Written by
Jorie Graham |
All this was written on the next day's list.
On which the busyness unfurled its cursive roots,
pale but effective,
and the long stem of the necessary, the sum of events,
built-up its tiniest cathedral.
.
.
(Or is it the sum of what takes place? )
If I lean down, to whisper, to them,
down into their gravitational field, there where they head busily on
into the woods, laying the gifts out one by one, onto the path,
hoping to be on the air,
hoping to please the children --
(and some gifts overwrapped and some not wrapped at all) -- if
I stir the wintered ground-leaves
up from the paths, nimbly, into a sheet of sun,
into an escape-route-width of sun, mildly gelatinous where wet, though mostly
crisp,
fluffing them up a bit, and up, as if to choke the singularity of sun
with this jubilation of manyness, all through and round these passers-by --
just leaves, nothing that can vaporize into a thought,
no, a burning bush's worth of spidery, up-ratcheting, tender-cling leaves,
oh if -- the list gripped hard by the left hand of one,
the busyness buried so deep into the puffed-up greenish mind of one,
the hurried mind hovering over its rankings,
the heart -- there at the core of the drafting leaves -- wet and warm at the
zero of
the bright mock-stairwaying-up of the posthumous leaves -- the heart,
formulating its alleyways of discovery,
fussing about the integrity of the whole,
the heart trying to make time and place seem small,
sliding its slim tears into the deep wallet of each new event
on the list
then checking it off -- oh the satisfaction -- each check a small kiss,
an echo of the previous one, off off it goes the dry high-ceilinged
obligation,
checked-off by the fingertips, by the small gust called done that swipes
the unfinishable's gold hem aside, revealing
what might have been, peeling away what should .
.
.
There are flowerpots at their feet.
There is fortune-telling in the air they breathe.
It filters-in with its flashlight-beam, its holy-water-tinted air,
down into the open eyes, the lampblack open mouth.
Oh listen to these words I'm spitting out for you.
My distance from you makes them louder.
Are we all waiting for the phone to ring?
Who should it be? What fountain is expected to
thrash forth mysteries of morning joy? What quail-like giant tail of
promises, pleiades, psalters, plane-trees,
what parapets petalling-forth the invisible
into the world of things,
turning the list into its spatial-form at last,
into its archival many-headed, many-legged colony .
.
.
Oh look at you.
What is it you hold back? What piece of time is it the list
won't cover? You down there, in the theater of
operations -- you, throat of the world -- so diacritical --
(are we all waiting for the phone to ring?) --
(what will you say? are you home? are you expected soon?) --
oh wanderer back from break, all your attention focused
-- as if the thinking were an oar, this ship the last of some
original fleet, the captains gone but some of us
who saw the plan drawn-out
still here -- who saw the thinking clot-up in the bodies of the greater men,
who saw them sit in silence while the voices in the other room
lit-up with passion, itchings, dreams of landings,
while the solitary ones,
heads in their hands, so still,
the idea barely forming
at the base of that stillness,
the idea like a homesickness starting just to fold and pleat and knot-itself
out of the manyness -- the plan -- before it's thought,
before it's a done deal or the name-you're-known-by --
the men of x, the outcomes of y -- before --
the mind still gripped hard by the hands
that would hold the skull even stiller if they could,
that nothing distract, that nothing but the possible be let to filter
through,
the possible and then the finely filamented hope, the filigree,
without the distractions of wonder --
oh tiny golden spore just filtering-in to touch the good idea,
which taking-form begins to twist,
coursing for bottom-footing, palpating for edge-hold, limit,
now finally about to
rise, about to go into the other room -- and yet
not having done so yet, not yet -- the
intake -- before the credo, before the plan --
right at the homesickness -- before this list you hold
in your exhausted hand.
Oh put it down.
|
Written by
Robert Herrick |
THE FAIRY TEMPLE; OR, OBERON'S CHAPEL
DEDICATED TO MR JOHN MERRIFIELD,
COUNSELLOR AT LAW
RARE TEMPLES THOU HAST SEEN, I KNOW,
AND RICH FOR IN AND OUTWARD SHOW;
SURVEY THIS CHAPEL BUILT, ALONE,
WITHOUT OR LIME, OR WOOD, OR STONE.
THEN SAY, IF ONE THOU'ST SEEN MORE FINE
THAN THIS, THE FAIRIES' ONCE, NOW THINE.
