Written by
Billy Collins |
They say you can jinx a poem
if you talk about it before it is done.
If you let it out too early, they warn,
your poem will fly away,
and this time they are absolutely right.
Take the night I mentioned to you
I wanted to write about the madmen,
as the newspapers so blithely call them,
who attack art, not in reviews,
but with breadknives and hammers
in the quiet museums of Prague and Amsterdam.
Actually, they are the real artists,
you said, spinning the ice in your glass.
The screwdriver is their brush.
The real vandals are the restorers,
you went on, slowly turning me upside-down,
the ones in the white doctor's smocks
who close the wound in the landscape,
and thus ruin the true art of the mad.
I watched my poem fly down to the front
of the bar and hover there
until the next customer walked in--
then I watched it fly out the open door into the night
and sail away, I could only imagine,
over the dark tenements of the city.
All I had wished to say
was that art was also short,
as a razor can teach with a slash or two,
that it only seems long compared to life,
but that night, I drove home alone
with nothing swinging in the cage of my heart
except the faint hope that I might
catch a glimpse of the thing
in the fan of my headlights,
maybe perched on a road sign or a street lamp,
poor unwritten bird, its wings folded,
staring down at me with tiny illuminated eyes.
|
Written by
Walt Whitman |
1
SAUNTERING the pavement, or riding the country by-road—lo! such faces!
Faces of friendship, precision, caution, suavity, ideality;
The spiritual, prescient face—the always welcome, common, benevolent face,
The face of the singing of music—the grand faces of natural lawyers and judges, broad
at
the
back-top;
The faces of hunters and fishers, bulged at the brows—the shaved blanch’d faces
of
orthodox citizens;
The pure, extravagant, yearning, questioning artist’s face;
The ugly face of some beautiful Soul, the handsome detested or despised face;
The sacred faces of infants, the illuminated face of the mother of many children;
The face of an amour, the face of veneration;
The face as of a dream, the face of an immobile rock;
The face withdrawn of its good and bad, a castrated face;
A wild hawk, his wings clipp’d by the clipper;
A stallion that yielded at last to the thongs and knife of the gelder.
Sauntering the pavement, thus, or crossing the ceaseless ferry, faces, and faces, and
faces:
I see them, and complain not, and am content with all.
2
Do you suppose I could be content with all, if I thought them their own finale?
This now is too lamentable a face for a man;
Some abject louse, asking leave to be—cringing for it;
Some milk-nosed maggot, blessing what lets it wrig to its hole.
This face is a dog’s snout, sniffing for garbage;
Snakes nest in that mouth—I hear the sibilant threat.
This face is a haze more chill than the arctic sea;
Its sleepy and wobbling icebergs crunch as they go.
This is a face of bitter herbs—this an emetic—they need no label;
And more of the drug-shelf, laudanum, caoutchouc, or hog’s-lard.
This face is an epilepsy, its wordless tongue gives out the unearthly cry,
Its veins down the neck distended, its eyes roll till they show nothing but their whites,
Its teeth grit, the palms of the hands are cut by the turn’d-in nails,
The man falls struggling and foaming to the ground while he speculates well.
This face is bitten by vermin and worms,
And this is some murderer’s knife, with a half-pull’d scabbard.
This face owes to the sexton his dismalest fee;
An unceasing death-bell tolls there.
3
Those then are really men—the bosses and tufts of the great round globe!
Features of my equals, would you trick me with your creas’d and cadaverous march?
Well, you cannot trick me.
I see your rounded, never-erased flow;
I see neath the rims of your haggard and mean disguises.
Splay and twist as you like—poke with the tangling fores of fishes or rats;
You’ll be unmuzzled, you certainly will.
I saw the face of the most smear’d and slobbering idiot they had at the asylum;
And I knew for my consolation what they knew not;
I knew of the agents that emptied and broke my brother,
The same wait to clear the rubbish from the fallen tenement;
And I shall look again in a score or two of ages,
And I shall meet the real landlord, perfect and unharm’d, every inch as good as
myself.
4
The Lord advances, and yet advances;
Always the shadow in front—always the reach’d hand bringing up the laggards.
Out of this face emerge banners and horses—O superb! I see what is coming;
I see the high pioneer-caps—I see the staves of runners clearing the way,
I hear victorious drums.
