Written by
Mark Strand |
1
We are reading the story of our lives
which takes place in a room.
The room looks out on a street.
There is no one there,
no sound of anything.
The tress are heavy with leaves,
the parked cars never move.
We keep turning the pages, hoping for something,
something like mercy or change,
a black line that would bind us
or keep us apart.
The way it is, it would seem
the book of our lives is empty.
The furniture in the room is never shifted,
and the rugs become darker each time
our shadows pass over them.
It is almost as if the room were the world.
We sit beside each other on the couch,
reading about the couch.
We say it is ideal.
It is ideal.
2
We are reading the story of our lives,
as though we were in it,
as though we had written it.
This comes up again and again.
In one of the chapters
I lean back and push the book aside
because the book says
it is what I am doing.
I lean back and begin to write about the book.
I write that I wish to move beyond the book.
Beyond my life into another life.
I put the pen down.
The book says: "He put the pen down
and turned and watched her reading
the part about herself falling in love."
The book is more accurate than we can imagine.
I lean back and watch you read
about the man across the street.
They built a house there,
and one day a man walked out of it.
You fell in love with him
because you knew that he would never visit you,
would never know you were waiting.
Night after night you would say
that he was like me.
I lean back and watch you grow older without me.
Sunlight falls on your silver hair.
The rugs, the furniture,
seem almost imaginary now.
"She continued to read.
She seemed to consider his absence
of no special importance,
as someone on a perfect day will consider
the weather a failure
because it did not change his mind."
You narrow your eyes.
You have the impulse to close the book
which describes my resistance:
how when I lean back I imagine
my life without you, imagine moving
into another life, another book.
It describes your dependence on desire,
how the momentary disclosures
of purpose make you afraid.
The book describes much more than it should.
It wants to divide us.
3
This morning I woke and believed
there was no more to to our lives
than the story of our lives.
When you disagreed, I pointed
to the place in the book where you disagreed.
You fell back to sleep and I began to read
those mysterious parts you used to guess at
while they were being written
and lose interest in after they became
part of the story.
In one of them cold dresses of moonlight
are draped over the chairs in a man's room.
He dreams of a woman whose dresses are lost,
who sits in a garden and waits.
She believes that love is a sacrifice.
The part describes her death
and she is never named,
which is one of the things
you could not stand about her.
A little later we learn
that the dreaming man lives
in the new house across the street.
This morning after you fell back to sleep
I began to turn the pages early in the book:
it was like dreaming of childhood,
so much seemed to vanish,
so much seemed to come to life again.
I did not know what to do.
The book said: "In those moments it was his book.
A bleak crown rested uneasily on his head.
He was the brief ruler of inner and outer discord,
anxious in his own kingdom."
4
Before you woke
I read another part that described your absence
and told how you sleep to reverse
the progress of your life.
I was touched by my own loneliness as I read,
knowing that what I feel is often the crude
and unsuccessful form of a story
that may never be told.
"He wanted to see her naked and vulnerable,
to see her in the refuse, the discarded
plots of old dreams, the costumes and masks
of unattainable states.
It was as if he were drawn
irresistably to failure."
It was hard to keep reading.
I was tired and wanted to give up.
The book seemed aware of this.
It hinted at changing the subject.
I waited for you to wake not knowing
how long I waited,
and it seemed that I was no longer reading.
I heard the wind passing
like a stream of sighs
and I heard the shiver of leaves
in the trees outside the window.
It would be in the book.
Everything would be there.
I looked at your face
and I read the eyes, the nose, the mouth . . .
5
If only there were a perfect moment in the book;
if only we could live in that moment,
we could being the book again
as if we had not written it,
as if we were not in it.
But the dark approaches
to any page are too numerous
and the escapes are too narrow.
We read through the day.
Each page turning is like a candle
moving through the mind.
Each moment is like a hopeless cause.
If only we could stop reading.
"He never wanted to read another book
and she kept staring into the street.
The cars were still there,
the deep shade of trees covered them.
The shades were drawn in the new house.
Maybe the man who lived there,
the man she loved, was reading
the story of another life.
She imagine a bare parlor,
a cold fireplace, a man sitting
writing a letter to a woman
who has sacrificed her life for love."
