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
Edgar Allan Poe |
I saw thee once- once only- years ago:
I must not say how many- but not many.
It was a July midnight; and from out
A full-orbed moon, that, like thine own soul, soaring,
Sought a precipitate pathway up through heaven,
There fell a silvery-silken veil of light,
With quietude, and sultriness, and slumber,
Upon the upturned faces of a thousand
Roses that grew in an enchanted garden,
Where no wind dared to stir, unless on tiptoe-
Fell on the upturn'd faces of these roses
That gave out, in return for the love-light,
Their odorous souls in an ecstatic death-
Fell on the upturn'd faces of these roses
That smiled and died in this parterre, enchanted
By thee, and by the poetry of thy presence.
Clad all in white, upon a violet bank
I saw thee half reclining; while the moon
Fell on the upturn'd faces of the roses,
And on thine own, upturn'd- alas, in sorrow!
Was it not Fate, that, on this July midnight-
Was it not Fate, (whose name is also Sorrow,)
That bade me pause before that garden-gate,
To breathe the incense of those slumbering roses?
No footstep stirred: the hated world an slept,
Save only thee and me. (Oh, Heaven!- oh, God!
How my heart beats in coupling those two words!)
Save only thee and me. I paused- I looked-
And in an instant all things disappeared.
(Ah, bear in mind this garden was enchanted!)
The pearly lustre of the moon went out:
The mossy banks and the meandering paths,
The happy flowers and the repining trees,
Were seen no more: the very roses' odors
Died in the arms of the adoring airs.
All- all expired save thee- save less than thou:
Save only the divine light in thine eyes-
Save but the soul in thine uplifted eyes.
I saw but them- they were the world to me!
I saw but them- saw only them for hours,
Saw only them until the moon went down.
What wild heart-histories seemed to he enwritten
Upon those crystalline, celestial spheres!
How dark a woe, yet how sublime a hope!
How silently serene a sea of pride!
How daring an ambition; yet how deep-
How fathomless a capacity for love!
But now, at length, dear Dian sank from sight,
Into a western couch of thunder-cloud;
And thou, a ghost, amid the entombing trees
Didst glide away. Only thine eyes remained;
They would not go- they never yet have gone;
Lighting my lonely pathway home that night,
They have not left me (as my hopes have) since;
They follow me- they lead me through the years.
They are my ministers- yet I their slave.
Their office is to illumine and enkindle-
My duty, to be saved by their bright light,
And purified in their electric fire,
And sanctified in their elysian fire.
They fill my soul with Beauty (which is Hope),
And are far up in Heaven- the stars I kneel to
In the sad, silent watches of my night;
While even in the meridian glare of day
I see them still- two sweetly scintillant
Venuses, unextinguished by the sun!
|
Written by
Percy Bysshe Shelley |
An old, mad, blind, despised, and dying king,--
Princes, the dregs of their dull race, who
Through public scorn,--mud from a muddy spring,--
Rulers who neither see, nor feel, nor know,
But leech-like to their fainting country cling,
Till they drop, blind in blood, without a blow,--
A people starved and stabbed in the untilled field,--
An army, which liberticide and prey
Makes as a two-edged sword to all who wield,--
Golden and sanguine laws which tempt and slay;
Religion Christless, Godless--a book sealed;
A Senate, Time's worst statute unrepealed,--
Are graves, from which a glorious Phantom may
Burst, to illumine our tempestuous day.
|
Written by
Johann Wolfgang von Goethe |
THE queen in the lofty hall takes her place,
The tapers around her are flaming;
She speaks to the page: "With a nimble pace
Go, fetch me my purse for gaming.
'Tis lying, I'll pledge,
On my table's edge."
Each nerve the nimble boy straineth,
And the end of the castle soon gaineth.
The fairest of maidens was sipping sherbet
Beside the queen that minute;
Near her mouth broke the cup,--and she got so wet!