This face is a life-boat;
This is the face commanding and bearded, it asks no odds of the rest;
This face is flavor’d fruit, ready for eating;
This face of a healthy honest boy is the programme of all good.
These faces bear testimony, slumbering or awake;
They show their descent from the Master himself.
Off the word I have spoken, I except not one—red, white, black, are all deific;
In each house is the ovum—it comes forth after a thousand years.
Spots or cracks at the windows do not disturb me;
Tall and sufficient stand behind, and make signs to me;
I read the promise, and patiently wait.
This is a full-grown lily’s face,
She speaks to the limber-hipp’d man near the garden pickets,
Come here, she blushingly cries—Come nigh to me, limber-hipp’d
man,
Stand at my side till I lean as high as I can upon you,
Fill me with albescent honey, bend down to me,
Rub to me with your chafing beard, rub to my breast and shoulders.
5
The old face of the mother of many children!
Whist! I am fully content.
Lull’d and late is the smoke of the First-day morning,
It hangs low over the rows of trees by the fences,
It hangs thin by the sassafras, the wild-cherry, and the cat-brier under them.
I saw the rich ladies in full dress at the soiree,
I heard what the singers were singing so long,
Heard who sprang in crimson youth from the white froth and the water-blue,
Behold a woman!
She looks out from her quaker cap—her face is clearer and more beautiful than the
sky.
She sits in an arm-chair, under the shaded porch of the farmhouse,
The sun just shines on her old white head.
Her ample gown is of cream-hued linen,
Her grandsons raised the flax, and her granddaughters spun it with the distaff and the
wheel.
The melodious character of the earth,
The finish beyond which philosophy cannot go, and does not wish to go,
The justified mother of men.
|
Written by
Elizabeth Bishop |
From narrow provinces
of fish and bread and tea,
home of the long tides
where the bay leaves the sea
twice a day and takes
the herrings long rides,
where if the river
enters or retreats
in a wall of brown foam
depends on if it meets
the bay coming in,
the bay not at home;
where, silted red,
sometimes the sun sets
facing a red sea,
and others, veins the flats'
lavender, rich mud
in burning rivulets;
on red, gravelly roads,
down rows of sugar maples,
past clapboard farmhouses
and neat, clapboard churches,
bleached, ridged as clamshells,
past twin silver birches,
through late afternoon
a bus journeys west,
the windshield flashing pink,
pink glancing off of metal,
brushing the dented flank
of blue, beat-up enamel;
down hollows, up rises,
and waits, patient, while
a lone traveller gives
kisses and embraces
to seven relatives
and a collie supervises.
Goodbye to the elms,
to the farm, to the dog.
The bus starts. The light
grows richer; the fog,
shifting, salty, thin,
comes closing in.
Its cold, round crystals
form and slide and settle
in the white hens' feathers,
in gray glazed cabbages,
on the cabbage roses
and lupins like apostles;
the sweet peas cling
to their wet white string
on the whitewashed fences;
bumblebees creep
inside the foxgloves,
and evening commences.
One stop at Bass River.
Then the Economies
Lower, Middle, Upper;
Five Islands, Five Houses,
where a woman shakes a tablecloth
out after supper.
A pale flickering. Gone.
The Tantramar marshes
and the smell of salt hay.
An iron bridge trembles
and a loose plank rattles
but doesn't give way.
On the left, a red light
swims through the dark:
a ship's port lantern.
Two rubber boots show,
illuminated, solemn.
A dog gives one bark.
A woman climbs in
with two market bags,
brisk, freckled, elderly.
"A grand night. Yes, sir,
all the way to Boston."
She regards us amicably.
Moonlight as we enter
the New Brunswick woods,
hairy, scratchy, splintery;
moonlight and mist
caught in them like lamb's wool
on bushes in a pasture.
The passengers lie back.
Snores. Some long sighs.
A dreamy divagation
begins in the night,
a gentle, auditory,
slow hallucination. . . .
In the creakings and noises,
an old conversation
--not concerning us,
but recognizable, somewhere,
back in the bus:
Grandparents' voices
uninterruptedly
talking, in Eternity:
names being mentioned,
things cleared up finally;
what he said, what she said,
who got pensioned;
deaths, deaths and sicknesses;
the year he remarried;
the year (something) happened.
She died in childbirth.
That was the son lost
when the schooner foundered.
He took to drink. Yes.
She went to the bad.
When Amos began to pray
even in the store and
finally the family had
to put him away.