If there were a perfect moment in the book,
it would be the last.
The book never discusses the causes of love.
It claims confusion is a necessary good.
It never explains. It only reveals.
6
The day goes on.
We study what we remember.
We look into the mirror across the room.
We cannot bear to be alone.
The book goes on.
"They became silent and did not know how to begin
the dialogue which was necessary.
It was words that created divisions in the first place,
that created loneliness.
They waited
they would turn the pages, hoping
something would happen.
They would patch up their lives in secret:
each defeat forgiven because it could not be tested,
each pain rewarded because it was unreal.
They did nothing."
7
The book will not survive.
We are the living proof of that.
It is dark outside, in the room it is darker.
I hear your breathing.
You are asking me if I am tired,
if I want to keep reading.
Yes, I am tired.
Yes, I want to keep reading.
I say yes to everything.
You cannot hear me.
"They sat beside each other on the couch.
They were the copies, the tired phantoms
of something they had been before.
The attitudes they took were jaded.
They stared into the book
and were horrified by their innocence,
their reluctance to give up.
They sat beside each other on the couch.
They were determined to accept the truth.
Whatever it was they would accept it.
The book would have to be written
and would have to be read.
They are the book and they are
nothing else.
|
Written by
Edwin Arlington Robinson |
“Do I hear them? Yes, I hear the children singing—and what of it?
Have you come with eyes afire to find me now and ask me that?
If I were not their father and if you were not their mother,
We might believe they made a noise…. What are you—driving at!”
“Well, be glad that you can hear them, and be glad they are so near us,—
For I have heard the stars of heaven, and they were nearer still.
All within an hour it is that I have heard them calling,
And though I pray for them to cease, I know they never will;
For their music on my heart, though you may freeze it, will fall always,
Like summer snow that never melts upon a mountain-top.
Do you hear them? Do you hear them overhead—the children—singing?
Do you hear the children singing?… God, will you make them stop!”
“And what now in His holy name have you to do with mountains?
We’re back to town again, my dear, and we’ve a dance tonight.
Frozen hearts and falling music? Snow and stars, and—what the devil!
Say it over to me slowly, and be sure you have it right.”
“God knows if I be right or wrong in saying what I tell you,
Or if I know the meaning any more of what I say.
All I know is, it will kill me if I try to keep it hidden—
Well, I met him…. Yes, I met him, and I talked with him—today.”
“You met him? Did you meet the ghost of someone you had poisoned,
Long ago, before I knew you for the woman that you are?
Take a chair; and don’t begin your stories always in the middle.
Was he man, or was he demon? Anyhow, you’ve gone too far
To go back, and I’m your servant. I’m the lord, but you’re the master.
Now go on with what you know, for I’m excited.”
“Do you mean—
Do you mean to make me try to think that you know less than I do?”
“I know that you foreshadow the beginning of a scene.
Pray be careful, and as accurate as if the doors of heaven
Were to swing or to stay bolted from now on for evermore.”
“Do you conceive, with all your smooth contempt of every feeling,
Of hiding what you know and what you must have known before?
Is it worth a woman’s torture to stand here and have you smiling,
With only your poor fetish of possession on your side?
No thing but one is wholly sure, and that’s not one to scare me;
When I meet it I may say to God at last that I have tried.
And yet, for all I know, or all I dare believe, my trials
Henceforward will be more for you to bear than are your own;
And you must give me keys of yours to rooms I have not entered.
Do you see me on your threshold all my life, and there alone?
Will you tell me where you see me in your fancy—when it leads you
Far enough beyond the moment for a glance at the abyss?”
“Will you tell me what intrinsic and amazing sort of nonsense
You are crowding on the patience of the man who gives you—this?
Look around you and be sorry you’re not living in an attic,
With a civet and a fish-net, and with you to pay the rent.
I say words that you can spell without the use of all your letters;
And I grant, if you insist, that I’ve a guess at what you meant.”
“Have I told you, then, for nothing, that I met him? Are you trying
To be merry while you try to make me hate you?”