THE TEMPLE
A way enchaced with glass and beads
There is, that to the Chapel leads;
Whose structure, for his holy rest,
Is here the Halcyon's curious nest;
Into the which who looks, shall see
His Temple of Idolatry;
Where he of god-heads has such store,
As Rome's Pantheon had not more.
His house of Rimmon this he calls,
Girt with small bones, instead of walls.
First in a niche, more black than jet,
His idol-cricket there is set;
Then in a polish'd oval by
There stands his idol-beetle-fly;
Next, in an arch, akin to this,
His idol-canker seated is.
Then in a round, is placed by these
His golden god, Cantharides.
So that where'er ye look, ye see
No capital, no cornice free,
Or frieze, from this fine frippery.
Now this the Fairies would have known,
Theirs is a mixt religion:
And some have heard the elves it call
Part Pagan, part Papistical.
If unto me all tongues were granted,
I could not speak the saints here painted.
Saint Tit, Saint Nit, Saint Is, Saint Itis,
Who 'gainst Mab's state placed here right is.
Saint Will o' th' Wisp, of no great bigness,
But, alias, call'd here FATUUS IGNIS.
Saint Frip, Saint Trip, Saint Fill, Saint Filly;--
Neither those other saint-ships will I
Here go about for to recite
Their number, almost infinite;
Which, one by one, here set down are
In this most curious calendar.
First, at the entrance of the gate,
A little puppet-priest doth wait,
Who squeaks to all the comers there,
'Favour your tongues, who enter here.
'Pure hands bring hither, without stain.
'
A second pules, 'Hence, hence, profane!'
Hard by, i' th' shell of half a nut,
The holy-water there is put;
A little brush of squirrels' hairs,
Composed of odd, not even pairs,
Stands in the platter, or close by,
To purge the fairy family.
Near to the altar stands the priest,
There offering up the holy-grist;
Ducking in mood and perfect tense,
With (much good do't him) reverence.
The altar is not here four-square,
Nor in a form triangular;
Nor made of glass, or wood, or stone,
But of a little transverse bone;
Which boys and bruckel'd children call
(Playing for points and pins) cockall.
Whose linen-drapery is a thin,
Sub|ile, and ductile codling's skin;
Which o'er the board is smoothly spread
With little seal-work damasked.
The fringe that circumbinds it, too,
Is spangle-work of trembling dew,
Which, gently gleaming, makes a show,
Like frost-work glitt'ring on the snow.
Upon this fetuous board doth stand
Something for shew-bread, and at hand
(Just in the middle of the altar)
Upon an end, the Fairy-psalter,
Graced with the trout-flies' curious wings,
Which serve for watchet ribbonings.
Now, we must know, the elves are led
Right by the Rubric, which they read:
And if report of them be true,
They have their text for what they do;
Ay, and their book of canons too.
And, as Sir Thomas Parson tells,
They have their book of articles;
And if that Fairy knight not lies
They have their book of homilies;
And other Scriptures, that design
A short, but righteous discipline.
The bason stands the board upon
To take the free-oblation;
A little pin-dust, which they hold
More precious than we prize our gold;
Which charity they give to many
Poor of the parish, if there's any.
Upon the ends of these neat rails,
Hatch'd with the silver-light of snails,
The elves, in formal manner, fix
Two pure and holy candlesticks,
In either which a tall small bent
Burns for the altar's ornament.
For sanctity, they have, to these,
Their curious copes and surplices
Of cleanest cobweb, hanging by
In their religious vestery.
They have their ash-pans and their brooms,
To purge the chapel and the rooms;
Their many mumbling mass-priests here,
And many a dapper chorister.
Their ush'ring vergers here likewise,
Their canons and their chaunteries;
Of cloister-monks they have enow,
Ay, and their abbey-lubbers too:--
And if their legend do not lie,
They much affect the papacy;
And since the last is dead, there's hope
Elve Boniface shall next be Pope.
They have their cups and chalices,
Their pardons and indulgences,
Their beads of nits, bells, books, and wax-
Candles, forsooth, and other knacks;
Their holy oil, their fasting-spittle,
Their sacred salt here, not a little.
Dry chips, old shoes, rags, grease, and bones,
Beside their fumigations.
Many a trifle, too, and trinket,
And for what use, scarce man would think it.
Next then, upon the chanter's side
An apple's-core is hung up dried,
With rattling kernels, which is rung
To call to morn and even-song.