"Yes . . ." that peculiar
affirmative. "Yes . . ."
A sharp, indrawn breath,
half groan, half acceptance,
that means "Life's like that.
We know it (also death)."
Talking the way they talked
in the old featherbed,
peacefully, on and on,
dim lamplight in the hall,
down in the kitchen, the dog
tucked in her shawl.
Now, it's all right now
even to fall asleep
just as on all those nights.
--Suddenly the bus driver
stops with a jolt,
turns off his lights.
A moose has come out of
the impenetrable wood
and stands there, looms, rather,
in the middle of the road.
It approaches; it sniffs at
the bus's hot hood.
Towering, antlerless,
high as a church,
homely as a house
(or, safe as houses).
A man's voice assures us
"Perfectly harmless. . . ."
Some of the passengers
exclaim in whispers,
childishly, softly,
"Sure are big creatures."
"It's awful plain."
"Look! It's a she!"
Taking her time,
she looks the bus over,
grand, otherworldly.
Why, why do we feel
(we all feel) this sweet
sensation of joy?
"Curious creatures,"
says our quiet driver,
rolling his r's.
"Look at that, would you."
Then he shifts gears.
For a moment longer,
by craning backward,
the moose can be seen
on the moonlit macadam;
then there's a dim
smell of moose, an acrid
smell of gasoline.
|
Written by
Billy Collins |
Sometimes the notes are ferocious,
skirmishes against the author
raging along the borders of every page
in tiny black script.
If I could just get my hands on you,
Kierkegaard, or Conor Cruise O'Brien,
they seem to say,
I would bolt the door and beat some logic into your head.
Other comments are more offhand, dismissive -
"Nonsense." "Please!" "HA!!" -
that kind of thing.
I remember once looking up from my reading,
my thumb as a bookmark,
trying to imagine what the person must look like
why wrote "Don't be a ninny"
alongside a paragraph in The Life of Emily Dickinson.
Students are more modest
needing to leave only their splayed footprints
along the shore of the page.
One scrawls "Metaphor" next to a stanza of Eliot's.
Another notes the presence of "Irony"
fifty times outside the paragraphs of A Modest Proposal.
Or they are fans who cheer from the empty bleachers,
Hands cupped around their mouths.
"Absolutely," they shout
to Duns Scotus and James Baldwin.
"Yes." "Bull's-eye." "My man!"
Check marks, asterisks, and exclamation points
rain down along the sidelines.
And if you have managed to graduate from college
without ever having written "Man vs. Nature"
in a margin, perhaps now
is the time to take one step forward.
We have all seized the white perimeter as our own
and reached for a pen if only to show
we did not just laze in an armchair turning pages;
we pressed a thought into the wayside,
planted an impression along the verge.
Even Irish monks in their cold scriptoria
jotted along the borders of the Gospels
brief asides about the pains of copying,
a bird signing near their window,
or the sunlight that illuminated their page-
anonymous men catching a ride into the future
on a vessel more lasting than themselves.
And you have not read Joshua Reynolds,
they say, until you have read him
enwreathed with Blake's furious scribbling.
Yet the one I think of most often,
the one that dangles from me like a locket,
was written in the copy of Catcher in the Rye
I borrowed from the local library
one slow, hot summer.
I was just beginning high school then,
reading books on a davenport in my parents' living room,
and I cannot tell you
how vastly my loneliness was deepened,
how poignant and amplified the world before me seemed,
when I found on one page
A few greasy looking smears
and next to them, written in soft pencil-
by a beautiful girl, I could tell,
whom I would never meet-
"Pardon the egg salad stains, but I'm in love."
|
Written by
Billy Collins |
In most self-portraits it is the face that dominates:
Cezanne is a pair of eyes swimming in brushstrokes,
Van Gogh stares out of a halo of swirling darkness,
Rembrant looks relieved as if he were taking a breather
from painting The Blinding of Sampson.
But in this one Goya stands well back from the mirror
and is seen posed in the clutter of his studio
addressing a canvas tilted back on a tall easel.
He appears to be smiling out at us as if he knew
we would be amused by the extraordinary hat on his head
which is fitted around the brim with candle holders,
a device that allowed him to work into the night.
You can only wonder what it would be like
to be wearing such a chandelier on your head
as if you were a walking dining room or concert hall.
But once you see this hat there is no need to read
any biography of Goya or to memorize his dates.
