Written by
Ogden Nash |
One thing that literature would be greatly the better for
Would be a more restricted employment by the authors of simile and
metaphor.
Authors of all races, be they Greeks, Romans, Teutons or Celts,
Can't seem just to say that anything is the thing it is but have to
go out of their way to say that it is like something else.
What does it mean when we are told
That that Assyrian came down like a wolf on the fold?
In the first place, George Gordon Byron had enough experience
To know that it probably wasn't just one Assyrian, it was a lot of
Assyrians.
However, as too many arguments are apt to induce apoplexy and
thus hinder longevity.
We'll let it pass as one Assyrian for the sake of brevity.
Now then, this particular Assyrian, the one whose cohorts were
gleaming in purple and gold,
Just what does the poet mean when he says he came down like a
wold on the fold?
In heaven and earth more than is dreamed of in our philosophy
there are great many things.
But I don't imagine that among them there is a wolf with purple
and gold cohorts or purple and gold anythings.
No, no, Lord Byron, before I'll believe that this Assyrian was
actually like a wolf I must have some kind of proof;
Did he run on all fours and did he have a hairy tail and a big red
mouth and big white teeth and did he say Woof Woof?
Frankly I think it is very unlikely, and all you were entitled to say,
at the very most,
Was that the Assyrian cohorts came down like a lot of Assyrian
cohorts about to destroy the Hebrew host.
But that wasn't fancy enough for Lord Byron, oh dear me no, he
had to invent a lot of figures of speech and then interpolate them,
With the result that whenever you mention Old Testament soldiers
to people they say Oh yes, they're the ones that a lot of
wolves dressed up in gold and purple ate them.
That's the kind of thing that's being done all the time by poets,
from Homer to Tennyson;
They're always comparing ladies to lilies and veal to venison,
And they always say things like that the snow is a white blanket
after a winter storm.
Oh it is, is it, all right then, you sleep under a six-inch blanket of
snow and I'll sleep under a half-inch blanket of unpoetical
blanket material and we'll see which one keeps warm,
And after that maybe you'll begin to comprehend dimly
What I mean by too much metaphor and simile.
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Written by
Anne Sexton |
I dance in circles holding
the moth of the marriage,
thin, sticky, fluttering
its skirts, its webs.
The moth oozing a tear,
or is it a drop of urine?
The moth, grinning like a pear,
or is it teeth
clamping the iron maiden shut?
The moth,
who is my mother,
who is my father,
who was my lover,
floats airily out of my hands
and I dance slower,
pulling off the fat diamond engagement ring,
pulling off the elopement wedding ring,
and holding them, clicking them
in thumb and forefinger,
the indent of twenty-five years,
like a tiny rip of a tiny earthquake.
Underneath the soil lies the violence,
the shift, the crack of continents,
the anger,
and above only a cut,
a half-inch space to stick a pencil in.
The finger is scared
but it keeps its long numb place.
And I keep dancing,
a sort of waltz,
clicking the two rings,
all of a life at its last cough,
as I swim through the air of the kitchen,
and the same radio plays its songs
and I make a small path through them
with my bare finger and my funny feet,
doing the undoing dance,
on April 14th, 1973,
letting my history rip itself off me
and stepping into
something unknown
and transparent,
but all ten fingers stretched outward,
flesh extended as metal
waiting for a magnet.
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Written by
Randall Jarrell |
I ate pancakes one night in a Pancake House
Run by a lady my age. She was gay.
When I told her that I came from Pasadena
She laughed and said, "I lived in Pasadena
When Fatty Arbuckle drove the El Molino bus."
I felt that I had met someone from home.
No, not Pasadena, Fatty Arbuckle.
Who's that? Oh, something that we had in common
Like -- like -- the false armistice. Piano rolls.
She told me her house was the first Pancake House
East of the Mississippi, and I showed her
A picture of my grandson. Going home --
Home to the hotel -- I began to hum,
"Smile a while, I bid you sad adieu,
When the clouds roll back I'll come to you."
Let's brush our hair before we go to bed,
I say to the old friend who lives in my mirror.
I remember how I'd brush my mother's hair
Before she bobbed it. How long has it been
Since I hit my funnybone? had a scab on my knee?
Here are Mother and Father in a photograph,
Father's holding me.... They both look so young.
I'm so much older than they are. Look at them,
Two babies with their baby. I don't blame you,
You weren't old enough to know any better;
If I could I'd go back, sit down by you both,
And sign our true armistice: you weren't to blame.
I shut my eyes and there's our living room.
The piano's playing something by Chopin,
And Mother and Father and their little girl
Listen. Look, the keys go down by themselves!
I go over, hold my hands out, play I play --
If only, somehow, I had learned to live!
The three of us sit watching, as my waltz
Plays itself out a half-inch from my fingers.
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Written by
Andrew Barton Paterson |
It chanced out back at the Christmas time,
When the wheat was ripe and tall,
A stranger rode to the farmer's gate --
A sturdy man and a small.
"Rin doon, rin doon, my little son Jack,
And bid the stranger stay;
And we'll hae a crack for Auld Lang Syne,
For the morn is Christmas Day."
