Written by
Louise Gluck |
The great man turns his back on the island.
Now he will not die in paradise
nor hear again
the lutes of paradise among the olive trees,
by the clear pools under the cypresses. Time
begins now, in which he hears again
that pulse which is the narrative
sea, ar dawn when its pull is stongest.
What has brought us here
will lead us away; our ship
sways in the tined harbor water.
Now the spell is ended.
Giove him back his life,
sea that can only move forward.
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Written by
Philip Larkin |
Once i am sure there's nothing going on
I step inside letting the door thud shut.
Another church: matting seats and stone
and little books; sprawlings of flowers cut
For Sunday brownish now; some brass and stuff
Up at the holy end; the small neat organ;
And a tense musty unignorable silence
Brewed God knows how long. Hatless I take off
My cylce-clips in awkward revrence
Move forward run my hand around the font.
From where i stand the roof looks almost new--
Cleaned or restored? someone would know: I don't.
Mounting the lectern I peruse a few
hectoring large-scale verses and pronouce
Here endeth much more loudly than I'd meant
The echoes snigger briefly. Back at the door
I sign the book donate an Irish sixpence
Reflect the place was not worth stopping for.
Yet stop I did: in fact I often do
And always end much at a loss like this
Wondering what to look for; wondering too
When churches fall completely out of use
What we shall turn them into if we shall keep
A few cathedrals chronically on show
Their parchment plate and pyx in locked cases
And let the rest rent-free to rain and sheep.
Shall we avoid them as unlucky places?
Or after dark will dubious women come
To make their children touvh a particular stone;
Pick simples for a cancer; or on some
Advised night see walking a dead one?
Power of some sort or other will go on
In games in riddles seemingly at random;
But superstition like belief must die
And what remains when disbelief has gone?
Grass weedy pavement brambles butress sky.
A shape less recognisable each week
A purpose more obscure. I wonder who
Will be the last the very last to seek
This place for whta it was; one of the crew
That tap and jot and know what rood-lofts were?
Some ruin-bibber randy for antique
Or Christmas-addict counting on a whiff
Of grown-and-bands and organ-pipes and myrrh?
Or will he be my representative
Bored uninformed knowing the ghostly silt
Dispersed yet tending to this cross of ground
Through suburb scrub because it held unspilt
So long and equably what since is found
Only in separation--marriage and birth
And death and thoughts of these--for which was built
This special shell? For though I've no idea
What this accoutred frowsty barn is worth
It pleases me to stand in silence here;
A serious house on serious earth it is
In whose blent air all our compulsions meet
Are recognisd and robed as destinies.
And that much never can be obsolete
Since someone will forever be surprising
A hunger in himself to be more serious
And gravitating with it to this ground
Which he once heard was proper to grow wise in
If only that so many dead lie round.
1955
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Written by
Galway Kinnell |
I eat oatmeal for breakfast.
I make it on the hot plate and put skimmed milk on it.
I eat it alone.
I am aware it is not good to eat oatmeal alone.
Its consistency is such that is better for your mental health
if somebody eats it with you.
That is why I often think up an imaginary companion to have
breakfast with.
Possibly it is even worse to eat oatmeal with an imaginary
companion.
Nevertheless, yesterday morning, I ate my oatmeal porridge,
as he called it with John Keats.
Keats said I was absolutely right to invite him:
due to its glutinous texture, gluey lumpishness, hint of slime,
and unsual willingness to disintigrate, oatmeal should
not be eaten alone.
He said that in his opinion, however, it is perfectly OK to eat
it with an imaginary companion, and that he himself had
enjoyed memorable porridges with Edmund Spenser and John
Milton.
Even if eating oatmeal with an imaginary companion is not as
wholesome as Keats claims, still, you can learn something
from it.
Yesterday morning, for instance, Keats told me about writing the
"Ode to a Nightingale."
He had a heck of a time finishing it those were his words "Oi 'ad
a 'eck of a toime," he said, more or less, speaking through
his porridge.
He wrote it quickly, on scraps of paper, which he then stuck in his
pocket,
but when he got home he couldn't figure out the order of the stanzas,
and he and a friend spread the papers on a table, and they
made some sense of them, but he isn't sure to this day if
they got it right.
