Written by
Elizabeth Bishop |
Now can you see the monument? It is of wood
built somewhat like a box.
No.
Built
like several boxes in descending sizes
one above the other.
Each is turned half-way round so that
its corners point toward the sides
of the one below and the angles alternate.
Then on the topmost cube is set
a sort of fleur-de-lys of weathered wood,
long petals of board, pierced with odd holes,
four-sided, stiff, ecclesiastical.
From it four thin, warped poles spring out,
(slanted like fishing-poles or flag-poles)
and from them jig-saw work hangs down,
four lines of vaguely whittled ornament
over the edges of the boxes
to the ground.
The monument is one-third set against
a sea; two-thirds against a sky.
The view is geared
(that is, the view's perspective)
so low there is no "far away,"
and we are far away within the view.
A sea of narrow, horizontal boards
lies out behind our lonely monument,
its long grains alternating right and left
like floor-boards--spotted, swarming-still,
and motionless.
A sky runs parallel,
and it is palings, coarser than the sea's:
splintery sunlight and long-fibred clouds.
"Why does the strange sea make no sound?
Is it because we're far away?
Where are we? Are we in Asia Minor,
or in Mongolia?"
An ancient promontory,
an ancient principality whose artist-prince
might have wanted to build a monument
to mark a tomb or boundary, or make
a melancholy or romantic scene of it.
.
.
"But that ***** sea looks made of wood,
half-shining, like a driftwood, sea.
And the sky looks wooden, grained with cloud.
It's like a stage-set; it is all so flat!
Those clouds are full of glistening splinters!
What is that?"
It is the monument.
"It's piled-up boxes,
outlined with shoddy fret-work, half-fallen off,
cracked and unpainted.
It looks old.
"
--The strong sunlight, the wind from the sea,
all the conditions of its existence,
may have flaked off the paint, if ever it was painted,
and made it homelier than it was.
"Why did you bring me here to see it?
A temple of crates in cramped and crated scenery,
what can it prove?
I am tired of breathing this eroded air,
this dryness in which the monument is cracking.
"
It is an artifact
of wood.
Wood holds together better
than sea or cloud or and could by itself,
much better than real sea or sand or cloud.
It chose that way to grow and not to move.
The monument's an object, yet those decorations,
carelessly nailed, looking like nothing at all,
give it away as having life, and wishing;
wanting to be a monument, to cherish something.
The crudest scroll-work says "commemorate,"
while once each day the light goes around it
like a prowling animal,
or the rain falls on it, or the wind blows into it.
It may be solid, may be hollow.
The bones of the artist-prince may be inside
or far away on even drier soil.
But roughly but adequately it can shelter
what is within (which after all
cannot have been intended to be seen).
It is the beginning of a painting,
a piece of sculpture, or poem, or monument,
and all of wood.
Watch it closely.
|
Written by
Charles Baudelaire |
Voici venir les temps o? vibrant sur sa tige
Chaque fleur s'?vapore ainsi qu'un encensoir;
Les sons et les parfums tournent dans l'air du soir;
Valse m?lancolique et langoureux vertige!
Chaque fleur s'?vapore ainsi qu'un encensoir;
Le violon fr?mit comme un coeur qu'on afflige;
Valse m?lancolique et langoureux vertige!
Le ciel est triste et beau comme un grand reposoir.
Le violon fr?mit comme un coeur qu'on afflige,
Un coeur tendre qui hait le n?ant vaste et noir!
Le ciel est triste et beau comme un grand reposoir;
Le soleil s'est noy? dans son sang qui se fige.
Un coeur tendre qui hait le n?ant vaste et noir,
Du pass? lumineux receuille tout vestige!
Le soleil s'est noy? dans son sang qui se fige .
.
.
Ton souvenir en moi luit comme un ostensoir!
|
Written by
Henry Wadsworth Longfellow |
In the ancient town of Bruges,
In the quaint old Flemish city,
As the evening shades descended,
Low and loud and sweetly blended,
Low at times and loud at times,
And changing like a poet's rhymes,
Rang the beautiful wild chimes
From the Belfry in the market
Of the ancient town of Bruges.
Then, with deep sonorous clangor
Calmly answering their sweet anger,
When the wrangling bells had ended,
Slowly struck the clock eleven,
And, from out the silent heaven,
Silence on the town descended.
Silence, silence everywhere,
On the earth and in the air,
Save that footsteps here and there
Of some burgher home returning,
By the street lamps faintly burning,
For a moment woke the echoes
Of the ancient town of Bruges.
But amid my broken slumbers
Still I heard those magic numbers,
As they loud proclaimed the flight
And stolen marches of the night;
Till their chimes in sweet collision
Mingled with each wandering vision,
Mingled with the fortune-telling
Gypsy-bands of dreams and fancies,
Which amid the waste expanses
Of the silent land of trances
Have their solitary dwelling;
All else seemed asleep in Bruges,
In the quaint old Flemish city.
