Written by
Samuel Taylor Coleridge |
All thoughts, all passions, all delights,
Whatever stirs this mortal frame,
All are but ministers of Love,
And feed his sacred flame.
Oft in my waking dreams do I
Live o’er again that happy hour,
When midway on the mount I lay,
Beside the ruined tower.
The moonshine, stealing o’er the scene
Had blended with the lights of eve;
And she was there, my hope, my joy,
My own dear Genevieve!
She leant against the arméd man,
The statue of the arméd knight;
She stood and listened to my lay,
Amid the lingering light.
Few sorrows hath she of her own,
My hope! my joy! my Genevieve!
She loves me best, whene’er I sing
The songs that make her grieve.
I played a soft and doleful air,
I sang an old and moving story—
An old rude song, that suited well
That ruin wild and hoary.
She listened with a flitting blush,
With downcast eyes and modest grace;
For well she knew, I could not choose
But gaze upon her face.
I told her of the Knight that wore
Upon his shield a burning brand;
And that for ten long years he wooed
The Lady of the Land.
I told her how he pined: and ah!
The deep, the low, the pleading tone
With which I sang another’s love,
Interpreted my own.
She listened with a flitting blush,
With downcast eyes, and modest grace;
And she forgave me, that I gazed
Too fondly on her face!
But when I told the cruel scorn
That crazed that bold and lovely Knight,
And that he crossed the mountain-woods,
Nor rested day nor night;
That sometimes from the savage den,
And sometimes from the darksome shade,
And sometimes starting up at once
In green and sunny glade,—
There came and looked him in the face
An angel beautiful and bright;
And that he knew it was a Fiend,
This miserable Knight!
And that unknowing what he did,
He leaped amid a murderous band,
And saved from outrage worse than death
The Lady of the Land!
And how she wept, and clasped his knees;
And how she tended him in vain—
And ever strove to expiate
The scorn that crazed his brain;—
And that she nursed him in a cave;
And how his madness went away,
When on the yellow forest-leaves
A dying man he lay;—
His dying words—but when I reached
That tenderest strain of all the ditty,
My faultering voice and pausing harp
Disturbed her soul with pity!
All impulses of soul and sense
Had thrilled my guileless Genevieve;
The music and the doleful tale,
The rich and balmy eve;
And hopes, and fears that kindle hope,
An undistinguishable throng,
And gentle wishes long subdued,
Subdued and cherished long!
She wept with pity and delight,
She blushed with love, and virgin-shame;
And like the murmur of a dream,
I heard her breathe my name.
Her bosom heaved—she stepped aside,
As conscious of my look she stepped—
Then suddenly, with timorous eye
She fled to me and wept.
She half enclosed me with her arms,
She pressed me with a meek embrace;
And bending back her head, looked up,
And gazed upon my face.
‘Twas partly love, and partly fear,
And partly ’twas a bashful art,
That I might rather feel, than see,
The swelling of her heart.
I calmed her fears, and she was calm,
And told her love with virgin pride;
And so I won my Genevieve,
My bright and beauteous Bride.
|
Written by
Adrienne Rich |
Good-by to you whom I shall see tomorrow,
Next year and when I'm fifty; still good-by.
This is the leave we never really take.
If you were dead or gone to live in China
The event might draw your stature in my mind.
I should be forced to look upon you whole
The way we look upon the things we lose.
We see each other daily and in segments;
Parting might make us meet anew, entire.
You asked me once, and I could give no answer,
How far dare we throw off the daily ruse,
Official treacheries of face and name,
Have out our true identity? I could hazard
An answer now, if you are asking still.
We are a small and lonely human race
Showing no sign of mastering solitude
Out on this stony planet that we farm.
The most that we can do for one another
Is let our blunders and our blind mischances
Argue a certain brusque abrupt compassion.
We might as well be truthful. I should say
They're luckiest who know they're not unique;
But only art or common interchange
Can teach that kindest truth. And even art
Can only hint at what disturbed a Melville
Or calmed a Mahler's frenzy; you and I
Still look from separate windows every morning
Upon the same white daylight in the square.
