Edgar Allan Poe |
ONCE upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore,¡ª
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
"'T is some visitor," I muttered, "tapping at my chamber door; 5
Only this and nothing more.
Ah, distinctly I remember it was in the bleak December
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;¡ªvainly I had sought to borrow
From my books surcease of sorrow¡ªsorrow for the lost Lenore, 10
For the rare and radiant maiden whom the angels name Lenore:
Nameless here for evermore.
And the silken sad uncertain rustling of each purple curtain
Thrilled me¡ªfilled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating 15
"'T is some visitor entreating entrance at my chamber door,
Some late visitor entreating entrance at my chamber door:
This it is and nothing more.
Presently my soul grew stronger; hesitating then no longer,
"Sir," said I, "or Madam, truly your forgiveness I implore; 20
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you"¡ªhere I opened wide the door:¡ª
Darkness there and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing, 25
Doubting, dreaming dreams no mortals ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, "Lenore?"
This I whispered, and an echo murmured back the word, "Lenore:"
Merely this and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
"Surely," said I, "surely that is something at my window lattice;
Let me see, then, what thereat is, and this mystery explore;
Let my heart be still a moment and this mystery explore: 35
'T is the wind and nothing more.
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door, 40
Perched upon a bust of Pallas just above my chamber door:
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling
By the grave and stern decorum of the countenance it wore,¡ª
"Though thy crest be shorn and shaven, thou," I said, "art sure no craven, 45
Ghastly grim and ancient Raven wandering from the Nightly shore:
Tell me what thy lordly name is on the Night's Plutonian shore!"
Quoth the Raven, "Nevermore.
Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning¡ªlittle relevancy bore; 50
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door,
Bird or beast upon the sculptured bust above his chamber door,
With such name as "Nevermore.
But the Raven, sitting lonely on the placid bust, spoke only 55
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered, not a feather then he fluttered,
Till I scarcely more than muttered,¡ª"Other friends have flown before;
On the morrow he will leave me, as my Hopes have flown before.
Then the bird said, "Nevermore.
Startled at the stillness broken by reply so aptly spoken,
"Doubtless," said I, "what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore:
Till the dirges of his Hope that melancholy burden bore 65
But the Raven still beguiling all my fancy into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore, 70
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking "Nevermore.
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining 75
On the cushion's velvet lining that the lamplight gloated o'er,
But whose velvet violet lining with the lamp-light gloating o'er
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer
Swung by seraphim whose foot-falls tinkled on the tufted floor.
"Wretch," I cried, "thy God hath lent thee¡ªby these angels he hath sent thee
Respite¡ªrespite and nepenthe from thy memories of Lenore!"
Quaff, oh quaff this kind nepenthe, and forget this lost Lenore.
Quoth the Raven, "Nevermore.
"Prophet!" said I, "thing of evil! prophet still, if bird or devil! 85
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted¡ª
On this home by Horror haunted¡ªtell me truly, I implore:
Is there¡ªis there balm in Gilead?¡ªtell me¡ªtell me, I implore!"
Quoth the Raven, "Nevermore.
"Prophet!" said I, "thing of evil¡ªprophet still, if bird or devil!
By that Heaven that bends above us, by that God we both adore,
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore:
Clasp a rare and radiant maiden whom the angels name Lenore!" 95
Quoth the Raven, "Nevermore.
"Be that word our sign of parting, bird or fiend!" I shrieked, upstarting:
"Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken! quit the bust above my door! 100
Take thy beak from out my heart, and take thy form from off my door!"
Quoth the Raven, "Nevermore.
And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming, 105
And the lamp-light o'er him streaming throws his shadow on the floor:
And my soul from out that shadow that lies floating on the floor
Shall be lifted¡ªnevermore!
Robert Frost |
Her teacher's certainty it must be Mabel
Made Maple first take notice of her name.
She asked her father and he told her, "Maple—
Maple is right.
"But teacher told the school
There's no such name.
"Teachers don't know as much
As fathers about children, you tell teacher.
You tell her that it's M-A-P-L-E.
You ask her if she knows a maple tree.
Well, you were named after a maple tree.
Your mother named you.
You and she just saw
Each other in passing in the room upstairs,
One coming this way into life, and one
Going the other out of life—you know?
So you can't have much recollection of her.
She had been having a long look at you.
She put her finger in your cheek so hard
It must have made your dimple there, and said,
' I said it too: 'Yes, for her name.
So we're sure there's no mistake.
I don't know what she wanted it to mean,
But it seems like some word she left to bid you
Be a good girl—be like a maple tree.
How like a maple tree's for us to guess.
Or for a little girl to guess sometime.
Not now—at least I shouldn't try too hard now.
By and by I will tell you all I know
About the different trees, and something, too,
About your mother that perhaps may help.
