Written by
Marianne Moore |
This institution,
perhaps one should say enterprise
out of respect for which
one says one need not change one's mind
about a thing one has believed in,
requiring public promises
of one's intention
to fulfill a private obligation:
I wonder what Adam and Eve
think of it by this time,
this firegilt steel
alive with goldenness;
how bright it shows --
"of circular traditions and impostures,
committing many spoils,"
requiring all one's criminal ingenuity
to avoid!
Psychology which explains everything
explains nothing
and we are still in doubt.
Eve: beautiful woman --
I have seen her
when she was so handsome
she gave me a start,
able to write simultaneously
in three languages --
English, German and French
and talk in the meantime;
equally positive in demanding a commotion
and in stipulating quiet:
"I should like to be alone;"
to which the visitor replies,
"I should like to be alone;
why not be alone together?"
Below the incandescent stars
below the incandescent fruit,
the strange experience of beauty;
its existence is too much;
it tears one to pieces
and each fresh wave of consciousness
is poison.
"See her, see her in this common world,"
the central flaw
in that first crystal-fine experiment,
this amalgamation which can never be more
than an interesting possibility,
describing it
as "that strange paradise
unlike flesh, gold, or stately buildings,
the choicest piece of my life:
the heart rising
in its estate of peace
as a boat rises
with the rising of the water;"
constrained in speaking of the serpent --
that shed snakeskin in the history of politeness
not to be returned to again --
that invaluable accident
exonerating Adam.
And he has beauty also;
it's distressing -- the O thou
to whom, from whom,
without whom nothing -- Adam;
"something feline,
something colubrine" -- how true!
a crouching mythological monster
in that Persian miniature of emerald mines,
raw silk -- ivory white, snow white,
oyster white and six others --
that paddock full of leopards and giraffes --
long lemonyellow bodies
sown with trapezoids of blue.
Alive with words,
vibrating like a cymbal
touched before it has been struck,
he has prophesied correctly --
the industrious waterfall,
"the speedy stream
which violently bears all before it,
at one time silent as the air
and now as powerful as the wind."
"Treading chasms
on the uncertain footing of a spear,"
forgetting that there is in woman
a quality of mind
which is an instinctive manifestation
is unsafe,
he goes on speaking
in a formal, customary strain
of "past states," the present state,
seals, promises,
the evil one suffered,
the good one enjoys,
hell, heaven,
everything convenient
to promote one's joy."
There is in him a state of mind
by force of which,
perceiving what it was not
intended that he should,
"he experiences a solemn joy
in seeing that he has become an idol."
Plagued by the nightingale
in the new leaves,
with its silence --
not its silence but its silences,
he says of it:
"It clothes me with a shirt of fire."
"He dares not clap his hands
to make it go on
lest it should fly off;
if he does nothing, it will sleep;
if he cries out, it will not understand."
Unnerved by the nightingale
and dazzled by the apple,
impelled by "the illusion of a fire
effectual to extinguish fire,"
compared with which
the shining of the earth
is but deformity -- a fire
"as high as deep as bright as broad
as long as life itself,"
he stumbles over marriage,
"a very trivial object indeed"
to have destroyed the attitude
in which he stood --
the ease of the philosopher
unfathered by a woman.
Unhelpful Hymen!
"a kind of overgrown cupid"
reduced to insignificance
by the mechanical advertising
parading as involuntary comment,
by that experiment of Adam's
with ways out but no way in --
the ritual of marriage,
augmenting all its lavishness;
its fiddle-head ferns,
lotus flowers, opuntias, white dromedaries,
its hippopotamus --
nose and mouth combined
in one magnificent hopper,
"the crested screamer --
that huge bird almost a lizard,"
its snake and the potent apple.
He tells us
that "for love
that will gaze an eagle blind,
that is like a Hercules
climbing the trees
in the garden of the Hesperides,
from forty-five to seventy
is the best age,"
commending it
as a fine art, as an experiment,
a duty or as merely recreation.