And when we come into each other's rooms
Once in awhile, encumbered and self-conscious,
We hover awkwardly about the threshold
And usually regret the visit later.
Perhaps the harshest fact is, only lovers--
And once in a while two with the grace of lovers--
Unlearn that clumsiness of rare intrusion
And let each other freely come and go.
Most of us shut too quickly into cupboards
The margin-scribbled books, the dried geranium,
The penny horoscope, letters never mailed.
The door may open, but the room is altered;
Not the same room we look from night and day.
It takes a late and slowly blooming wisdom
To learn that those we marked infallible
Are tragi-comic stumblers like ourselves.
The knowledge breeds reserve. We walk on tiptoe,
Demanding more than we know how to render.
Two-edged discovery hunts us finally down;
The human act will make us real again,
And then perhaps we come to know each other.
Let us return to imperfection's school.
No longer wandering after Plato's ghost,
Seeking the garden where all fruit is flawless,
We must at last renounce that ultimate blue
And take a walk in other kinds of weather.
The sourest apple makes its wry announcement
That imperfection has a certain tang.
Maybe we shouldn't turn our pockets out
To the last crumb or lingering bit of fluff,
But all we can confess of what we are
Has in it the defeat of isolation--
If not our own, then someone's, anyway.
So I come back to saying this good-by,
A sort of ceremony of my own,
This stepping backward for another glance.
Perhaps you'll say we need no ceremony,
Because we know each other, crack and flaw,
Like two irregular stones that fit together.
Yet still good-by, because we live by inches
And only sometimes see the full dimension.
Your stature's one I want to memorize--
Your whole level of being, to impose
On any other comers, man or woman.
I'd ask them that they carry what they are
With your particular bearing, as you wear
The flaws that make you both yourself and human.
|
Written by
Robert Frost |
When I go up through the mowing field,
The headless aftermath,
Smooth-laid like thatch with the heavy dew,
Half closes the garden path.
And when I come to the garden ground,
The whir of sober birds
Up from the tangle of withered weeds
Is sadder than any words
A tree beside the wall stands bare,
But a leaf that lingered brown,
Disturbed, I doubt not, by my thought,
Comes softly rattling down.
I end not far from my going forth
By picking the faded blue
Of the last remaining aster flower
To carry again to you.
|
Written by
Robert Frost |
All out of doors looked darkly in at him
Through the thin frost, almost in separate stars,
That gathers on the pane in empty rooms.
What kept his eyes from giving back the gaze
Was the lamp tilted near them in his hand.
What kept him from remembering what it was
That brought him to that creaking room was age.
He stood with barrels round him -- at a loss.
And having scared the cellar under him
In clomping there, he scared it once again
In clomping off; -- and scared the outer night,
Which has its sounds, familiar, like the roar
Of trees and crack of branches, common things,
But nothing so like beating on a box.
A light he was to no one but himself
Where now he sat, concerned with he knew what,
A quiet light, and then not even that.
He consigned to the moon, such as she was,
So late-arising, to the broken moon
As better than the sun in any case
For such a charge, his snow upon the roof,
His icicles along the wall to keep;
And slept. The log that shifted with a jolt
Once in the stove, disturbed him and he shifted,
And eased his heavy breathing, but still slept.
One aged man -- one man -- can't keep a house,
A farm, a countryside, or if he can,
It's thus he does it of a winter night.
|
Written by
D. H. Lawrence |
You know what it is to be born alone,
Baby tortoise!
The first day to heave your feet little by little from the shell,
Not yet awake,
And remain lapsed on earth,
Not quite alive.
A tiny, fragile, half-animate bean.
To open your tiny beak-mouth, that looks as if it would never open,
Like some iron door;
To lift the upper hawk-beak from the lower base
And reach your skinny little neck
And take your first bite at some dim bit of herbage,
Alone, small insect,
Tiny bright-eye,
Slow one.
To take your first solitary bite
And move on your slow, solitary hunt.
Your bright, dark little eye,
Your eye of a dark disturbed night,
Under its slow lid, tiny baby tortoise,
So indomitable.
No one ever heard you complain.