Dangerous self-arousing words to sow.
Luckily all she wanted of her name then
Was to rebuke her teacher with it next day,
And give the teacher a scare as from her father.
Anything further had been wasted on her,
Or so he tried to think to avoid blame.
She would forget it.
She all but forgot it.
What he sowed with her slept so long a sleep,
And came so near death in the dark of years,
That when it woke and came to life again
The flower was different from the parent seed.
It carne back vaguely at the glass one day,
As she stood saying her name over aloud,
Striking it gently across her lowered eyes
To make it go well with the way she looked.
What was it about her name? Its strangeness lay
In having too much meaning.
As Lesley, Carol, Irma, Marjorie,
Rose could have a meaning,
But hadn't as it went.
(She knew a Rose.
This difference from other names it was
Made people notice it—and notice her.
(They either noticed it, or got it wrong.
Her problem was to find out what it asked
In dress or manner of the girl who bore it.
If she could form some notion of her mother—
What she bad thought was lovely, and what good.
This was her mother's childhood home;
The house one story high in front, three stories
On the end it presented to the road.
(The arrangement made a pleasant sunny cellar.
Her mother's bedroom was her father's still,
Where she could watch her mother's picture fading.
Once she found for a bookmark in the Bible
A maple leaf she thought must have been laid
In wait for her there.
She read every word
Of the two pages it was pressed between,
As if it was her mother speaking to her.
But forgot to put the leaf back in closing
And lost the place never to read again.
She was sure, though, there had been nothing in it.
So she looked for herself, as everyone
Looks for himself, more or less outwardly.
And her self-seeking, fitful though it was,
May still have been what led her on to read,
And think a little, and get some city schooling.
She learned shorthand, whatever shorthand may
Have had to do with it--she sometimes wondered.
So, till she found herself in a strange place
For the name Maple to have brought her to,
Taking dictation on a paper pad
And, in the pauses when she raised her eyes,
Watching out of a nineteenth story window
An airship laboring with unshiplike motion
And a vague all-disturbing roar above the river
Beyond the highest city built with hands.
Someone was saying in such natural tones
She almost wrote the words down on her knee,
"Do you know you remind me of a tree--
A maple tree?"
"Because my name is Maple?"
"Isn't it Mabel? I thought it was Mabel.
"No doubt you've heard the office call me Mabel.
I have to let them call me what they like.
They were both stirred that he should have divined
Without the name her personal mystery.
It made it seem as if there must be something
She must have missed herself.
So they were married,
And took the fancy home with them to live by.
They went on pilgrimage once to her father's
(The house one story high in front, three stories
On the side it presented to the road)
To see if there was not some special tree
She might have overlooked.
They could find none,
Not so much as a single tree for shade,
Let alone grove of trees for sugar orchard.
She told him of the bookmark maple leaf
In the big Bible, and all she remembered
of the place marked with it—"Wave offering,
Something about wave offering, it said.
"You've never asked your father outright, have you?"
"I have, and been Put off sometime, I think.
(This was her faded memory of the way
Once long ago her father had put himself off.
"Because no telling but it may have been
Something between your father and your mother
Not meant for us at all.
"Not meant for me?
Where would the fairness be in giving me
A name to carry for life and never know
The secret of?"
"And then it may have been
Something a father couldn't tell a daughter
As well as could a mother.
It may have been their one lapse into fancy
'Twould be too bad to make him sorry for
By bringing it up to him when be was too old.
Your father feels us round him with our questing,
And holds us off unnecessarily,
As if he didn't know what little thing
Might lead us on to a discovery.
It was as personal as be could be
About the way he saw it was with you
To say your mother, bad she lived, would be
As far again as from being born to bearing.
"Just one look more with what you say in mind,
And I give up"; which last look came to nothing.
But though they now gave up the search forever,
They clung to what one had seen in the other
It proved there was something.
They kept their thoughts away from when the maples
Stood uniform in buckets, and the steam
Of sap and snow rolled off the sugarhouse.
When they made her related to the maples,
It was the tree the autumn fire ran through
And swept of leathern leaves, but left the bark
Unscorched, unblackened, even, by any smoke.
They always took their holidays in autumn.
Once they came on a maple in a glade,
Standing alone with smooth arms lifted up,
And every leaf of foliage she'd worn
Laid scarlet and pale pink about her feet.
But its age kept them from considering this one.
Twenty-five years ago at Maple's naming
It hardly could have been a two-leaved seedling
The next cow might have licked up out at pasture.
Could it have been another maple like it?
They hovered for a moment near discovery,
Figurative enough to see the symbol,
But lacking faith in anything to mean
The same at different times to different people.
Perhaps a filial diffidence partly kept them
From thinking it could be a thing so bridal.
And anyway it came too late for Maple.
