Written by
Jane Austen |
My dearest Frank, I wish you joy
Of Mary's safety with a Boy,
Whose birth has given little pain
Compared with that of Mary Jane.
--
May he a growing Blessing prove,
And well deserve his Parents' Love!--
Endow'd with Art's and Nature's Good,
Thy Name possessing with thy Blood,
In him, in all his ways, may we
Another Francis WIlliam see!--
Thy infant days may he inherit,
THey warmth, nay insolence of spirit;--
We would not with one foult dispense
To weaken the resemblance.
May he revive thy Nursery sin,
Peeping as daringly within,
His curley Locks but just descried,
With 'Bet, my be not come to bide.
'--
Fearless of danger, braving pain,
And threaten'd very oft in vain,
Still may one Terror daunt his Soul,
One needful engine of Controul
Be found in this sublime array,
A neigbouring Donkey's aweful Bray.
So may his equal faults as Child,
Produce Maturity as mild!
His saucy words and fiery ways
In early Childhood's pettish days,
In Manhood, shew his Father's mind
Like him, considerate and Kind;
All Gentleness to those around,
And anger only not to wound.
Then like his Father too, he must,
To his own former struggles just,
Feel his Deserts with honest Glow,
And all his self-improvement know.
A native fault may thus give birth
To the best blessing, conscious Worth.
As for ourselves we're very well;
As unaffected prose will tell.
--
Cassandra's pen will paint our state,
The many comforts that await
Our Chawton home, how much we find
Already in it, to our mind;
And how convinced, that when complete
It will all other Houses beat
The ever have been made or mended,
With rooms concise, or rooms distended.
You'll find us very snug next year,
Perhaps with Charles and Fanny near,
For now it often does delight us
To fancy them just over-right us.
--
|
Written by
Philip Larkin |
A stationary sense.
.
.
as, I suppose,
I shall have, till my single body grows
Inaccurate, tired;
Then I shall start to feel the backward pull
Take over, sickening and masterful -
Some say, desired.
And this must be the prime of life.
.
.
I blink,
As if at pain; for it is pain, to think
This pantomime
Of compensating act and counter-act
Defeat and counterfeit, makes up, in fact
My ablest time.
|
Written by
Alfred Austin |
Now do I know that Love is blind, for I
Can see no beauty on this beauteous earth,
No life, no light, no hopefulness, no mirth,
Pleasure nor purpose, when thou art not nigh.
Thy absence exiles sunshine from the sky,
Seres Spring's maturity, checks Summer's birth,
Leaves linnet's pipe as sad as plover's cry,
And makes me in abundance find but dearth.
But when thy feet flutter the dark, and thou
With orient eyes dawnest on my distress,
Suddenly sings a bird on every bough,
The heavens expand, the earth grows less and less,
The ground is buoyant as the ether now,
And all looks lovely in thy loveliness.
|
Written by
Philip Larkin |
Boys dream of native girls who bring breadfruit,
Whatever they are,
As bribes to teach them how to execute
Sixteen sexual positions on the sand;
This makes them join (the boys) the tennis club,
Jive at the Mecca, use deodorants, and
On Saturdays squire ex-schoolgirls to the pub
By private car.
Such uncorrected visions end in church
Or registrar:
A mortgaged semi- with a silver birch;
Nippers; the widowed mum; having to scheme
With money; illness; age.
So absolute
Maturity falls, when old men sit and dream
Of naked native girls who bring breadfruit
Whatever they are.
|
Written by
Federico García Lorca |
1.
Cogida and death
At five in the afternoon.
It was exactly five in the afternoon.
A boy brought the white sheet
at five in the afternoon.
A frail of lime ready prepared
at five in the afternoon.
The rest was death, and death alone.
The wind carried away the cottonwool
at five in the afternoon.
And the oxide scattered crystal and nickel
at five in the afternoon.
Now the dove and the leopard wrestle
at five in the afternoon.
And a thigh with a desolated horn
at five in the afternoon.
The bass-string struck up
at five in the afternoon.
Arsenic bells and smoke
at five in the afternoon.
Groups of silence in the corners
at five in the afternoon.
And the bull alone with a high heart!
At five in the afternoon.
When the sweat of snow was coming
at five in the afternoon,
when the bull ring was covered with iodine
at five in the afternoon.
Death laid eggs in the wound
at five in the afternoon.
At five in the afternoon.
At five o'clock in the afternoon.
A coffin on wheels is his bed
at five in the afternoon.
