Written by
William Cowper |
Obscurest night involv'd the sky,
Th' Atlantic billows roar'd,
When such a destin'd wretch as I,
Wash'd headlong from on board,
Of friends, of hope, of all bereft,
His floating home for ever left.
No braver chief could Albion boast
Than he with whom he went,
Nor ever ship left Albion's coast,
With warmer wishes sent.
He lov'd them both, but both in vain,
Nor him beheld, nor her again.
Not long beneath the whelming brine,
Expert to swim, he lay;
Nor soon he felt his strength decline,
Or courage die away;
But wag'd with death a lasting strife,
Supported by despair of life.
He shouted: nor his friends had fail'd
To check the vessel's course,
But so the furious blast prevail'd,
That, pitiless perforce,
They left their outcast mate behind,
And scudded still before the wind.
Some succour yet they could afford;
And, such as storms allow,
The cask, the coop, the floated cord,
Delay'd not to bestow.
But he (they knew) nor ship, nor shore,
Whate'er they gave, should visit more.
Nor, cruel as it seem'd, could he
Their haste himself condemn,
Aware that flight, in such a sea,
Alone could rescue them;
Yet bitter felt it still to die
Deserted, and his friends so nigh.
He long survives, who lives an hour
In ocean, self-upheld;
And so long he, with unspent pow'r,
His destiny repell'd;
And ever, as the minutes flew,
Entreated help, or cried--Adieu!
At length, his transient respite past,
His comrades, who before
Had heard his voice in ev'ry blast,
Could catch the sound no more.
For then, by toil subdued, he drank
The stifling wave, and then he sank.
No poet wept him: but the page
Of narrative sincere;
That tells his name, his worth, his age,
Is wet with Anson's tear.
And tears by bards or heroes shed
Alike immortalize the dead.
I therefore purpose not, or dream,
Descanting on his fate,
To give the melancholy theme
A more enduring date:
But misery still delights to trace
Its semblance in another's case.
No voice divine the storm allay'd,
No light propitious shone;
When, snatch'd from all effectual aid,
We perish'd, each alone:
But I beneath a rougher sea,
And whelm'd in deeper gulfs than he.
|
Written by
T S (Thomas Stearns) Eliot |
WEBSTER was much possessed by death
And saw the skull beneath the skin;
And breastless creatures under ground
Leaned backward with a lipless grin.
Daffodil bulbs instead of balls
Stared from the sockets of the eyes!
He knew that thought clings round dead limbs
Tightening its lusts and luxuries.
Donne, I suppose, was such another
Who found no substitute for sense,
To seize and clutch and penetrate;
Expert beyond experience,
He knew the anguish of the marrow
The ague of the skeleton;
No contact possible to flesh
Allayed the fever of the bone.
. . . . .
Grishkin is nice: her Russian eye
Is underlined for emphasis;
Uncorseted, her friendly bust
Gives promise of pneumatic bliss.
The couched Brazilian jaguar
Compels the scampering marmoset
With subtle effluence of cat;
Grishkin has a maisonette;
The sleek Brazilian jaguar
Does not in its arboreal gloom
Distil so rank a feline smell
As Grishkin in a drawing-room.
And even the Abstract Entities
Circumambulate her charm;
But our lot crawls between dry ribs
To keep our metaphysics warm.
|
Written by
T S (Thomas Stearns) Eliot |
After the torchlight red on sweaty faces
After the frosty silence in the gardens
After the agony in stony places
The shouting and the crying
Prison and palace and reverberation
Of thunder of spring over distant mountains
He who was living is now dead
We who were living are now dying
With a little patience 330
Here is no water but only rock
Rock and no water and the sandy road
The road winding above among the mountains
Which are mountains of rock without water
If there were water we should stop and drink
Amongst the rock one cannot stop or think
Sweat is dry and feet are in the sand
If there were only water amongst the rock
Dead mountain mouth of carious teeth that cannot spit
Here one can neither stand nor lie nor sit 340
There is not even silence in the mountains
But dry sterile thunder without rain
There is not even solitude in the mountains
But red sullen faces sneer and snarl
From doors of mudcracked houses
If there were water
And no rock
If there were rock
And also water
And water 350
A spring
A pool among the rock
If there were the sound of water only
Not the cicada
And dry grass singing
But sound of water over a rock
Where the hermit-thrush sings in the pine trees
Drip drop drip drop drop drop drop
But there is no water
Who is the third who walks always beside you? 360
When I count, there are only you and I together
But when I look ahead up the white road
There is always another one walking beside you
Gliding wrapt in a brown mantle, hooded
I do not know whether a man or a woman
—But who is that on the other side of you?
