Written by
Billy Collins |
Smokey the Bear heads
into the autumn woods
with a red can of gasoline
and a box of wooden matches.
His ranger's hat is cocked
at a disturbing angle.
His brown fur gleams
under the high sun
as his paws, the size
of catcher's mitts,
crackle into the distance.
He is sick of dispensing
warnings to the careless,
the half-wit camper,
the dumbbell hiker.
He is going to show them
how a professional does it.
|
Written by
Robert Frost |
SHE stood against the kitchen sink, and looked
Over the sink out through a dusty window
At weeds the water from the sink made tall.
She wore her cape; her hat was in her hand.
Behind her was confusion in the room,
Of chairs turned upside down to sit like people
In other chairs, and something, come to look,
For every room a house has—parlor, bed-room,
And dining-room—thrown pell-mell in the kitchen.
And now and then a smudged, infernal face
Looked in a door behind her and addressed
Her back. She always answered without turning.
“Where will I put this walnut bureau, lady?”
“Put it on top of something that’s on top
Of something else,” she laughed. “Oh, put it where
You can to-night, and go. It’s almost dark;
You must be getting started back to town.”
Another blackened face thrust in and looked
And smiled, and when she did not turn, spoke gently,
“What are you seeing out the window, lady?”
“Never was I beladied so before.
Would evidence of having been called lady
More than so many times make me a lady
In common law, I wonder.”
“But I ask,
What are you seeing out the window, lady?”
“What I’ll be seeing more of in the years
To come as here I stand and go the round
Of many plates with towels many times.”
“And what is that? You only put me off.”
“Rank weeds that love the water from the dish-pan
More than some women like the dish-pan, Joe;
A little stretch of mowing-field for you;
Not much of that until I come to woods
That end all. And it’s scarce enough to call
A view.”
“And yet you think you like it, dear?”
“That’s what you’re so concerned to know! You hope
I like it. Bang goes something big away
Off there upstairs. The very tread of men
As great as those is shattering to the frame
Of such a little house. Once left alone,
You and I, dear, will go with softer steps
Up and down stairs and through the rooms, and none
But sudden winds that snatch them from our hands
Will ever slam the doors.”
“I think you see
More than you like to own to out that window.”
“No; for besides the things I tell you of,
I only see the years. They come and go
In alternation with the weeds, the field,
The wood.”
“What kind of years?”
“Why, latter years—
Different from early years.”
“I see them, too.
You didn’t count them?”
“No, the further off
So ran together that I didn’t try to.
It can scarce be that they would be in number
We’d care to know, for we are not young now.
And bang goes something else away off there.
It sounds as if it were the men went down,
And every crash meant one less to return
To lighted city streets we, too, have known,
But now are giving up for country darkness.”
“Come from that window where you see too much for me,
And take a livelier view of things from here.
They’re going. Watch this husky swarming up
Over the wheel into the sky-high seat,
Lighting his pipe now, squinting down his nose
At the flame burning downward as he sucks it.”
“See how it makes his nose-side bright, a proof
How dark it’s getting. Can you tell what time
It is by that? Or by the moon? The new moon!
What shoulder did I see her over? Neither.
A wire she is of silver, as new as we
To everything. Her light won’t last us long.
It’s something, though, to know we’re going to have her
Night after night and stronger every night
To see us through our first two weeks. But, Joe,
The stove! Before they go! Knock on the window;
Ask them to help you get it on its feet.
We stand here dreaming. Hurry! Call them back!”
“They’re not gone yet.”
“We’ve got to have the stove,
Whatever else we want for. And a light.
Have we a piece of candle if the lamp
And oil are buried out of reach?”
Again
The house was full of tramping, and the dark,
Door-filling men burst in and seized the stove.
A cannon-mouth-like hole was in the wall,
To which they set it true by eye; and then
Came up the jointed stovepipe in their hands,
So much too light and airy for their strength
It almost seemed to come ballooning up,
Slipping from clumsy clutches toward the ceiling.
“A fit!” said one, and banged a stovepipe shoulder.
“It’s good luck when you move in to begin
With good luck with your stovepipe. Never mind,
It’s not so bad in the country, settled down,
When people ’re getting on in life, You’ll like it.”
Joe said: “You big boys ought to find a farm,
And make good farmers, and leave other fellows
The city work to do. There’s not enough
For everybody as it is in there.”
“God!” one said wildly, and, when no one spoke:
“Say that to Jimmy here. He needs a farm.”
