Written by
D. H. Lawrence |
She is large and matronly
And rather dirty,
A little sardonic-looking, as if domesticity had driven her to it.
Though what she does, except lay four eggs at random in the garden once a year
And put up with her husband,
I don't know.
She likes to eat.
She hurries up, striding reared on long uncanny legs
When food is going.
Oh yes, she can make haste when she likes.
She snaps the soft bread from my hand in great mouthfuls,
Opening her rather pretty wedge of an iron, pristine face
Into an enormously wide-beaked mouth
Like sudden curved scissors,
And gulping at more than she can swallow, and working her thick, soft tongue,
And having the bread hanging over her chin.
O Mistress, Mistress,
Reptile mistress,
Your eye is very dark, very bright,
And it never softens
Although you watch.
She knows,
She knows well enough to come for food,
Yet she sees me not;
Her bright eye sees, but not me, not anything,
Sightful, sightless, seeing and visionless,
Reptile mistress.
Taking bread in her curved, gaping, toothless mouth,
She has no qualm when she catches my finger in her steel overlapping gums,
But she hangs on, and my shout and my shrinking are nothing to her.
She does not even know she is nipping me with her curved beak.
Snake-like she draws at my finger, while I drag it in horror away.
Mistress, reptile mistress,
You are almost too large, I am almost frightened.
He is much smaller,
Dapper beside her,
And ridiculously small.
Her laconic eye has an earthy, materialistic look,
His, poor darling, is almost fiery.
His wimple, his blunt-prowed face,
His low forehead, his skinny neck, his long, scaled, striving legs,
So striving, striving,
Are all more delicate than she,
And he has a cruel scar on his shell.
Poor darling, biting at her feet,
Running beside her like a dog, biting her earthy, splay feet,
Nipping her ankles,
Which she drags apathetic away, though without retreating into her shell.
Agelessly silent,
And with a grim, reptile determination,
Cold, voiceless age-after-age behind him, serpents' long obstinacy
Of horizontal persistence.
Little old man
Scuffling beside her, bending down, catching his opportunity,
Parting his steel-trap face, so suddenly, and seizing her scaly ankle,
And hanging grimly on,
Letting go at last as she drags away,
And closing his steel-trap face.
His steel-trap, stoic, ageless, handsome face.
Alas, what a fool he looks in this scuffle.
And how he feels it!
The lonely rambler, the stoic, dignified stalker through chaos,
The immune, the animate,
Enveloped in isolation,
Fore-runner.
Now look at him!
Alas, the spear is through the side of his isolation.
His adolescence saw him crucified into sex,
Doomed, in the long crucifixion of desire, to seek his consummation beyond himself.
Divided into passionate duality,
He, so finished and immune, now broken into desirous fragmentariness,
Doomed to make an intolerable fool of himself
In his effort toward completion again.
Poor little earthy house-inhabiting Osiris,
The mysterious bull tore him at adolescence into pieces,
And he must struggle after reconstruction, ignominiously.
And so behold him following the tail
Of that mud-hovel of his slowly rambling spouse,
Like some unhappy bull at the tail of a cow,
But with more than bovine, grim, earth-dank persistence.
Suddenly seizing the ugly ankle as she stretches out to walk,
Roaming over the sods,
Or, if it happen to show, at her pointed, heavy tail
Beneath the low-dropping back-board of her shell.
Their two shells like domed boats bumping,
Hers huge, his small;
Their splay feet rambling and rowing like paddles,
And stumbling mixed up in one another,
In the race of love --
Two tortoises,
She huge, he small.
She seems earthily apathetic,
And he has a reptile's awful persistence.
I heard a woman pitying her, pitying the Mère Tortue.
While I, I pity Monsieur.
"He pesters her and torments her," said the woman.
How much more is he pestered and tormented, say I.
What can he do?
He is dumb, he is visionless,
Conceptionless.
His black, sad-lidded eye sees but beholds not
As her earthen mound moves on,
But he catches the folds of vulnerable, leathery skin,
Nail-studded, that shake beneath her shell,
And drags at these with his beak,
Drags and drags and bites,
While she pulls herself free, and rows her dull mound along.
|
Written by
Ezra Pound |
"Vocat aestus in umbram"
Nemesianus Es. IV.
