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.
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Written by
Amy Lowell |
Cross-hatchings of rain against grey walls,
Slant lines of black rain
In front of the up and down, wet stone sides of buildings.
Below,
Greasy, shiny, black, horizontal,
The street.
And over it, umbrellas,
Black polished dots
Struck to white
An instant,
Stream in two flat lines
Slipping past each other with the smoothness of oil.
Like a four-sided wedge
The Custom House Tower
Pokes at the low, flat sky,
Pushing it farther and farther up,
Lifting it away from the house-tops,
Lifting it in one piece as though it were a sheet of tin,
With the lever of its apex.
The cross-hatchings of rain cut the Tower obliquely,
Scratching lines of black wire across it,
Mutilating its perpendicular grey surface
With the sharp precision of tools.
The city is rigid with straight lines and angles,
A chequered table of blacks and greys.
Oblong blocks of flatness
Crawl by with low-geared engines,
And pass to short upright squares
Shrinking with distance.
A steamer in the basin blows its whistle,
And the sound shoots across the rain hatchings,
A narrow, level bar of steel.
Hard cubes of lemon
Superimpose themselves upon the fronts of buildings
As the windows light up.
But the lemon cubes are edged with angles
Upon which they cannot impinge.
Up, straight, down, straight -- square.
Crumpled grey-white papers
Blow along the side-walks,
Contorted, horrible,
Without curves.
A horse steps in a puddle,
And white, glaring water spurts up
In stiff, outflaring lines,
Like the rattling stems of reeds.
The city is heraldic with angles,
A sombre escutcheon of argent and sable
And countercoloured bends of rain
Hung over a four-square civilization.
When a street lamp comes out,
I gaze at it for fully thirty seconds
To rest my brain with the suffusing, round brilliance of its globe.
|
Written by
Walt Whitman |
1
CHANTING the square deific, out of the One advancing, out of the sides;
Out of the old and new—out of the square entirely divine,
Solid, four-sided, (all the sides needed)... from this side JEHOVAH am I,
Old Brahm I, and I Saturnius am;
Not Time affects me—I am Time, old, modern as any;
Unpersuadable, relentless, executing righteous judgments;
As the Earth, the Father, the brown old Kronos, with laws,
Aged beyond computation—yet ever new—ever with those mighty laws rolling,
Relentless, I forgive no man—whoever sins, dies—I will have that man’s
life;
Therefore let none expect mercy—Have the seasons, gravitation, the appointed days,
mercy?—No more have I;
But as the seasons, and gravitation—and as all the appointed days, that forgive not,
I dispense from this side judgments inexorable, without the least remorse.
2
Consolator most mild, the promis’d one advancing,
With gentle hand extended—the mightier God am I,
Foretold by prophets and poets, in their most rapt prophecies and poems;
From this side, lo! the Lord CHRIST gazes—lo! Hermes I—lo! mine is
Hercules’
face;
All sorrow, labor, suffering, I, tallying it, absorb in myself;
Many times have I been rejected, taunted, put in prison, and crucified—and many times
shall be again;
All the world have I given up for my dear brothers’ and sisters’ sake—for
the
soul’s sake;
Wending my way through the homes of men, rich or poor, with the kiss of affection;
For I am affection—I am the cheer-bringing God, with hope, and all-enclosing Charity;
(Conqueror yet—for before me all the armies and soldiers of the earth shall yet
bow—and all the weapons of war become impotent:)
With indulgent words, as to children—with fresh and sane words, mine only;
Young and strong I pass, knowing well I am destin’d myself to an early death:
But my Charity has no death—my Wisdom dies not, neither early nor late,
And my sweet Love, bequeath’d here and elsewhere, never dies.
3
Aloof, dissatisfied, plotting revolt,
Comrade of criminals, brother of slaves,
Crafty, despised, a drudge, ignorant,
With sudra face and worn brow, black, but in the depths of my heart, proud as any;
Lifted, now and always, against whoever, scorning, assumes to rule me;
Morose, full of guile, full of reminiscences, brooding, with many wiles,
(Though it was thought I was baffled and dispell’d, and my wiles done—but that
will
never be;)
Defiant, I, SATAN, still live—still utter words—in new lands duly appearing,
(and old
ones also;)
Permanent here, from my side, warlike, equal with any, real as any,
Nor time, nor change, shall ever change me or my words.
4
Santa SPIRITA, breather, life,
Beyond the light, lighter than light,
Beyond the flames of hell—joyous, leaping easily above hell;
Beyond Paradise—perfumed solely with mine own perfume;
Including all life on earth—touching, including God—including Saviour and Satan;
Ethereal, pervading all, (for without me, what were all? what were God?)
Essence of forms—life of the real identities, permanent, positive, (namely the
unseen,)
Life of the great round world, the sun and stars, and of man—I, the general Soul,
Here the square finishing, the solid, I the most solid,
Breathe my breath also through these songs.
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