One must not call him ruffian
nor friction a calamity --
the fight to be affectionate:
"no truth can be fully known
until it has been tried
by the tooth of disputation."
The blue panther with black eyes,
the basalt panther with blue eyes,
entirely graceful --
one must give them the path --
the black obsidian Diana
who "darkeneth her countenance
as a bear doth,
causing her husband to sigh,"
the spiked hand
that has an affection for one
and proves it to the bone,
impatient to assure you
that impatience is the mark of independence
not of bondage.
"Married people often look that way" --
"seldom and cold, up and down,
mixed and malarial
with a good day and bad."
"When do we feed?"
We occidentals are so unemotional,
we quarrel as we feed;
one's self is quite lost,
the irony preserved
in "the Ahasuerus t?te ? t?te banquet"
with its "good monster, lead the way,"
with little laughter
and munificence of humor
in that quixotic atmosphere of frankness
in which "Four o'clock does not exist
but at five o'clock
the ladies in their imperious humility
are ready to receive you";
in which experience attests
that men have power
and sometimes one is made to feel it.
He says, "what monarch would not blush
to have a wife
with hair like a shaving-brush?
The fact of woman
is not `the sound of the flute
but every poison.'"
She says, "`Men are monopolists
of stars, garters, buttons
and other shining baubles' --
unfit to be the guardians
of another person's happiness."
He says, "These mummies
must be handled carefully --
`the crumbs from a lion's meal,
a couple of shins and the bit of an ear';
turn to the letter M
and you will find
that `a wife is a coffin,'
that severe object
with the pleasing geometry
stipulating space and not people,
refusing to be buried
and uniquely disappointing,
revengefully wrought in the attitude
of an adoring child
to a distinguished parent."
She says, "This butterfly,
this waterfly, this nomad
that has `proposed
to settle on my hand for life.' --
What can one do with it?
There must have been more time
in Shakespeare's day
to sit and watch a play.
You know so many artists are fools."
He says, "You know so many fools
who are not artists."
The fact forgot
that "some have merely rights
while some have obligations,"
he loves himself so much,
he can permit himself
no rival in that love.
She loves herself so much,
she cannot see herself enough --
a statuette of ivory on ivory,
the logical last touch
to an expansive splendor
earned as wages for work done:
one is not rich but poor
when one can always seem so right.
What can one do for them --
these savages
condemned to disaffect
all those who are not visionaries
alert to undertake the silly task
of making people noble?
This model of petrine fidelity
who "leaves her peaceful husband
only because she has seen enough of him" --
that orator reminding you,
"I am yours to command."
"Everything to do with love is mystery;
it is more than a day's work
to investigate this science."
One sees that it is rare --
that striking grasp of opposites
opposed each to the other, not to unity,
which in cycloid inclusiveness
has dwarfed the demonstration
of Columbus with the egg --
a triumph of simplicity --
that charitive Euroclydon
of frightening disinterestedness
which the world hates,
admitting:
"I am such a cow,
if I had a sorrow,
I should feel it a long time;
I am not one of those
who have a great sorrow
in the morning
and a great joy at noon;"
which says: "I have encountered it
among those unpretentious
proteg?s of wisdom,
where seeming to parade
as the debater and the Roman,
the statesmanship
of an archaic Daniel Webster
persists to their simplicity of temper
as the essence of the matter:
`Liberty and union
now and forever;'
the book on the writing-table;
the hand in the breast-pocket."
|
Written by
Mark Doty |
Today the Masons are auctioning
their discarded pomp: a trunk of turbans,
gemmed and ostrich-plumed, and operetta costumes
labeled inside the collar "Potentate"
and "Vizier." Here their chairs, blazoned
with the Masons' sign, huddled
like convalescents, lean against one another
on the grass. In a casket are rhinestoned poles
the hierophants carried in parades;
here's a splendid golden staff some ranking officer waved,
topped with a golden pyramid and a tiny,
inquisitive sphinx. No one's worn this stuff
for years, and it doesn't seem worth buying;
where would we put it? Still,
I want that staff. I used to love
to go to the library -- the smalltown brick refuge
of those with nothing to do, really,
'Carnegie' chiseled on the pediment
above columns that dwarfed an inconsequential street.