To understand Goya you only have to imagine him
lighting the candles one by one, then placing
the hat on his head, ready for a night of work.
Imagine him surprising his wife with his new invention,
the laughing like a birthday cake when she saw the glow.
Imagine him flickering through the rooms of his house
with all the shadows flying across the walls.
Imagine a lost traveler knocking on his door
one dark night in the hill country of Spain.
"Come in, " he would say, "I was just painting myself,"
as he stood in the doorway holding up the wand of a brush,
illuminated in the blaze of his famous candle hat.
|
Written by
Emma Lazarus |
I
A dream of interlinking hands, of feet
Tireless to spin the unseen, fairy woof
Of the entangling waltz. Bright eyebeams meet,
Gay laughter echoes from the vaulted roof.
Warm perfumes rise; the soft unflickering glow
Of branching lights sets off the changeful charms
Of glancing gems, rich stuffs, the dazzling snow
Of necks unkerchieft, and bare, clinging arms.
Hark to the music! How beneath the strain
Of reckless revelry, vibrates and sobs
One fundamental chord of constant pain,
The pulse-beat of the poet's heart that throbs.
So yearns, though all the dancing waves rejoice,
The troubled sea's disconsolate, deep voice.
II
Who shall proclaim the golden fable false
Of Orpheus' miracles? This subtle strain
Above our prose-world's sordid loss and gain
Lightly uplifts us. With the rhythmic waltz,
The lyric prelude, the nocturnal song
Of love and languor, varied visions rise,
That melt and blend to our enchanted eyes.
The Polish poet who sleeps silenced long,
The seraph-souled musician, breathes again
Eternal eloquence, immortal pain.
Revived the exalted face we know so well,
The illuminated eyes, the fragile frame,
Slowly consuming with its inward flame,
We stir not, speak not, lest we break the spell.
III
A voice was needed, sweet and true and fine
As the sad spirit of the evening breeze,
Throbbing with human passion, yet devine
As the wild bird's untutored melodies.
A voice for him 'neath twilight heavens dim,
Who mourneth for his dead, while round him fall
The wan and noiseless leaves. A voice for him
Who sees the first green sprout, who hears the call
Of the first robin on the first spring day.
A voice for all whom Fate hath set apart,
Who, still misprized, must perish by the way,
Longing with love, for that they lack the art
Of their own soul's expression. For all these
Sing the unspoken hope, the vague, sad reveries.
IV
Then Nature shaped a poet's heart--a lyre
From out whose chords the lightest breeze that blows
Drew trembling music, wakening sweet desire.
How shall she cherish him? Behold! she throws
This precious, fragile treasure in the whirl
Of seething passions; he is scourged and stung,
Must dive in storm-vext seas, if but one pearl
Of art or beauty therefrom may be wrung.
No pure-browed pensive nymph his Muse shall be,
An amazon of thought with sovereign eyes,
Whose kiss was poison, man-brained, worldy-wise,
Inspired that elfin, delicate harmony.
Rich gain for us! But with him is it well?
The poet who must sound earth, heaven, and hell!
|
Written by
Kahlil Gibran |
One hour devoted to the pursuit of Beauty
And Love is worth a full century of glory
Given by the frightened weak to the strong.
From that hour comes man's Truth; and
During that century Truth sleeps between
The restless arms of disturbing dreams.
In that hour the soul sees for herself
The Natural Law, and for that century she
Imprisons herself behind the law of man;
And she is shackled with irons of oppression.
That hour was the inspiration of the Songs
Of Solomon, an that century was the blind
Power which destroyed the temple of Baalbek.
That hour was the birth of the Sermon on the
Mount, and that century wrecked the castles of
Palmyra and the Tower of Babylon.
That hour was the Hegira of Mohammed and that
Century forgot Allah, Golgotha, and Sinai.
One hour devoted to mourning and lamenting the
Stolen equality of the weak is nobler than a
Century filled with greed and usurpation.
It is at that hour when the heart is
Purified by flaming sorrow and
Illuminated by the torch of Love.
And in that century, desires for Truth
Are buried in the bosom of the earth.
That hour is the root which must flourish.
That hour of meditation, the hour of
Prayer, and the hour of a new era of good.
And that century is a life of Nero spent
On self-investment taken solely from
Earthly substance.
This is life.