What is that sound high in the air
Murmur of maternal lamentation
Who are those hooded hordes swarming
Over endless plains, stumbling in cracked earth 370
Ringed by the flat horizon only
What is the city over the mountains
Cracks and reforms and bursts in the violet air
Falling towers
Jerusalem Athens Alexandria
Vienna London
Unreal
A woman drew her long black hair out tight
And fiddled whisper music on those strings
And bats with baby faces in the violet light 380
Whistled, and beat their wings
And crawled head downward down a blackened wall
And upside down in air were towers
Tolling reminiscent bells, that kept the hours
And voices singing out of empty cisterns and exhausted wells.
In this decayed hole among the mountains
In the faint moonlight, the grass is singing
Over the tumbled graves, about the chapel
There is the empty chapel, only the wind's home.
It has no windows, and the door swings, 390
Dry bones can harm no one.
Only a cock stood on the rooftree
Co co rico co co rico
In a flash of lightning. Then a damp gust
Bringing rain
Ganga was sunken, and the limp leaves
Waited for rain, while the black clouds
Gathered far distant, over Himavant.
The jungle crouched, humped in silence.
Then spoke the thunder 400
DA
Datta: what have we given?
My friend, blood shaking my heart
The awful daring of a moment's surrender
Which an age of prudence can never retract
By this, and this only, we have existed
Which is not to be found in our obituaries
Or in memories draped by the beneficent spider
Or under seals broken by the lean solicitor
In our empty rooms 410
DA
Dayadhvam: I have heard the key
Turn in the door once and turn once only
We think of the key, each in his prison
Thinking of the key, each confirms a prison
Only at nightfall, aetherial rumours
Revive for a moment a broken Coriolanus
DA
Damyata: The boat responded
Gaily, to the hand expert with sail and oar 420
The sea was calm, your heart would have responded
Gaily, when invited, beating obedient
To controlling hands
I sat upon the shore
Fishing, with the arid plain behind me
Shall I at least set my lands in order?
London Bridge is falling down falling down falling down
Poi s'ascose nel foco che gli affina
Quando fiam ceu chelidon— O swallow swallow
Le Prince d'Aquitaine a la tour abolie 430
These fragments I have shored against my ruins
Why then Ile fit you. Hieronymo's mad againe.
Datta. Dayadhvam. Damyata.
Shantih shantih shantih
Line 416 aetherial] aethereal
Line 429 ceu] uti— Editor
|
Written by
Anne Sexton |
Sleepmonger,
deathmonger,
with capsules in my palms each night,
eight at a time from sweet pharmaceutical bottles
I make arrangements for a pint-sized journey.
I'm the queen of this condition.
I'm an expert on making the trip
and now they say I'm an addict.
Now they ask why.
WHY!
Don't they know that I promised to die!
I'm keeping in practice.
I'm merely staying in shape.
The pills are a mother, but better,
every color and as good as sour balls.
I'm on a diet from death.
Yes, I admit
it has gotten to be a bit of a habit-
blows eight at a time, socked in the eye,
hauled away by the pink, the orange,
the green and the white goodnights.
I'm becoming something of a chemical
mixture.
that's it!
My supply
of tablets
has got to last for years and years.
I like them more than I like me.
It's a kind of marriage.
It's a kind of war where I plant bombs inside
of myself.
Yes
I try
to kill myself in small amounts,
an innocuous occupation.
Actually I'm hung up on it.
But remember I don't make too much noise.
And frankly no one has to lug me out
and I don't stand there in my winding sheet.
I'm a little buttercup in my yellow nightie
eating my eight loaves in a row
and in a certain order as in
the laying on of hands
or the black sacrament.
It's a ceremony
but like any other sport
it's full of rules.
It's like a musical tennis match where
my mouth keeps catching the ball.
Then I lie on; my altar
elevated by the eight chemical kisses.