The very devil seem'd in it
What fearful distress
'Tis spoilt, her gay dress.
She hastens, and ev'ry nerve straineth,
And the end of the castle soon gaineth.
The boy was returning, and quickly came,
And met the sorrowing maiden;
None knew of the fact,--and yet with Love's flame,
Those two had their hearts full laden.
And, oh the bliss
Of a moment like this!
Each falls on the breast of the other,
With kisses that well nigh might smother.
They tear themselves asunder at last,
To her chamber she hastens quickly,
To reach the queen the page hies him fast,
Midst the swords and the fans crowded thickly.
The queen spied amain
On his waistcoat a stain;
For nought was inscrutable to her,
Like Sheba's queen--Solomon's wooer.
To her chief attendant she forthwith cried
"We lately together contended,
And thou didst assert, with obstinate pride,
That the spirit through space never wended,--
That traces alone
By the present were shown,--
That afar nought was fashion'd--not even
By the stars that illumine you heaven.
"Now see! while a goblet beside me they drain'd,
They spilt all the drink in the chalice;
And straightway the boy had his waistcoat stain'd
At the furthermost end of the palace.--
Let them newly be clad!
And since I am glad
That it served as a proof so decided,
The cost will by me be provided."
1808.
|
Written by
Thomas Chatterton |
On Tiber's banks, Tiber, whose waters glide
In slow meanders down to Gaigra's side;
And circling all the horrid mountain round,
Rushes impetuous to the deep profound;
Rolls o'er the ragged rocks with hideous yell;
Collects its waves beneath the earth's vast shell;
There for a while in loud confusion hurl'd,
It crumbles mountains down and shakes the world.
Till borne upon the pinions of the air,
Through the rent earth the bursting waves appear;
Fiercely propell'd the whiten'd billows rise,
Break from the cavern, and ascend the skies;
Then lost and conquered by superior force,
Through hot Arabia holds its rapid coursel
On Tiber's banks where scarlet jas'mines bloom,
And purple aloes shed a rich perfume;
Where, when the sun is melting in his heat,
The reeking tygers find a cool retreat;
Bask in the sedges, lose the sultry beam,
And wanton with their shadows in the stream;
On Tiber's banks, by sacred priests rever'd,
Where in the days of old a god appear'd;
'Twas in the dead of night, at Chalma's feast,
The tribe of Alra slept around the priest.
He spoke; as evening thunders bursting near,
His horrid accents broke upon the ear;
Attend, Alraddas, with your sacred priest!
This day the sun is rising in the east;
The sun, which shall illumine all the earth,
Now, now is rising, in a mortal birth.
He vanish'd like a vapour of the night,
And sunk away in a faint blaze of light.
Swift from the branches of the holy oak,
Horror, confusion, fear, and torment brake;
And still when midnight trims her mazy lamp,
They take their way through Tiber's wat'ry swamp.
On Tiber's banks, close ranked, a warring train,
Stretch'd to the distant edge of Galca's plain;
So when arrived at Gaigra's highest steep,
We view the wide expansion of the deep;
See in the gilding of her wat'ry robe,
The quick declension of the circling globe;
From the blue sea a chain of mountains rise,
Blended at once with water and with skies;
Beyond our sight in vast extension curl'd,
The check of waves, the guardians of the world.
Strong were the warriors, as the ghost of Cawn,
Who threw the Hill-of-archers to the lawn;
When the soft earth at his appearance fled;
And rising billows play'd around his head;
When a strong tempest rising from the main,
Dashed the full clouds, unbroken on the plain.
Nicou, immortal in the sacred song,
Held the red sword of war, and led the strong;
From his own tribe the sable warriors came,
Well try'd in battle, and well known in fame.
Nicou, descended from the god of war,
Who lived coeval with the morning star;
Narada was his name; who cannot tell
How all the world through great Narada fell!