You draw your head forward, slowly, from your little wimple
And set forward, slow-dragging, on your four-pinned toes, Rowing slowly forward.
Whither away, small bird?
Rather like a baby working its limbs,
Except that you make slow, ageless progress
And a baby makes none.
The touch of sun excites you,
And the long ages, and the lingering chill
Make you pause to yawn,
Opening your impervious mouth,
Suddenly beak-shaped, and very wide, like some suddenly gaping pincers;
Soft red tongue, and hard thin gums,
Then close the wedge of your little mountain front,
Your face, baby tortoise.
Do you wonder at the world, as slowly you turn your head in its wimple
And look with laconic, black eyes?
Or is sleep coming over you again,
The non-life?
You are so hard to wake.
Are you able to wonder?
Or is it just your indomitable will and pride of the first life
Looking round
And slowly pitching itself against the inertia
Which had seemed invincible?
The vast inanimate,
And the fine brilliance of your so tiny eye,
Challenger.
Nay, tiny shell-bird,
What a huge vast inanimate it is, that you must row against,
What an incalculable inertia.
Challenger,
Little Ulysses, fore-runner,
No bigger than my thumb-nail,
Buon viaggio.
All animate creation on your shoulder,
Set forth, little Titan, under your battle-shield.
The ponderous, preponderate,
Inanimate universe;
And you are slowly moving, pioneer, you alone.
How vivid your travelling seems now, in the troubled sunshine,
Stoic, Ulyssean atom;
Suddenly hasty, reckless, on high toes.
Voiceless little bird,
Resting your head half out of your wimple
In the slow dignity of your eternal pause.
Alone, with no sense of being alone,
And hence six times more solitary;
Fulfilled of the slow passion of pitching through immemorial ages
Your little round house in the midst of chaos.
Over the garden earth,
Small bird,
Over the edge of all things.
Traveller,
With your tail tucked a little on one side
Like a gentleman in a long-skirted coat.
All life carried on your shoulder,
Invincible fore-runner.
|
Written by
Robert Frost |
We chanced in passing by that afternoon
To catch it in a sort of special picture
Among tar-banded ancient cherry trees,
Set well back from the road in rank lodged grass,
The little cottage we were speaking of,
A front with just a door between two windows,
Fresh painted by the shower a velvet black.
We paused, the minister and I, to look.
He made as if to hold it at arm's length
Or put the leaves aside that framed it in.
"Pretty," he said. "Come in. No one will care."
The path was a vague parting in the grass
That led us to a weathered window-sill.
We pressed our faces to the pane. "You see," he said,
"Everything's as she left it when she died.
Her sons won't sell the house or the things in it.
They say they mean to come and summer here
Where they were boys. They haven't come this year.
They live so far away--one is out west--
It will be hard for them to keep their word.
Anyway they won't have the place disturbed."
A buttoned hair-cloth lounge spread scrolling arms
Under a crayon portrait on the wall
Done sadly from an old daguerreotype.
"That was the father as he went to war.
She always, when she talked about war,
Sooner or later came and leaned, half knelt
Against the lounge beside it, though I doubt
If such unlifelike lines kept power to stir
Anything in her after all the years.
He fell at Gettysburg or Fredericksburg,
I ought to know--it makes a difference which:
Fredericksburg wasn't Gettysburg, of course.
But what I'm getting to is how forsaken
A little cottage this has always seemed;
Since she went more than ever, but before--
I don't mean altogether by the lives
That had gone out of it, the father first,
Then the two sons, till she was left alone.
(Nothing could draw her after those two sons.
She valued the considerate neglect
She had at some cost taught them after years.)
I mean by the world's having passed it by--
As we almost got by this afternoon.
It always seems to me a sort of mark
To measure how far fifty years have brought us.
Why not sit down if you are in no haste?
These doorsteps seldom have a visitor.
The warping boards pull out their own old nails
With none to tread and put them in their place.
She had her own idea of things, the old lady.
And she liked talk. She had seen Garrison
And Whittier, and had her story of them.
One wasn't long in learning that she thought
Whatever else the Civil War was for
It wasn't just to keep the States together,
Nor just to free the slaves, though it did both.