Bones and flutes resound in his ears
at five in the afternoon.
Now the bull was bellowing through his forehead
at five in the afternoon.
The room was iridiscent with agony
at five in the afternoon.
In the distance the gangrene now comes
at five in the afternoon.
Horn of the lily through green groins
at five in the afternoon.
The wounds were burning like suns
at five in the afternoon.
At five in the afternoon.
Ah, that fatal five in the afternoon!
It was five by all the clocks!
It was five in the shade of the afternoon!
2.
The Spilled Blood
I will not see it!
Tell the moon to come,
for I do not want to see the blood
of Ignacio on the sand.
I will not see it!
The moon wide open.
Horse of still clouds,
and the grey bull ring of dreams
with willows in the barreras.
I will not see it!
Let my memory kindle!
Warm the jasmines
of such minute whiteness!
I will not see it!
The cow of the ancient world
passed har sad tongue
over a snout of blood
spilled on the sand,
and the bulls of Guisando,
partly death and partly stone,
bellowed like two centuries
sated with threading the earth.
No.
I will not see it!
Ignacio goes up the tiers
with all his death on his shoulders.
He sought for the dawn
but the dawn was no more.
He seeks for his confident profile
and the dream bewilders him
He sought for his beautiful body
and encountered his opened blood
Do not ask me to see it!
I do not want to hear it spurt
each time with less strength:
that spurt that illuminates
the tiers of seats, and spills
over the cordury and the leather
of a thirsty multiude.
Who shouts that I should come near!
Do not ask me to see it!
His eyes did not close
when he saw the horns near,
but the terrible mothers
lifted their heads.
And across the ranches,
an air of secret voices rose,
shouting to celestial bulls,
herdsmen of pale mist.
There was no prince in Sevilla
who could compare to him,
nor sword like his sword
nor heart so true.
Like a river of lions
was his marvellous strength,
and like a marble toroso
his firm drawn moderation.
The air of Andalusian Rome
gilded his head
where his smile was a spikenard
of wit and intelligence.
What a great torero in the ring!
What a good peasant in the sierra!
How gentle with the sheaves!
How hard with the spurs!
How tender with the dew!
How dazzling the fiesta!
How tremendous with the final
banderillas of darkness!
But now he sleeps without end.
Now the moss and the grass
open with sure fingers
the flower of his skull.
And now his blood comes out singing;
singing along marshes and meadows,
sliden on frozen horns,
faltering soulles in the mist
stoumbling over a thousand hoofs
like a long, dark, sad tongue,
to form a pool of agony
close to the starry Guadalquivir.
Oh, white wall of Spain!
Oh, black bull of sorrow!
Oh, hard blood of Ignacio!
Oh, nightingale of his veins!
No.
I will not see it!
No chalice can contain it,
no swallows can drink it,
no frost of light can cool it,
nor song nor deluge og white lilies,
no glass can cover mit with silver.
No.
I will not see it!
3.
The Laid Out Body
Stone is a forehead where dreames grieve
without curving waters and frozen cypresses.
Stone is a shoulder on which to bear Time
with trees formed of tears and ribbons and planets.
I have seen grey showers move towards the waves
raising their tender riddle arms,
to avoid being caught by lying stone
which loosens their limbs without soaking their blood.
For stone gathers seed and clouds,
skeleton larks and wolves of penumbra:
but yields not sounds nor crystals nor fire,
only bull rings and bull rings and more bull rings without walls.
Now, Ignacio the well born lies on the stone.
All is finished.
What is happening! Contemplate his face:
death has covered him with pale sulphur
and has place on him the head of dark minotaur.
All is finished.
The rain penetrates his mouth.
The air, as if mad, leaves his sunken chest,
and Love, soaked through with tears of snow,
warms itself on the peak of the herd.
What is they saying? A stenching silence settles down.
We are here with a body laid out which fades away,
with a pure shape which had nightingales
and we see it being filled with depthless holes.
Who creases the shroud? What he says is not true!
Nobody sings here, nobody weeps in the corner,
nobody pricks the spurs, nor terrifies the serpent.
Here I want nothing else but the round eyes
to see his body without a chance of rest.
Here I want to see those men of hard voice.
Those that break horses and dominate rivers;
those men of sonorous skeleton who sing
with a mouth full of sun and flint.
Here I want to see them.
Before the stone.
Before this body with broken reins.
I want to know from them the way out
for this captain stripped down by death.