An entire stanza may have slipped into the lining of his jacket
through a hole in his pocket.
He still wonders about the occasional sense of drift between stanzas,
and the way here and there a line will go into the
configuration of a Moslem at prayer, then raise itself up
and peer about, and then lay itself down slightly off the mark,
causing the poem to move forward with a reckless, shining wobble.
He said someone told him that later in life Wordsworth heard about
the scraps of paper on the table, and tried shuffling some
stanzas of his own, but only made matters worse.
I would not have known any of this but for my reluctance to eat oatmeal
alone.
When breakfast was over, John recited "To Autumn."
He recited it slowly, with much feeling, and he articulated the words
lovingly, and his odd accent sounded sweet.
He didn't offer the story of writing "To Autumn," I doubt if there
is much of one.
But he did say the sight of a just-harvested oat field go thim started
on it, and two of the lines, "For Summer has o'er-brimmed their
clammy cells" and "Thou watchest the last oozings hours by hours,"
came to him while eating oatmeal alone.
I can see him drawing a spoon through the stuff, gazing into the glimmering
furrows, muttering.
Maybe there is no sublime; only the shining of the amnion's tatters.
For supper tonight I am going to have a baked potato left over from lunch.
I am aware that a leftover baked potato is damp, slippery, and simultaneaously
gummy and crumbly, and therefore I'm going to invite Patrick Kavanagh
to join me.
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Written by
William Topaz McGonagall |
'Twas in the year of 1849, and on the 20th of February,
Lord Gough met and attacked Shere Sing right manfully.
The Sikh Army numbered 40,000 in strength,
And showing a front about two miles length.
It was a glorious morning, the sun was shining in a cloudless sky;
And the larks were singing merrily in the heavens high;
And 'twas about nine o'clock in the morning the battle was begun,
But at the end of three hours the Sikhs were forced to run.
Lord Gough's force was a mixture of European and native infantry,
And well supported with artillery and cavalry;
But the British Army in numbers weren't so strong,
Yet, fearlessly and steadily, they marched along.
Shere Sing, the King, had taken up a position near the town,
And as he gazed upon the British Army he did frown;
But Lord Gough ordered the troops to commence the battle,
With sixty big guns that loudly did rattle.
The Sikhs were posted on courses of deep water,
But the British in a short time soon did them scatter.
Whilst the British cannonading loudly hums,
And in the distance were heard the enemy's drums.
The the Sikhs began to fight with their artillery,
But their firing didn't work very effectively;
Then the British lines advanced on them right steadily,
Which was a most inspiring sight to see.
Then the order was given to move forward to attack,
And again-- and again-- through fear the enemy drew back.
Then Penny's brigade, with a ringing cheer, advanced briskly,
And charged with their bayonets very heriocally.
Then the Sikhs caught the bayonets with their left hand,
And rushed in with their swords, the scene was heroic and grand.
Whilst they slashed and cut with great dexterity,
But the British charge was irresistable, they had to flee.
And with 150 men they cleared the village of every living thing,
And with British cheers the village did ring;
And the villagers in amazement and terror fled,
Because the streets and their houses were strewn with their dead.
The chief attack was made on the enemy's right
By Colin Campbell's brigade-- a most magnificent sight.
Though they were exposed to a very galling fire,
But at last the Sikhs were forced to retire.
And in their flight everything was left behind,
And the poor Sikhs were of all comfort bereft,
Because their swords, cannon, drums, and waggons were left behind,
Therefore little pleasure could they find.
Then Shere Sing fled in great dismay,
But Lord Gough pursued him without delay,
And captured him a few miles away;
And now the Sikhs are our best soldiers of the present day,
Because India is annexed to the British Dominions, and they must obey.
|
Written by
William Topaz McGonagall |
Ye sons of Great Britain, I think no shame
To write in praise of brave General Graham!
Whose name will be handed down to posterity without any stigma,
Because, at the battle of El-Teb, he defeated Osman Digna.
With an army about five thousand strong,
To El-Teb, in the year 1884, he marched along,
And bivouacked there for the night;
While around their fires they only thought of the coming fight.
They kept up their fires all the long night,
Which made the encampment appear weird-like to the sight;
While the men were completely soaked with the rain,
But the brave heroes disdained to complain.