“Think again,
My dear, before you tell me, in a language unbecoming
To a lady, what you plan to tell me next. If I complain,
If I seem an atom peevish at the preference you mention—
Or imply, to be precise—you may believe, or you may not,
That I’m a trifle more aware of what he wants than you are.
But I shouldn’t throw that at you. Make believe that I forgot.
Make believe that he’s a genius, if you like,—but in the meantime
Don’t go back to rocking-horses. There, there, there, now.”
“Make believe!
When you see me standing helpless on a plank above a whirlpool,
Do I drown, or do I hear you when you say it? Make believe?
How much more am I to say or do for you before I tell you
That I met him! What’s to follow now may be for you to choose.
Do you hear me? Won’t you listen? It’s an easy thing to listen….”
“And it’s easy to be crazy when there’s everything to lose.”
“If at last you have a notion that I mean what I am saying,
Do I seem to tell you nothing when I tell you I shall try?
If you save me, and I lose him—I don’t know—it won’t much matter.
I dare say that I’ve lied enough, but now I do not lie.”
“Do you fancy me the one man who has waited and said nothing
While a wife has dragged an old infatuation from a tomb?
Give the thing a little air and it will vanish into ashes.
There you are—piff! presto!”
“When I came into this room,
It seemed as if I saw the place, and you there at your table,
As you are now at this moment, for the last time in my life;
And I told myself before I came to find you, ‘I shall tell him,
If I can, what I have learned of him since I became his wife.’
And if you say, as I’ve no doubt you will before I finish,
That you have tried unceasingly, with all your might and main,
To teach me, knowing more than I of what it was I needed,
Don’t think, with all you may have thought, that you have tried in vain;
For you have taught me more than hides in all the shelves of knowledge
Of how little you found that’s in me and was in me all along.
I believed, if I intruded nothing on you that I cared for,
I’d be half as much as horses,—and it seems that I was wrong;
I believed there was enough of earth in me, with all my nonsense
Over things that made you sleepy, to keep something still awake;
But you taught me soon to read my book, and God knows I have read it—
Ages longer than an angel would have read it for your sake.
I have said that you must open other doors than I have entered,
But I wondered while I said it if I might not be obscure.
Is there anything in all your pedigrees and inventories
With a value more elusive than a dollar’s? Are you sure
That if I starve another year for you I shall be stronger
To endure another like it—and another—till I’m dead?”
“Has your tame cat sold a picture?—or more likely had a windfall?
Or for God’s sake, what’s broke loose? Have you a bee-hive in your head?
A little more of this from you will not be easy hearing
Do you know that? Understand it, if you do; for if you won’t….
What the devil are you saying! Make believe you never said it,
And I’ll say I never heard it…. Oh, you…. If you….”
“If I don’t?”
“There are men who say there’s reason hidden somewhere in a woman,
But I doubt if God himself remembers where the key was hung.”
“He may not; for they say that even God himself is growing.
I wonder if He makes believe that He is growing young;
I wonder if He makes believe that women who are giving
All they have in holy loathing to a stranger all their lives
Are the wise ones who build houses in the Bible….”
“Stop—you devil!”
“…Or that souls are any whiter when their bodies are called wives.
If a dollar’s worth of gold will hoop the walls of hell together,
Why need heaven be such a ruin of a place that never was?
And if at last I lied my starving soul away to nothing,
Are you sure you might not miss it? Have you come to such a pass
That you would have me longer in your arms if you discovered
That I made you into someone else…. Oh!…Well, there are worse ways.
But why aim it at my feet—unless you fear you may be sorry….
There are many days ahead of you.”
“I do not see those days.”
“I can see them. Granted even I am wrong, there are the children.
And are they to praise their father for his insight if we die?
Do you hear them? Do you hear them overhead—the children—singing?
Do you hear them? Do you hear the children?”
“Damn the children!”
“Why?
What have they done?…Well, then,—do it…. Do it now, and have it over.”
“Oh, you devil!…Oh, you….”
“No, I’m not a devil, I’m a prophet—
One who sees the end already of so much that one end more
Would have now the small importance of one other small illusion,
Which in turn would have a welcome where the rest have gone before.
But if I were you, my fancy would look on a little farther
For the glimpse of a release that may be somewhere still in sight.