But Jimmy only made his jaw recede
Fool-like, and rolled his eyes as if to say
He saw himself a farmer. Then there was a French boy
Who said with seriousness that made them laugh,
“Ma friend, you ain’t know what it is you’re ask.”
He doffed his cap and held it with both hands
Across his chest to make as ’twere a bow:
“We’re giving you our chances on de farm.”
And then they all turned to with deafening boots
And put each other bodily out of the house.
“Goodby to them! We puzzle them. They think—
I don’t know what they think we see in what
They leave us to: that pasture slope that seems
The back some farm presents us; and your woods
To northward from your window at the sink,
Waiting to steal a step on us whenever
We drop our eyes or turn to other things,
As in the game ‘Ten-step’ the children play.”
“Good boys they seemed, and let them love the city.
All they could say was ‘God!’ when you proposed
Their coming out and making useful farmers.”
“Did they make something lonesome go through you?
It would take more than them to sicken you—
Us of our bargain. But they left us so
As to our fate, like fools past reasoning with.
They almost shook me.”
“It’s all so much
What we have always wanted, I confess
It’s seeming bad for a moment makes it seem
Even worse still, and so on down, down, down.
It’s nothing; it’s their leaving us at dusk.
I never bore it well when people went.
The first night after guests have gone, the house
Seems haunted or exposed. I always take
A personal interest in the locking up
At bedtime; but the strangeness soon wears off.”
He fetched a dingy lantern from behind
A door. “There’s that we didn’t lose! And these!”—
Some matches he unpocketed. “For food—
The meals we’ve had no one can take from us.
I wish that everything on earth were just
As certain as the meals we’ve had. I wish
The meals we haven’t had were, anyway.
What have you you know where to lay your hands on?”
“The bread we bought in passing at the store.
There’s butter somewhere, too.”
“Let’s rend the bread.
I’ll light the fire for company for you;
You’ll not have any other company
Till Ed begins to get out on a Sunday
To look us over and give us his idea
Of what wants pruning, shingling, breaking up.
He’ll know what he would do if he were we,
And all at once. He’ll plan for us and plan
To help us, but he’ll take it out in planning.
Well, you can set the table with the loaf.
Let’s see you find your loaf. I’ll light the fire.
I like chairs occupying other chairs
Not offering a lady—”
“There again, Joe!
You’re tired.”
“I’m drunk-nonsensical tired out;
Don’t mind a word I say. It’s a day’s work
To empty one house of all household goods
And fill another with ’em fifteen miles away,
Although you do no more than dump them down.”
“Dumped down in paradise we are and happy.”
“It’s all so much what I have always wanted,
I can’t believe it’s what you wanted, too.”
“Shouldn’t you like to know?”
“I’d like to know
If it is what you wanted, then how much
You wanted it for me.”
“A troubled conscience!
You don’t want me to tell if I don’t know.”
“I don’t want to find out what can’t be known.
But who first said the word to come?”
“My dear,
It’s who first thought the thought. You’re searching, Joe,
For things that don’t exist; I mean beginnings.
Ends and beginnings—there are no such things.
There are only middles.”
“What is this?”
“This life?
Our sitting here by lantern-light together
Amid the wreckage of a former home?
You won’t deny the lantern isn’t new.
The stove is not, and you are not to me,
Nor I to you.”
“Perhaps you never were?”
“It would take me forever to recite
All that’s not new in where we find ourselves.
New is a word for fools in towns who think
Style upon style in dress and thought at last
Must get somewhere. I’ve heard you say as much.
No, this is no beginning.”
“Then an end?”
“End is a gloomy word.”
“Is it too late
To drag you out for just a good-night call
On the old peach trees on the knoll to grope
By starlight in the grass for a last peach
The neighbors may not have taken as their right
When the house wasn’t lived in? I’ve been looking:
I doubt if they have left us many grapes.
Before we set ourselves to right the house,
The first thing in the morning, out we go
To go the round of apple, cherry, peach,
Pine, alder, pasture, mowing, well, and brook.
All of a farm it is.”
“I know this much:
I’m going to put you in your bed, if first
I have to make you build it. Come, the light.”
When there was no more lantern in the kitchen,
The fire got out through crannies in the stove
And danced in yellow wrigglers on the ceiling,
As much at home as if they’d always danced there.
|
Written by
Les Murray |
To go home and wear shorts forever
in the enormous paddocks, in that warm climate,
adding a sweater when winter soaks the grass,
to camp out along the river bends
for good, wearing shorts, with a pocketknife,
a fishing line and matches,
or there where the hills are all down, below the plain,
to sit around in shorts at evening
on the plank verandah -
If the cardinal points of costume
are Robes, Tat, Rig and Scunge,
where are shorts in this compass?