She used her hands to cover up her eyes.
"We would not see the secret if we could now:
We are not looking for it any more.
Thus had a name with meaning, given in death,
Made a girl's marriage, and ruled in her life.
No matter that the meaning was not clear.
A name with meaning could bring up a child,
Taking the child out of the parents' hands.
Better a meaningless name, I should say,
As leaving more to nature and happy chance.
Name children some names and see what you do.
Walt Whitman |
SPLENDOR of ended day, floating and filling me!
Hour prophetic—hour resuming the past!
Inflating my throat—you, divine average!
You, Earth and Life, till the last ray gleams, I sing.
Open mouth of my Soul, uttering gladness,
Eyes of my Soul, seeing perfection,
Natural life of me, faithfully praising things;
Corroborating forever the triumph of things.
Illustrious every one!
Illustrious what we name space—sphere of unnumber’d spirits;
Illustrious the mystery of motion, in all beings, even the tiniest insect;
Illustrious the attribute of speech—the senses—the body;
Illustrious the passing light! Illustrious the pale reflection on the new moon in the
Illustrious whatever I see, or hear, or touch, to the last.
Good in all,
In the satisfaction and aplomb of animals,
In the annual return of the seasons,
In the hilarity of youth,
In the strength and flush of manhood,
In the grandeur and exquisiteness of old age,
In the superb vistas of Death.
Wonderful to depart;
Wonderful to be here!
The heart, to jet the all-alike and innocent blood!
To breathe the air, how delicious!
To speak! to walk! to seize something by the hand!
To prepare for sleep, for bed—to look on my rose-color’d flesh;
To be conscious of my body, so satisfied, so large;
To be this incredible God I am;
To have gone forth among other Gods—these men and women I love.
Wonderful how I celebrate you and myself!
How my thoughts play subtly at the spectacles around!
How the clouds pass silently overhead!
How the earth darts on and on! and how the sun, moon, stars, dart on and on!
How the water sports and sings! (Surely it is alive!)
How the trees rise and stand up—with strong trunks—with branches and leaves!
(Surely there is something more in each of the tree—some living Soul.
O amazement of things! even the least particle!
O spirituality of things!
O strain musical, flowing through ages and continents—now reaching me and America!
I take your strong chords—I intersperse them, and cheerfully pass them forward.
I too carol the sun, usher’d, or at noon, or, as now, setting,
I too throb to the brain and beauty of the earth, and of all the growths of the earth,
I too have felt the resistless call of myself.
As I sail’d down the Mississippi,
As I wander’d over the prairies,
As I have lived—As I have look’d through my windows, my eyes,
As I went forth in the morning—As I beheld the light breaking in the east;
As I bathed on the beach of the Eastern Sea, and again on the beach of the Western Sea;
As I roam’d the streets of inland Chicago—whatever streets I have roam’d;
Or cities, or silent woods, or peace, or even amid the sights of war;
Wherever I have been, I have charged myself with contentment and triumph.
I sing the Equalities, modern or old,
I sing the endless finales of things;
I say Nature continues—Glory continues;
I praise with electric voice;
For I do not see one imperfection in the universe;
And I do not see one cause or result lamentable at last in the universe.
O setting sun! though the time has come,
I still warble under you, if none else does, unmitigated adoration.
William Wordsworth |
Five years have passed; five summers, with the length
Of five long winters! and again I hear
These waters, rolling from their mountain-springs
With a soft inland murmur.
Do I behold these steep and lofty cliffs,
That on a wild secluded scene impress
Thoughts of more deep seclusion; and connect
The landscape with the quiet of the sky.
The day is come when I again repose
Here, under this dark sycamore, and view
These plots of cottage-ground, these orchard-tufts,
Which at this season, with their unripe fruits,
Are clad in one green hue, and lose themselves
'Mid groves and copses.
Once again I see
These hedgerows, hardly hedgerows, little lines
Of sportive wood run wild; these pastoral farms,
Green to the very door; and wreaths of smoke
Sent up, in silence, from among the trees!
With some uncertain notice, as might seem
Of vagrant dwellers in the houseless woods,
Or of some Hermit's cave, where by his fire
The Hermit sits alone.
These beauteous forms,
Through a long absence, have not been to me
As is a landscape to a blind man's eye;
But oft, in lonely rooms, and 'mid the din
Of towns and cities, I have owed to them,
In hours of weariness, sensations sweet,
Felt in the blood, and felt along the heart;
And passing even into my purer mind
With tranquil restoration—feelings too
Of unremembered pleasure; such, perhaps,
As have no slight or trivial influence
On that best portion of a good man's life,
His little, nameless, unremembered, acts
Of kindness and of love.
