Written by
Charles Baudelaire |
When, by decree of the supreme power,
The Poet appears in this annoyed world,
His mother, blasphemous out of horror
At God's pity, cries out with fists curled:
"Ah! I'd rather You'd will me a snake's skin
Than to keep feeding this monstrous slur!
I curse that night's ephemera are sins
To make my womb atone for pleasure.
"Since You have chosen me from all the brides
To bear the disgust of my dolorous groom
And since I can't throw back into the fires
Like an old love letter this gaunt buffoon
"I'll replace Your hate that overwhelms me
On the instrument of Your wicked gloom
And torture so well this miserable tree
Its pestiferous buds will never bloom!"
She chokes down the eucharist of venom,
Not comprehending eternal designs,
She prepares a Gehenna of her own,
And consecrates a pyre of maternal crimes.
Yet, watched by an invisible seraph,
The disinherited child is drunk on the sun
And in all he devours and in all he quaffs
Receives ambrosia, nectar and honey.
He plays with the wind, chats with the vapors,
Deliriously sings the stations of the cross;
And the Spirit who follows him in his capers
Cries at his joy like a bird in the forest.
Those whom he longs to love look with disdain
And dread, strengthened by his tranquillity,
They seek to make him complain of his pain
So they may try out their ferocity.
In the bread and wine destined for his lips,
They mix in cinders and spit with their wrath,
And throw out all he touches as he grasps it,
And accuse him of putting his feet in their path.
His wife cries out so that everyone hears:
"Since he finds me good enough to adore
I'll weave as the idols of ancient years
A corona of gold as a cover.
"I'll get drunk on nard, incense and myrrh,
Get down on bent knee with meats and wines
To see if in a heart that admires,
My smile denies deference to the divine.
"And, when I tire of these impious farces,
I'll arrange for him my frail and hard nails
Sharpened just like the claws of a harpy
That out of his heart will carve a trail.
"Like a baby bird trembling in the nest
I'll dig out his heart all red from my breast
To slake the thirst of my favorite pet,
And will throw it on the ground with contempt!"
Toward the sky, where he sees a great host,
The poet, serene, lifts his pious arms high
And the vast lightning of his lucid ghost
Blinds him to the furious people nearby:
"Glory to God, who leaves us to suffer
To cure us of all our impurities
And like the best, most rarefied buffer
Prepares the strong for a saint's ecstasies!
"I know that You hold a place for the Poet
In the ranks of the blessed and the saint's legions,
That You invite him to an eternal fete
Of thrones, of virtues, of dominations.
"I know only sorrow is unequaled,
It cannot be encroached on from Hell or Earth
And if I am to braid my mystic wreath,
May I impose it on the universe.
"But the ancient jewels of lost Palmyra,
The unknown metals, pearls from the ocean
By Your hand mounted, they do not suffice,
They cannot dazzle as clearly as this crown
"For it will not be made except from halos
Drawn of pure light in a holy portal
Whose entire splendor, in the eyes of mortals
Is only a mirror, obscure and mournful."
|
Written by
Mark Doty |
Glassmakers,
at century's end,
compounded metallic lusters
in reference
to natural sheens (dragonfly
and beetle wings,
marbled light on kerosene)
and invented names
as coolly lustrous
as their products'
scarab-gleam: Quetzal,
Aurene, Favrile.
Suggesting,
respectively, the glaze
of feathers,
that sun-shot fog
of which halos
are composed,
and -- what?
What to make of Favrile,
Tiffany's term
for his coppery-rose
flushed with gold
like the alchemized
atmosphere of sunbeams
in a Flemish room?