Embarrassed to carry the same book past
the water fountain's plaster centaurs
up to the desk again, I'd take
The Wonders of the World to the Reading Room
where Art and Industry met in the mural
on the dome. The room smelled like two decades
before I was born, when the name
carved over the door meant something.
I never read the second section,
"Wonders of the Modern World";
I loved the promise of my father's blueprints,
the unfulfilled turquoise schemes,
but in the real structures
you could hardly imagine a future.
I wanted the density of history,
which I confused with the smell of the book:
Babylon's ziggurat tropical with ferns,
engraved watercourses rippling;
the Colossus of Rhodes balanced
over the harbormouth on his immense ankles.
Athena filled one end of the Parthenon,
in an "artist's reconstruction",
like an adult in a dollhouse.
At Halicarnassus, Mausolus remembered himself
immensely, though in the book
there wasn't even a sketch,
only a picture of huge fragments.
In the pyramid's deep clockworks,
did the narrow tunnels mount toward
the eye of God? That was the year
photos were beamed back from space;
falling asleep I used to repeat a new word
to myself, telemetry, liking the way
it seemed to allude to something storied.
The earth was whorled marble,
at that distance. Even the stuck-on porticoes
and collonades downtown were narrative,
somehow, but the buildings my father engineered
were without stories. All I wanted
was something larger than our ordinary sadness --
greater not in scale but in context,
memorable, true to a proportioned,
subtle form. Last year I knew a student,
a half mad boy who finally opened his arms
with a razor, not because he wanted to die
but because he wanted to design something grand
on his own body. Once he said, When a child
realizes his parents aren't enough,
he turns to architecture.
I think I know what he meant.
Imagine the Masons parading,
one of them, in his splendid get-up,
striding forward with the golden staff,
above his head Cheops' beautiful shape --
a form we cannot separate
from the stories about the form,
even if we hardly know them,
even if it no longer signifies, if it only shines.
|
Written by
Billy Collins |
How agreeable it is not to be touring Italy this summer,
wandering her cities and ascending her torrid hilltowns.
How much better to cruise these local, familiar streets,
fully grasping the meaning of every roadsign and billboard
and all the sudden hand gestures of my compatriots.
There are no abbeys here, no crumbling frescoes or famous
domes and there is no need to memorize a succession
of kings or tour the dripping corners of a dungeon.
No need to stand around a sarcophagus, see Napoleon's
little bed on Elba, or view the bones of a saint under glass.
How much better to command the simple precinct of home
than be dwarfed by pillar, arch, and basilica.
Why hide my head in phrase books and wrinkled maps?
Why feed scenery into a hungry, one-eyes camera
eager to eat the world one monument at a time?
Instead of slouching in a café ignorant of the word for ice,
I will head down to the coffee shop and the waitress
known as Dot. I will slide into the flow of the morning
paper, all language barriers down,
rivers of idiom running freely, eggs over easy on the way.
And after breakfast, I will not have to find someone
willing to photograph me with my arm around the owner.
I will not puzzle over the bill or record in a journal
what I had to eat and how the sun came in the window.
It is enough to climb back into the car
as if it were the great car of English itself
and sounding my loud vernacular horn, speed off
down a road that will never lead to Rome, not even Bologna.
|
Written by
William Vaughn Moody |
Between the rice swamps and the fields of tea
I met a sacred elephant, snow-white.
Upon his back a huge pagoda towered
Full of brass gods and food of sacrifice.
Upon his forehead sat a golden throne,
The massy metal twisted into shapes
Grotesque, antediluvian, such as move
In myth or have their broken images
Sealed in the stony middle of the hills.
A peacock spread his thousand dyes to screen
The yellow sunlight from the head of one
Who sat upon the throne, clad stiff with gems,
Heirlooms of dynasties of buried kings,--
Himself the likeness of a buried king,
With frozen gesture and unfocused eyes.
