Written by
Walt Whitman |
1
TO think of time—of all that retrospection!
To think of to-day, and the ages continued henceforward!
Have you guess’d you yourself would not continue?
Have you dreaded these earth-beetles?
Have you fear’d the future would be nothing to you?
Is to-day nothing? Is the beginningless past nothing?
If the future is nothing, they are just as surely nothing.
To think that the sun rose in the east! that men and women were flexible, real, alive!
that
everything was alive!
To think that you and I did not see, feel, think, nor bear our part!
To think that we are now here, and bear our part!
2
Not a day passes—not a minute or second, without an accouchement!
Not a day passes—not a minute or second, without a corpse!
The dull nights go over, and the dull days also,
The soreness of lying so much in bed goes over,
The physician, after long putting off, gives the silent and terrible look for an answer,
The children come hurried and weeping, and the brothers and sisters are sent for,
Medicines stand unused on the shelf—(the camphor-smell has long pervaded the rooms,)
The faithful hand of the living does not desert the hand of the dying,
The twitching lips press lightly on the forehead of the dying,
The breath ceases, and the pulse of the heart ceases,
The corpse stretches on the bed, and the living look upon it,
It is palpable as the living are palpable.
The living look upon the corpse with their eye-sight,
But without eye-sight lingers a different living, and looks curiously on the corpse.
3
To think the thought of Death, merged in the thought of materials!
To think that the rivers will flow, and the snow fall, and fruits ripen, and act upon
others as
upon us now—yet not act upon us!
To think of all these wonders of city and country, and others taking great interest in
them—and we taking no interest in them!
To think how eager we are in building our houses!
To think others shall be just as eager, and we quite indifferent!
(I see one building the house that serves him a few years, or seventy or eighty years at
most,
I see one building the house that serves him longer than that.)
Slow-moving and black lines creep over the whole earth—they never cease—they are
the
burial lines,
He that was President was buried, and he that is now President shall surely be buried.
4
A reminiscence of the vulgar fate,
A frequent sample of the life and death of workmen,
Each after his kind:
Cold dash of waves at the ferry-wharf—posh and ice in the river, half-frozen mud in
the
streets, a gray, discouraged sky overhead, the short, last daylight of Twelfth-month,
A hearse and stages—other vehicles give place—the funeral of an old Broadway
stage-driver, the cortege mostly drivers.
Steady the trot to the cemetery, duly rattles the death-bell, the gate is pass’d, the
new-dug grave is halted at, the living alight, the hearse uncloses,
The coffin is pass’d out, lower’d and settled, the whip is laid on the coffin,
the
earth is swiftly shovel’d in,
The mound above is flatted with the spades—silence,
A minute—no one moves or speaks—it is done,
He is decently put away—is there anything more?
He was a good fellow, free-mouth’d, quick-temper’d, not bad-looking, able to
take his
own part, witty, sensitive to a slight, ready with life or death for a friend, fond of
women,
gambled, ate hearty, drank hearty, had known what it was to be flush, grew low-spirited
toward
the last, sicken’d, was help’d by a contribution, died, aged forty-one
years—and
that was his funeral.
Thumb extended, finger uplifted, apron, cape, gloves, strap, wet-weather clothes, whip
carefully chosen, boss, spotter, starter, hostler, somebody loafing on you, you loafing
on
somebody, headway, man before and man behind, good day’s work, bad day’s work,
pet
stock, mean stock, first out, last out, turning-in at night;
To think that these are so much and so nigh to other drivers—and he there takes no
interest in them!
5
The markets, the government, the working-man’s wages—to think what account they
are
through our nights and days!
To think that other working-men will make just as great account of them—yet we make
little
or no account!
The vulgar and the refined—what you call sin, and what you call goodness—to
think how
wide a difference!
To think the difference will still continue to others, yet we lie beyond the difference.
To think how much pleasure there is!
Have you pleasure from looking at the sky? have you pleasure from poems?
Do you enjoy yourself in the city? or engaged in business? or planning a nomination and
election? or with your wife and family?
Or with your mother and sisters? or in womanly housework? or the beautiful maternal cares?
—These also flow onward to others—you and I flow onward,
But in due time, you and I shall take less interest in them.
Your farm, profits, crops,—to think how engross’d you are!