Vichon, the god who ruled above the skies,
Look'd, on Narada, but with envious eyes;
The warrior dared him, ridiculed his might,
Bent his white bow, and summon'd him to fight.
Vichon, disdainful, bade his lightnings fly,
And scatter'd burning arrows in the sky;
Threw down a star the armour of his feet,
To burn the air with supernat'ral heat;
Bid a loud tempes roar beneath the ground;
Lifted him up, and bore him thro' the sea.
The waters still ascending fierce and high,
He tower'd into the chambers of the sky;
There Vichon sat, his armour on his bed,
He thought Narada with the mighty dead.
Before his seat the heavenly warrior stands,
The lightning quiv'ring in his yellow hands.
The god astonish'd dropt; hurl'd from the shore,
He dropt to torments, and to rise no more.
Head-long he falls; 'tis his own arms compel.
Condemn'd in ever-burning fires to dwell.
From this Narada, mighty Nicou sprung;
The mighty Nicou, furious, wild and young.
Who led th'embattled archers to the field,
And more a thunderbolt upon his shield;
That shield his glorious father died to gain,
When the white warriors fled along the plain,
When the full sails could not provoke the flood,
Till Nicou came and swell'd the seas with blood.
Slow at the end of his robust array,
The mighty warrior pensive took his way;
Against the son of Nair, the young Rorest,
Once the companion of his youthful breast.
Strong were the passions of the son of Nair,
Strong, as the tempest of the evening air.
Insatiate in desire; fierce as the boar;
Firm in resolve as Cannie's rocky shore.
Long had the gods endeavour'd to destroy,
All Nicou's friendship, happiness, and joy:
They sought in vain, 'till Vicat, Vichon's son,
Never in feats of wickedness outdone,
Saw Nica, sister to the Mountain king,
Drest beautiful, with all the flow'rs of spring;
He saw, and scatter'd poison in her eyes;
From limb to limb in varied forms he flies;
Dwelt on her crimson lip, and added grace
To every glossy feature of her face.
Rorest was fir'd with passion at the sight.
Friendship and honor, sunk to Vicat's right;
He saw, he lov'd, and burning with desire,
Bore the soft maid from brother, sister, sire.
Pining with sorrow, Nica faded, died,
Like a fair alow, in its morning pride.
This brought the warrior to the bloody mead,
And sent to young Rorest the threat'ning reed.
He drew his army forth: Oh, need I tell!
That Nicou conquer'd, and the lover fell;
His breathless army mantled all the plain;
And Death sat smiling on the heaps of slain.
The battle ended, with his reeking dart,
The pensive Nicou pierc'd his beating heart;
And to his mourning valiant warriors cry'd,
I, and my sister's ghost are satisfy'd.
|
Written by
Ogden Nash |
Bound to your bookseller, leap to your library,
Deluge your dealer with bakshish and bribary,
Lean on the counter and never say when,
Wodehouse and Wooster are with us again.
Flourish the fish-slice, your buttons unloosing,
Prepare for the fabulous browsing and sluicing,
And quote, til you're known as the neighborhood nuisance,
The gems that illumine the browsance and sluicance.
Oh, fondle each gem, and after you quote it,
Kindly inform me just who wrote it.
Which came first, the egg or the rooster?
P.G.Wodehouse or Bertram Wooster?
I know hawk from handsaw, and Finn from Fiji,
But I can't disentangle Bertram from PG.
I inquire in the school room, I ask in the road house,
Did Wodehouse write Wooster, or Wooster Wodehouse?
Bertram Wodehouse and PG Wooster,
They are linked in my mind like Simon and Schuster.
No matter which fumbled in '41,
Or which the woebegone figure of fun.
I deduce how the faux pas came about,
It was clearly Jeeves's afternoon out.
Now Jeeves is back, and my cheeks are crumply
From watching him glide through Steeple Bumpleigh.
|
Written by
Conrad Aiken |
As evening falls,
The walls grow luminous and warm, the walls
Tremble and glow with the lives within them moving,
Moving like music, secret and rich and warm.