The saint, to which the most he prays
And offers incense nights and days,
The lady of the lobster is,
Whose foot-pace he doth stroke and kiss,
And, humbly, chives of saffron brings
For his most cheerful offerings.
When, after these, he's paid his vows,
He lowly to the altar bows;
And then he dons the silk-worm's shed,
Like a Turk's turban on his head,
And reverently departeth thence,
Hid in a cloud of frankincense;
And by the glow-worm's light well guided,
Goes to the Feast that's now provided.
|
Written by
Kathleen Raine |
I came too late to the hills: they were swept bare
Winters before I was born of song and story,
Of spell or speech with power of oracle or invocation,
The great ash long dead by a roofless house, its branches rotten,
The voice of the crows an inarticulate cry,
And from the wells and springs the holy water ebbed away.
A child I ran in the wind on a withered moor
Crying out after those great presences who were not there,
Long lost in the forgetfulness of the forgotten.
Only the archaic forms themselves could tell!
In sacred speech of hoodie on gray stone, or hawk in air,
Of Eden where the lonely rowan bends over the dark pool.
Yet I have glimpsed the bright mountain behind the mountain,
Knowledge under the leaves, tasted the bitter berries red,
Drunk water cold and clear from an inexhaustible hidden fountain.
|
Written by
Amy Lowell |
First Movement
Thin-voiced, nasal pipes
Drawing sound out and out
Until it is a screeching thread,
Sharp and cutting, sharp and cutting,
It hurts.
Whee-e-e!
Bump! Bump! Tong-ti-bump!
There are drums here,
Banging,
And wooden shoes beating the round, grey stones
Of the market-place.
Whee-e-e!
Sabots slapping the worn, old stones,
And a shaking and cracking of dancing bones;
Clumsy and hard they are,
And uneven,
Losing half a beat
Because the stones are slippery.
Bump-e-ty-tong! Whee-e-e! Tong!
The thin Spring leaves
Shake to the banging of shoes.
Shoes beat, slap,
Shuffle, rap,
And the nasal pipes squeal with their pigs' voices,
Little pigs' voices
Weaving among the dancers,
A fine white thread
Linking up the dancers.
Bang! Bump! Tong!
Petticoats,
Stockings,
Sabots,
Delirium flapping its thigh-bones;
Red, blue, yellow,
Drunkenness steaming in colours;
Red, yellow, blue,
Colours and flesh weaving together,
In and out, with the dance,
Coarse stuffs and hot flesh weaving together.
Pigs' cries white and tenuous,
White and painful,
White and --
Bump!
Tong!
Second Movement
Pale violin music whiffs across the moon,
A pale smoke of violin music blows over the moon,
Cherry petals fall and flutter,
And the white Pierrot,
Wreathed in the smoke of the violins,
Splashed with cherry petals falling, falling,
Claws a grave for himself in the fresh earth
With his finger-nails.
Third Movement
An organ growls in the heavy roof-groins of a church,
It wheezes and coughs.
The nave is blue with incense,
Writhing, twisting,
Snaking over the heads of the chanting priests.
`Requiem aeternam dona ei, Domine';
The priests whine their bastard Latin
And the censers swing and click.
The priests walk endlessly
Round and round,
Droning their Latin
Off the key.
The organ crashes out in a flaring chord,
And the priests hitch their chant up half a tone.
`Dies illa, dies irae,
Calamitatis et miseriae,
Dies magna et amara valde.
'
A wind rattles the leaded windows.
The little pear-shaped candle flames leap and flutter,
`Dies illa, dies irae;'
The swaying smoke drifts over the altar,
`Calamitatis et miseriae;'
The shuffling priests sprinkle holy water,
`Dies magna et amara valde;'
And there is a stark stillness in the midst of them
Stretched upon a bier.
His ears are stone to the organ,
His eyes are flint to the candles,
His body is ice to the water.
Chant, priests,
Whine, shuffle, genuflect,
He will always be as rigid as he is now
Until he crumbles away in a dust heap.
`Lacrymosa dies illa,
Qua resurget ex favilla
Judicandus *****reus.
'
Above the grey pillars the roof is in darkness.
|
Written by
Robert Southey |
The Raven croak'd as she sate at her meal,
And the Old Woman knew what he said,
And she grew pale at the Raven's tale,
And sicken'd and went to her bed.
'Now fetch me my children, and fetch them with speed,'
The Old Woman of Berkeley said,
'The Monk my son, and my daughter the Nun,
Bid them hasten or I shall be dead.