To think there will still be farms, profits, crops—yet for you, of what avail?
6
What will be, will be well—for what is, is well,
To take interest is well, and not to take interest shall be well.
The sky continues beautiful,
The pleasure of men with women shall never be sated, nor the pleasure of women with men,
nor
the pleasure from poems,
The domestic joys, the daily housework or business, the building of houses—these are
not
phantasms—they have weight, form, location;
Farms, profits, crops, markets, wages, government, are none of them phantasms,
The difference between sin and goodness is no delusion,
The earth is not an echo—man and his life, and all the things of his life, are
well-consider’d.
You are not thrown to the winds—you gather certainly and safely around yourself;
Yourself! Yourself! Yourself, forever and ever!
7
It is not to diffuse you that you were born of your mother and father—it is to
identify
you;
It is not that you should be undecided, but that you should be decided;
Something long preparing and formless is arrived and form’d in you,
You are henceforth secure, whatever comes or goes.
The threads that were spun are gather’d, the weft crosses the warp, the pattern is
systematic.
The preparations have every one been justified,
The orchestra have sufficiently tuned their instruments—the baton has given the
signal.
The guest that was coming—he waited long, for reasons—he is now housed,
He is one of those who are beautiful and happy—he is one of those that to look upon
and be
with is enough.
The law of the past cannot be eluded,
The law of the present and future cannot be eluded,
The law of the living cannot be eluded—it is eternal,
The law of promotion and transformation cannot be eluded,
The law of heroes and good-doers cannot be eluded,
The law of drunkards, informers, mean persons—not one iota thereof can be eluded.
8
Slow moving and black lines go ceaselessly over the earth,
Northerner goes carried, and Southerner goes carried, and they on the Atlantic side, and
they
on the Pacific, and they between, and all through the Mississippi country, and all over
the
earth.
The great masters and kosmos are well as they go—the heroes and good-doers are well,
The known leaders and inventors, and the rich owners and pious and distinguish’d, may
be
well,
But there is more account than that—there is strict account of all.
The interminable hordes of the ignorant and wicked are not nothing,
The barbarians of Africa and Asia are not nothing,
The common people of Europe are not nothing—the American aborigines are not nothing,
The infected in the immigrant hospital are not nothing—the murderer or mean person is
not
nothing,
The perpetual successions of shallow people are not nothing as they go,
The lowest prostitute is not nothing—the mocker of religion is not nothing as he
goes.
9
Of and in all these things,
I have dream’d that we are not to be changed so much, nor the law of us changed,
I have dream’d that heroes and good-doers shall be under the present and past law,
And that murderers, drunkards, liars, shall be under the present and past law,
For I have dream’d that the law they are under now is enough.
If otherwise, all came but to ashes of dung,
If maggots and rats ended us, then Alarum! for we are betray’d!
Then indeed suspicion of death.
Do you suspect death? If I were to suspect death, I should die now,
Do you think I could walk pleasantly and well-suited toward annihilation?
10
Pleasantly and well-suited I walk,
Whither I walk I cannot define, but I know it is good,
The whole universe indicates that it is good,
The past and the present indicate that it is good.
How beautiful and perfect are the animals!
How perfect the earth, and the minutest thing upon it!
What is called good is perfect, and what is called bad is just as perfect,
The vegetables and minerals are all perfect, and the imponderable fluids are perfect;
Slowly and surely they have pass’d on to this, and slowly and surely they yet pass
on.
11
I swear I think now that everything without exception has an eternal Soul!
The trees have, rooted in the ground! the weeds of the sea have! the animals!
I swear I think there is nothing but immortality!
That the exquisite scheme is for it, and the nebulous float is for it, and the cohering is
for
it;
And all preparation is for it! and identity is for it! and life and materials are
altogether
for it
|
Written by
Galway Kinnell |
There is a fork in a branch
of an ancient, enormous maple,
one of a grove of such trees,
where I climb sometimes and sit and look out
over miles of valleys and low hills.
Today on skis I took a friend
to show her the trees. We set out
down the road, turned in at
the lane which a few weeks ago,
when the trees were almost empty
and the November snows had not yet come,
lay thickly covered in bright red
and yellow leaves, crossed the swamp,
passed the cellar hole holding
the remains of the 1850s farmhouse
that had slid down into it by stages
in the thirties and forties, followed
the overgrown logging road
and came to the trees. I climbed up
to the perch, and this time looked
not into the distance but at
the tree itself, its trunk
contorted by the terrible struggle
of that time when it had its hard time.