I want them to show me a lament like a river
wich will have sweet mists and deep shores,
to take the body of Ignacio where it looses itself
without hearing the double planting of the bulls.
Loses itself in the round bull ring of the moon
which feigns in its youth a sad quiet bull,
loses itself in the night without song of fishes
and in the white thicket of frozen smoke.
I don't want to cover his face with handkerchiefs
that he may get used to the death he carries.
Go, Ignacio, feel not the hot bellowing
Sleep, fly, rest: even the sea dies!
4.
Absent Soul
The bull does not know you, nor the fig tree,
nor the horses, nor the ants in your own house.
The child and the afternoon do not know you
because you have dead forever.
The shoulder of the stone does not know you
nor the black silk, where you are shuttered.
Your silent memory does not know you
because you have died forever
The autumn will come with small white snails,
misty grapes and clustered hills,
but no one will look into your eyes
because you have died forever.
Because you have died for ever,
like all the dead of the earth,
like all the dead who are forgotten
in a heap of lifeless dogs.
Nobady knows you.
No.
But I sing of you.
For posterity I sing of your profile and grace.
Of the signal maturity of your understanding.
Of your appetite for death and the taste of its mouth.
Of the sadness of your once valiant gaiety.
It will be a long time, if ever, before there is born
an Andalusian so true, so rich in adventure.
I sing of his elegance with words that groan,
and I remember a sad breeze through the olive trees.
|
Written by
Walt Whitman |
SO far, and so far, and on toward the end,
Singing what is sung in this book, from the irresistible impulses of me;
But whether I continue beyond this book, to maturity,
Whether I shall dart forth the true rays, the ones that wait unfired,
(Did you think the sun was shining its brightest?
No—it has not yet fully risen;)
Whether I shall complete what is here started,
Whether I shall attain my own height, to justify these, yet unfinished,
Whether I shall make THE POEM OF THE NEW WORLD, transcending all others—depends, rich
persons, upon you,
Depends, whoever you are now filling the current Presidentiad, upon you,
Upon you, Governor, Mayor, Congressman,
And you, contemporary America.
|
Written by
Emily Dickinson |
He gave away his Life --
To Us -- Gigantic Sum --
A trifle -- in his own esteem --
But magnified -- by Fame --
Until it burst the Hearts
That fancied they could hold --
When swift it slipped its limit --
And on the Heavens -- unrolled --
'Tis Ours -- to wince -- and weep --
And wonder -- and decay
By Blossoms gradual process --
He chose -- Maturity --
And quickening -- as we sowed --
Just obviated Bud --
And when We turned to note the Growth --
Broke -- perfect -- from the Pod --
|
Written by
William Shakespeare |
Like as the waves make towards the pebbled shore,
So do our minutes hasten to their end;
Each changing place with that which goes before,
In sequent toil all forwards do contend.
Nativity, once in the main of light,
Crawls to maturity, wherewith being crown'd,
Crooked elipses 'gainst his glory fight,
And Time that gave doth now his gift confound.
Time doth transfix the flourish set on youth
And delves the parallels in beauty's brow,
Feeds on the rarities of nature's truth,
And nothing stands but for his scythe to mow:
And yet to times in hope my verse shall stand,
Praising thy worth, despite his cruel hand.
|
Written by
Emily Dickinson |
Not all die early, dying young --
Maturity of Fate
Is consummated equally
In Ages, or a Night --
A Hoary Boy, I've known to drop
Whole statured -- by the side
Of Junior of Fourscore -- 'twas Act
Not Period -- that died.
|
Written by
Claude McKay |
Your body was a sacred cell always,
A jewel that grew dull in garish light,
An opal which beneath my wondering gaze
Gleamed rarely, softly throbbing in the night.
I touched your flesh with reverential hands,
For you were sweet and timid like a flower
That blossoms out of barren tropic sands,
Shedding its perfume in one golden hour.
You yielded to my touch with gentle grace,
And though my passion was a mighty wave
That buried you beneath its strong embrace,
You were yet happy in the moment's grave.
Still more than passion consummate to me,
More than the nuptials immemorial sung,
Was the warm thrill that melted me to see
Your clean brown body, beautiful and young;
The joy in your maturity at length,
The peace that filled my soul like cooling wine,
When you responded to my tender strength,
And pressed your heart exulting into mine.
How shall I with such memories of you
In coarser forms of love fruition find?
No, I would rather like a ghost pursue
The fairy phantoms of my lonely mind.
|