She wouldn't have believed those ends enough
To have given outright for them all she gave.
Her giving somehow touched the principle
That all men are created free and equal.
And to hear her quaint phrases--so removed
From the world's view to-day of all those things.
That's a hard mystery of Jefferson's.
What did he mean? Of course the easy way
Is to decide it simply isn't true.
It may not be. I heard a fellow say so.
But never mind, the Welshman got it planted
Where it will trouble us a thousand years.
Each age will have to reconsider it.
You couldn't tell her what the West was saying,
And what the South to her serene belief.
She had some art of hearing and yet not
Hearing the latter wisdom of the world.
White was the only race she ever knew.
Black she had scarcely seen, and yellow never.
But how could they be made so very unlike
By the same hand working in the same stuff?
She had supposed the war decided that.
What are you going to do with such a person?
Strange how such innocence gets its own way.
I shouldn't be surprised if in this world
It were the force that would at last prevail.
Do you know but for her there was a time
When to please younger members of the church,
Or rather say non-members in the church,
Whom we all have to think of nowadays,
I would have changed the Creed a very little?
Not that she ever had to ask me not to;
It never got so far as that; but the bare thought
Of her old tremulous bonnet in the pew,
And of her half asleep was too much for me.
Why, I might wake her up and startle her.
It was the words 'descended into Hades'
That seemed too pagan to our liberal youth.
You know they suffered from a general onslaught.
And well, if they weren't true why keep right on
Saying them like the heathen? We could drop them.
Only--there was the bonnet in the pew.
Such a phrase couldn't have meant much to her.
But suppose she had missed it from the Creed
As a child misses the unsaid Good-night,
And falls asleep with heartache--how should I feel?
I'm just as glad she made me keep hands off,
For, dear me, why abandon a belief
Merely because it ceases to be true.
Cling to it long enough, and not a doubt
It will turn true again, for so it goes.
Most of the change we think we see in life
Is due to truths being in and out of favour.
As I sit here, and oftentimes, I wish
I could be monarch of a desert land
I could devote and dedicate forever
To the truths we keep coming back and back to.
So desert it would have to be, so walled
By mountain ranges half in summer snow,
No one would covet it or think it worth
The pains of conquering to force change on.
Scattered oases where men dwelt, but mostly
Sand dunes held loosely in tamarisk
Blown over and over themselves in idleness.
Sand grains should sugar in the natal dew
The babe born to the desert, the sand storm
Retard mid-waste my cowering caravans--
"There are bees in this wall." He struck the clapboards,
Fierce heads looked out; small bodies pivoted.
We rose to go. Sunset blazed on the windows.
|
Written by
Thomas Hardy |
"Ah, are you digging on my grave,
My loved one? -- planting rue?"
-- "No: yesterday he went to wed
One of the brightest wealth has bred.
'It cannot hurt her now,' he said,
'That I should not be true.'"
"Then who is digging on my grave,
My nearest dearest kin?"
-- "Ah, no: they sit and think, 'What use!
What good will planting flowers produce?
No tendance of her mound can loose
Her spirit from Death's gin.'"
"But someone digs upon my grave?
My enemy? -- prodding sly?"
-- "Nay: when she heard you had passed the Gate
That shuts on all flesh soon or late,
She thought you no more worth her hate,
And cares not where you lie.
"Then, who is digging on my grave?
Say -- since I have not guessed!"
-- "O it is I, my mistress dear,
Your little dog , who still lives near,
And much I hope my movements here
Have not disturbed your rest?"
"Ah yes! You dig upon my grave...
Why flashed it not to me
That one true heart was left behind!
What feeling do we ever find
To equal among human kind
A dog's fidelity!"
"Mistress, I dug upon your grave
To bury a bone, in case
I should be hungry near this spot
When passing on my daily trot.
I am sorry, but I quite forgot
It was your resting place."
|
Written by
Marilyn Hacker |
After Joseph Roth
Parce que c'était lui; parce que c'était moi.
Montaigne, De L'amitië
The dream's forfeit was a night in jail
and now the slant light is crepuscular.