Furthermore, you must remember those two hundred invitations
For the dancing after dinner. We shall have to shine tonight.
We shall dance, and be as happy as a pair of merry spectres,
On the grave of all the lies that we shall never have to tell;
We shall dance among the ruins of the tomb of our endurance,
And I have not a doubt that we shall do it very well.
There!—I’m glad you’ve put it back; for I don’t like it. Shut the drawer now.
No—no—don’t cancel anything. I’ll dance until I drop.
I can’t walk yet, but I’m going to…. Go away somewhere, and leave me….
Oh, you children! Oh, you children!…God, will they never stop!”
|
Written by
Robinson Jeffers |
What's the best life for a man?
--Never to have been born, sings the choros, and the next best
Is to die young. I saw the Sybil at Cumae
Hung in her cage over the public street--
What do you want, Sybil? I want to die.
Apothanein Thelo. Apothanein Thelo. Apothanein Thelo.
You have got your wish. But I meant life, not death.
What's the best life for a man? To ride in the wind. To ride
horses and herd cattle
In solitary places above the ocean on the beautiful mountain,
and come home hungry in the evening
And eat and sleep. He will live in the wild wind and quick rain,
he will not ruin his eyes with reading,
Nor think too much.
However, we must have philosophers.
I will have shepherds for my philosophers,
Tall dreary men lying on the hills all night
Watching the stars, let their dogs watch the sheep. And I'll have
lunatics
For my poets, strolling from farm to farm, wild liars distorting
The country news into supernaturalism--
For all men to such minds are devils or gods--and that increases
Man's dignity, man's importance, necessary lies
Best told by fools.
I will have no lawyers nor constables
Each man guard his own goods: there will be manslaughter,
But no more wars, no more mass-sacrifice. Nor I'll have no doctors,
Except old women gathering herbs on the mountain,
Let each have her sack of opium to ease the death-pains.
That would be a good world, free and out-doors.
But the vast hungry spirit of the time
Cries to his chosen that there is nothing good
Except discovery, experiment and experience and discovery: To look
truth in the eyes,
To strip truth naked, let our dogs do our living for us
But man discover.
It is a fine ambition,
But the wrong tools. Science and mathematics
Run parallel to reality, they symbolize it, they squint at it,
They never touch it: consider what an explosion
Would rock the bones of men into little white fragments and unsky
the world
If any mind for a moment touch truth.
|
Written by
Tristan Tzara |
Art is going to sleep for a new world to be born
"ART"-parrot word-replaced by DADA,
PLESIOSAURUS, or handkerchief
The talent THAT CAN BE LEARNED makes the
poet a druggist TODAY the criticism
of balances no longer challenges with resemblances
Hypertrophic painters hyperaes-
theticized and hypnotized by the hyacinths
of the hypocritical-looking muezzins
CONSOLIDATE THE HARVEST OF EX-
ACT CALCULATIONS
Hypodrome of immortal guarantees: there is
no such thing as importance there is no transparence
or appearance
MUSICIANS SMASH YOUR INSTRUMENTS
BLIND MEN take the stage
THE SYRINGE is only for my understanding. I write because it is
natural exactly the way I piss the way I'm sick
ART NEEDS AN OPERATION
Art is a PRETENSION warmed by the
TIMIDITY of the urinary basin, the hysteria born
in THE STUDIO
We are in search of
the force that is direct pure sober
UNIQUE we are in search of NOTHING
we affirm the VITALITY of every IN-
STANT
the anti-philosophy of spontaneous acrobatics
At this moment I hate the man who whispers
before the intermission-eau de cologne-
sour theatre. THE JOYOUS WIND
If each man says the opposite it is because he is
right
Get ready for the action of the geyser of our blood
-submarine formation of transchromatic aero-
planes, cellular metals numbered in
the flight of images
above the rules of the
and its control
BEAUTIFUL
It is not for the sawed-off imps
who still worship their navel
|
Written by
William Cowper |
A poet's cat, sedate and grave
As poet well could wish to have,
Was much addicted to inquire
For nooks to which she might retire,
And where, secure as mouse in chink,
She might repose, or sit and think.