Faux Moorish,
fake Japanese,
his lamps illumine
chiefly themselves,
copying waterlilies'
bronzy stems,
wisteria or trout scales;
surfaces burnished
like a tidal stream
on which an excitation
of minnows boils
and blooms, artifice
made to show us
the lavish wardrobe
of things, the world's
glaze of appearances
worked into the thin
and gleaming stuff
of craft. A story:
at the puppet opera
--where one man animated
the entire cast
while another ghosted
the voices, basso
to coloratura -- Jimmy wept
at the world of tiny gestures,
forgot, he said,
these were puppets,
forgot these wire
and plaster fabrications
were actors at all,
since their pretense
allowed the passions
released to be--
well, operatic.
It's too much,
to be expected to believe;
art's a mercuried sheen
in which we may discern,
because it is surface,
clear or vague
suggestions of our depths,
Don't we need a word
for the luster
of things which insist
on the fact they're made,
which announce
their maker's bravura?
Favrile, I'd propose,
for the perfect lamp,
too dim and strange
to help us read.
For the kimono woven,
dipped in dyes, unraveled
and loomed again
that the pattern might take on
a subtler shading
For the sonnet's
blown-glass sateen,
for bel canto,
for Faberge
For everything
which begins in limit
(where else might our work
begin?) and ends in grace,
or at least extravagance.
For the silk sleeves
of the puppet queen,
held at a ravishing angle
over her puppet lover slain,
for her lush vowels
mouthed by the plain man
hunched behind the stage.
|
Written by
Marvin Bell |
In a wilderness, in some orchestral swing
through trees, with a wind playing all the high notes,
and the prospect of a string bass inside the wood,
I, or someone like me, had a kind of vision.
As the person on the ground moved, bursting halos
topped first one tree, then another and another,
till the work of sight was forced to go lower
into a dark lair of fallen logs and fungi.
His was the wordless death of words, worse
for he remembered exactly where the words were
on his tongue, and before that how they fell
effortlessly from the brainpan behind his eyes.
But the music continued and the valley of forest floor
became itself an interval in a natural melody
attuned to the wind, embedded in the bass of boughs,
the tenor of branches, the percussion of twigs.
He, or someone like him, laughed at first,
dismissing what had happened as the incandescence
of youthful metabolism, as the slight fermentation
of the last of the wine, or as each excuse of love.
Learning then the constancy of music and of mind,
now he takes seriously that visionary wood
where he saw his being and his future underfoot
and someone like me listening for a resolution.
|
Written by
Emile Verhaeren |
The spot is flaked with mist, that fills,
Thickening into rolls more dank,
The thresholds and the window-sills,
And smokes on every bank.
The river stagnates, pestilent
With carrion by the current sent
This way and that—and yonder lies
The moon, just like a woman dead,
That they have smothered overhead,
Deep in the skies.
In a few boats alone there gleam
Lamps that light up and magnify
The backs, bent over stubbornly,
Of the old fishers of the stream,
Who since last evening, steadily,
—For God knows what night-fishery—
Have let their black nets downward slow
Into the silent water go.
The noisome water there below.
Down in the river's deeps, ill-fate
And black mischances breed and hatch.
Unseen of them, and lie in wait
As for their prey. And these they catch
With weary toil—believing still
That simple, honest work is best—
At night, beneath the shifting mist
Unkind and chill.
So hard and harsh, yon clock-towers tell.
With muffled hammers, like a knell,
The midnight hour.
From tower to tower
So hard and harsh the midnights chime.
The midnights harsh of autumn time,
The weary midnights' bell.
The crew
Of fishers black have on their back
Nought save a nameless rag or two;
And their old hats distil withal,
And drop by drop let crumbling fall
Into their necks, the mist-flakes all.
The hamlets and their wretched huts
Are numb and drowsy, and all round
The willows too, and walnut trees,
'Gainst which the Easterly fierce breeze
Has waged its feud.
No bayings from the forest sound,
No cry the empty midnight cuts—
The midnight space that grows imbrued
With damp breaths from the ashy ground.
The fishers hail each other not—
Nor help—in their fraternal lot;
Doing but that which must be done.
Each fishes for himself alone.