"Nay noo, nay noo," said the dour guidwife,
"But ye should let him be;
He's maybe only a drover chap
Frae the land o' the Darling Pea.
"Wi' a drover's tales, and a drover's thirst
To swiggle the hail nicht through;
Or he's maybe a life assurance carle
To talk ye black and blue,"
"Guidwife, he's never a drover chap,
For their swags are neat and thin;
And he's never a life assurance carle,
Wi' the brick-dust burnt in his skin.
"Guidwife, guidwife, be nae sae dour,
For the wheat stands ripe and tall,
And we shore a seven-pound fleece this year,
Ewes and weaners and all.
"There is grass tae spare, and the stock are fat.
Where they whiles are gaunt and thin,
And we owe a tithe to the travelling poor,
So we maun ask him in.
"Ye can set him a chair tae the table side,
And gi' him a bite tae eat;
An omelette made of a new-laid egg,
Or a tasty bit of meat."
"But the native cats have taen the fowls,
They havena left a leg;
And he'll get nae omelette at a'
Till the emu lays an egg!"
"Rin doon, rin doon, my little son Jack,
To whaur the emus bide,
Ye shall find the auld hen on the nest,
While the auld cock sits beside.
"But speak them fair, and speak them saft,
Lest they kick ye a fearsome jolt.
Ye can gi' them a feed of thae half-inch nails
Or a rusty carriage bolt."
So little son Jack ran blithely down
With the rusty nails in hand,
Till he came where the emus fluffed and scratched
By their nest in the open sand.
And there he has gathered the new-laid egg --
'Twould feed three men or four --
And the emus came for the half-inch nails
Right up to the settler's door.
"A waste o' food," said the dour guidwife,
As she took the egg, with a frown,
"But he gets nae meat, unless ye rin
A paddy-melon down."
"Gang oot, gang oot, my little son Jack,
Wi' your twa-three doggies sma';
Gin ye come nae back wi' a paddy-melon,
Then come nae back at a'."
So little son Jack he raced and he ran,
And he was bare o' the feet,
And soon he captured a paddy-melon,
Was gorged with the stolen wheat.
"Sit doon, sit doon, my bonny wee man,
To the best that the hoose can do --
An omelette made of the emu egg
And a paddy-melon stew."
"'Tis well, 'tis well," said the bonny wee man;
"I have eaten the wide world's meat,
And the food that is given with right good-will
Is the sweetest food to eat.
"But the night draws on to the Christmas Day
And I must rise and go,
For I have a mighty way to ride
To the land of the Esquimaux.
"And it's there I must load my sledges up,
With the reindeers four-in-hand,
That go to the North, South, East, and West,
To every Christian land."
"Tae the Esquimaux," said the dour guidwife,
"Ye suit my husband well!"
For when he gets up on his journey horse
He's a bit of a liar himsel'."
Then out with a laugh went the bonny wee man
To his old horse grazing nigh,
And away like a meteor flash they went
Far off to the Northern sky.
When the children woke on the Christmas morn
They chattered with might and main --
For a sword and gun had little son Jack,
And a braw new doll had Jane,
And a packet o' screws had the twa emus;
But the dour guidwife gat nane.
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Written by
Andrew Barton Paterson |
Here in my mountain home,
On rugged hills and steep,
I sit and watch you come,
O Riverinia Sheep!
You come from the fertile plains
Where saltbush (sometimes) grows,
And flats that (when it rains)
Will blossom like the rose.
But when the summer sun
Gleams down like burnished brass,
You have to leave your run
And hustle off for grass.
'Tis then that -- forced to roam --
You come to where I keep,
Here in my mountain home,
A boarding-house for sheep.
Around me where I sit
The wary wombat goes --
A beast of little wit,
But what he knows, he knows.
The very same remark
Applies to me also;
I don't give out a spark,
But what I know, I know.
My brain perhaps would show
No convolutions deep,
But anyhow I know
The way to handle sheep.
These Riverina cracks,
They do not care to ride
The half-inch hanging tracks
Along the mountain side.
Their horses shake with fear
When loosened boulders go
With leaps, like startled deer,
Down to the gulfs below.
Their very dogs will shirk,
And drop their tails in fright
When asked to go and work
A mob that's out of sight.
My little collie pup
Works silently and wide;
You'll see her climbing up
Along the mountain side.
As silent as a fox
You'll see her come and go,
A shadow through the rocks
Where ash and messmate grow.
Then, lost to sight and sound
Behind some rugged steep,
She works her way around
And gathers up the sheep;
And, working wide and shy,
She holds them rounded up.
The cash ain't coined to buy
That little collie pup.
And so I draw a screw
For self and dog and keep
To boundary-ride for you,
O Riverina Sheep!
And, when the autumn rain
Has made the herbage grow,
You travel off again,
And glad -- no doubt -- to go.
But some are left behind
Around the mountain's spread,
For those we cannot find
We put them down as dead.
So, when we say adieu
And close the boarding job,
I always find a few
Fresh ear-marks in my mob.
And, what with those I sell,
And what with those I keep,
You pay me pretty well,
O Riverina Sheep!
It's up to me to shout
Before we say good-bye --
"Here's to a howlin' drought
All west of Gundagai!
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