How shall we live to-night, where shall we turn?
To what new light or darkness yearn?
A thousand winding stairs lead down before us;
And one by one in myriads we descend
By lamplit flowered walls, long balustrades,
Through half-lit halls which reach no end. . . .
Take my arm, then, you or you or you,
And let us walk abroad on the solid air:
Look how the organist's head, in silhouette,
Leans to the lamplit music's orange square! . . .
The dim-globed lamps illumine rows of faces,
Rows of hands and arms and hungry eyes,
They have hurried down from a myriad secret places,
From windy chambers next to the skies. . . .
The music comes upon us. . . .it shakes the darkness,
It shakes the darkness in our minds. . . .
And brilliant figures suddenly fill the darkness,
Down the white shaft of light they run through darkness,
And in our hearts a dazzling dream unwinds . . .
Take my hand, then, walk with me
By the slow soundless crashings of a sea
Down miles on miles of glistening mirrorlike sand,—
Take my hand
And walk with me once more by crumbling walls;
Up mouldering stairs where grey-stemmed ivy clings,
To hear forgotten bells, as evening falls,
Rippling above us invisibly their slowly widening rings. . . .
Did you once love me? Did you bear a name?
Did you once stand before me without shame? . . .
Take my hand: your face is one I know,
I loved you, long ago:
You are like music, long forgotten, suddenly come to mind;
You are like spring returned through snow.
Once, I know, I walked with you in starlight,
And many nights I slept and dreamed of you;
Come, let us climb once more these stairs of starlight,
This midnight stream of cloud-flung blue! . . .
Music murmurs beneath us like a sea,
And faints to a ghostly whisper . . . Come with me.
Are you still doubtful of me—hesitant still,
Fearful, perhaps, that I may yet remember
What you would gladly, if you could, forget?
You were unfaithful once, you met your lover;
Still in your heart you bear that red-eyed ember;
And I was silent,—you remember my silence yet . . .
You knew, as well as I, I could not kill him,
Nor touch him with hot hands, nor yet with hate.
No, and it was not you I saw with anger.
Instead, I rose and beat at steel-walled fate,
Cried till I lay exhausted, sick, unfriended,
That life, so seeming sure, and love, so certain,
Should loose such tricks, be so abruptly ended,
Ring down so suddenly an unlooked-for curtain.
How could I find it in my heart to hurt you,
You, whom this love could hurt much more than I?
No, you were pitiful, and I gave you pity;
And only hated you when I saw you cry.
We were two dupes; if I could give forgiveness,—
Had I the right,—I should forgive you now . . .
We were two dupes . . . Come, let us walk in starlight,
And feed our griefs: we do not break, but bow.
Take my hand, then, come with me
By the white shadowy crashings of a sea . . .
Look how the long volutes of foam unfold
To spread their mottled shimmer along the sand! . . .
Take my hand,
Do not remember how these depths are cold,
Nor how, when you are dead,
Green leagues of sea will glimmer above your head.
You lean your face upon your hands and cry,
The blown sand whispers about your feet,
Terrible seems it now to die,—
Terrible now, with life so incomplete,
To turn away from the balconies and the music,
The sunlit afternoons,
To hear behind you there a far-off laughter
Lost in a stirring of sand among dry dunes . . .
Die not sadly, you whom life has beaten!
Lift your face up, laughing, die like a queen!
Take cold flowers of foam in your warm white fingers!
Death's but a change of sky from blue to green . . .
As evening falls,
The walls grow luminous and warm, the walls
Tremble and glow . . . the music breathes upon us,
The rayed white shaft plays over our heads like magic,
And to and fro we move and lean and change . . .
You, in a world grown strange,
Laugh at a darkness, clench your hands despairing,
Smash your glass on a floor, no longer caring,
Sink suddenly down and cry . . .
You hear the applause that greets your latest rival,
You are forgotten: your rival—who knows?—is I . . .