What a lay me down this is
with two pink, two orange,
two green, two white goodnights.
Fee-fi-fo-fum-
Now I'm borrowed.
Now I'm numb.
|
Written by
Marilyn L Taylor |
A reflection on my students
They are so beautiful, and so very young
they seem almost to glitter with perfection,
these creatures that I briefly move among.
I never get to stay with them for long,
but even so, I view them with affection:
they are so beautiful, and so very young.
Poised or clumsy, placid or high-strung,
they’re expert in the art of introspection,
these creatures that I briefly move among—
And if their words don’t quite trip off the tongue
consistently, with just the right inflection,
they remain beautiful. And very young.
Still, I have to tell myself it’s wrong
to think of them as anything but fiction,
these creatures that I briefly move among—
Because, like me, they’re traveling headlong
in that familiar, vertical direction
that coarsens beautiful, blackmails young,
and turns to phantoms those I move among.
|
Written by
Louise Gluck |
My mother's an expert in one thing:
sending people she loves into the other world.
The little ones, the babies--these
she rocks, whispering or singing quietly. I can't say
what she did for my father;
whatever it was, I'm sure it was right.
It's the same thing, really, preparing a person
for sleep, for death. The lullabies--they all say
don't be afraid, that's how they paraphrase
the heartbeat of the mother.
So the living grow slowly calm; it's only
the dying who can't, who refuse.
The dying are like tops, like gyroscopes--
they spin so rapidly they seem to be still.
Then they fly apart: in my mother's arms,
my sister was a cloud of atoms, of particles--that's the difference.
When a child's asleep, it's still whole.
My mother's seen death; she doesn't talk about the soul's integrity.
She's held an infant, an old man, as by comparison the dark grew
solid around them, finally changing to earth.
The soul's like all matter:
why would it stay intact, stay faithful to its one form,
when it could be free?
|
Written by
Erin Belieu |
This hideous,
upholstered in gift-wrap fabric, chromed
in places, design possibility
for the future canned ham.
Its genius
wonderful, circa I993.
I've assumed a great many things:
the perversity of choices, affairs
I did or did not have.
But let the record show
that I was happy.
O let the hideous chair
stand! For the Chinese apothecary
with his roots and fluids;
for Paoul at the bank;
for the young woman in Bailey's Drug,
expert on henna; and Warren Beatty,
tough, sleek stray. For Fluff and Flo,
drunk at noon, and the Am Vets lady
reading her Vogue, the cholos
on the corner where the 57 bus comes by,
for their gratifying, cool appraisal
and courtly manner when I pass.
Let the seat be comfortable
but let the chair be hideous
and stand against the correct,
hygienic, completely proper
subdued in taxidermied elegance.
Let me have in any future
some hideous thing to love,
here Boston, MA, 8 Farrington Ave.
|
Written by
Denise Duhamel |
There is a chimp named Ai who can count to five.
There's a poet named Ai whose selected poems Vice
just won the National Book Award.
The name "Ai" is pronounced "I"
so that whenever I talk about the poet Ai
such as I'm teaching Ai's poems again this semester
it sounds like I'm teaching my own poems
or when I say I love Ai's work
it sounds as if I'm saying I love my own poems
but have poor grammar. I haven't had a chance
to talk much yet about this Japanese chimp
who can arrange pictures in order of the number of objects
contained in those pictures. I just read about her
for the first time yesterday, the fifth of January in the year 00
which I imagine would be a hard concept
for Ai the chimp. It feels weird writing 00 -
I had to do it when I wrote my first check
of the year 2000. I think we should proclaim
this year as the year of Olive Oyl, who
is also an 00, but with letters instead of numbers.
I was in the Koko fan club for a while since I love gorillas,
but then I moved around so much, the newsletters
and requests for money stopped coming.
I wonder if Ai the poet is happy she shares a name
with a gifted chimp. To me, the most amazing thing
about Ai the poet is she hardly ever
writes an "I" poem about herself.
She crawls into the hearts
of the cruelest men and writes about what
it is like to be them, while I mostly
curl in the bellies of the shattered women.
There's no evidence that one approach
is better than the other. There's no evidence
that chimpanzees use numbers in the wild.
One expert said that perhaps chimpanzees
count the number of predators they see.