I know not where she caught the trick--
Nature perhaps herself had cast her
In such a mould [lang f]philosophique[lang e],
Or else she learn'd it of her master.
Sometimes ascending, debonair,
An apple-tree or lofty pear,
Lodg'd with convenience in the fork,
She watch'd the gardener at his work;
Sometimes her ease and solace sought
In an old empty wat'ring-pot;
There, wanting nothing save a fan
To seem some nymph in her sedan,
Apparell'd in exactest sort,
And ready to be borne to court.
But love of change, it seems, has place
Not only in our wiser race;
Cats also feel, as well as we,
That passion's force, and so did she.
Her climbing, she began to find,
Expos'd her too much to the wind,
And the old utensil of tin
Was cold and comfortless within:
She therefore wish'd instead of those
Some place of more serene repose,
Where neither cold might come, nor air
Too rudely wanton with her hair,
And sought it in the likeliest mode
Within her master's snug abode.
A drawer, it chanc'd, at bottom lin'd
With linen of the softest kind,
With such as merchants introduce
From India, for the ladies' use--
A drawer impending o'er the rest,
Half-open in the topmost chest,
Of depth enough, and none to spare,
Invited her to slumber there;
Puss with delight beyond expression
Survey'd the scene, and took possession.
Recumbent at her ease ere long,
And lull'd by her own humdrum song,
She left the cares of life behind,
And slept as she would sleep her last,
When in came, housewifely inclin'd
The chambermaid, and shut it fast;
By no malignity impell'd,
But all unconscious whom it held.
Awaken'd by the shock, cried Puss,
"Was ever cat attended thus!
The open drawer was left, I see,
Merely to prove a nest for me.
For soon as I was well compos'd,
Then came the maid, and it was clos'd.
How smooth these kerchiefs, and how sweet!
Oh, what a delicate retreat!
I will resign myself to rest
Till Sol, declining in the west,
Shall call to supper, when, no doubt,
Susan will come and let me out."
The evening came, the sun descended,
And puss remain'd still unattended.
The night roll'd tardily away
(With her indeed 'twas never day),
The sprightly morn her course renew'd,
The evening gray again ensued,
And puss came into mind no more
Than if entomb'd the day before.
With hunger pinch'd, and pinch'd for room,
She now presag'd approaching doom,
Nor slept a single wink, or purr'd,
Conscious of jeopardy incurr'd.
That night, by chance, the poet watching
Heard an inexplicable scratching;
His noble heart went pit-a-pat
And to himself he said, "What's that?"
He drew the curtain at his side,
And forth he peep'd, but nothing spied;
Yet, by his ear directed, guess'd
Something imprison'd in the chest,
And, doubtful what, with prudent care
Resolv'd it should continue there.
At length a voice which well he knew,
A long and melancholy mew,
Saluting his poetic ears,
Consol'd him, and dispell'd his fears:
He left his bed, he trod the floor,
He 'gan in haste the drawers explore,
The lowest first, and without stop
The rest in order to the top;
For 'tis a truth well known to most,
That whatsoever thing is lost,
We seek it, ere it come to light,
In ev'ry cranny but the right.
Forth skipp'd the cat, not now replete
As erst with airy self-conceit,
Nor in her own fond apprehension
A theme for all the world's attention,
But modest, sober, cured of all
Her notions hyperbolical,
And wishing for a place of rest
Anything rather than a chest.
Then stepp'd the poet into bed,
With this reflection in his head:MORAL
Beware of too sublime a sense
Of your own worth and consequence.
The man who dreams himself so great,
And his importance of such weight,
That all around in all that's done
Must move and act for him alone,
Will learn in school of tribulation
The folly of his expectation.
|
Written by
Vernon Scannell |
THE SENTENCE
Perhaps I can make it plain by analogy.
Imagine a machine, not yet assembled,
Each part being quite necessary
To the functioning of the whole: if the job is fumbled
And a vital piece mislaid
The machine is quite valueless,
The workers will not be paid.
It is just the same when constructing a sentence
But here we must be very careful
And lay stress on the extreme importance
Of defining our terms: nothing is as simple
As it seems at first regard.
"Sentence" might well mean to you
The amorous rope or twelve years" hard.