Papers or not, you are a foreigner
whose name is always difficult to spell.
You pack your one valise. You ring the bell.
Might it not be prudent to disappear
beneath that mauve-blue sky above the square
fronting your cosmopolitan hotel?
You know two short-cuts to the train station
which could get you there, on foot, in time.
The person who's apprised of your intention
and seems to be your traveling companion
is merely the detritus of a dream.
You cross the lobby and go out alone.
You crossed the lobby and went out alone
through the square, where two red-headed girls played
hopscotch on a chalk grid, now in the shade,
of a broad-leafed plane tree, now in the sun.
The lively, lovely, widowed afternoon
disarmed, uncoupled, shuffled and disarrayed
itself; despite itself, dismayed
you with your certainties, your visa, gone
from your breast-pocket, or perhaps expired.
At the reception desk, no one inquired
if you'd be returning. Now you wonder why.
When the stout conductor comes down the aisle
mustached, red-faced, at first jovial,
and asks for your passport, what will you say?
When they ask for your passport, will you say
that town's name they'd find unpronounceable
which resonates, when uttered, like a bell
in your mind's tower, as it did the day
you carried your green schoolbag down the gray
fog-cobbled street, past church, bakery, shul
past farm women setting up market stalls
it was so early. "I am on my way
to school in ." You were part of the town
now, not the furnished rooms you shared
with Mutti, since the others disappeared.
Your knees were red with cold; your itchy wool
socks had inched down, so you stooped to pull
them up, a student and a citizen.
You are a student and a citizen
of whatever state is transient.
You are no more or less the resident
of a hotel than you were of that town
whose borders were disputed and redrawn.
A prince conceded to a president.
Another language became relevant
to merchants on that street a child walked down
whom you remember, in the corridors
of cities you inhabit, polyglot
as the distinguished scholar you were not
to be. A slight accent sets you apart,
but it would mark you on that peddlers'-cart
street now. Which language, after all, is yours?
Which language, after all these streets, is yours,
and why are you here, waiting for a train?
You could have run a hot bath, read Montaigne.
But would footsteps beyond the bathroom door's
bolt have disturbed the nondescript interior's
familiarity, shadowed the plain
blue draperies? You reflect, you know no one
who would, of you, echo your author's
"Because it was he; because it was I,"
as a unique friendship's non sequitur.
No footsteps and no friend: that makes you free.
The train approaches, wreathed in smoke like fur
around the shoulders of a dowager
with no time for sentimentality.
With no time for sentimentality,
mulling a twice-postponed book-review,
you take an empty seat. Opposite you
a voluble immigrant family
is already unwrapping garlicky
sausages—an unshaven man and his two
red-eared sons.
You once wrote: it is true,
awful, and unimportant, finally
that if the opportunity occurs
some of the exiles become storm-troopers;
and you try, culpably, to project these three
into some torch-lit future, filtering out
their wrangling (one of your languages) about
the next canto in their short odyssey.
The next canto in your short odyssey
will open, you know this, in yet another
hotel room. They have become your mother
country: benevolent anonymity
of rough starched sheets, dim lamp, rickety
escritoire, one window. Your neighbors gather
up their crusts and rinds. Out of a leather
satchel, the man takes their frayed identity
cards, examines them. The sons watch, pale
and less talkative. A border, passport control,
draw near: rubber stamp or interrogation?
You hope the customs officer lunched well;
reflect on the recurrent implication
of the dream's forfeit. One night in jail?
|
Written by
Anne Sexton |
1. DREAMS
I was an ice baby.
I turned to sky blue.
My tears became two glass beads.
My mouth stiffened into a dumb howl.
They say it was a dream
but I remember that hardening.
My sister at six
dreamt nightly of my death:
"The baby turned to ice.
Someone put her in the refrigerator
and she turned as hard as a Popsicle."
I remember the stink of the liverwurst.
How I was put on a platter and laid
between the mayonnaise and the bacon.
The rhythm of the refrigerator
had been disturbed.
The milk bottle hissed like a snake.
The tomatoes vomited up their stomachs.
The caviar turned to lave.
The pimentos kissed like cupids.