E. P. Ode pour l'élection de son sépulchre
For three years, out of key with his time,
He strove to resuscitate the dead art
Of poetry; to maintain "the sublime"
In the old sense. Wrong from the start --
No, hardly, but, seeing he had been born
In a half savage country, out of date;
Bent resolutely on wringing lilies from the acorn;
Capaneus; trout for factitious bait:
"Idmen gar toi panth, os eni Troie
Caught in the unstopped ear;
Giving the rocks small lee-way
The chopped seas held him, therefore, that year.
His true Penelope was Flaubert,
He fished by obstinate isles;
Observed the elegance of Circe's hair
Rather than the mottoes on sun-dials.
Unaffected by "the march of events",
He passed from men's memory in l'an trentiesme
De son eage; the case presents
No adjunct to the Muses' diadem.
II.
The age demanded an image
Of its accelerated grimace,
Something for the modern stage,
Not, at any rate, an Attic grace;
Not, not certainly, the obscure reveries
Of the inward gaze;
Better mendacities
Than the classics in paraphrase!
The "age demanded" chiefly a mould in plaster,
Made with no loss of time,
A prose kinema, not, not assuredly, alabaster
Or the "sculpture" of rhyme.
III.
The tea-rose, tea-gown, etc.
Supplants the mousseline of Cos,
The pianola "replaces"
Sappho's barbitos.
Christ follows Dionysus,
Phallic and ambrosial
Made way for macerations;
Caliban casts out Ariel.
All things are a flowing,
Sage Heracleitus says;
But a tawdry cheapness
Shall reign throughout our days.
Even the Christian beauty
Defects -- after Samothrace;
We see to kalon
Decreed in the market place.
Faun's flesh is not to us,
Nor the saint's vision.
We have the press for wafer;
Franchise for circumcision.
All men, in law, are equals.
Free of Peisistratus,
We choose a knave or an eunuch
To rule over us.
A bright Apollo,
tin andra, tin eroa, tina theon,
What god, man, or hero
Shall I place a tin wreath upon?
IV.
These fought, in any case,
and some believing, pro domo, in any case ..
Some quick to arm,
some for adventure,
some from fear of weakness,
some from fear of censure,
some for love of slaughter, in imagination,
learning later ...
some in fear, learning love of slaughter;
Died some pro patria, non dulce non et decor" ..
walked eye-deep in hell
believing in old men's lies, then unbelieving
came home, home to a lie,
home to many deceits,
home to old lies and new infamy;
usury age-old and age-thick
and liars in public places.
Daring as never before, wastage as never before.
Young blood and high blood,
Fair cheeks, and fine bodies;
fortitude as never before
frankness as never before,
disillusions as never told in the old days,
hysterias, trench confessions,
laughter out of dead bellies.
V.
There died a myriad,
And of the best, among them,
For an old ***** gone in the teeth,
For a botched civilization.
Charm, smiling at the good mouth,
Quick eyes gone under earth's lid,
For two gross of broken statues,
For a few thousand battered books.
Yeux Glauques
Gladstone was still respected,
When John Ruskin produced
"Kings Treasuries"; Swinburne
And Rossetti still abused.
Fœtid Buchanan lifted up his voice
When that faun's head of hers
Became a pastime for
Painters and adulterers.
The Burne-Jones cartons
Have preserved her eyes;
Still, at the Tate, they teach
Cophetua to rhapsodize;
Thin like brook-water,
With a vacant gaze.
The English Rubaiyat was still-born
In those days.
The thin, clear gaze, the same
Still darts out faun-like from the half-ruin'd face,
Questing and passive ....
"Ah, poor Jenny's case" ...
Bewildered that a world
Shows no surprise
At her last maquero's
Adulteries.
"Siena Mi Fe', Disfecemi Maremma"
Among the pickled fœtuses and bottled bones,
Engaged in perfecting the catalogue,
I found the last scion of the
Senatorial families of Strasbourg, Monsieur Verog.