And this one gathers in his net,
Drawing it tighter yet,
His freight of petty misery;
And that one drags up recklessly
Diseases from their slimy bed;
While others still their meshes spread
Out to the sorrows that drift by
Threateningly nigh;
And the last hauls aboard with force
The wreckage dark of his remorse.
The river, round its corners bending,
And with the dyke-heads intertwined.
Goes hence—since what times out of mind?—
Toward the far horizon wending
Of weariness unending.
Upon the banks, the skins of wet
Black ooze-heaps nightly poison sweat.
And the mists are their fleeces light
That curl up to the houses' height.
In their dark boats, where nothing stirs,
Not even the red-flamed torch that blurs
With halos huge, as if of blood.
The thick felt of the mist's white hood,
Death with his silence seals the sere
Old fishermen of madness here.
The isolated, they abide
Deep in the mist—still side by side.
But seeing one another never;
Weary are both their arms—and yet
Their work their ruin doth beget.
Each for himself works desperately,
He knows not why—no dreams has he;
Long have they worked, for long, long years,
While every instant brings its fears;
Nor have they ever
Quitted the borders of their river,
Where 'mid the moonlit mists they strain
To fish misfortune up amain.
If but in this their night they hailed each other
And brothers' voices might console a brother!
But numb and sullen, on they go,
With heavy brows and backs bent low,
While their small lights beside them gleam,
Flickering feebly on the stream.
Like blocks of shadow they are there.
Nor ever do their eyes divine
That far away beyond the mists
Acrid and spongy—there exists
A firmament where 'mid the night.
Attractive as a loadstone, bright
Prodigious planets shine.
The fishers black of that black plague,
They are the lost immeasurably,
Among the knells, the distance vague,
The yonder of those endless plains
That stretch more far than eye can see:
And the damp autumn midnight rains
Into their souls' monotony.
|
Written by
Victor Hugo |
("Devant la blanche ferme.")
{XV., May, 1837.}
Before the farm where, o'er the porch, festoon
Wild creepers red, and gaffer sits at noon,
Whilst strutting fowl display their varied crests,
And the old watchdog slumberously rests,
They half-attentive to the clarion of their king,
Resplendent in the sunshine op'ning wing—
There stood a cow, with neck-bell jingling light,
Superb, enormous, dappled red and white—
Soft, gentle, patient as a hind unto its young,
Letting the children swarm until they hung
Around her, under—rustics with their teeth
Whiter than marble their ripe lips beneath,
And bushy hair fresh and more brown
Than mossy walls at old gates of a town,
Calling to one another with loud cries
For younger imps to be in at the prize;
Stealing without concern but tremulous with fear
They glance around lest Doll the maid appear;—
Their jolly lips—that haply cause some pain,
And all those busy fingers, pressing now and 'gain,
The teeming udders whose small, thousand pores
Gush out the nectar 'mid their laughing roars,
While she, good mother, gives and gives in heaps,
And never moves. Anon there creeps
A vague soft shiver o'er the hide unmarred,
As sharp they pull, she seems of stone most hard.
Dreamy of large eye, seeks she no release,
And shrinks not while there's one still to appease.
Thus Nature—refuge 'gainst the slings of fate!
Mother of all, indulgent as she's great!
Lets us, the hungered of each age and rank,
Shadow and milk seek in the eternal flank;
Mystic and carnal, foolish, wise, repair,
The souls retiring and those that dare,
Sages with halos, poets laurel-crowned,
All creep beneath or cluster close around,
And with unending greed and joyous cries,
From sources full, draw need's supplies,
Quench hearty thirst, obtain what must eftsoon
Form blood and mind, in freest boon,
Respire at length thy sacred flaming light,
From all that greets our ears, touch, scent or sight—
Brown leaves, blue mountains, yellow gleams, green sod—
Thou undistracted still dost dream of God.
TORU DUTT.
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