After the trauma it grows less solid.
It may be some such time now comes upon me.
It would have to do with the unaccomplished,
and with the attempted marriage
of solitude and happiness. Then a rifle
sounded, several times, quite loud,
from across the valley, percussions
of the custom of male mastery
over the earth ¡ª the most graceful,
most alert of the animals
being chosen to die. I looked
to see if my friend had heard,
but she was stepping about on her skis,
studying the trees, smiling to herself,
her lips still filled, for all
we had drained them, with hundreds
and thousands of kisses. Just then
she looked up ¡ª the way, from low
to high, the god blesses ¡ª and the blue
of her eyes shone out of the black
and white of bark and snow, as lovers
who are walking on a freezing day
touch icy cheek to icy cheek,
kiss, then shudder to discover
the heat waiting inside their mouths.
|
Written by
Thomas Campbell |
The more we live, more brief appear
Our life's succeeding stages;
A day to childhood seems a year,
And years like passing ages.
The gladsome current of our youth,
Ere passion yet disorders,
Steals lingering like a river smooth
Along its grassy borders.
But as the careworn cheek grows wan,
And sorrow's shafts fly thicker,
Ye stars, that measure life to man,
Why seem your courses quicker?
When joys have lost their bloom and breath,
And life itself is vapid,
Why, as we reach the Falls of Death
Feel we its tide more rapid?
It may be strange—yet who would change
Time's course to slower speeding,
When one by one our friends have gone,
And left our bosoms bleeding?
Heaven gives our years of fading strength
Indemnifying fleetness;
And those of youth, a seeming length,
Proportion'd to their sweetness.
|
Written by
John Ashbery |
Orpheus liked the glad personal quality
Of the things beneath the sky. Of course, Eurydice was a part
Of this. Then one day, everything changed. He rends
Rocks into fissures with lament. Gullies, hummocks
Can't withstand it. The sky shudders from one horizon
To the other, almost ready to give up wholeness.
Then Apollo quietly told him: "Leave it all on earth.
Your lute, what point? Why pick at a dull pavan few care to
Follow, except a few birds of dusty feather,
Not vivid performances of the past." But why not?
All other things must change too.
The seasons are no longer what they once were,
But it is the nature of things to be seen only once,
As they happen along, bumping into other things, getting along
Somehow. That's where Orpheus made his mistake.
Of course Eurydice vanished into the shade;
She would have even if he hadn't turned around.
No use standing there like a gray stone toga as the whole wheel
Of recorded history flashes past, struck dumb, unable to
utter an intelligent
Comment on the most thought-provoking element in its train.
Only love stays on the brain, and something these people,
These other ones, call life. Singing accurately
So that the notes mount straight up out of the well of
Dim noon and rival the tiny, sparkling yellow flowers
Growing around the brink of the quarry, encapsulizes
The different weights of the things.
But it isn't enough
To just go on singing. Orpheus realized this
And didn't mind so much about his reward being in heaven
After the Bacchantes had torn him apart, driven
Half out of their minds by his music, what it was doing to them.
Some say it was for his treatment of Eurydice.
But probably the music had more to do with it, and
The way music passes, emblematic
Of life and how you cannot isolate a note of it
And say it is good or bad. You must
Wait till it's over. "The end crowns all,"
Meaning also that the "tableau"
Is wrong. For although memories, of a season, for example,
Melt into a single snapshot, one cannot guard, treasure
That stalled moment. It too is flowing, fleeting;
It is a picture of flowing, scenery, though living, mortal,
Over which an abstract action is laid out in blunt,
Harsh strokes. And to ask more than this
Is to become the tossing reeds of that slow,
Powerful stream, the trailing grasses
Playfully tugged at, but to participate in the action
No more than this. Then in the lowering gentian sky
Electric twitches are faintly apparent first, then burst forth
Into a shower of fixed, cream-colored flares. The horses
Have each seen a share of the truth, though each thinks,
"I'm a maverick. Nothing of this is happening to me,
Though I can understand the language of birds, and
The itinerary of the lights caught in the storm is
fully apparent to me.