They are never Robes
as other bareleg outfits have been:
the toga, the kilt, the lava-lava
the Mahatma's cotton dhoti;
archbishops and field marshals
at their ceremonies never wear shorts.
The very word
means underpants in North America.
Shorts can be Tat,
Land-Rovering bush-environmental tat,
socio-political ripped-and-metal-stapled tat,
solidarity-with-the-Third World tat tvam asi,
likewise track-and-field shorts worn to parties
and the further humid, modelling negligee
of the Kingdom of Flaunt,
that unchallenged aristocracy.
More plainly climatic, shorts
are farmers' rig, leathery with salt and bonemeal;
are sailors' and branch bankers' rig,
the crisp golfing style
of our youngest male National Costume.
Most loosely, they are Scunge,
ancient Bengal bloomers or moth-eaten hot pants
worn with a former shirt,
feet, beach sand, hair
and a paucity of signals.
Scunge, which is real negligee
housework in a swimsuit, pyjamas worn all day,
is holiday, is freedom from ambition.
Scunge makes you invisible
to the world and yourself.
The entropy of costume,
scunge can get you conquered by more vigorous cultures
and help you notice it less.
To be or to become
is a serious question posed by a work-shorts counter
with its pressed stack, bulk khaki and blue,
reading Yakka or King Gee, crisp with steely warehouse odour.
Satisfied ambition, defeat, true unconcern,
the wish and the knack of self-forgetfulness
all fall within the scunge ambit
wearing board shorts of similar;
it is a kind of weightlessness.
Unlike public nakedness, which in Westerners
is deeply circumstantial, relaxed as exam time,
artless and equal as the corsetry of a hussar regiment,
shorts and their plain like
are an angelic nudity,
spirituality with pockets!
A double updraft as you drop from branch to pool!
Ideal for getting served last
in shops of the temperate zone
they are also ideal for going home, into space,
into time, to farm the mind's Sabine acres
for product and subsistence.
Now that everyone who yearned to wear long pants
has essentially achieved them,
long pants, which have themselves been underwear
repeatedly, and underground more than once,
it is time perhaps to cherish the culture of shorts,
to moderate grim vigour
with the knobble of bare knees,
to cool bareknuckle feet in inland water,
slapping flies with a book on solar wind
or a patient bare hand, beneath the cadjiput trees,
to be walking meditatively
among green timber, through the grassy forest
towards a calm sea
and looking across to more of that great island
and the further tropics.
|
Written by
Walt Whitman |
1
MANHATTAN’S streets I saunter’d, pondering,
On time, space, reality—on such as these, and abreast with them, prudence.
2
After all, the last explanation remains to be made about prudence;
Little and large alike drop quietly aside from the prudence that suits immortality.
The Soul is of itself;
All verges to it—all has reference to what ensues;
All that a person does, says, thinks, is of consequence;
Not a move can a man or woman make, that affects him or her in a day, month, any part of
the
direct
life-time, or the hour of death, but the same affects him or her onward afterward through
the
indirect life-time.
3
The indirect is just as much as the direct,
The spirit receives from the body just as much as it gives to the body, if not more.
Not one word or deed—not venereal sore, discoloration, privacy of the onanist,
putridity
of
gluttons or rum-drinkers, peculation, cunning, betrayal, murder, seduction, prostitution,
but
has
results beyond death, as really as before death.
4
Charity and personal force are the only investments worth anything.
No specification is necessary—all that a male or female does, that is vigorous,
benevolent,
clean, is so much profit to him or her, in the unshakable order of the universe, and
through
the
whole scope of it forever.
5
Who has been wise, receives interest,
Savage, felon, President, judge, farmer, sailor, mechanic, literat, young, old, it is the
same,
The interest will come round—all will come round.
Singly, wholly, to affect now, affected their time, will forever affect all of the past,
and
all of
the present, and all of the future,
All the brave actions of war and peace,
All help given to relatives, strangers, the poor, old, sorrowful, young children, widows,
the
sick,
and to shunn’d persons,
All furtherance of fugitives, and of the escape of slaves,
All self-denial that stood steady and aloof on wrecks, and saw others fill the seats of
the
boats,
All offering of substance or life for the good old cause, or for a friend’s sake, or
opinion’s sake,
All pains of enthusiasts, scoff’d at by their neighbors,
All the limitless sweet love and precious suffering of mothers,
All honest men baffled in strifes recorded or unrecorded,
All the grandeur and good of ancient nations whose fragments we inherit,
All the good of the dozens of ancient nations unknown to us by name, date, location,
All that was ever manfully begun, whether it succeeded or no,
All suggestions of the divine mind of man, or the divinity of his mouth, or the shaping of
his
great
hands;
All that is well thought or said this day on any part of the globe—or on any of the
wandering
stars, or on any of the fix’d stars, by those there as we are here;
All that is henceforth to be thought or done by you, whoever you are, or by any one;
These inure, have inured, shall inure, to the identities from which they sprang, or shall
spring.