No, by "sentence" we mean, quite simply, words
Put together like the parts of a machine.
Now remember we must have a verb: verbs
Are words of action like Murder, Love, or Sin.
But these might be nouns, depending
On how you use them –
Already the plot is thickening.
Except when the mood is imperative; that is to say
A command is given like Pray, Repent, or Forgive
(Dear me, these lessons get gloomier every day)
Except, as I was saying, when the mood is gloomy –
I mean imperative
We need nouns, or else of course
Pronouns; words like Maid,
Man, Wedding or Divorce.
A sentence must make sense. Sometimes I believe
Our lives are ungrammatical. I guess that some of
you
Have misplaced the direct object: the longer I live
The less certain I feel of anything I do.
But now I begin
To digress. Write down these simple sentences:--
I am sentenced: I love: I murder: I sin.
|
Written by
Patrick Kavanagh |
I have lived in important places, times
When great events were decided, who owned
That half a rood of rock, a no-man's land
Surrounded by our pitchfork-armed claims.
I heard the Duffys shouting "Damn your soul"
And old McCabe stripped to the waist, seen
Step the plot defying blue cast-steel—
"Here is the march along these iron stones"
That was the year of the Munich bother. Which
Was more important? I inclined
To lose my faith in Ballyrush and Gortin
Til Homer's ghost came whispering to my mind
He said: I made the Iliad from such
A local row. Gods make their own importance.
|
Written by
Wystan Hugh (W H) Auden |
I He disappeared in the dead of winter:The brooks were frozen, the airports almost deserted,And snow disfigured the public statues;The mercury sank in the mouth of the dying day.What instruments we have agreeThe day of his death was a dark cold day. Far from his illnessThe wolves ran on through the evergreen forests,The peasant river was untempted by the fashionable quays;By mourning tonguesThe death of the poet was kept from his poems. But for him it was his last afternoon as himself,An afternoon of nurses and rumours;The provinces of his body revolted,The squares of his mind were empty,Silence invaded the suburbs,The current of his feeling failed; he became his admirers. Now he is scattered among a hundred citiesAnd wholly given over to unfamiliar affections,To find his happiness in another kind of woodAnd be punished under a foreign code of conscience.The words of a dead manAre modified in the guts of the living. But in the importance and noise of to-morrowWhen the brokers are roaring like beasts on the floor of the Bourse,And the poor have the sufferings to which they are fairly accustomed,And each in the cell of himself is almost convinced of his freedom,A few thousand will think of this dayAs one thinks of a day when one did something slightly unusual. What instruments we have agreeThe day of his death was a dark cold day.
You were silly like us; your gift survived it all:The parish of rich women, physical decay,Yourself. Mad Ireland hurt you into poetry.Now Ireland has her madness and her weather still,For poetry makes nothing happen: it survivesIn the valley of its making where executivesWould never want to tamper, flows on southFrom ranches of isolation and the busy griefs,Raw towns that we believe and die in; it survives,A way of happening, a mouth.
Earth, receive an honoured guest:William Yeats is laid to rest.Let the Irish vessel lieEmptied of its poetry.In the nightmare of the darkAll the dogs of Europe bark,And the living nations wait,Each sequestered in its hate;Intellectual disgraceStares from every human face,And the seas of pity lieLocked and frozen in each eye.Follow, poet, follow rightTo the bottom of the night,With your unconstraining voiceStill persuade us to rejoice;With the farming of a verseMake a vineyard of the curse,Sing of human unsuccessIn a rapture of distress;In the deserts of the heartLet the healing fountain start,In the prison of his daysTeach the free man how to praise.
|
Written by
John Wilmot |
At five this morn, when Phoebus raised his head
From Thetis' lap, I raised myself from bed,
And mounting steed, I trotted to the waters
The rendesvous of fools, buffoons, and praters,
Cuckolds, whores, citizens, their wives and daughters.
My squeamish stomach I with wine had bribed
To undertake the dose that was prescribed;
But turning head, a sudden curséd view
That innocent provision overthrew,
And without drinking, made me purge and spew.
From coach and six a thing unweildy rolled,
Whose lumber, card more decently would hold.