Their jousting ends in music much
As trees move more easily in the wind after a summer storm
And is happening in lacy shadows of shore-trees, now,
day after day."
But how late to be regretting all this, even
Bearing in mind that regrets are always late, too late!
To which Orpheus, a bluish cloud with white contours,
Replies that these are of course not regrets at all,
Merely a careful, scholarly setting down of
Unquestioned facts, a record of pebbles along the way.
And no matter how all this disappeared,
Or got where it was going, it is no longer
Material for a poem. Its subject
Matters too much, and not enough, standing there helplessly
While the poem streaked by, its tail afire, a bad
Comet screaming hate and disaster, but so turned inward
That the meaning, good or other, can never
Become known. The singer thinks
Constructively, builds up his chant in progressive stages
Like a skyscraper, but at the last minute turns away.
The song is engulfed in an instant in blackness
Which must in turn flood the whole continent
With blackness, for it cannot see. The singer
Must then pass out of sight, not even relieved
Of the evil burthen of the words. Stellification
Is for the few, and comes about much later
When all record of these people and their lives
Has disappeared into libraries, onto microfilm.
A few are still interested in them. "But what about
So-and-so?" is still asked on occasion. But they lie
Frozen and out of touch until an arbitrary chorus
Speaks of a totally different incident with a similar name
In whose tale are hidden syllables
Of what happened so long before that
In some small town, one different summer.
|
Written by
Andrew Barton Paterson |
We have sung the song of the droving days,
Of the march of the travelling sheep;
By silent stages and lonely ways
Thin, white battalions creep.
But the man who now by the land would thrive
Must his spurs to a plough-share beat.
Is there ever a man in the world alive
To sing the song of the Wheat!
It's west by south of the Great Divide
The grim grey plains run out,
Where the old flock-masters lived and died
In a ceaseless fight with drought.
Weary with waiting and hope deferred
They were ready to own defeat,
Till at last they heard the master-word—
And the master-word was Wheat.
Yarran and Myall and Box and Pine—
’Twas axe and fire for all;
They scarce could tarry to blaze the line
Or wait for the trees to fall,
Ere the team was yoked, and the gates flung wide,
And the dust of the horses’ feet
Rose up like a pillar of smoke to guide
The wonderful march of Wheat.
Furrow by furrow, and fold by fold,
The soil is turned on the plain;
Better than silver and better than gold
Is the surface-mine of the grain;
Better than cattle and better than sheep
In the fight with drought and heat;
For a streak of stubbornness, wide and deep,
Lies hid in a grain of Wheat.
When the stock is swept by the hand of fate,
Deep down in his bed of clay
The brave brown Wheat will lie and wait
For the resurrection day:
Lie hid while the whole world thinks him dead;
But the Spring-rain, soft and sweet,
Will over the steaming paddocks spread
The first green flush of the Wheat.
Green and amber and gold it grows
When the sun sinks late in the West;
And the breeze sweeps over the rippling rows
Where the quail and the skylark nest.
Mountain or river or shining star,
There’s never a sight can beat—
Away to the sky-line stretching far—
A sea of the ripening Wheat.
When the burning harvest sun sinks low,
And the shadows stretch on the plain,
The roaring strippers come and go
Like ships on a sea of grain;
Till the lurching, groaning waggons bear
Their tale of the load complete.
Of the world’s great work he has done his share
Who has gathered a crop of wheat.
Princes and Potentates and Czars,
They travel in regal state,
But old King Wheat has a thousand cars
For his trip to the water-gate;
And his thousand steamships breast the tide
And plough thro’ the wind and sleet
To the lands where the teeming millions bide
That say: “Thank God for Wheat!”
|
Written by
William Butler Yeats |
(For Harry Clifton)
I HAVE heard that hysterical women say
They are sick of the palette and fiddle-bow.
Of poets that are always gay,
For everybody knows or else should know
That if nothing drastic is done
Aeroplane and Zeppelin will come out.
Pitch like King Billy bomb-balls in
Until the town lie beaten flat.
All perform their tragic play,
There struts Hamlet, there is Lear,
That's Ophelia, that Cordelia;
Yet they, should the last scene be there,
The great stage curtain about to drop,
If worthy their prominent part in the play,
Do not break up their lines to weep.
They know that Hamlet and Lear are gay;
Gaiety transfiguring all that dread.