For two hours he talked of Gallifet;
Of Dowson; of the Rhymers' Club;
Told me how Johnson (Lionel) died
By falling from a high stool in a pub ...
But showed no trace of alcohol
At the autopsy, privately performed --
Tissue preserved -- the pure mind
Arose toward Newman as the whiskey warmed.
Dowson found harlots cheaper than hotels;
Headlam for uplift; Image impartially imbued
With raptures for Bacchus, Terpsichore and the Church.
So spoke the author of "The Dorian Mood",
M. Verog, out of step with the decade,
Detached from his contemporaries,
Neglected by the young,
Because of these reveries.
Brennbaum.
The sky-like limpid eyes,
The circular infant's face,
The stiffness from spats to collar
Never relaxing into grace;
The heavy memories of Horeb, Sinai and the forty years,
Showed only when the daylight fell
Level across the face
Of Brennbaum "The Impeccable".
Mr. Nixon
In the cream gilded cabin of his steam yacht
Mr. Nixon advised me kindly, to advance with fewer
Dangers of delay. "Consider
Carefully the reviewer.
"I was as poor as you are;
"When I began I got, of course,
"Advance on royalties, fifty at first", said Mr. Nixon,
"Follow me, and take a column,
"Even if you have to work free.
"Butter reviewers. From fifty to three hundred
"I rose in eighteen months;
"The hardest nut I had to crack
"Was Dr. Dundas.
"I never mentioned a man but with the view
"Of selling my own works.
"The tip's a good one, as for literature
"It gives no man a sinecure."
And no one knows, at sight a masterpiece.
And give up verse, my boy,
There's nothing in it."
* * *
Likewise a friend of Bloughram's once advised me:
Don't kick against the pricks,
Accept opinion. The "Nineties" tried your game
And died, there's nothing in it.
X.
Beneath the sagging roof
The stylist has taken shelter,
Unpaid, uncelebrated,
At last from the world's welter
Nature receives him,
With a placid and uneducated mistress
He exercises his talents
And the soil meets his distress.
The haven from sophistications and contentions
Leaks through its thatch;
He offers succulent cooking;
The door has a creaking latch.
XI.
"Conservatrix of Milésien"
Habits of mind and feeling,
Possibly. But in Ealing
With the most bank-clerkly of Englishmen?
No, "Milésian" is an exaggeration.
No instinct has survived in her
Older than those her grandmother
Told her would fit her station.
XII.
"Daphne with her thighs in bark
Stretches toward me her leafy hands", --
Subjectively. In the stuffed-satin drawing-room
I await The Lady Valentine's commands,
Knowing my coat has never been
Of precisely the fashion
To stimulate, in her,
A durable passion;
Doubtful, somewhat, of the value
Of well-gowned approbation
Of literary effort,
But never of The Lady Valentine's vocation:
Poetry, her border of ideas,
The edge, uncertain, but a means of blending
With other strata
Where the lower and higher have ending;
A hook to catch the Lady Jane's attention,
A modulation toward the theatre,
Also, in the case of revolution,
A possible friend and comforter.
* * *
Conduct, on the other hand, the soul
"Which the highest cultures have nourished"
To Fleet St. where
Dr. Johnson flourished;
Beside this thoroughfare
The sale of half-hose has
Long since superseded the cultivation
Of Pierian roses.
|
Written by
John Dryden |
Consecrated to the Glorious Memory of His
Most Serene and Renowned Highness, Oliver,
Late Lord Protector of This Commonwealth, etc.
(Oliver Cromwell)
Written After the Celebration of his Funeral
1
And now 'tis time; for their officious haste,
Who would before have borne him to the sky,
Like eager Romans ere all rites were past
Did let too soon the sacred eagle fly.
2
Though our best notes are treason to his fame
Join'd with the loud applause of public voice;
Since Heav'n, what praise we offer to his name,
Hath render'd too authentic by its choice;
3
Though in his praise no arts can liberal be,
Since they whose Muses have the highest flown
Add not to his immortal memory,
But do an act of friendship to their own;
4
Yet 'tis our duty and our interest too
Such monuments as we can build to raise,
Lest all the world prevent what we should do
And claim a title in him by their praise.
