Written by
John Donne |
Marry, and love thy Flavia, for she
Hath all things whereby others beautious be,
For, though her eyes be small, her mouth is great,
Though they be ivory, yet her teeth be jet,
Though they be dim, yet she is light enough,
And though her harsh hair fall, her skin is rough;
What though her cheeks be yellow, her hair's red;
Give her thine, and she hath a maidenhead.
These things are beauty's elements, where these
Meet in one, that one must, as perfect, please.
If red and white and each good quality
Be in thy wench, ne'er ask where it doth lie.
In buying things perfumed, we ask if there
Be musk and amber in it, but not where.
Though all her parts be not in th' usual place,
She hath yet an anagram of a good face.
If we might put the letters but one way,
In the lean dearth of words, what could we say?
When by the Gamut some Musicians make
A perfect song, others will undertake,
By the same Gamut changed, to equal it.
Things simply good can never be unfit.
She's fair as any, if all be like her,
And if none be, then she is singular.
All love is wonder; if we justly do
Account her wonderful, why not lovely too?
Love built on beauty, soon as beauty, dies;
Choose this face, changed by no deformities.
Women are all like angels; the fair be
Like those which fell to worse; but such as thee,
Like to good angels, nothing can impair:
'Tis less grief to be foul than t' have been fair.
For one night's revels, silk and gold we choose,
But, in long journeys, cloth and leather use.
Beauty is barren oft; best husbands say,
There is best land where there is foulest way.
Oh what a sovereign plaster will she be,
If thy past sins have taught thee jealousy!
Here needs no spies, nor eunuchs; her commit
Safe to thy foes; yea, to a Marmosit.
When Belgia's cities the round countries drown,
That dirty foulness guards, and arms the town:
So doth her face guard her; and so, for thee,
Which, forced by business, absent oft must be,
She, whose face, like clouds, turns the day to night;
Who, mightier than the sea, makes Moors seem white;
Who, though seven years she in the stews had laid,
A Nunnery durst receive, and think a maid;
And though in childbed's labour she did lie,
Midwives would swear 'twere but a tympany;
Whom, if she accuse herself, I credit less
Than witches, which impossibles confess;
Whom dildoes, bedstaves, and her velvet glass
Would be as loath to touch as Joseph was:
One like none, and liked of none, fittest were,
For, things in fashion every man will wear.
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Written by
Barry Tebb |
It was Karl Shapiro who wrote in his ‘Defence of Ignorance’ how many poets
Go mad or seem to be so and the majority think we should all be in jail
Or mental hospital and you have ended up in both places - fragile as bone china,
Your pale skin taut, your fingers clasped tight round a cup, sitting in a pool
Of midnight light, your cats stretched flat on your desk top’s scatter
Under the laughing eyes of Sexton and Lowell beneath Rollie McKenna’s seamless shutter.
Other nights you hunch in your rocking chair, spilling rhythms
Silently as a bat weaves through midnight’s jade waves
Your sibylline tongue tapping every twist or the syllable count
Deftly as Whistler mixed tints for Nocturnes’ nuances or shade
Or Hokusai tipped every wave crest.
You pause when down the hall a cat snatches at a forbidden plant,
“Schubert, Schubert”, you whisper urgently for it is night and there are neighbours.
The whistle of the forgotten kettle shrills: you turn down the gas
And scurry back to your poem as you would to a sick child
And ease the pain of disordered lines.
The face of your mother smiles like a Madonna bereft
And the faces of our children are always somewhere
As you focus your midnight eyes soft with tears.
You create to survive, a Balzac writing against the clock
A Baudelaire writing against the bailiff’s knock
A Val?ry in the throes of ‘Narcisse Parle’.
When a far clock chimes you sigh and set aside the page:
There is no telephone to ring or call: I am distant and sick,
Frail as an old stick
Our spirits rise and fall like the barometer’s needle
Jerk at a finger tapping on glass
Flashbacks or inspiration cry out at memory loss.
You peer through a magnifying glass at the typeface
Your knuckles white with pain as the sonnet starts to strain
Like a child coming to birth, the third you never bore.
All births, all babies, all poems are the same in coming
The spark of inspiration or spurt of semen,
The silent months of gestation, the waiting and worrying
Until the final agony of creation: for our first son’s
Birth at Oakes we had only a drawer for a crib.