6
Did you guess anything lived only its moment?
The world does not so exist—no parts palpable or impalpable so exist;
No consummation exists without being from some long previous consummation—and that
from
some
other,
Without the farthest conceivable one coming a bit nearer the beginning than any.
7
Whatever satisfies Souls is true;
Prudence entirely satisfies the craving and glut of Souls;
Itself only finally satisfies the Soul;
The Soul has that measureless pride which revolts from every lesson but its own.
8
Now I give you an inkling;
Now I breathe the word of the prudence that walks abreast with time, space, reality,
That answers the pride which refuses every lesson but its own.
What is prudence, is indivisible,
Declines to separate one part of life from every part,
Divides not the righteous from the unrighteous, or the living from the dead,
Matches every thought or act by its correlative,
Knows no possible forgiveness, or deputed atonement,
Knows that the young man who composedly peril’d his life and lost it, has done
exceedingly
well
for himself without doubt,
That he who never peril’d his life, but retains it to old age in riches and ease, has
probably
achiev’d nothing for himself worth mentioning;
Knows that only that person has really learn’d, who has learn’d to prefer
results,
Who favors Body and Soul the same,
Who perceives the indirect assuredly following the direct,
Who in his spirit in any emergency whatever neither hurries or, avoids death.
|
Written by
Anne Sexton |
In my dream,
drilling into the marrow
of my entire bone,
my real dream,
I'm walking up and down Beacon Hill
searching for a street sign --
namely MERCY STREET.
Not there.
I try the Back Bay.
Not there.
Not there.
And yet I know the number.
45 Mercy Street.
I know the stained-glass window
of the foyer,
the three flights of the house
with its parquet floors.
I know the furniture and
mother, grandmother, great-grandmother,
the servants.
I know the cupboard of Spode
the boat of ice, solid silver,
where the butter sits in neat squares
like strange giant's teeth
on the big mahogany table.
I know it well.
Not there.
Where did you go?
45 Mercy Street,
with great-grandmother
kneeling in her whale-bone corset
and praying gently but fiercely
to the wash basin,
at five A.M.
at noon
dozing in her wiggy rocker,
grandfather taking a nap in the pantry,
grandmother pushing the bell for the downstairs maid,
and Nana rocking Mother with an oversized flower
on her forehead to cover the curl
of when she was good and when she was...
And where she was begat
and in a generation
the third she will beget,
me,
with the stranger's seed blooming
into the flower called Horrid.
I walk in a yellow dress
and a white pocketbook stuffed with cigarettes,
enough pills, my wallet, my keys,
and being twenty-eight, or is it forty-five?
I walk. I walk.
I hold matches at street signs
for it is dark,
as dark as the leathery dead
and I have lost my green Ford,
my house in the suburbs,
two little kids
sucked up like pollen by the bee in me
and a husband
who has wiped off his eyes
in order not to see my inside out
and I am walking and looking
and this is no dream
just my oily life
where the people are alibis
and the street is unfindable for an
entire lifetime.
Pull the shades down --
I don't care!
Bolt the door, mercy,
erase the number,
rip down the street sign,
what can it matter,
what can it matter to this cheapskate
who wants to own the past
that went out on a dead ship
and left me only with paper?
Not there.
I open my pocketbook,
as women do,
and fish swim back and forth
between the dollars and the lipstick.
I pick them out,
one by one
and throw them at the street signs,
and shoot my pocketbook
into the Charles River.
Next I pull the dream off
and slam into the cement wall
of the clumsy calendar
I live in,
my life,
and its hauled up
notebooks.
|
Written by
Marilyn Hacker |
We pace each other for a long time.
I packed my anger with the beef jerky.
You are the baby on the mountain. I am
in a cold stream where I led you.
I packed my anger with the beef jerky.
You are the woman sticking her tongue out
in a cold stream where I led you.
You are the woman with spring water palms.
You are the woman sticking her tongue out.