5
How shall I then begin, or where conclude
To draw a fame so truly circular?
For in a round what order can be shew'd,
Where all the parts so equal perfect are?
6
His grandeur he deriv'd from Heav'n alone,
For he was great ere fortune made him so,
And wars like mists that rise against the sun
Made him but greater seem, not greater grown.
7
No borrow'd bays his temples did adorn,
But to our crown he did fresh jewels bring.
Nor was his virtue poison'd soon as born
With the too early thoughts of being king.
8
Fortune (that easy mistress of the young
But to her ancient servant coy and hard)
Him at that age her favorites rank'd among
When she her best-lov'd Pompey did discard.
9
He, private, mark'd the faults of others' sway,
And set as sea-marks for himself to shun,
Not like rash monarchs who their youth betray
By acts their age too late would wish undone.
10
And yet dominion was not his design;
We owe that blessing not to him but Heaven,
Which to fair acts unsought rewards did join,
Rewards that less to him than us were given.
11
Our former chiefs like sticklers of the war
First sought t'inflame the parties, then to poise,
The quarrel lov'd, but did the cause abhor,
And did not strike to hurt but make a noise.
12
War, our consumption, was their gainfull trade;
We inward bled whilst they prolong'd our pain;
He fought to end our fighting and assay'd
To stanch the blood by breathing of the vein.
13
Swift and resistless through the land he pass'd
Like that bold Greek who did the east subdue,
And made to battles such heroic haste
As if on wings of victory he flew.
14
He fought secure of fortune as of fame,
Till by new maps the island might be shown,
Of conquests which he strew'd where'er he came
Thick as a galaxy with stars is sown.
15
His palms, though under weights they did not stand,
Still thriv'd; no winter could his laurels fade;
Heav'n in his portrait shew'd a workman's hand
And drew it perfect yet without a shade.
16
Peace was the prize of all his toils and care,
Which war had banish'd and did now restore;
Bologna's walls thus mounted in the air
To seat themselves more surely than before.
17
Her safety rescu'd Ireland to him owes,
And treacherous Scotland, to no int'rest true,
Yet bless'd that fate which did his arms dispose
Her land to civilize as to subdue.
18
Nor was he like those stars which only shine
When to pale mariners they storms portend;
He had his calmer influence, and his mien
Did love and majesty together blend.
19
'Tis true, his count'nance did imprint an awe,
And naturally all souls to his did bow,
As wands of divination downward draw
And points to beds where sov'reign gold doth grow.
20
When past all offerings to Feretrian Jove,
He Mars depos'd and arms to gowns made yield;
Successful councils did him soon approve
As fit for close intrigues as open field.
21
To suppliant Holland he vouchsaf'd a peace,
Our once bold rival in the British main,
Now tamely glad her unjust claim to cease
And buy our friendship with her idol, gain.
22
Fame of th' asserted sea through Europe blown
Made France and Spain ambitious of his love;
Each knew that side must conquer he would own,
And for him fiercely as for empire strove.
23
No sooner was the Frenchman's cause embrac'd
Than the light monsieur the grave don outweigh'd;
His fortune turn'd the scale where it was cast,
Though Indian mines were in the other laid.
24
When absent, yet we conquer'd in his right,
For though some meaner artist's skill were shown
In mingling colours, or in placing light,
Yet still the fair designment was his own.
25
For from all tempers he could service draw;
The worth of each with its alloy he knew,
And as the confidant of Nature saw
How she complexions did divide and brew.
26
Or he their single virtues did survey
By intuition in his own large breast,
Where all the rich ideas of them lay,
That were the rule and measure to the rest.
27
When such heroic virtue Heav'n sets out,
The stars like Commons sullenly obey,
Because it drains them when it comes about,
And therefore is a tax they seldom pay.
28
From this high spring our foreign conquests flow,
Which yet more glorious triumphs do portend,
Since their commencement to his arms they owe,
If springs as high as fountains may ascend.
