Written by
Sylvia Plath |
'Perspective betrays with its dichotomy:
train tracks always meet, not here, but only
in the impossible mind's eye;
horizons beat a retreat as we embark
on sophist seas to overtake that mark
where wave pretends to drench real sky.'
'Well then, if we agree, it is not odd
that one man's devil is another's god
or that the solar spectrum is
a multitude of shaded grays; suspense
on the quicksands of ambivalence
is our life's whole nemesis.
So we could rave on, darling, you and I,
until the stars tick out a lullaby
about each cosmic pro and con;
nothing changes, for all the blazing of
our drastic jargon, but clock hands that move
implacably from twelve to one.
We raise our arguments like sitting ducks
to knock them down with logic or with luck
and contradict ourselves for fun;
the waitress holds our coats and we put on
the raw wind like a scarf; love is a faun
who insists his playmates run.
Now you, my intellectual leprechaun,
would have me swallow the entire sun
like an enormous oyster, down
the ocean in one gulp: you say a mark
of comet hara-kiri through the dark
should inflame the sleeping town.
So kiss: the drunks upon the curb and dames
in dubious doorways forget their monday names,
caper with candles in their heads;
the leaves applaud, and santa claus flies in
scattering candy from a zeppelin,
playing his prodigal charades.
The moon leans down to took; the tilting fish
in the rare river wink and laugh; we lavish
blessings right and left and cry
hello, and then hello again in deaf
churchyard ears until the starlit stiff
graves all carol in reply.
Now kiss again: till our strict father leans
to call for curtain on our thousand scenes;
brazen actors mock at him,
multiply pink harlequins and sing
in gay ventriloquy from wing to wing
while footlights flare and houselights dim.
Tell now, we taunq where black or white begins
and separate the flutes from violins:
the algebra of absolutes
explodes in a kaleidoscope of shapes
that jar, while each polemic jackanapes
joins his enemies' recruits.
The paradox is that 'the play's the thing':
though prima donna pouts and critic stings,
there burns throughout the line of words,
the cultivated act, a fierce brief fusion
which dreamers call real, and realists, illusion:
an insight like the flight of birds:
Arrows that lacerate the sky, while knowing
the secret of their ecstasy's in going;
some day, moving, one will drop,
and, dropping, die, to trace a wound that heals
only to reopen as flesh congeals:
cycling phoenix never stops.
So we shall walk barefoot on walnut shells
of withered worlds, and stamp out puny hells
and heavens till the spirits squeak
surrender: to build our bed as high as jack's
bold beanstalk; lie and love till sharp scythe hacks
away our rationed days and weeks.
Then jet the blue tent topple, stars rain down,
and god or void appall us till we drown
in our own tears: today we start
to pay the piper with each breath, yet love
knows not of death nor calculus above
the simple sum of heart plus heart.
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Written by
Marriott Edgar |
It was Christmas Day in the trenches
In Spain in Penninsular War,
And Sam Small were cleaning his musket
A thing as he'd ne're done before.
They'd had 'em inspected that morning
And Sam had got into disgrace,
For when sergeant had looked down the barrel
A sparrow flew out in his face.
The sergeant reported the matter
To Lieutenant Bird then and there.
Said Lieutenant 'How very disgusting'
The Duke must be told of this 'ere.'
The Duke were upset when he heard
He said, 'I'm astonished, I am.
I must make a most drastic example
There'll be no Christmas pudding for Sam.'
When Sam were informed of his sentence
Surprise, rooted him to the spot.
'Twas much worse than he had expected,
He though as he'd only be shot.
And so he sat cleaning his musket
And polishing barrel and butt.
While the pudding his mother had sent him,
Lay there in the mud at his foot.
Now the centre that Sam's lot were holding
Ran around a place called Badajoz.
Where the Spaniards had put up a bastion
And ooh...! what a bastion it was.
They pounded away all the morning
With canister, grape shot and ball.
But the face of the bastion defied them,
They made no impression at all.
They started again after dinner
Bombarding as hard as they could.
And the Duke brought his own private cannon
But that weren't a ha'pence o' good.
The Duke said, 'Sam, put down thy musket
And help me lay this gun true.'
Sam answered, 'You'd best ask your favours
From them as you give pudding to.'
The Duke looked at Sam so reproachful
'And don't take it that way,' said he.
'Us Generals have got to be ruthless
It hurts me more than it did thee.'
Sam sniffed at these words kind of sceptic,
Then looked down the Duke's private gun.
And said 'We'd best put in two charges,
We'll never bust bastion with one.'
He tipped cannon ball out of muzzle
He took out the wadding and all.
He filled barrel chock full of powder,
Then picked up and replaced the ball.
He took a good aim at the bastion
Then said 'Right-o, Duke, let her fly.'
The cannon nigh jumped off her trunnions,
And up went the bastion, sky high.
The Duke, he weren't 'alf elated
He danced around trench full of glee.
And said, 'Sam, for this gallant action.
You can hot up your pudding for tea.'
Sam looked 'round to pick up his pudding
But it wasn't there, nowhere about.
In the place where he thought he had left it,
Lay the cannon ball he'd just tipped out.
Sam saw in a flash what 'ad happened:
By an unprecedented mishap.
The pudding his mother had sent him,
Had blown Badajoz off map.
That's why fuisilliers wear to this moment
A badge which they think's a grenade.
But they're wrong... it's a brass reproduction,
Of the pudding Sam's mother once made.
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Written by
William Butler Yeats |
(For Harry Clifton)
I HAVE heard that hysterical women say
They are sick of the palette and fiddle-bow.
Of poets that are always gay,
For everybody knows or else should know
That if nothing drastic is done
Aeroplane and Zeppelin will come out.
Pitch like King Billy bomb-balls in
Until the town lie beaten flat.
All perform their tragic play,
There struts Hamlet, there is Lear,
That's Ophelia, that Cordelia;
Yet they, should the last scene be there,
The great stage curtain about to drop,
If worthy their prominent part in the play,
Do not break up their lines to weep.
They know that Hamlet and Lear are gay;
Gaiety transfiguring all that dread.
All men have aimed at, found and lost;
Black out; Heaven blazing into the head:
Tragedy wrought to its uttermost.
Though Hamlet rambles and Lear rages,
And all the drop-scenes drop at once
Upon a hundred thousand stages,
It cannot grow by an inch or an ounce.
On their own feet they came, or On shipboard,'
Camel-back; horse-back, ass-back, mule-back,
Old civilisations put to the sword.
Then they and their wisdom went to rack:
No handiwork of Callimachus,
Who handled marble as if it were bronze,
Made draperies that seemed to rise
When sea-wind swept the corner, stands;
His long lamp-chimney shaped like the stem
Of a slender palm, stood but a day;
All things fall and are built again,
And those that build them again are gay.
Two Chinamen, behind them a third,
Are carved in lapis lazuli,
Over them flies a long-legged bird,
A symbol of longevity;
The third, doubtless a serving-man,
Carries a musical instmment.
Every discoloration of the stone,
Every accidental crack or dent,
Seems a water-course or an avalanche,
Or lofty slope where it still snows
Though doubtless plum or cherry-branch
Sweetens the little half-way house
Those Chinamen climb towards, and I
Delight to imagine them seated there;
There, on the mountain and the sky,
On all the tragic scene they stare.
One asks for mournful melodies;
Accomplished fingers begin to play.
Their eyes mid many wrinkles, their eyes,
Their ancient, glittering eyes, are gay.
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