Memories blur: all I know is that it was night
And at home as you always insisted, against all advice
But mine.
I remember feebly holding the mask in place
As the Indian woman doctor brutally stitched you without an anaesthetic
And the silence like no other when even the midwives
Had left: the child slept and we crept round his make-shift cradle.
At Brudenell Road again it was night in the cold house
With bare walls and plug-in fires: Bob, the real father
Paced the front, deep in symphonic thought:
Isaiah slept: I waited and watched - an undiagnosed breech
The doctor’s last minute discovery - made us rush
And scatter to have you admitted.
I fell asleep in the silent house and woke to a chaos
Of blood and towels and discarded dressings and a bemused five year old.
We brought you armsful of daffodils, Easter’s remainders.
“Happy Easter, are the father?” Staff beamed
As we sat by the bedside, Bob, myself and John MacKendrick,
Brecht and Rilke’s best translator
Soon to die by his own hand.
Poetry is born in the breech position
Poems beget poems.
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Written by
Edna St Vincent Millay |
When I was a windy boy and a bit
And the black spit of the chapel fold,
(Sighed the old ram rod, dying of women),
I tiptoed shy in the gooseberry wood,
The rude owl cried like a tell-tale tit,
I skipped in a blush as the big girls rolled
Nine-pin down on donkey's common,
And on seesaw sunday nights I wooed
Whoever I would with my wicked eyes,
The whole of the moon I could love and leave
All the green leaved little weddings' wives
In the coal black bush and let them grieve.
When I was a gusty man and a half
And the black beast of the beetles' pews
(Sighed the old ram rod, dying of bitches),
Not a boy and a bit in the wick-
Dipping moon and drunk as a new dropped calf,
I whistled all night in the twisted flues,
Midwives grew in the midnight ditches,
And the sizzling sheets of the town cried, Quick!-
Whenever I dove in a breast high shoal,
Wherever I ramped in the clover quilts,
Whatsoever I did in the coal-
Black night, I left my quivering prints.
When I was a man you could call a man
And the black cross of the holy house,
(Sighed the old ram rod, dying of welcome),
Brandy and ripe in my bright, bass prime,
No springtailed tom in the red hot town
With every simmering woman his mouse
But a hillocky bull in the swelter
Of summer come in his great good time
To the sultry, biding herds, I said,
Oh, time enough when the blood runs cold,
And I lie down but to sleep in bed,
For my sulking, skulking, coal black soul!
When I was half the man I was
And serve me right as the preachers warn,
(Sighed the old ram rod, dying of downfall),
No flailing calf or cat in a flame
Or hickory bull in milky grass
But a black sheep with a crumpled horn,
At last the soul from its foul mousehole
Slunk pouting out when the limp time came;
And I gave my soul a blind, slashed eye,
Gristle and rind, and a roarers' life,
And I shoved it into the coal black sky
To find a woman's soul for a wife.
Now I am a man no more no more
And a black reward for a roaring life,
(Sighed the old ram rod, dying of strangers),
Tidy and cursed in my dove cooed room
I lie down thin and hear the good bells jaw--
For, oh, my soul found a sunday wife
In the coal black sky and she bore angels!
Harpies around me out of her womb!
Chastity prays for me, piety sings,
Innocence sweetens my last black breath,
Modesty hides my thighs in her wings,
And all the deadly virtues plague my death!
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Written by
Carl Sandburg |
I WALKED among the streets of an old city and the streets were lean as the throats of hard seafish soaked in salt and kept in barrels many years.
How old, how old, how old, we are:—the walls went on saying, street walls leaning toward each other like old women of the people, like old midwives tired and only doing what must be done.
The greatest the city could offer me, a stranger, was statues of the kings, on all corners bronzes of kings—ancient bearded kings who wrote books and spoke of God’s love for all people—and young kings who took forth armies out across the frontiers splitting the heads of their opponents and enlarging their kingdoms.
Strangest of all to me, a stranger in this old city, was the murmur always whistling on the winds twisting out of the armpits and fingertips of the kings in bronze:—Is there no loosening? Is this for always?
In an early snowflurry one cried:—Pull me down where the tired old midwives no longer look at me, throw the bronze of me to a fierce fire and make me into neckchains for dancing children.
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