As wise as calf it looked, as big as bully,
But handled, proves a mere Sir Nicholas Cully;
A bawling fop, a natural Nokes, and yet
He dares to censure as if he had wit.
To make him more ridiculous, in spite
Nature contrived the fool should be a knight.
Though he alone were dismal signet enough,
His train contributed to set him off,
All of his shape, all of the selfsame stuff.
No spleen or malice need on them be thrown:
Nature has done the business of lampoon,
And in their looks their characters has shown.
Endeavoring this irksome sight to balk,
And a more irksome noise, their silly talk,
I silently slunk down t' th' Lower Walk,
But often when one would Charybdis shun,
Down upon Scilla 'tis one's fate to run,
For here it was my curséd luck to find
As great a fop, though of another kind,
A tall stiff fool that walked in Spanish guise:
The buckram puppet never stirred its eyes,
But grave as owl it looked, as woodcock wise.
He scorns the empty talking of this mad age,
And speaks all proverbs, sentences, and adage;
Can with as much solemnity buy eggs
As a cabal can talk of their intrigues;
Master o' th' Ceremonies, yet can dispense
With the formality of talking sense.
From hence unto the upper walk I ran,
Where a new scene of foppery began.
A tribe of curates, priests, canonical elves,
Fit company for none besides themselves,
Were got together. Each his distemper told,
Scurvy, stone, strangury; some were so bold
To charge the spleen to be their misery,
And on that wise disease brought infamy.
But none had modesty enough t' complain
Their want of learning, honesty, and brain,
The general diseases of that train.
These call themselves ambassadors of heaven,
And saucily pretend commissions given;
But should an Indian king, whose small command
Seldom extends beyond ten miles of land,
Send forth such wretched tools in an ambassage,
He'd find but small effects of such a message.
Listening, I found the cob of all this rabble
Pert Bays, with his importance comfortable.
He, being raised to an archdeaconry
By trampling on religion, liberty,
Was grown to great, and looked too fat and jolly,
To be disturbed with care and melancholy,
Though Marvell has enough exposed his folly.
He drank to carry off some old remains
His lazy dull distemper left in 's veins.
Let him drink on, but 'tis not a whole flood
Can give sufficient sweetness to his blood
To make his nature of his manners good.
Next after these, a fulsome Irish crew
Of silly Macs were offered to my view.
The things did talk, but th' hearing what they said
I did myself the kindness to evade.
Nature has placed these wretches beneath scorn:
They can't be called so vile as they are born.
Amidst the crowd next I myself conveyed,
For now were come, whitewash and paint being laid,
Mother and daughter, mistress and the maid,
And squire with wig and pantaloon displayed.
But ne'er could conventicle, play, or fair
For a true medley, with this herd compare.
Here lords, knights, squires, ladies and countesses,
Chandlers, mum-bacon women, sempstresses
Were mixed together, nor did they agree
More in their humors than their quality.
Here waiting for gallant, young damsel stood,
Leaning on cane, and muffled up in hood.
The would-be wit, whose business was to woo,
With hat removed and solemn scrape of shoe
Advanceth bowing, then genteelly shrugs,
And ruffled foretop into order tugs,
And thus accosts her: "Madam, methinks the weather
Is grown much more serene since you came hither.
You influence the heavens; but should the sun
Withdraw himself to see his rays outdone
By your bright eyes, they would supply the morn,
And make a day before the day be born."
With mouth screwed up, conceited winking eyes,
And breasts thrust forward, "Lord, sir!" she replies.
"It is your goodness, and not my deserts,
Which makes you show this learning, wit, and parts."
He, puzzled, butes his nail, both to display
The sparkling ring, and think what next to say,
And thus breaks forth afresh: "Madam, egad!
Your luck at cards last night was very bad:
At cribbage fifty-nine, and the next show
To make the game, and yet to want those two.
God damn me, madam, I'm the son of a whore
If in my life I saw the like before!"
To peddler's stall he drags her, and her breast
With hearts and such-like foolish toys he dressed;
And then, more smartly to expound the riddle
Of all his prattle, gives her a Scotch fiddle.