29
He made us freemen of the continent
Whom Nature did like captives treat before,
To nobler preys the English lion sent,
And taught him first in Belgian walks to roar.
30
That old unquestion'd pirate of the land,
Proud Rome, with dread the fate of Dunkirk heard,
And trembling wish'd behind more Alps to stand,
Although an Alexander were here guard.
31
By his command we boldly cross'd the line
And bravely fought where southern stars arise,
We trac'd the far-fetch'd gold unto the mine
And that which brib'd our fathers made our prize.
32
Such was our prince; yet own'd a soul above
The highest acts it could produce to show:
Thus poor mechanic arts in public move
Whilst the deep secrets beyond practice go.
33
Nor di'd he when his ebbing fame went less,
But when fresh laurels courted him to live;
He seem'd but to prevent some new success,
As if above what triumphs earth could give.
34
His latest victories still thickest came,
As near the center motion does increase,
Till he, press'd down by his own weighty name,
Did, like the vestal, under spoils decrease.
35
But first the ocean as a tribute sent
That giant prince of all her watery herd,
And th' isle when her protecting genius went
Upon his obsequies loud sighs conferr'd.
36
No civil broils have since his death arose,
But faction now by habit does obey,
And wars have that respect for his repose,
As winds for halycons when they breed at sea.
37
His ashes in a peaceful urn shall rest;
His name a great example stands to show
How strangely high endeavours may be blest,
Where piety and valour jointly go.
|
Written by
Philip Levine |
Still sober, César Vallejo comes home and finds a black ribbon
around the apartment building covering the front door.
He puts down his cane, removes his greasy fedora, and begins
to untangle the mess. His neighbors line up behind him
wondering what's going on. A middle-aged woman carrying
a loaf of fresh bread asks him to step aside so she
can enter, ascend the two steep flights to her apartment,
and begin the daily task of preparing lunch for her Monsieur.
Vallejo pretends he hears nothing or perhaps he truly
hears nothing so absorbed is he in this odd task consuming
his late morning. Did I forget to mention that no one else
can see the black ribbon or understand why his fingers
seem so intent on unraveling what is not there? Remember
when you were only six and on especially hot days you
would descend the shaky steps to the cellar hoping at first
that someone, perhaps your mother, would gradually
become aware of your absence and feel a sudden seizure
of anxiety or terror. Of course no one noticed. Mother
sat for hours beside the phone waiting, and now and then
gazed at summer sunlight blazing through the parlor curtains
while below, cool and alone, seated on the damp concrete
you watched the same sunlight filter through the rising dust
from the two high windows. Beside the furnace a spider
worked brilliantly downward from the burned-out, overhead bulb
with a purpose you at that age could still comprehend.
1937 would last only six more months. It was a Thursday.
Rain was promised but never arrived. The brown spider worked
with or without hope, though when the dusty sunlight caught
in the web you beheld a design so perfect it remained
in your memory as a model of meaning. César Vallejo
untangled the black ribbon no one else saw and climbed
to his attic apartment and gazed out at the sullen rooftops
stretching southward toward Spain where his heart died. I know this.
I've walked by the same building year after year in late evening
when the swallows were settling noiselessly in the few sparse trees
beside the unused canal. I've come when the winter snow
blinded the distant brooding sky. I've come just after dawn,
I've come in spring, in autumn, in rain, and he was never there.
|
Written by
Amy Lowell |
Cross-ribboned shoes; a muslin gown,
High-waisted, girdled with bright blue;
A straw poke bonnet which hid the frown
She pluckered her little brows into
As she picked her dainty passage through
The dusty street. "Ah, Mademoiselle,
A dirty pathway, we need rain,
My poor fruits suffer, and the shell
Of this nut's too big for its kernel, lain
Here in the sun it has shrunk again.
The baker down at the corner says
We need a battle to shake the clouds;
But I am a man of peace, my ways
Don't look to the killing of men in crowds.
Poor fellows with guns and bayonets for shrouds!
Pray, Mademoiselle, come out of the sun.
Let me dust off that wicker chair. It's cool
In here, for the green leaves I have run
In a curtain over the door, make a pool
Of shade. You see the pears on that stool --
The shadow keeps them plump and fair."