'
The Monk her son, and her daughter the Nun,
Their way to Berkeley went,
And they have brought with pious thought
The holy sacrament.
The Old Woman shriek'd as they enter'd her door,
And she cried with a voice of despair,
'Now take away the sacrament,
For its presence I cannot bear!'
Her lip it trembled with agony,
The sweat ran down her brow,
'I have tortures in store for evermore,
But spare me, my children, now!'
Away they sent the sacrament,
The fit it left her weak,
She look's at her children with ghastly eyes,
And faintly struggled to speak.
'All kind of sin have I rioted in,
And the judgement now must be,
But I secured my children's souls,
Oh! pray, my children, for me!
'I have 'nointed myself with infant's fat,
The fiends have been my slaves,
From sleeping babes I have suck'd the breath,
And breaking by charms the sleep of death,
I have call'd the dead from their graves.
'And the Devil will fetch me now in fire,
My witchcrafts to atone;
And I who have troubled the dead man's grave
Shall never have rest in my own.
'Bless, I entreat, my winding sheet,
My children, I beg of you;
And with holy water sprinkle my shroud,
And sprinkle my coffin, too.
'And let me be chain'd in my coffin of stone,
And fasten it strong, I implore,
With iron bars, and with three chains,
Chain it to the church floor.
'And bless the chains and sprinkle them,
And let fifty Priests stand round,
Who night and day the mass may say
Where I lie on the ground.
'And see that fifty Choristers
Beside the bier attend me,
And day and night by the tapers' light,
With holy hymns defend me.
'Let the church bells all, both great and small,
Be toll'd by night and day,
To drive from thence the fiends who come
To bear my body away.
`And ever have the church door barr'd
After the even-song;
And I beseech you, children dear,
Let the bars and bolts be strong.
'And let this be three days and nights
My wretched corpse to save;
Till the fourth morning keep me safe,
And then I may rest in my grave.
'
The Old Woman of Berkeley laid her down,
And her eyes grew deadly dim,
Short came her breath, and the struggle of death
Did loosen every limb.
They blest the old woman's winding sheet
With rites and prayers due,
With holy water they sprinkled her shroud,
And they sprinkled her coffin too.
And they chain'd her in her coffin of stone,
And with iron barr'd it down,
And in the church with three strong chains
The chain'd it to the ground.
And they blest the chains and sprinkled them,
And fifty Priests stood round,
By night and day the mass to say
Where she lay on the ground.
And fifty sacred Choristers
Beside the bier attend her,
Who day and night by the taper's light
Should with holy hymns defend her.
To see the Priests and Choristers
It was a goodly sight,
Each holding, as it were a staff,
A taper burning bright.
And the church bells all, both great and small,
Did toll so loud and long;
And they have barr'd the church door hard,
After the even-song.
And the first night the tapers' light
Burnt steadily and clear,
But they without a hideous rout
Of angry fiends could hear;
A hideous roar at the church door
Like a long thunder peal;
And the Priests they pray'd, and the Choristers sung
Louder in fearful zeal.
Loud toll'd the bell, the Priests pray'd well,
The tapers they burnt bright,
The Monk her son, and her daughter the Nun,
They told their beads all night.
The cock he crew, the Fiends they flew
From the voice of the morning away;
Then undisturb'd the Choristers sing,
And the fifty Priests they pray;
As they had sung and pray'd all night,
They pray'd and sung all day.
The second night the tapers' light
Burnt dismally and blue,
And every one saw his neighbour's face
Like a dead man's face to view.
And yells and cries without arise
That the stoutest heart might shock,
And a deafening roar like a cataract pouring
Over a mountain rock.
The Monk and Nun they told their beads
As fast as they could tell,
And aye as louder grew the noise
The faster went the bell.
Louder and louder the Choristers sung
As they trembled more and more,
And the Priests as they pray'd to heaven for aid,
They smote their breasts full sore.
The cock he crew, the Fiends they flew
From the voice of the morning away;
Then undisturb'd the Choristers sing,
And the fifty Priests they pray;
As they had sung and pray'd all night,
The pray'd and sung all day.
The third night came, and the tapers' flame
A frightful stench did make;
And they burnt as though they had been dipt
In the burning brimstone lake.
And the loud commotion, like the rushing of ocean,
Grew momently more and more;
And strokes as of a battering ram
Did shake the strong church door.