Tired with this dismal stuff, away I ran
Where were two wives, with girl just fit for man -
Short-breathed, with pallid lips and visage wan.
Some curtsies past, and the old compliment
Of being glad to see each other, spent,
With hand in hand they lovingly did walk,
And one began thus to renew the talk:
"I pray, good madam, if it may be thought
No rudeness, what cause was it hither brought
Your ladyship?" She soon replying, smiled,
"We have a good estate, but have no child,
And I'm informed these wells will make a barren
Woman as fruitful as a cony warren."
The first returned, "For this cause I am come,
For I can have no quietness at home.
My husband grumbles though we have got one,
This poor young girl, and mutters for a son.
And this is grieved with headache, pangs, and throes;
Is full sixteen, and never yet had those."
She soon replied, "Get her a husband, madam:
I married at that age, and ne'er had 'em;
Was just like her. Steel waters let alone:
A back of steel will bring 'em better down."
And ten to one but they themselves will try
The same means to increase their family.
Poor foolish fribble, who by subtlety
Of midwife, truest friend to lechery,
Persuaded art to be at pains and charge
To give thy wife occasion to enlarge
Thy silly head! For here walk Cuff and Kick,
With brawny back and legs and potent prick,
Who more substantially will cure thy wife,
And on her half-dead womb bestow new life.
From these the waters got the reputation
Of good assistants unto generation.
Some warlike men were now got into th' throng,
With hair tied back, singing a bawdy song.
Not much afraid, I got a nearer view,
And 'twas my chance to know the dreadful crew.
They were cadets, that seldom can appear:
Damned to the stint of thirty pounds a year.
With hawk on fist, or greyhound led in hand,
The dogs and footboys sometimes they command.
But now, having trimmed a cast-off spavined horse,
With three hard-pinched-for guineas in their purse,
Two rusty pistols, scarf about the ****,
Coat lined with red, they here presume to swell:
This goes for captain, that for colonel.
So the Bear Garden ape, on his steed mounted,
No longer is a jackanapes accounted,
But is, by virtue of his trumpery, then
Called by the name of "the young gentleman."
Bless me! thought I, what thing is man, that thus
In all his shapes, he is ridiculous?
Ourselves with noise of reason we do please
In vain: humanity's our worst disease.
Thrice happy beasts are, who, because they be
Of reason void, and so of foppery.
Faith, I was so ashamed that with remorse
I used the insolence to mount my horse;
For he, doing only things fit for his nature,
Did seem to me by much the wiser creature.
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Written by
Jorie Graham |
I watched them once, at dusk, on television, run,
in our motel room half-way through
Nebraska, quick, glittering, past beauty, past
the importance of beauty.,
archaic,
not even hungry, not even endangered, driving deeper and deeper
into less. They leapt up falls, ladders,
and rock, tearing and leaping, a gold river,
and a blue river traveling
in opposite directions.
They would not stop, resolution of will
and helplessness, as the eye
is helpless
when the image forms itself, upside-down, backward,
driving up into
the mind, and the world
unfastens itself
from the deep ocean of the given. . .Justice, aspen
leaves, mother attempting
suicide, the white night-flying moth
the ants dismantled bit by bit and carried in
right through the crack
in my wall. . . .How helpless
the still pool is,
upstream,
awaiting the gold blade
of their hurry. Once, indoors, a child,
I watched, at noon, through slatted wooden blinds,
a man and woman, naked, eyes closed,
climb onto each other,
on the terrace floor,
and ride--two gold currents
wrapping round and round each other, fastening,
unfastening. I hardly knew
what I saw. Whatever shadow there was in that world
it was the one each cast
onto the other,
the thin black seam
they seemed to be trying to work away
between them. I held my breath.
as far as I could tell, the work they did
with sweat and light
was good. I'd say
they traveled far in opposite
directions. What is the light
at the end of the day, deep, reddish-gold, bathing the walls,
the corridors, light that is no longer light, no longer clarifies,
illuminates, antique, freed from the body of
that air that carries it. What is it
for the space of time
where it is useless, merely
beautiful? When they were done, they made a distance
one from the other
and slept, outstretched,
on the warm tile
of the terrace floor,
smiling, faces pressed against the stone.
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