Over the fruiterer's door, the leaves
Held back the sun, a greenish flare
Quivered and sparked the shop, the sheaves
Of sunbeams, glanced from the sign on the eaves,
Shot from the golden letters, broke
And splintered to little scattered lights.
Jeanne Tourmont entered the shop, her poke
Bonnet tilted itself to rights,
And her face looked out like the moon on nights
Of flickering clouds. "Monsieur Popain, I
Want gooseberries, an apple or two,
Or excellent plums, but not if they're high;
Haven't you some which a strong wind blew?
I've only a couple of francs for you."
Monsieur Popain shrugged and rubbed his hands.
What could he do, the times were sad.
A couple of francs and such demands!
And asking for fruits a little bad.
Wind-blown indeed! He never had
Anything else than the very best.
He pointed to baskets of blunted pears
With the thin skin tight like a bursting vest,
All yellow, and red, and brown, in smears.
Monsieur Popain's voice denoted tears.
He took up a pear with tender care,
And pressed it with his hardened thumb.
"Smell it, Mademoiselle, the perfume there
Is like lavender, and sweet thoughts come
Only from having a dish at home.
And those grapes! They melt in the mouth like wine,
Just a click of the tongue, and they burst to honey.
They're only this morning off the vine,
And I paid for them down in silver money.
The Corporal's widow is witness, her pony
Brought them in at sunrise to-day.
Those oranges -- Gold! They're almost red.
They seem little chips just broken away
From the sun itself. Or perhaps instead
You'd like a pomegranate, they're rarely gay,
When you split them the seeds are like crimson spray.
Yes, they're high, they're high, and those Turkey figs,
They all come from the South, and Nelson's ships
Make it a little hard for our rigs.
They must be forever giving the slips
To the cursed English, and when men clips
Through powder to bring them, why dainties mounts
A bit in price. Those almonds now,
I'll strip off that husk, when one discounts
A life or two in a ****** row
With the man who grew them, it does seem how
They would come dear; and then the fight
At sea perhaps, our boats have heels
And mostly they sail along at night,
But once in a way they're caught; one feels
Ivory's not better nor finer -- why peels
From an almond kernel are worth two sous.
It's hard to sell them now," he sighed.
"Purses are tight, but I shall not lose.
There's plenty of cheaper things to choose."
He picked some currants out of a wide
Earthen bowl. "They make the tongue
Almost fly out to suck them, bride
Currants they are, they were planted long
Ago for some new Marquise, among
Other great beauties, before the Chateau
Was left to rot. Now the Gardener's wife,
He that marched off to his death at Marengo,
Sells them to me; she keeps her life
From snuffing out, with her pruning knife.
She's a poor old thing, but she learnt the trade
When her man was young, and the young Marquis
Couldn't have enough garden. The flowers he made
All new! And the fruits! But 'twas said that
he
Was no friend to the people, and so they laid
Some charge against him, a cavalcade
Of citizens took him away; they meant
Well, but I think there was some mistake.
He just pottered round in his garden, bent
On growing things; we were so awake
In those days for the New Republic's sake.
He's gone, and the garden is all that's left
Not in ruin, but the currants and apricots,
And peaches, furred and sweet, with a cleft
Full of morning dew, in those green-glazed pots,
Why, Mademoiselle, there is never an eft
Or worm among them, and as for theft,
How the old woman keeps them I cannot say,
But they're finer than any grown this way."
Jeanne Tourmont drew back the filigree ring
Of her striped silk purse, tipped it upside down
And shook it, two coins fell with a ding
Of striking silver, beneath her gown
One rolled, the other lay, a thing
Sparked white and sharply glistening,
In a drop of sunlight between two shades.
She jerked the purse, took its empty ends
And crumpled them toward the centre braids.
The whole collapsed to a mass of blends
Of colours and stripes. "Monsieur Popain, friends
We have always been. In the days before
The Great Revolution my aunt was kind
When you needed help. You need no more;
'Tis we now who must beg at your door,
And will you refuse?" The little man
Bustled, denied, his heart was good,
But times were hard. He went to a pan
And poured upon the counter a flood
Of pungent raspberries, tanged like wood.