I read on the web that John Wayne actually said,
"I don't feel we did wrong in taking
this great country away from them. There were great numbers
of people who needed new land,
and the Indians were selfishly trying to keep it for themselves."
So maybe chimps do count their enemies, to see if they
have the advantage, but I'm a romantic -
I like to think that Ai the poet and I mostly count our stanzas.
I like to think Ai the chimp mostly counts her bananas.
|
Written by
Seamus Heaney |
My father worked with a horse-plough,
His shoulders globed like a full sail strung
Between the shafts and the furrow.
The horse strained at his clicking tongue.
An expert. He would set the wing
And fit the bright steel-pointed sock.
The sod rolled over without breaking.
At the headrig, with a single pluck
Of reins, the sweating team turned round
And back into the land. His eye
Narrowed and angled at the ground,
Mapping the furrow exactly.
I stumbled in his hob-nailed wake,
Fell sometimes on the polished sod;
Sometimes he rode me on his back
Dipping and rising to his plod.
I wanted to grow up and plough,
To close one eye, stiffen my arm.
All I ever did was follow
In his broad shadow round the farm.
I was a nuisance, tripping, falling,
Yapping always. But today
It is my father who keeps stumbling
Behind me, and will not go away.
|
Written by
William Ernest Henley |
Out of the poisonous East,
Over a continent of blight,
Like a maleficent Influence released
From the most squalid cellerage of hell,
The Wind-Fiend, the abominable--
The Hangman Wind that tortures temper and light--
Comes slouching, sullen and obscene,
Hard on the skirts of the embittered night;
And in a cloud unclean
Of excremental humours, roused to strife
By the operation of some ruinous change,
Wherever his evil mandate run and range,
Into a dire intensity of life,
A craftsman at his bench, he settles down
To the grim job of throttling London Town.
So, by a jealous lightlessness beset
That might have oppressed the dragons of old time
Crunching and groping in the abysmal slime,
A cave of cut-throat thoughts and villainous dreams,
Hag-rid and crying with cold and dirt and wet,
The afflicted City. prone from mark to mark
In shameful occultation, seems
A nightmare labryrinthine, dim and drifting,
With wavering gulfs and antic heights, and shifting,
Rent in the stuff of a material dark,
Wherein the lamplight, scattered and sick and pale,
Shows like the leper's living blotch of bale:
Uncoiling monstrous into street on street
Paven with perils, teeming with mischance,
Where man and beast go blindfold and in dread,
Working with oaths and threats and faltering feet
Somewhither in the hideousness ahead;
Working through wicked airs and deadly dews
That make the laden robber grin askance
At the good places in his black romance,
And the poor, loitering harlot rather choose
Go pinched and pined to bed
Than lurk and shiver and curse her wretched way
From arch to arch, scouting some threepenny prey.
Forgot his dawns and far-flushed afterglows,
His green garlands and windy eyots forgot,
The old Father-River flows,
His watchfires cores of menace in the gloom,
As he came oozing from the Pit, and bore,
Sunk in his filthily transfigured sides,
Shoals of dishonoured dead to tumble and rot
In the squalor of the universal shore:
His voices sounding through the gruesome air
As from the Ferry where the Boat of Doom
With her blaspheming cargo reels and rides:
The while his children, the brave ships,
No more adventurous and fair,
Nor tripping it light of heel as home-bound brides,
But infamously enchanted,
Huddle together in the foul eclipse,
Or feel their course by inches desperately,
As through a tangle of alleys murder-haunted,
From sinister reach to reach out -- out -- to sea.
And Death the while --
Death with his well-worn, lean, professional smile,
Death in his threadbare working trim--
Comes to your bedside, unannounced and bland,
And with expert, inevitable hand
Feels at your windpipe, fingers you in the lung,
Or flicks the clot well into the labouring heart:
Thus signifying unto old and young,
However hard of mouth or wild of whim,
'Tis time -- 'tis time by his ancient watch -- to part
From books and women and talk and drink and art.
And you go humbly after him
To a mean suburban lodging: on the way
To what or where
Not Death, who is old and very wise, can say:
And you -- how should you care
So long as, unreclaimed of hell,
The Wind-Fiend, the insufferable,
Thus vicious and thus patient, sits him down
To the black job of burking London Town?
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