I am the woman who matches sounds.
You are the woman with spring water palms.
I am the woman who copies.
You are the woman who matches sounds.
You are the woman who makes up words.
You are the woman who copies
her cupped palm with her fist in clay.
I am the woman who makes up words.
You are the woman who shapes
a drinking bowl with her fist in clay.
I am the woman with rocks in her pockets.
I am the woman who shapes.
I was a baby who knew names.
You are the child with rocks in her pockets.
You are the girl in a plaid dress.
You are the woman who knows names.
You are the baby who could fly.
You are the girl in a plaid dress
upside-down on the monkey bars.
You are the baby who could fly
over the moon from a swinging perch
upside-down on the monkey bars.
You are the baby who eats meat.
Over the moon from a swinging perch
the feathery goblin calls her sister.
You are the baby who eats meat
the ***** wolf hunts and chews for you.
The feathery goblin calls her sister:
"You are braver than your mother.
The ***** wolf hunts and chews for you.
What are you whining about now?"
You are braver than your mother
and I am not a timid woman:
what are you whining about now?
My palms itch with slick anger,
and I'm not a timid woman.
You are the woman I can't mention;
my palms itch with slick anger.
You are the heiress of scraped knees.
You are the woman I can't mention
to a woman I want to love.
You are the heiress of scaped knees:
scrub them in mountain water.
To a woman, I want to love
women you could turn into,
scrub them in mountain water,
stroke their astonishing faces.
Women you could turn into
the scare mask of Bad Mother
stroke their astonishing faces
in the silver-scratched sink mirror.
The scare mask of Bad Mother
crumbles to chunked, pinched clay,
sinks in the silver-scratched mirror.
You are the Little Robber Girl, who
crumbles the clay chunks, pinches
her friend, givers her a sharp knife.
You are the Little Robber Girl, who
was any witch's youngest daughter.
Our friend gives you a sharp knife,
shows how the useful blades open.
Was any witch's youngest daughter
golden and bold as you? You run and
show how the useful blades open.
You are the baby on the mountain. I am
golden and bold as you. You run and
we pace each other for a long time.
|
Written by
Andre Breton |
(Translated from the French by Edouard Rodti)
My wife with the hair of a wood fire
With the thoughts of heat lightning
With the waist of an hourglass
With the waist of an otter in the teeth of a tiger
My wife with the lips of a cockade and of a bunch of stars of the last magnitude
With the teeth of tracks of white mice on the white earth
With the tongue of rubbed amber and glass
My wife with the tongue of a stabbed host
With the tongue of a doll that opens and closes its eyes
With the tongue of an unbelievable stone
My wife with the eyelashes of strokes of a child's writing
With brows of the edge of a swallow's nest
My wife with the brow of slates of a hothouse roof
And of steam on the panes
My wife with shoulders of champagne
And of a fountain with dolphin-heads beneath the ice
My wife with wrists of matches
My wife with fingers of luck and ace of hearts
With fingers of mown hay
My wife with armpits of marten and of beechnut
And of Midsummer Night
Of privet and of an angelfish nest
With arms of seafoam and of riverlocks
And of a mingling of the wheat and the mill
My wife with legs of flares
With the movements of clockwork and despair
My wife with calves of eldertree pith
My wife with feet of initials
With feet of rings of keys and Java sparrows drinking
My wife with a neck of unpearled barley
My wife with a throat of the valley of gold
Of a tryst in the very bed of the torrent
With breasts of night
My wife with breasts of a marine molehill
My wife with breasts of the ruby's crucible
With breasts of the rose's spectre beneath the dew
My wife with the belly of an unfolding of the fan of days
With the belly of a gigantic claw
My wife with the back of a bird fleeing vertically
With a back of quicksilver
With a back of light
With a nape of rolled stone and wet chalk
And of the drop of a glass where one has just been drinking
My wife with hips of a skiff
With hips of a chandelier and of arrow-feathers
And of shafts of white peacock plumes
Of an insensible pendulum
My wife with buttocks of sandstone and asbestos
My wife with buttocks of swans' backs
My wife with buttocks of spring
With the sex of an iris
My wife with the sex of a mining-placer and of a platypus
My wife with a sex of seaweed and ancient sweetmeat
My wife with a sex of mirror
My wife with eyes full of tears
With eyes of purple panoply and of a magnetic needle
My wife with savanna eyes
My wife with eyes of water to he drunk in prison
My wife with eyes of wood always under the axe
My wife with eyes of water-level of level of air earth and fire
|
Written by
Robert Burns |
’TWAS 1 in that place o’ Scotland’s isle,
That bears the name o’ auld King Coil,
Upon a bonie day in June,
When wearin’ thro’ the afternoon,
Twa dogs, that were na thrang at hame,
Forgather’d ance upon a time.