And I thought how like these chimes
Are the poet's airy rhymes,
All his rhymes and roundelays,
His conceits, and songs, and ditties,
From the belfry of his brain,
Scattered downward, though in vain,
On the roofs and stones of cities!
For by night the drowsy ear
Under its curtains cannot hear,
And by day men go their ways,
Hearing the music as they pass,
But deeming it no more, alas!
Than the hollow sound of brass.
Yet perchance a sleepless wight,
Lodging at some humble inn
In the narrow lanes of life,
When the dusk and hush of night
Shut out the incessant din
Of daylight and its toil and strife,
May listen with a calm delight
To the poet's melodies,
Till he hears, or dreams he hears,
Intermingled with the song,
Thoughts that he has cherished long;
Hears amid the chime and singing
The bells of his own village ringing,
And wakes, and finds his slumberous eyes
Wet with most delicious tears.
Thus dreamed I, as by night I lay
In Bruges, at the Fleur-de-Ble,
Listening with a wild delight
To the chimes that, through the night
Bang their changes from the Belfry
Of that quaint old Flemish city.
|
Written by
Oscar Wilde |
I have no store
Of gryphon-guarded gold;
Now, as before,
Bare is the shepherd's fold.
Rubies nor pearls
Have I to gem thy throat;
Yet woodland girls
Have loved the shepherd's note.
Then pluck a reed
And bid me sing to thee,
For I would feed
Thine ears with melody,
Who art more fair
Than fairest fleur-de-lys,
More sweet and rare
Than sweetest ambergris.
What dost thou fear?
Young Hyacinth is slain,
Pan is not here,
And will not come again.
No horned Faun
Treads down the yellow leas,
No God at dawn
Steals through the olive trees.
Hylas is dead,
Nor will he e'er divine
Those little red
Rose-petalled lips of thine.
On the high hill
No ivory dryads play,
Silver and still
Sinks the sad autumn day.
|
Written by
Charles Baudelaire |
Rappelez-vous l'objet que nous vîmes, mon âme,
Ce beau matin d'été si doux :
Au détour d'un sentier une charogne infame
Sur un lit semé de cailloux,
Les jambes en l'air, comme une femme lubrique,
Brûlante et suant les poisons,
Ouvrait d'une façon nonchalante et cynique
Son ventre plein d'exhalaisons.
Le soleil rayonnait sur cette pourriture,
Comme afin de la cuire à point,
Et de rendre au centuple à la grande nature
Tout ce qu'ensemble elle avait joint ;
Et le ciel regardait la carcasse superbe
Comme une fleur s'épanouir.
La puanteur etait si forte, que sur l'herbe
Vous crûtes vous évanouir.
Les mouches bourdonnaient sur ce ventre putride,
D'ou sortaient de noirs bataillons
De larves, qui coulaient comme un épais liquide
Le long de ces vivants haillons.
Tout cela descendait, montait comme une vague,
Ou s'élançait en pétillant ;
On eût dit que le corps, enflé d'un souffle vague,
Vivait en se multipliant.
Et ce monde rendait une étrange musique,
Comme l'eau courante et le vent,
Ou le grain qu'un vanneur d'un mouvement rythmique
Agite et tourne dans son van.
Les formes s'effaçaient et n'étaient plus qu'un rêve,
Une ébauche lente à venir,
Sur la toile oubliée, et que l'artiste achève
Seulement par le souvenir.
Derrière les rochers une chienne inquiete
Nous regardait d'un oeil fâché,
Épiant le moment de reprendre au squelette
Le morceau qu'elle avait lâché.
--Et poutant vous serez semblable à cette ordure,
A cette horrible infection,
Étoile de mes yeux, soleil de ma nature,
Vous, mon ange et ma passion!
Oui! telle vous serez, ô reine des grâces,
Apres les derniers sacrements,
Quand vous irez, sous l'herbe et les floraisons grasses.
Moisir parmi les ossements.
Alors, ô ma beauté! dites à la vermine
Qui vous mangera de baisers,
Que j'ai gardé la forme et l'essence divine
De mes amours décomposés !
|
Written by
Guillaume Apollinaire |
Le pré est vénéneux mais joli en automne
Les vaches y paissant
Lentement s'empoisonnent
Le colchique couleur de cerne et de lilas
Y fleurit tes yeux sont comme cette fleur-la
Violatres comme leur cerne et comme cet automne
Et ma vie pour tes yeux lentement s'empoisonne
Les enfants de l'école viennent avec fracas
Vêtus de hoquetons et jouant de l'harmonica
Ils cueillent les colchiques qui sont comme des mères
Filles de leurs filles et sont couleur de tes paupières
Qui battent comme les fleurs battent au vent dément
Le gardien du troupeau chante tout doucement
Tandis que lentes et meuglant les vaches abandonnent
Pour toujours ce grand pré mal fleuri par l'automne
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