The bellmen, they for very fear
Could toll the bell no longer;
And still as louder grew the strokes
Their fear it grew the stronger.
The Monk and Nun forgot their beads,
They fell on the ground in dismay;
There was not a single Saint in heaven
To whom they did not pray.
And the Choristers' song, which late was so strong,
Falter'd with consternation,
For the church did rock as an earthquake shock
Uplifed its foundation.
And a sound was heard like the trumpet's blast,
That shall one day wake the dead;
The strong church door could bear no more,
And the bolts and the bars they fled;
And the tapers' light was extinguish'd quite,
And the Choristers faintly sung,
And the Priests dismay'd, panted and pray'd,
And on all the Saints in heaven for aid
They call'd with trembling tongue.
And in He came with eyes of flame,
The Devil to fetch the dead,
And all the church with his presence glow'd
Like a fiery furnace red.
He laid his hand on the iron chains,
And like flax they moulder'd asunder,
And the coffin lid, which was barr'd so firm,
He burst with his voice of thunder.
And he bade the Old Woman of Berkeley rise,
And some with her Master away;
A cold sweat started on that cold corpse,
At the voice she was forced to obey.
She rose on her feet in her winding sheet,
Her dead flesh quiver'd with fear,
And a groan like that which the Old Woman gave
Never did mortal hear.
She follow'd her Master to the church door,
There stood a black horse there;
His breath was red like furnace smoke,
His eyes like a meteor's glare.
The Devil he flung her on the horse,
And he leapt up before,
And away like the lightning's speed they went,
And she was seen no more.
They saw her no more, but her cries
For four miles round they could hear,
And children at rest at their mothers' breast
Started, and scream'd with fear.
|
Written by
Rudyard Kipling |
There's a widow in sleepy Chester
Who weeps for her only son;
There's a grave on the Pabeng River,
A grave that the Burmans shun,
And there's Subadar Prag Tewarri
Who tells how the work was done.
A Snider squibbed in the jungle,
Somebody laughed and fled,
And the men of the First Shikaris
Picked up their Subaltern dead,
With a big blue mark in his forehead
And the back blown out of his head.
Subadar Prag Tewarri,
Jemadar Hira Lal,
Took command of the party,
Twenty rifles in all,
Marched them down to the river
As the day was beginning to fall.
They buried the boy by the river,
A blanket over his face --
They wept for their dead Lieutenant,
The men of an alien race --
They made a samadh in his honor,
A mark for his resting-place.
For they swore by the Holy Water,
They swore by the salt they ate,
That the soul of Lieutenant Eshmitt Sahib
Should go to his God in state;
With fifty file of Burman
To open him Heaven's gate.
The men of the First Shikaris
Marched till the break of day,
Till they came to the rebel village,
The village of Pabengmay --
A jingal covered the clearing,
Calthrops hampered the way.
Subadar Prag Tewarri,
Bidding them load with ball,
Halted a dozen rifles
Under the village wall;
Sent out a flanking-party
With Jemadar Hira Lal.
The men of the First Shikaris
Shouted and smote and slew,
Turning the grinning jingal
On to the howling crew.
The Jemadar's flanking-party
Butchered the folk who flew.
Long was the morn of slaughter,
Long was the list of slain,
Five score heads were taken,
Five score heads and twain;
And the men of the First Shickaris
Went back to their grave again,
Each man bearing a basket
Red as his palms that day,
Red as the blazing village --
The village of Pabengmay,
And the "drip-drip-drip" from the baskets
Reddened the grass by the way.
They made a pile of their trophies
High as a tall man's chin,
Head upon head distorted,
Set in a sightless grin,
Anger and pain and terror
Stamped on the smoke-scorched skin.
Subadar Prag Tewarri
Put the head of the Boh
On the top of the mound of triumph,
The head of his son below,
With the sword and the peacock-banner
That the world might behold and know.
Thus the samadh was perfect,
Thus was the lesson plain
Of the wrath of the First Shikaris --
The price of a white man slain;
And the men of the First Shikaris
Went back into camp again.
Then a silence came to the river,
A hush fell over the shore,
And Bohs that were brave departed,
And Sniders squibbed no more;
For he Burmans said
That a kullah's head
Must be paid for with heads five score.
There's a widow in sleepy Chester
Who weeps for her only son;
There's a grave on the Pabeng River,
A grave that the Burmans shun,
And there's Subadar Prag Tewarri
Who tells how the work was done.
|