He took a melon with rough green rind
And rubbed it well with his apron tip.
Then he hunted over the shop to find
Some walnuts cracking at the lip,
And added to these a barberry slip
Whose acrid, oval berries hung
Like fringe and trembled. He reached a round
Basket, with handles, from where it swung
Against the wall, laid it on the ground
And filled it, then he searched and found
The francs Jeanne Tourmont had let fall.
"You'll return the basket, Mademoiselle?"
She smiled, "The next time that I call,
Monsieur. You know that very well."
'Twas lightly said, but meant to tell.
Monsieur Popain bowed, somewhat abashed.
She took her basket and stepped out.
The sunlight was so bright it flashed
Her eyes to blindness, and the rout
Of the little street was all about.
Through glare and noise she stumbled, dazed.
The heavy basket was a care.
She heard a shout and almost grazed
The panels of a chaise and pair.
The postboy yelled, and an amazed
Face from the carriage window gazed.
She jumped back just in time, her heart
Beating with fear. Through whirling light
The chaise departed, but her smart
Was keen and bitter. In the white
Dust of the street she saw a bright
Streak of colours, wet and gay,
Red like blood. Crushed but fair,
Her fruit stained the cobbles of the way.
Monsieur Popain joined her there.
"Tiens, Mademoiselle,
c'est le General Bonaparte,
partant pour la Guerre!"
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Written by
Hilaire Belloc |
Who played with a Dangerous Toy, and suffered a Catastrophe of considerable Dimensions
When George's Grandmamma was told
That George had been as good as gold,
She promised in the afternoon
To buy him an Immense BALLOON.
And so she did; but when it came,
It got into the candle flame,
And being of a dangerous sort
Exploded with a loud report!
The lights went out! The windows broke!
The room was filled with reeking smoke.
And in the darkness shrieks and yells
Were mingled with electric bells,
And falling masonry and groans,
And crunching, as of broken bones,
And dreadful shrieks, when, worst of all,
The house itself began to fall!
It tottered, shuddering to and fro,
Then crashed into the street below-
Which happened to be Savile Row.
When help arrived, among the dead
Were Cousin Mary, Little Fred,
The Footmen (both of them), the Groom,
The man that cleaned the Billiard-Room,
The Chaplain, and the Still-Room Maid.
And I am dreadfully afraid
That Monsieur Champignon, the Chef,
Will now be permanently deaf-
And both his aides are much the same;
While George, who was in part to blame,
Received, you will regret to hear,
A nasty lump behind the ear.
Moral:
The moral is that little boys
Should not be given dangerous toys.
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Written by
T S (Thomas Stearns) Eliot |
LE garçon délabré qui n’a rien à faire
Que de se gratter les doigts et se pencher sur mon épaule:
“Dans mon pays il fera temps pluvieux,
Du vent, du grand soleil, et de la pluie;
C’est ce qu’on appelle le jour de lessive des gueux.”
(Bavard, baveux, à la croupe arrondie,
Je te prie, au moins, ne bave pas dans la soupe).
“Les saules trempés, et des bourgeons sur les ronces—
C’est là, dans une averse, qu’on s’abrite.
J’avais sept ans, elle était plus petite.
Elle était toute mouillée, je lui ai donné des primevères.”
Les taches de son gilet montent au chiffre de trentehuit.
“Je la chatouillais, pour la faire rire.
J’éprouvais un instant de puissance et de délire.”
Mais alors, vieux lubrique, à cet âge...
“Monsieur, le fait est dur.
Il est venu, nous peloter, un gros chien;
Moi j’avais peur, je l’ai quittée à mi-chemin.
C’est dommage.”
Mais alors, tu as ton vautour!
Va t’en te décrotter les rides du visage;
Tiens, ma fourchette, décrasse-toi le crâne.
De quel droit payes-tu des expériences comme moi?
Tiens, voilà dix sous, pour la salle-de-bains.