The first I’ll name, they ca’d him Caesar,
Was keepit for His Honor’s pleasure:
His hair, his size, his mouth, his lugs,
Shew’d he was nane o’ Scotland’s dogs;
But whalpit some place far abroad,
Whare sailors gang to fish for cod.
His locked, letter’d, braw brass collar
Shew’d him the gentleman an’ scholar;
But though he was o’ high degree,
The fient a pride, nae pride had he;
But wad hae spent an hour caressin,
Ev’n wi’ al tinkler-gipsy’s messin:
At kirk or market, mill or smiddie,
Nae tawted tyke, tho’ e’er sae duddie,
But he wad stan’t, as glad to see him,
An’ stroan’t on stanes an’ hillocks wi’ him.
The tither was a ploughman’s collie—
A rhyming, ranting, raving billie,
Wha for his friend an’ comrade had him,
And in freak had Luath ca’d him,
After some dog in Highland Sang, 2
Was made lang syne,—Lord knows how lang.
He was a gash an’ faithfu’ tyke,
As ever lap a sheugh or dyke.
His honest, sonsie, baws’nt face
Aye gat him friends in ilka place;
His breast was white, his touzie back
Weel clad wi’ coat o’ glossy black;
His gawsie tail, wi’ upward curl,
Hung owre his hurdie’s wi’ a swirl.
Nae doubt but they were fain o’ ither,
And unco pack an’ thick thegither;
Wi’ social nose whiles snuff’d an’ snowkit;
Whiles mice an’ moudieworts they howkit;
Whiles scour’d awa’ in lang excursion,
An’ worry’d ither in diversion;
Until wi’ daffin’ weary grown
Upon a knowe they set them down.
An’ there began a lang digression.
About the “lords o’ the creation.”
CÆSAR I’ve aften wonder’d, honest Luath,
What sort o’ life poor dogs like you have;
An’ when the gentry’s life I saw,
What way poor bodies liv’d ava.
Our laird gets in his racked rents,
His coals, his kane, an’ a’ his stents:
He rises when he likes himsel’;
His flunkies answer at the bell;
He ca’s his coach; he ca’s his horse;
He draws a bonie silken purse,
As lang’s my tail, where, thro’ the steeks,
The yellow letter’d Geordie keeks.
Frae morn to e’en, it’s nought but toiling
At baking, roasting, frying, boiling;
An’ tho’ the gentry first are stechin,
Yet ev’n the ha’ folk fill their pechan
Wi’ sauce, ragouts, an’ sic like trashtrie,
That’s little short o’ downright wastrie.
Our whipper-in, wee, blasted wonner,
Poor, worthless elf, it eats a dinner,
Better than ony tenant-man
His Honour has in a’ the lan’:
An’ what poor cot-folk pit their painch in,
I own it’s past my comprehension.
LUATH Trowth, C&æsar, whiles they’re fash’t eneugh:
A cottar howkin in a sheugh,
Wi’ dirty stanes biggin a dyke,
Baring a quarry, an’ sic like;
Himsel’, a wife, he thus sustains,
A smytrie o’ wee duddie weans,
An’ nought but his han’-daurk, to keep
Them right an’ tight in thack an’ rape.
An’ when they meet wi’ sair disasters,
Like loss o’ health or want o’ masters,
Ye maist wad think, a wee touch langer,
An’ they maun starve o’ cauld an’ hunger:
But how it comes, I never kent yet,
They’re maistly wonderfu’ contented;
An’ buirdly chiels, an’ clever hizzies,
Are bred in sic a way as this is.
CÆSAR But then to see how ye’re negleckit,
How huff’d, an’ cuff’d, an’ disrespeckit!
Lord man, our gentry care as little
For delvers, ditchers, an’ sic cattle;
They gang as saucy by poor folk,
As I wad by a stinkin brock.
I’ve notic’d, on our laird’s court-day,—
An’ mony a time my heart’s been wae,—
Poor tenant bodies, scant o’cash,
How they maun thole a factor’s snash;
He’ll stamp an’ threaten, curse an’ swear
He’ll apprehend them, poind their gear;
While they maun stan’, wi’ aspect humble,
An’ hear it a’, an’ fear an’ tremble!
I see how folk live that hae riches;
But surely poor-folk maun be wretches!