All men have aimed at, found and lost;
Black out; Heaven blazing into the head:
Tragedy wrought to its uttermost.
Though Hamlet rambles and Lear rages,
And all the drop-scenes drop at once
Upon a hundred thousand stages,
It cannot grow by an inch or an ounce.
On their own feet they came, or On shipboard,'
Camel-back; horse-back, ass-back, mule-back,
Old civilisations put to the sword.
Then they and their wisdom went to rack:
No handiwork of Callimachus,
Who handled marble as if it were bronze,
Made draperies that seemed to rise
When sea-wind swept the corner, stands;
His long lamp-chimney shaped like the stem
Of a slender palm, stood but a day;
All things fall and are built again,
And those that build them again are gay.
Two Chinamen, behind them a third,
Are carved in lapis lazuli,
Over them flies a long-legged bird,
A symbol of longevity;
The third, doubtless a serving-man,
Carries a musical instmment.
Every discoloration of the stone,
Every accidental crack or dent,
Seems a water-course or an avalanche,
Or lofty slope where it still snows
Though doubtless plum or cherry-branch
Sweetens the little half-way house
Those Chinamen climb towards, and I
Delight to imagine them seated there;
There, on the mountain and the sky,
On all the tragic scene they stare.
One asks for mournful melodies;
Accomplished fingers begin to play.
Their eyes mid many wrinkles, their eyes,
Their ancient, glittering eyes, are gay.
|
Written by
Walt Whitman |
I MET a Seer,
Passing the hues and objects of the world,
The fields of art and learning, pleasure, sense, To glean Eidólons.
Put in thy chants, said he,
No more the puzzling hour, nor day—nor segments, parts, put in,
Put first before the rest, as light for all, and entrance-song of all, That of
Eidólons.
Ever the dim beginning;
Ever the growth, the rounding of the circle;
Ever the summit, and the merge at last, (to surely start again,) Eidólons!
Eidólons!
Ever the mutable!
Ever materials, changing, crumbling, re-cohering;
Ever the ateliers, the factories divine, Issuing Eidólons!
Lo! I or you!
Or woman, man, or State, known or unknown,
We seeming solid wealth, strength, beauty build, But really build Eidólons.
The ostent evanescent;
The substance of an artist’s mood, or savan’s studies long,
Or warrior’s, martyr’s, hero’s toils, To fashion his Eidólon.
Of every human life,
(The units gather’d, posted—not a thought, emotion, deed, left out;)
The whole, or large or small, summ’d, added up, In its Eidólon.
The old, old urge;
Based on the ancient pinnacles, lo! newer, higher pinnacles;
From Science and the Modern still impell’d, The old, old urge, Eidólons.
The present, now and here,
America’s busy, teeming, intricate whirl,
Of aggregate and segregate, for only thence releasing, To-day’s Eidólons.
These, with the past,
Of vanish’d lands—of all the reigns of kings across the sea,
Old conquerors, old campaigns, old sailors’ voyages, Joining Eidólons.
Densities, growth, façades,
Strata of mountains, soils, rocks, giant trees,
Far-born, far-dying, living long, to leave, Eidólons everlasting.
Exaltè, rapt, extatic,
The visible but their womb of birth,
Of orbic tendencies to shape, and shape, and shape, The mighty Earth-Eidólon.
All space, all time,
(The stars, the terrible perturbations of the suns,
Swelling, collapsing, ending—serving their longer, shorter use,) Fill’d with
Eidólons only.
The noiseless myriads!
The infinite oceans where the rivers empty!
The separate, countless free identities, like eyesight; The true realities,
Eidólons.
Not this the World,
Nor these the Universes—they the Universes,
Purport and end—ever the permanent life of life, Eidólons, Eidólons.
Beyond thy lectures, learn’d professor,
Beyond thy telescope or spectroscope, observer keen—beyond all mathematics,
Beyond the doctor’s surgery, anatomy—beyond the chemist with his chemistry, The
entities of entities, Eidólons.
Unfix’d, yet fix’d;
Ever shall be—ever have been, and are,
Sweeping the present to the infinite future, Eidólons, Eidólons,
Eidólons.
The prophet and the bard,
Shall yet maintain themselves—in higher stages yet,
Shall mediate to the Modern, to Democracy—interpret yet to them, God, and
Eidólons.