Portrayed on the stage for ages;
Recorded earthly for centuries;
Lived in strangeness for years;
Sung as a hymn for days;
Exalted but for an hour, but the
Hour is treasured by Eternity as a jewel.
|
Written by
Elizabeth Bishop |
I dreamed that dead, and meditating,
I lay upon a grave, or bed,
(at least, some cold and close-built bower).
In the cold heart, its final thought
stood frozen, drawn immense and clear,
stiff and idle as I was there;
and we remained unchanged together
for a year, a minute, an hour.
Suddenly there was a motion,
as startling, there, to every sense
as an explosion. Then it dropped
to insistent, cautious creeping
in the region of the heart,
prodding me from desperate sleep.
I raised my head. A slight young weed
had pushed up through the heart and its
green head was nodding on the breast.
(All this was in the dark.)
It grew an inch like a blade of grass;
next, one leaf shot out of its side
a twisting, waving flag, and then
two leaves moved like a semaphore.
The stem grew thick. The nervous roots
reached to each side; the graceful head
changed its position mysteriously,
since there was neither sun nor moon
to catch its young attention.
The rooted heart began to change
(not beat) and then it split apart
and from it broke a flood of water.
Two rivers glanced off from the sides,
one to the right, one to the left,
two rushing, half-clear streams,
(the ribs made of them two cascades)
which assuredly, smooth as glass,
went off through the fine black grains of earth.
The weed was almost swept away;
it struggled with its leaves,
lifting them fringed with heavy drops.
A few drops fell upon my face
and in my eyes, so I could see
(or, in that black place, thought I saw)
that each drop contained a light,
a small, illuminated scene;
the weed-deflected stream was made
itself of racing images.
(As if a river should carry all
the scenes that it had once reflected
shut in its waters, and not floating
on momentary surfaces.)
The weed stood in the severed heart.
"What are you doing there?" I asked.
It lifted its head all dripping wet
(with my own thoughts?)
and answered then: "I grow," it said,
"but to divide your heart again."
|
Written by
Carl Sandburg |
A GOLDWING moth is between the scissors and the ink bottle on the desk.
Last night it flew hundreds of circles around a glass bulb and a flame wire.
The wings are a soft gold; it is the gold of illuminated initials in manuscripts of the medieval monks.
|
Written by
William Topaz McGonagall |
'Twas on the 16th of October, in the year 1894,
I was invited to Inverness, not far from the sea shore,
To partake of a banquet prepared by the Heatherblend Club,
Gentlemen who honoured me without any hubbub.
The banquet was held in the Gellion Hotel,
And the landlord, Mr Macpherson, treated me right well;
Also the servant maids were very kind to me,
Especially the girl that polished my boots, most beautiful to see.
The banquet consisted of roast beef, potatoes, and red wine;
Also hare soup and sherry and grapes most fine,
And baked pudding and apples lovely to be seen;
Also rich sweet milk and delicious cream.
Mr Gossip, a noble Highlander, acted as chairman,
And when the banquet was finished the fun began;
And I was requested to give a poetic entertainment,
Which I gave, and which pleased them to their hearts' content.
And for my entertainment they did me well reward
By entitling me there the Heather Blend Club bard;
Likewise I received an Illuminated Address,
Also a purse of silver, I honestly confess.
Mr A.J.Stewart was very kind to me,
And tried all he could to make me happy;
And several songs were sung by gentlemen there--
It was the most social gathering I've been in, I do declare.
Oh, magnificent city of Inverness,
And your beautiful river, I must confess,
With its lovely scenery on each side,
Would be good for one's health there to reside.
There the blackbird and the mavis doth sing,
Making the woodlands with their echoes to ring
During the months of July, May, and June,
When the trees and the shrubberies are in full bloom.
And to see the River Ness rolling smoothly along,
Together with the blackbird's musical song,
While the sun shines bright in the month of May,
'Twill help to drive dull care away.
And Macbeth's Castle is grand to be seen,
Situated on Castle Hill, which is beautiful and green.
'Twas there Macbeth lived in days of old,
And a great tyrant he was, be it told.
I wish the Heatherblend members every success,
Hoping God will prosper them and bless;
Long May Dame Fortune smile upon them,
For all of them I've met are kind gentlemen.
And in conclusion, I must say
I never received better treatment in my day,
Than I received from my admirers in bonnie Inverness.
This on my soul and conscience I do confess.
|