I moved like a lobster,
slower and slower.
The air was tiny.
The air would not do.
*
I was at the dogs' party.
I was their bone.
I had been laid out in their kennel
like a fresh turkey.
This was my sister's dream
but I remember that quartering;
I remember the sickbed smell
of the sawdust floor, the pink eyes,
the pink tongues and the teeth, those nails.
I had been carried out like Moses
and hidden by the paws
of ten Boston bull terriers,
ten angry bulls
jumping like enormous roaches.
At first I was lapped,
rough as sandpaper.
I became very clean.
Then my arm was missing.
I was coming apart.
They loved me until
I was gone.
2. THE DY-DEE DOLL
My Dy-dee doll
died twice.
Once when I snapped
her head off
and let if float in the toilet
and once under the sun lamp
trying to get warm
she melted.
She was a gloom,
her face embracing
her little bent arms.
She died in all her rubber wisdom.
3. SEVEN TIMES
I died seven times
in seven ways
letting death give me a sign,
letting death place his mark on my forehead,
crossed over, crossed over
And death took root in that sleep.
In that sleep I held an ice baby
and I rocked it
and was rocked by it.
Oh Madonna, hold me.
I am a small handful.
4.MADONNA
My mother died
unrocked, unrocked.
Weeks at her deathbed
seeing her thrust herself against the metal bars,
thrashing like a fish on the hook
and me low at her high stage,
letting the priestess dance alone,
wanting to place my head in her lap
or even take her in my arms somehow
and fondle her twisted gray hair.
But her rocking horse was pain
with vomit steaming from her mouth.
Her belly was big with another child,
cancer's baby, big as a football.
I could not soothe.
With every hump and crack
there was less Madonna
until that strange labor took her.
Then the room was bankrupt.
That was the end of her paying.
5. MAX
Max and I
two immoderate sisters,
two immoderate writers,
two burdeners,
made a pact.
To beat death down with a stick.
To take over.
To build our death like carpenters.
When she had a broken back,
each night we built her sleep.
Talking on the hot line
until her eyes pulled down like shades.
And we agreed in those long hushed phone calls
that when the moment comes
we'll talk turkey,
we'll shoot words straight from the hip,
we'll play it as it lays.
Yes,
when death comes with its hood
we won't be polite.
6. BABY
Death,
you lie in my arms like a cherub,
as heavy as bread dough.
Your milky wings are as still as plastic.
Hair soft as music.
Hair the color of a harp.
And eyes made of glass,
as brittle as crystal.
Each time I rock you
I think you will break.
I rock. I rock.
Glass eye, ice eye,
primordial eye,
lava eye,
pin eye,
break eye,
how you stare back!
Like the gaze if small children
you know all about me.
You have worn my underwear.
You have read my newspaper.
You have seen my father whip me.
You have seen my stroke my father's whip.
I rock. I rock.
We plunge back and forth
comforting each other.
We are stone.
We are carved, a pietà
that swings.
Outside, the world is a chilly army.
Outside, the sea is brought to its knees.
Outside, Pakistan is swallowed in a mouthful.
I rock. I rock.
You are my stone child
with still eyes like marbles.
There is a death baby
for each of us.
We own him.
His smell is our smell.
Beware. Beware.
There is a tenderness.
There is a love
for this dumb traveler
waiting in his pink covers.
Someday,
heavy with cancer or disaster
I will look up at Max
and say: It is time.
Hand me the death baby
and there will be
that final rocking.
|
Written by
George (Lord) Byron |
Oh! snatched away in beauty's bloom,
On thee shall press no ponderous tomb;
But on thy turf shall roses rear
Their leaves, the earliest of the year;
And the wild cypress wave in tender gloom:
And oft by yon blue gushing stream
Shall Sorrow lean her drooping head,
And feed deep thought with many a dream,
And lingering pause and lightly tread;
Fond wretch! as if her step disturbed the dead!
Away! ye know that tears are vain,
That death nor heeds nor hears distress:
Will this unteach us to complain?
Or make one mourner weep the less?
And thou -who tell'st me to forget,
Thy looks are wan, thine eyes are wet.
|