And thee, My Soul!
Joys, ceaseless exercises, exaltations!
Thy yearning amply fed at last, prepared to meet, Thy mates, Eidólons.
Thy Body permanent,
The Body lurking there within thy Body,
The only purport of the Form thou art—the real I myself, An image, an
Eidólon.
Thy very songs, not in thy songs;
No special strains to sing—none for itself;
But from the whole resulting, rising at last and floating, A round, full-orb’d
Eidólon.
|
Written by
Anne Sexton |
Loving me with my shows off
means loving my long brown legs,
sweet dears, as good as spoons;
and my feet, those two children
let out to play naked. Intricate nubs,
my toes. No longer bound.
And what's more, see toenails and
all ten stages, root by root.
All spirited and wild, this little
piggy went to market and this little piggy
stayed. Long brown legs and long brown toes.
Further up, my darling, the woman
is calling her secrets, little houses,
little tongues that tell you.
There is no one else but us
in this house on the land spit.
The sea wears a bell in its navel.
And I'm your barefoot wench for a
whole week. Do you care for salami?
No. You'd rather not have a scotch?
No. You don't really drink. You do
drink me. The gulls kill fish,
crying out like three-year-olds.
The surf's a narcotic, calling out,
I am, I am, I am
all night long. Barefoot,
I drum up and down your back.
In the morning I run from door to door
of the cabin playing chase me.
Now you grab me by the ankles.
Now you work your way up the legs
and come to pierce me at my hunger mark
|
Written by
T S (Thomas Stearns) Eliot |
Phlebas the Phoenician, a fortnight dead,
Forgot the cry of gulls, and the deep sea swell
And the profit and loss.
A current under sea
Picked his bones in whispers. As he rose and fell
He passed the stages of his age and youth
Entering the whirlpool.
Gentile or Jew
O you who turn the wheel and look to windward, 320
Consider Phlebas, who was once handsome and tall as you.
|
Written by
Rudyard Kipling |
"Brother Square-Toes"--Rewards and Fairies.
If you're off to Philadelphia in the morning,
You mustn't take my stories for a guide.
There's little left, indeed, of the city you will read of,
And all the folk I write about have died.
Now few will understand if you mention Talleyrand,
Or remember what his cunning and his skill did;
And the cabmen at the wharf do not know Count Zinzendorf,
Nor the Church in Philadelphia he builded.
It is gone, gone, gone with lost Atlantis,
(Never say I didn't give you warning).
In Seventeen Ninety-three 'twas there for all to see,
But it's not in Philadelphia this morning.
If you're off to Philadelphia in the morning,
You mustn't go by anything I've said.
Bob Bicknell's Southern Stages have been laid aside for ages,
But the Limited will take you there instead.
Toby Hirte can't be seen at One Hundred and Eighteen
North Second Street--no matter when you call;
And I fear you'll search in vain for the wash-house down the lane
Where Pharaoh played the fiddle at the ball.
It is gone, gone, gone with Thebes the Golden,
(Never say I didn't give you warning).
In Seventeen Ninety-four 'twas a famous dancing floor--
But it's not in Philadelphia this morning.
If you're off to Philadelphia in the morning,
You must telegraph for rooms at some Hotel.
You needn't try your luck at Epply's or "The Buck,"
Though the Father of his Country liked them well.
It is not the slightest use to inquire for Adam Goos,
Or to ask where Pastor Meder has removed--so
You must treat as out of date the story I relate
Of the Church in Philadelphia he loved so.
He is gone, gone, gone with Martin Luther
(Never say I didn't give you warning)
In Seventeen Ninety-five he was, ( rest his soul! ) alive.
But he's not in Philadelphia this morning.
If you're off to Philadelphia this morning,
And wish to prove the truth of what I say,
I pledge my word you'll find the pleasant land behind
Unaltered since Red Jacket rode that way.
Still the pine-woods scent the noon; still the catbird sings his
tune;
Still autumn sets the maple-forest blazing;
Still the grape-vine through the dusk flings her soul-compelling
musk;
Still the fire-flies in the corn make night amazing!
They are there, there, there with Earth immortal
( Citizens, I give you friendly warning ). .
The thins that truly last when men and times have passed,
They are all in Pennsylvania this morning!
|