I laugh in the warm bright light of answering laughter,
I am inspired and young . . . and though I see
You sitting alone there, dark, with shut eyes crying,
I bask in the light, and in your hate of me . . .
Failure . . . well, the time comes soon or later . . .
The night must come . . . and I'll be one who clings,
Desperately, to hold the applause, one instant,—
To keep some youngster waiting in the wings.
The music changes tone . . . a room is darkened,
Someone is moving . . . the crack of white light widens,
And all is dark again; till suddenly falls
A wandering disk of light on floor and walls,
Winks out, returns again, climbs and descends,
Gleams on a clock, a glass, shrinks back to darkness;
And then at last, in the chaos of that place,
Dazzles like frozen fire on your clear face.
Well, I have found you. We have met at last.
Now you shall not escape me: in your eyes
I see the horrible huddlings of your past,—
All you remember blackens, utters cries,
Reaches far hands and faint. I hold the light
Close to your cheek, watch the pained pupils shrink,—
Watch the vile ghosts of all you vilely think . . .
Now all the hatreds of my life have met
To hold high carnival . . . we do not speak,
My fingers find the well-loved throat they seek,
And press, and fling you down . . . and then forget.
Who plays for me? What sudden drums keep time
To the ecstatic rhythm of my crime?
What flute shrills out as moonlight strikes the floor? . .
What violin so faintly cries
Seeing how strangely in the moon he lies? . . .
The room grows dark once more,
The crack of white light narrows around the door,
And all is silent, except a slow complaining
Of flutes and violins, like music waning.
Take my hand, then, walk with me
By the slow soundless crashings of a sea . . .
Look, how white these shells are, on this sand!
Take my hand,
And watch the waves run inward from the sky
Line upon foaming line to plunge and die.
The music that bound our lives is lost behind us,
Paltry it seems . . . here in this wind-swung place
Motionless under the sky's vast vault of azure
We stand in a terror of beauty, face to face.
The dry grass creaks in the wind, the blown sand whispers,
The soft sand seethes on the dunes, the clear grains glisten,
Once they were rock . . . a chaos of golden boulders . . .
Now they are blown by the wind . . . we stand and listen
To the sliding of grain upon timeless grain
And feel our lives go past like a whisper of pain.
Have I not seen you, have we not met before
Here on this sun-and-sea-wrecked shore?
You shade your sea-gray eyes with a sunlit hand
And peer at me . . . far sea-gulls, in your eyes,
Flash in the sun, go down . . . I hear slow sand,
And shrink to nothing beneath blue brilliant skies . . .
* * * * *
The music ends. The screen grows dark. We hurry
To go our devious secret ways, forgetting
Those many lives . . . We loved, we laughed, we killed,
We danced in fire, we drowned in a whirl of sea-waves.
The flutes are stilled, and a thousand dreams are stilled.
Whose body have I found beside dark waters,
The cold white body, garlanded with sea-weed?
Staring with wide eyes at the sky?
I bent my head above it, and cried in silence.
Only the things I dreamed of heard my cry.
Once I loved, and she I loved was darkened.
Again I loved, and love itself was darkened.
Vainly we follow the circle of shadowy days.
The screen at last grows dark, the flutes are silent.
The doors of night are closed. We go our ways.
|
Written by
Thomas Moore |
Oh! think not my spirits are always as light,
And as free from a pang as they seem to you now,
Nor expect that the heart-beaming smile of to-night
Will return with to-morrow to brighten my brow.
No: -- life is a waste of wearisome hours,
Which seldom the rose of enjoyment adorns;
And the heart that is soonest awake to the flowers,
Is always the first to be touch'd by the thorns.
But send round the bowl, and be happy awhile --
May we never meet worse, in our pilgrimage here,
Than the tear that enjoyment may gild with a smile,
And the smile that compassion can turn to a tear.