LUATH They’re no sae wretched’s ane wad think.
Tho’ constantly on poortith’s brink,
They’re sae accustom’d wi’ the sight,
The view o’t gives them little fright.
Then chance and fortune are sae guided,
They’re aye in less or mair provided:
An’ tho’ fatigued wi’ close employment,
A blink o’ rest’s a sweet enjoyment.
The dearest comfort o’ their lives,
Their grushie weans an’ faithfu’ wives;
The prattling things are just their pride,
That sweetens a’ their fire-side.
An’ whiles twalpennie worth o’ nappy
Can mak the bodies unco happy:
They lay aside their private cares,
To mind the Kirk and State affairs;
They’ll talk o’ patronage an’ priests,
Wi’ kindling fury i’ their breasts,
Or tell what new taxation’s comin,
An’ ferlie at the folk in Lon’on.
As bleak-fac’d Hallowmass returns,
They get the jovial, rantin kirns,
When rural life, of ev’ry station,
Unite in common recreation;
Love blinks, Wit slaps, an’ social Mirth
Forgets there’s Care upo’ the earth.
That merry day the year begins,
They bar the door on frosty win’s;
The nappy reeks wi’ mantling ream,
An’ sheds a heart-inspiring steam;
The luntin pipe, an’ sneeshin mill,
Are handed round wi’ right guid will;
The cantie auld folks crackin crouse,
The young anes rantin thro’ the house—
My heart has been sae fain to see them,
That I for joy hae barkit wi’ them.
Still it’s owre true that ye hae said,
Sic game is now owre aften play’d;
There’s mony a creditable stock
O’ decent, honest, fawsont folk,
Are riven out baith root an’ branch,
Some rascal’s pridefu’ greed to quench,
Wha thinks to knit himsel the faster
In favour wi’ some gentle master,
Wha, aiblins, thrang a parliamentin,
For Britain’s guid his saul indentin—
CÆSAR Haith, lad, ye little ken about it:
For Britain’s guid! guid faith! I doubt it.
Say rather, gaun as Premiers lead him:
An’ saying ay or no’s they bid him:
At operas an’ plays parading,
Mortgaging, gambling, masquerading:
Or maybe, in a frolic daft,
To Hague or Calais takes a waft,
To mak a tour an’ tak a whirl,
To learn bon ton, an’ see the worl’.
There, at Vienna, or Versailles,
He rives his father’s auld entails;
Or by Madrid he takes the rout,
To thrum guitars an’ fecht wi’ nowt;
Or down Italian vista startles,
Wh-re-hunting amang groves o’ myrtles:
Then bowses drumlie German-water,
To mak himsel look fair an’ fatter,
An’ clear the consequential sorrows,
Love-gifts of Carnival signoras.
For Britain’s guid! for her destruction!
Wi’ dissipation, feud, an’ faction.
LUATH Hech, man! dear sirs! is that the gate
They waste sae mony a braw estate!
Are we sae foughten an’ harass’d
For gear to gang that gate at last?
O would they stay aback frae courts,
An’ please themsels wi’ country sports,
It wad for ev’ry ane be better,
The laird, the tenant, an’ the cotter!
For thae frank, rantin, ramblin billies,
Feint haet o’ them’s ill-hearted fellows;
Except for breakin o’ their timmer,
Or speakin lightly o’ their limmer,
Or shootin of a hare or moor-cock,
The ne’er-a-bit they’re ill to poor folk,
But will ye tell me, Master C&æsar,
Sure great folk’s life’s a life o’ pleasure?
Nae cauld nor hunger e’er can steer them,
The very thought o’t need na fear them.
CÆSAR L—d, man, were ye but whiles whare I am,
The gentles, ye wad ne’er envy them!
It’s true, they need na starve or sweat,
Thro’ winter’s cauld, or simmer’s heat:
They’ve nae sair wark to craze their banes,
An’ fill auld age wi’ grips an’ granes:
But human bodies are sic fools,
For a’ their colleges an’ schools,
That when nae real ills perplex them,
They mak enow themsel’s to vex them;
An’ aye the less they hae to sturt them,
In like proportion, less will hurt them.
A country fellow at the pleugh,
His acre’s till’d, he’s right eneugh;
A country girl at her wheel,
Her dizzen’s dune, she’s unco weel;
But gentlemen, an’ ladies warst,
Wi’ ev’n-down want o’ wark are curst.
They loiter, lounging, lank an’ lazy;
Tho’ deil-haet ails them, yet uneasy;
Their days insipid, dull, an’ tasteless;
Their nights unquiet, lang, an’ restless.