The brave heroes were glad when daylight did appear,
And when the reveille was sounded, they gave a hearty cheer
And their fires were piled up higher again,
Then they tried to dry their clothes that were soaked with the rain.
Then breakfast was taken about eight o'clock,
And when over, each man stood in the ranks as firm as a rock,
And every man seemed to be on his guard --
All silent and ready to move forward.
The first movement was a short one from where they lay --
Then they began to advance towards El-Teb without dismay,
And showed that all was in order for the fray,
While every man's heart seemed to feel light and gay.
The enemy's position could be seen in the distance far away
But the brave heroes marched on without delay --
Whilst the enemy's banners floated in the air,
And dark swarms of men were scattered near by there.
Their force was a large one -- its front extended over a mile,
And all along the line their guns were all in file;
But as the British advanced, they disappeared,
While our brave kilty lads loudly cheered.
Thus slowly and cautiously brave General Graham proceeded
And to save his men from slaughter, great caution was needed,
Because Osman Digna's force was about ten thousand strong;
But he said, Come on, my brave lads, we'll conquer them ere long!
It was about ten o'clock when they came near the enemy's lines,
And on the morning air could be heard the cheerful chimes
Corning from the pipes of the gallant Black Watch,
Which every ear in the British force was eager to catch.
Then they passed by the enemy about mid-day,
While every Arab seemed to have his gun ready for the fray
When a bullet strikes down General Baker by the way,
But he is soon in the saddle again without delay,
And ready for any service that he could perform;
Whilst the bullets fell around them in a perfect storm
That they had to lie down, but not through fear,
Because the enemy was about 800 yards on their left rear.
Then General Graham addressed his men,
And said, If they won't attack us, we must attack them,
So start to your feet, my lads, and never fear,
And strike up your bagpipes, and give a loud cheer.
So they leapt to their feet, and gave a loud cheer,
While the Arabs swept down upon them without the least fear,
And put aside their rifles, and grasped their spears;
Whilst the British bullets in front of them the earth uptears.
Then the British charged them with their cold steel,
Which made the Arabs backward for to reel;
But they dashed forward again on their ranks without dismay,
But before the terrible fire of their musketry they were swept away.
Oh, God of Heaven! it was a terrible sight
To see, and hear the Arabs shouting with all their might
A fearful oath when they got an inch of cold steel,
Which forced them backwards again and made them reel.
By two o'clock they were fairly beat,
And Osman Digna, the false prophet, was forced to retreat
After three hours of an incessant fight;
But Heaven, 'tis said, defends the right.
And I think he ought to be ashamed of himself;
For I consider he has acted the part of a silly elf,
By thinking to conquer the armies of the Lord
With his foolish and benighted rebel horde.
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Written by
T Wignesan |
Words uttered in a subdued voice in order to constitute a dedication,
Translation of Carlos Bousono’s poem :Palabras dichas en voz baja para
formar una dedicatoria
(To Ruth, so young, from another age)
(It’s quite probable that this poem commemorates and addresses Bousono’s
wife, Ruth, and as such the interest in the poem must underlie the intimate and/or
private candidness of tone, rather than the less than pretentious art form. T.
Wignesan)
I
This isn’t exactly wine that you and I drain to the last drop
with such slowness at this hour,
the neat truth. It’s not wine,
it’s love.
In any case, it’s not a question of an awaited
celebration, a noisy fiesta,
raised on gold.
It’s not a canticle of the mountains.
It’s only a whistling sound : flower, less than this :
whisper, lacking in weight.
II
And all this began some time back. We joined hands
very hurriedly to be able to remain by ourselves, alone,
both jointly and separately in order to walk on the neverending
pathway
interminably.
And in this manner, we move forward together on the
pathway
tenaciously. The same direction, the self-same golden instant
and despite it all, you walked without being in doubt,
always very far away, far behind, lost in the distance,
in the brightness, diminshed, yet wanting me,
in another station where flowers burgeoned,
in another time and in another pure space.
And from the secluded spot in the woods, from the sandy
indignity
of mature lateness, from where I contemplated
your eagerness to be ahead of time,
I saw you slow down, once and all over again,
without raising your head in your remote garden,
though being held back, obstinate-
ly,
and so unjustly !
pluck in joy
roses for me.
© T. Wignesan – Paris, 2013
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