The thread of our life would be dark, Heaven knows
If it were not with friendship and love intertwined;
And I care not how soon I may sink to repose,
When these blessing shall cease to be dear to my mind.
But they who have loved the fondest, the purest,
Too often have wept o'er the dream they believed;
And the heart that has slumber'd in friendship securest
Is happy indeed if 'twas never deceived.
But send round the bowl; while a relic of truth
Is in man or in woman, this prayer shall be mine, --
That the sunshine of love may illumine our youth,
And the moonlight of friendship console our decline.
|
Written by
Victor Hugo |
("Ainsi l'Hôtel de Ville illumine.")
{VI., May, 1833.}
Behold the ball-room flashing on the sight,
From step to cornice one grand glare of light;
The noise of mirth and revelry resounds,
Like fairy melody on haunted grounds.
But who demands this profuse, wanton glee,
These shouts prolonged and wild festivity—
Not sure our city—web, more woe than bliss,
In any hour, requiring aught but this!
Deaf is the ear of all that jewelled crowd
To sorrow's sob, although its call be loud.
Better than waste long nights in idle show,
To help the indigent and raise the low—
To train the wicked to forsake his way,
And find th' industrious work from day to day!
Better to charity those hours afford,
Which now are wasted at the festal board!
And ye, O high-born beauties! in whose soul
Virtue resides, and Vice has no control;
Ye whom prosperity forbids to sin,
So fair without—so chaste, so pure within—
Whose honor Want ne'er threatened to betray,
Whose eyes are joyous, and whose heart is gay;
Around whose modesty a hundred arms,
Aided by pride, protect a thousand charms;
For you this ball is pregnant with delight;
As glitt'ring planets cheer the gloomy night:—
But, O, ye wist not, while your souls are glad,
How millions wander, homeless, sick and sad!
Hazard has placed you in a happy sphere,
And like your own to you all lots appear;
For blinded by the sun of bliss your eyes
Can see no dark horizon to the skies.
Such is the chance of life! Each gallant thane,
Prince, peer, and noble, follow in your train;—
They praise your loveliness, and in your ear
They whisper pleasing things, but insincere;
Thus, as the moths enamoured of the light,
Ye seek these realms of revelry each night.
But as ye travel thither, did ye know
What wretches walk the streets through which you go.
Sisters, whose gewgaws glitter in the glare
Of your great lustre, all expectant there,
Watching the passing crowd with avid eye,
Till one their love, or lust, or shame may buy;
Or, with commingling jealousy and rage,
They mark the progress of your equipage;
And their deceitful life essays the while
To mask their woe beneath a sickly smile!
G.W.M. REYNOLDS.
|
Written by
Andrew Barton Paterson |
It came from the prison this morning,
Close-twisted, neat-lettered, and flat;
It lies the hall doorway adorning,
A very good style of a mat.
Prison-made! how the spirit is moven
As we think of its story of dread --
What wiles of the wicked are woven
And spun in its intricate thread!
The letters are new, neat and nobby,
Suggesting a masterly hand --
Was it Sikes, who half-murdered the bobby,
That put the neat D on the "and"?
Some banker found guilty of laches --
It's always called laches, you know --
Had Holt any hand in those Hs?
Did Bertrand illumine that O?
That T has a look of the gallows,
That A's a triangle, I guess;
Was it one of the Mount Rennie fellows
Who twisted the strands of the S?
Was it made by some "highly connected",
Who is doing his spell "on his head",
Or some wretched woman detected
In stealing her children some bread?
Does it speak of a bitter repentance
For the crime that so easily came?
Of the wearisome length of the sentence,
Of the sin, and the sorrow, and shame?
A mat! I should call it a sermon
On sin, to all sinners addressed;
It would take a keen judge to determine
Whether writer or reader is best.
Though the doorway be hard as a pavestone,
I rather would use it than that --
I'd as soon wipe my boots on a gravestone,
As I would on that Darlinghurst mat!
|