The trappings of the beast were over-scrawled
With broideries--sea-shapes and flying things,
Fan-trees and dwarfed nodosities of pine,
Mixed with old alphabets, and faded lore
Fallen from ecstatic mouths before the Flood,
Or gathered by the daughters when they walked
Eastward in Eden with the Sons of God
Whom love and the deep moon made garrulous
Between the carven tusks his trunk hung dead;
Blind as the eyes of pearl in Buddha's brow
His beaded eyes stared thwart upon the road;
And feebler than the doting knees of eid,
His joints, of size to swing the builder's crane
Across the war-walls of the Anakim,
Made vain and shaken haste. Good need was his
To hasten: panting, foaming, on the slot
Came many brutes of prey, their several hates
Laid by until the sharing of the spoil.
Just as they gathered stomach for the leap,
The sun was darkened, and wide-balanced wings
Beat downward on the trade-wind from the sea.
A wheel of shadow sped along the fields
And o'er the dreaming cities. Suddenly
My heart misgave me, and I cried aloud,
"Alas! What dost thou here? What dost thou here? "
The great beasts and the little halted sharp,
Eyed the grand circler, doubting his intent.
Straightway the wind flawed and he came about,
Stooping to take the vanward of the pack;
Then turned, between the chasers and the chased,
Crying a word I could not understand,--
But stiller-tongued, with eyes somewhat askance,
They settled to the slot and disappeared.
|
Written by
Anthony Hecht |
It was a villainous spirit, snub-nosed, foul
Of breath, thick-taloned and malevolent,
That squatted within him wheresoever he went
.......And possessed the soul of Saul.
There was no peace on pillow or on throne.
In dreams the toothless, dwarfed, and squinny-eyed
Started a joyful rumor that he had died
.......Unfriended and alone.
The doctors were confounded. In his distress, he
Put aside arrogant ways and condescended
To seek among the flocks where they were tended
.......By the youngest son of Jesse,
A shepherd boy, but goodly to look upon,
Unnoticed but God-favored, sturdy of limb
As Michelangelo later imagined him,
.......Comely even in his frown.
Shall a mere shepherd provide the cure of kings?
Heaven itself delights in ironies such
As this, in which a boy's fingers would touch
.......Pythagorean strings
And by a modal artistry assemble
The very Sons of Morning, the ranked and choired
Heavens in sweet laudation of the Lord,
.......And make Saul cease to tremble.
|
Written by
Eugene Field |
Out on the mountain over the town,
All night long, all night long,
The trolls go up and the trolls go down,
Bearing their packs and crooning a song;
And this is the song the hill-folk croon,
As they trudge in the light of the misty moon,--
This is ever their dolorous tune:
"Gold, gold! ever more gold,--
Bright red gold for dearie!"
Deep in the hill the yeoman delves
All night long, all night long;
None but the peering, furtive elves
See his toil and hear his song;
Merrily ever the cavern rings
As merrily ever his pick he swings,
And merrily ever this song he sings:
"Gold, gold! ever more gold,--
Bright red gold for dearie!"
Mother is rocking thy lowly bed
All night long, all night long,
Happy to smooth thy curly head
And to hold thy hand and to sing her song;
'T is not of the hill-folk, dwarfed and old,
Nor the song of the yeoman, stanch and bold,
And the burden it beareth is not of gold;
But it's "Love, love!--nothing but love,--
Mother's love for dearie!"
|
Written by
Joseph Brodsky |
Darling, you think it's love, it's just a midnight journey.
Best are the dales and rivers removed by force,
as from the next compartment throttles "Oh, stop it, Bernie,"
yet the rhythm of those paroxysms is exactly yours.
Hook to the meat! Brush to the red-brick dentures,
alias cigars, smokeless like a driven nail!
Here the works are fewer than monkey wrenches,
and the phones are whining, dwarfed by to-no-avail.
Bark, then, with joy at Clancy, Fitzgibbon, Miller.