Phlébas, le Phénicien, pendant quinze jours noyé,
Oubliait les cris des mouettes et la houle de Cornouaille,
Et les profits et les pertes, et la cargaison d’étain:
Un courant de sous-mer l’emporta très loin,
Le repassant aux étapes de sa vie antérieure.
Figurez-vous donc, c’était un sort pénible;
Cependant, ce fut jadis un bel homme, de haute taille.
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Written by
Ellis Parker Butler |
To be a great musician you must be a man of moods,
You have to be, to understand sonatas and etudes.
To execute pianos and to fiddle with success,
With sympathy and feeling you must fairly effervesce;
It was so with Paganini, Remenzi and Cho-pang,
And so it was with Peterkin Von Gabriel O’Lang.
Monsieur O’Lang had sympathy to such a great degree.
No virtuoso ever lived was quite so great as he;
He was either very happy or very, very sad;
He was always feeling heavenly or oppositely bad;
In fact, so sympathetic that he either must enthuse
Or have the dumps; feel ecstacy or flounder in the blues.
So all agreed that Peterkin Von Gabriel O’Lang
Was the greatest violinist in the virtuoso gang.
The ladies bought his photographs and put them on the shelves
In the place of greatest honor, right beside those of themselves;
They gladly gave ten dollars for a stiff backed parquette chair.
And sat in mouth-wide happiness a-looking at his hair.
I say “a looking at his hair,” I mean just what I say,
For no one ever had a chance to hear P. O’Lang play;
So subtle was his sympathy, so highly strung was he,
His moods were barometric to the very last degree;
The slightest change of weather would react upon his brain,
And fill his soul with joyousness or murder it with pain.
And when his soul was troubled he had not the heart to play.
But let his head droop sadly down in such a soulful way,
That every one that saw him declared it was worth twice
(And some there were said three times) the large admission price;
And all were quite unanimous and said it would be crude
For such a man to fiddle when he wasn’t in the mood.
But when his soul was filled with joy he tossed his flowing hair
And waved his violin-bow in great circles in the air;
Ecstaticly he flourished it, for so his spirit thrilled,
Thus only could he show the joy with which his heart was filled;
And so he waved it up and down and ’round and out and in,—
But he never, never, NEVER touched it to his violin!
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Written by
Robert William Service |
My worldly wealth I hoard in albums three,
My life collection of rare postage stamps;
My room is cold and bare as you can see,
My coat is old and shabby as a tramp's;
Yet more to me than balances in banks,
My albums three are worth a million francs.
I keep them in that box beside my bed,
For who would dream such treasures it could hold;
But every day I take them out and spread
Each page, to gloat like miser o'er his gold:
Dearer to me than could be child or wife,
I would defend them with my very life.
They are my very life, for every night
over my catalogues I pore and pore;
I recognize rare items with delight,
Nothing I read but philatelic lore;
And when some specimen of choice I buy,
In all the world there's none more glad than I.
Behold my gem, my British penny black;
To pay its price I starved myself a year;
And many a night my dinner I would lack,
But when I bought it, oh, what radiant cheer!
Hitler made war that day - I did not care,
So long as my collection he would spare.
Look - my triangular Cape of Good Hope.
To purchase it I had to sell my car.
Now in my pocket for some sous I grope
To pay my omnibus when home is far,
And I am cold and hungry and footsore,
In haste to add some beauty to my store.
This very day, ah, what a joy was mine,
When in a dingy dealer's shop I found
This franc vermillion, eighteen forty-nine . . .
How painfully my heart began to pound!
(It's weak they say), I paid the modest price
And tremblingly I vanished in a trice.
But oh, my dream is that some day of days,
I might discover a Mauritius blue,
poking among the stamp-bins of the quais;
Who knows! They say there are but two;
Yet if a third one I should spy,
I think - God help me! I should faint and die. . . .
Poor Monsieur Pns, he's cold and dead,
One of those stamp-collecting cranks.
His garret held no crust of bread,
But albums worth a million francs.
on them his income he would spend,
By philatelic frenzy driven:
What did it profit in the end. . .
You can't take stamps to Heaven.
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