An’ev’n their sports, their balls an’ races,
Their galloping through public places,
There’s sic parade, sic pomp, an’ art,
The joy can scarcely reach the heart.
The men cast out in party-matches,
Then sowther a’ in deep debauches.
Ae night they’re mad wi’ drink an’ whoring,
Niest day their life is past enduring.
The ladies arm-in-arm in clusters,
As great an’ gracious a’ as sisters;
But hear their absent thoughts o’ ither,
They’re a’ run-deils an’ jads thegither.
Whiles, owre the wee bit cup an’ platie,
They sip the scandal-potion pretty;
Or lee-lang nights, wi’ crabbit leuks
Pore owre the devil’s pictur’d beuks;
Stake on a chance a farmer’s stackyard,
An’ cheat like ony unhanged blackguard.
There’s some exceptions, man an’ woman;
But this is gentry’s life in common.
By this, the sun was out of sight,
An’ darker gloamin brought the night;
The bum-clock humm’d wi’ lazy drone;
The kye stood rowtin i’ the loan;
When up they gat an’ shook their lugs,
Rejoic’d they werena men but dogs;
An’ each took aff his several way,
Resolv’d to meet some ither day.
Note 1. Luath was Burns’ own dog. [back]
Note 2. Cuchullin’s dog in Ossian’s “Fingal.”—R. B. [back]
|
Written by
Erica Jong |
Now, moving in, cartons on the floor,
the radio playing to bare walls,
picture hooks left stranded
in the unsoiled squares where paintings were,
and something reminding us
this is like all other moving days;
finding the dirty ends of someone else's life,
hair fallen in the sink, a peach pit,
and burned-out matches in the corner;
things not preserved, yet never swept away
like fragments of disturbing dreams
we stumble on all day. . .
in ordering our lives, we will discard them,
scrub clean the floorboards of this our home
lest refuse from the lives we did not lead
become, in some strange, frightening way, our own.
And we have plans that will not tolerate
our fears-- a year laid out like rooms
in a new house--the dusty wine glasses
rinsed off, the vases filled, and bookshelves
sagging with heavy winter books.
Seeing the room always as it will be,
we are content to dust and wait.
We will return here from the dark and silent
streets, arms full of books and food,
anxious as we always are in winter,
and looking for the Good Life we have made.
I see myself then: tense, solemn,
in high-heeled shoes that pinch,
not basking in the light of goals fulfilled,
but looking back to now and seeing
a lazy, sunburned, sandaled girl
in a bare room, full of promise
and feeling envious.
Now we plan, postponing, pushing our lives forward
into the future--as if, when the room
contains us and all our treasured junk
we will have filled whatever gap it is
that makes us wander, discontented
from ourselves.
The room will not change:
a rug, or armchair, or new coat of paint
won't make much difference;
our eyes are fickle
but we remain the same beneath our suntans,
pale, frightened,
dreaming ourselves backward and forward in time,
dreaming our dreaming selves.
I look forward and see myself looking back.
|
Written by
Elizabeth Bishop |
[On my birthday]
At low tide like this how sheer the water is.
White, crumbling ribs of marl protrude and glare
and the boats are dry, the pilings dry as matches.
Absorbing, rather than being absorbed,
the water in the bight doesn't wet anything,
the color of the gas flame turned as low as possible.
One can smell it turning to gas; if one were Baudelaire
one could probably hear it turning to marimba music.
The little ocher dredge at work off the end of the dock
already plays the dry perfectly off-beat claves.
The birds are outsize. Pelicans crash
into this peculiar gas unnecessarily hard,
it seems to me, like pickaxes,
rarely coming up with anything to show for it,
and going off with humorous elbowings.
Black-and-white man-of-war birds soar
on impalpable drafts
and open their tails like scissors on the curves
or tense them like wishbones, till they tremble.
The frowsy sponge boats keep coming in
with the obliging air of retrievers,
bristling with jackstraw gaffs and hooks
and decorated with bobbles of sponges.
There is a fence of chicken wire along the dock
where, glinting like little plowshares,
the blue-gray shark tails are hung up to dry
for the Chinese-restaurant trade.
Some of the little white boats are still piled up
against each other, or lie on their sides, stove in,
and not yet salvaged, if they ever will be, from the last bad storm,
like torn-open, unanswered letters.
The bight is littered with old correspondences.
Click. Click. Goes the dredge,
and brings up a dripping jawful of marl.
All the untidy activity continues,
awful but cheerful.
|