Dogs and block letters care how misfortune spells.
Still, you can tell yourself in the john by the spat-at mirror,
slamming the flush and emerging with clean lapels.
Only the liquid furniture cradles the dwindling figure.
Man shouldn't grow in size once he's been portrayed.
Look: what's been left behind is about as meager
as what remains ahead. Hence the horizon's blade.
|
Written by
Joseph Brodsky |
Darling you think it's love it's just a midnightjourney.
Best are the dales and rivers removed by force
as from the next compartment throttles "Oh stopit Bernie "
yet the rhythm of those paroxysms is exactly yours.
Hook to the meat! Brush to the red-brick dentures
alias cigars smokeless like a driven nail!
Here the works are fewer than monkey wrenches
and the phones are whining dwarfed by to-no-avail.
Bark then with joy at Clancy Fitzgibbon Miller.
Dogs and block letters care how misfortune spells.
Still you can tell yourself in the john by the spat-at mirror
slamming the flush and emerging with clean lapels.
Only the liquid furniture cradles the dwindling figure.
Man shouldn't grow in size once he's been portrayed.
Look: what's been left behind is about as meager
as what remains ahead. Hence the horizon's blade.
|
Written by
William Carlos (WCW) Williams |
The birches are mad with green points
the wood's edge is burning with their green,
burning, seething—No, no, no.
The birches are opening their leaves one
by one. Their delicate leaves unfold cold
and separate, one by one. Slender tassels
hang swaying from the delicate branch tips—
Oh, I cannot say it. There is no word.
Black is split at once into flowers. In
every bog and ditch, flares of
small fire, white flowers!—Agh,
the birches are mad, mad with their green.
The world is gone, torn into shreds
with this blessing. What have I left undone
that I should have undertaken?
O my brother, you redfaced, living man
ignorant, stupid whose feet are upon
this same dirt that I touch—and eat.
We are alone in this terror, alone,
face to face on this road, you and I,
wrapped by this flame!
Let the polished plows stay idle,
their gloss already on the black soil.
But that face of yours—!
Answer me. I will clutch you. I
will hug you, grip you. I will poke my face
into your face and force you to see me.
Take me in your arms, tell me the commonest
thing that is in your mind to say,
say anything. I will understand you—!
It is the madness of the birch leaves opening
cold, one by one.
My rooms will receive me. But my rooms
are no longer sweet spaces where comfort
is ready to wait on me with its crumbs.
A darkness has brushed them. The mass
of yellow tulips in the bowl is shrunken.
Every familiar object is changed and dwarfed.
I am shaken, broken against a might
that splits comfort, blows apart
my careful partitions, crushes my house
and leaves me—with shrinking heart
and startled, empty eyes—peering out
into a cold world.
In the spring I would be drunk! In the spring
I would be drunk and lie forgetting all things.
Your face! Give me your face, Yang Kue Fei!
your hands, your lips to drink!
Give me your wrists to drink—
I drag you, I am drowned in you, you
overwhelm me! Drink!
Save me! The shad bush is in the edge
of the clearing. The yards in a fury
of lilac blossoms are driving me mad with terror.
Drink and lie forgetting the world.
And coldly the birch leaves are opening one by one.
Coldly I observe them and wait for the end.
And it ends.
|
Written by
George William Russell |
WHO would think this quiet breather
From the world had taken flight?
Yet within the form we see there
Wakes the Golden King to-night.
Out upon the face of faces
He looked forth before his sleep:
Now he knows the starry races
Haunters of the ancient deep.
On the Bird of Diamond Glory
Floats in mystic floods of song:
As he lists Time’s triple story
Seems but as a day is long.
From the mightier Adam falling
To his image dwarfed in clay,
He will at our voices calling
Come to this side of the day.
When he wakes, the dreamy-hearted,
He will know not whence he came,
And the light from which he parted
Be the seraph’s sword of flame,
And behind it hosts supernal
Guarding the lost paradise,
And the tree of life eternal
From the weeping human eyes.
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