diseases were wise. Diseases, like the polio
My sister had endured, floating paralyzed
And strapped into her wheelchair all through
That war, seemed too precise. Like photographs . . .
Except disease left nothing. Disease was like
And equation that drank up light & never ended,
Not even in summer. Before my fever broke,
And the pains lessened, I could actually see
Myself, in the exact center of that square.
How still it had become in my absence, & how
Immaculate, windless, sunlit. I could see
The outline of every leaf on the nearest tree,
See it more clearly than ever, more clearly than
I had seen anything before in my whole life:
Against the modest, dark gray, solemn trunk,
The leaves were becoming only what they had to be--
Calm, yellow, things in themselves & nothing
More--& frankly they were nothing in themselves,
Nothing except their little reassurance
Of persisting for a few more days, or returning
The year after, & the year after that, & every
Year following--estranged from us by now--& clear,
So clear not one in a thousand trembled; hushed
And always coming back--steadfast, orderly,
Taciturn, oblivious--until the end of Time.
|
Written by
Delmore Schwartz |
"little soul, little flirting,
little perverse one
where are you off to now?
little wan one, firm one
little exposed one...
and never make fun of me again."
Now I must betray myself.
The feast of bondage and unity is near,
And none engaged in that great piety
When each bows to the other, kneels, and takes
Hand in hand, glance and glance, care and care,
None may wear masks or enigmatic clothes,
For weakness blinds the wounded face enough.
In sense, see my shocking nakedness.
I gave a girl an apple when five years old,
Saying, Will you be sorry when I am gone?
Ravenous for such courtesies, my name
Is fed like a raving fire, insatiate still.
But do not be afraid.
For I forget myself. I do indeed
Before each genuine beauty, and I will
Forget myself before your unknown heart.
I will forget the speech my mother made
In a restaurant, trapping my father there
At dinner with his whore. Her spoken rage
Struck down the child of seven years
With shame for all three, with pity for
The helpless harried waiter, with anger for
The diners gazing, avid, and contempt
And great disgust for every human being.
I will remember this. My mother's rhetoric
Has charmed my various tongue, but now I know
Love's metric seeks a rhyme more pure and sure.
For thus it is that I betray myself,
Passing the terror of childhood at second hand
Through nervous, learned fingertips.
At thirteen when a little girl died,
I walked for three weeks neither alive nor dead,
And could not understand and still cannot
The adult blind to the nearness of the dead,
Or carefully ignorant of their own death.
--This sense could shadow all the time's curving fruits,
But we will taste of them the whole night long,
Forgetting no twelfth night, no fete of June,
But in the daylight knowing our nothingness.
Let Freud and Marx be wedding guests indeed!
Let them mark out masks that face us there,
For of all anguish, weakness, loss and failure,
No form is cruel as self-deception, none
Shows day-by-day a bad dream long lived
And unbroken like the lies
We tell each other because we are rich or poor.
Though from the general guilt not free
We can keep honor by being poor.
The waste, the evil, the abomination
Is interrupted. the perfect stars persist
Small in the guilty night,
and Mozart shows
The irreducible incorruptible good
Risen past birth and death, though he is dead.
Hope, like a face reflected on the windowpane,
Remote and dim, fosters a myth or dream,
And in that dream, I speak, I summon all
Who are our friends somehow and thus I say:
"Bid the jewellers come with monocles,
Exclaiming, Pure! Intrinsic! Final!
Summon the children eating ice cream
To speak the chill thrill of immediacy.
Call for the acrobats who tumble
The ecstasy of the somersault.
Bid the self-sufficient stars be piercing
In the sublime and inexhaustible blue.
"Bring a mathematician, there is much to count,
The unending continuum of my attention:
Infinity will hurry his multiplied voice!
Bring the poised impeccable diver,
Summon the skater, precise in figure,
He knows the peril of circumstance,
The risk of movement and the hard ground.
Summon the florist! And the tobacconist!
All who have known a plant-like beauty:
Summon the charming bird for ignorant song.
"You, Athena, with your tired beauty,
Will you give me away? For you must come
In a bathing suit with that white owl
Whom, as I walk, I will hold in my hand.
You too, Crusoe, to utter the emotion
Of finding Friday, no longer alone;
You too, Chaplin, muse of the curbstone,
Mummer of hope, you understand!"
But this is fantastic and pitiful,
And no one comes, none will, we are alone,
And what is possible is my own voice,
Speaking its wish, despite its lasting fear;
Speaking of its hope, its promise and its fear,
The voice drunk with itself and rapt in fear,
Exaggeration, braggadocio,
Rhetoric and hope, and always fear:
"For fifty-six or for a thousand years,
I will live with you and be your friend,
And what your body and what your spirit bears
I will like my own body cure and tend.
But you are heavy and my body's weight
Is great and heavy: when I carry you
I lift upon my back time like a fate
Near as my heart, dark when I marry you.
"The voice's promise is easy, and hope
Is drunk, and wanton, and unwilled;
In time's quicksilver, where our desires grope,
The dream is warped or monstrously fulfilled,
In this sense, listen, listen, and draw near:
Love is inexhaustible and full of fear."
This life is endless and my eyes are tired,
So that, again and again, I touch a chair,
Or go to the window, press my face
Against it, hoping with substantial touch,
Colorful sight, or turning things to gain once more
The look of actuality, the certainty
Of those who run down stairs and drive a car.
Then let us be each other's truth, let us
Affirm the other's self, and be
The other's audience, the other's state,
Each to the other his sonorous fame.
Now you will be afraid, when, waking up,
Before familiar morning, by my mute side
Wan and abandoned then, when, waking up,
You see the lion or lamb upon my face
Or see the daemon breathing heavily
His sense of ignorance, his wish to die,
For I am nothing because my circus self
Divides its love a million times.
I am the octopus in love with God,
For thus is my desire inconclusible,
Until my mind, deranged in swimming tubes,
Issues its own darkness, clutching seas
---O God of my perfect ignorance,
Bring the New Year to my only sister soon,
Take from me strength and power to bless her head,
Give her the magnitude of secular trust,
Until she turns to me in her troubled sleep,
Seeing me in my wish, free from self-wrongs.
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