Nor less, I trust,
To them I may have owed another gift,
Of aspect more sublime; that blessed mood,
In which the burthen of the mystery,
In which the heavy and the weary weight
Of all this unintelligible world,
Is lightened—that serene and blessed mood,
In which the affections gently lead us on—
Until, the breath of this corporeal frame
And even the motion of our human blood
Almost suspended, we are laid asleep
In body, and become a living soul;
While with an eye made quiet by the power
Of harmony, and the deep power of joy,
We see into the life of things.
Be but a vain belief, yet, oh! how oft—
In darkness and amid the many shapes
Of joyless daylight; when the fretful stir
Unprofitable, and the fever of the world,
Have hung upon the beatings of my heart—
How oft, in spirit, have I turned to thee,
O sylvan Wye! thou wanderer through the woods,
How often has my spirit turned to thee!
And now, with gleams of half-extinguished thought,
With many recognitions dim and faint,
And somewhat of a sad perplexity,
The picture of the mind revives again;
While here I stand, not only with the sense
Of present pleasure, but with pleasing thoughts
That in this moment there is life and food
For future years.
And so I dare to hope,
Though changed, no doubt, from what I was when first
I came among these hills; when like a roe
I bounded o'er the mountains, by the sides
Of the deep rivers, and the lonely streams,
Wherever nature led—more like a man
Flying from something that he dreads than one
Who sought the thing he loved.
For nature then
(The coarser pleasures of my boyish days
And their glad animal movements all gone by)
To me was all in all.
—I cannot paint
What then I was.
The sounding cataract
Haunted me like a passion; the tall rock,
The mountain, and the deep and gloomy wood,
Their colors and their forms, were then to me
An appetite; a feeling and a love,
That had no need of a remoter charm,
By thought supplied, not any interest
Unborrowed from the eye.
—That time is past,
And all its aching joys are now no more,
And all its dizzy raptures.
Not for this
Faint I, nor mourn nor murmur; other gifts
Have followed; for such loss, I would believe,
For I have learned
To look on nature, not as in the hour
Of thoughtless youth; but hearing oftentimes
The still sad music of humanity,
Nor harsh nor grating, though of ample power
To chasten and subdue.
And I have felt
A presence that disturbs me with the joy
Of elevated thoughts; a sense sublime
Of something far more deeply interfused,
Whose dwelling is the light of setting suns,
And the round ocean and the living air,
And the blue sky, and in the mind of man:
A motion and a spirit, that impels
All thinking things, all objects of all thought,
And rolls through all things.
Therefore am I still
A lover of the meadows and the woods,
And mountains; and of all that we behold
From this green earth; of all the mighty world
Of eye, and ear—both what they half create,
And what perceive; well pleased to recognize
In nature and the language of the sense
The anchor of my purest thoughts, the nurse,
The guide, the guardian of my heart, and soul
Of all my moral being.
If I were not thus taught, should I the more
Suffer my genial spirits to decay:
For thou art with me here upon the banks
Of this fair river; thou my dearest Friend,
My dear, dear Friend; and in thy voice I catch
The language of my former heart, and read
My former pleasures in the shooting lights
Of thy wild eyes.
Oh! yet a little while
May I behold in thee what I was once,
My dear, dear Sister! and this prayer I make,
Knowing that Nature never did betray
The heart that loved her; 'tis her privilege,
Through all the years of this our life, to lead
From joy to joy: for she can so inform
The mind that is within us, so impress
With quietness and beauty, and so feed
With lofty thoughts, that neither evil tongues,
Rash judgments, nor the sneers of selfish men,
Nor greetings where no kindness is, nor all
The dreary intercourse of daily life,
Shall e'er prevail against us, or disturb
Our cheerful faith, that all which we behold
Is full of blessings.
Therefore let the moon
Shine on thee in thy solitary walk;
And let the misty mountain winds be free
To blow against thee: and, in after years,
When these wild ecstasies shall be matured
Into a sober pleasure; when thy mind
Shall be a mansion for all lovely forms,
Thy memory be as a dwelling place
For all sweet sounds and harmonies; oh! then,
If solitude, or fear, or pain, or grief,
Should be thy portion, with what healing thoughts
Of tender joy wilt thou remember me,
And these my exhortations! Nor, perchance—
If I should be where I no more can hear
Thy voice, nor catch from thy wild eyes these gleams
Of past existence—wilt thou then forget
That on the banks of this delightful stream
We stood together; and that I, so long
A worshipper of Nature, hither came
Unwearied in that service; rather say
With warmer love—oh! with far deeper zeal
Of holier love.
Nor wilt thou then forget,
That after many wanderings, many years
Of absence, these steep woods and lofty cliffs,
And this green pastoral landscape, were to me
More dear, both for themselves and for thy sake!
Victor Hugo |
I love the evenings, passionless and fair, I love the evens,
Whether old manor-fronts their ray with golden fulgence leavens,
In numerous leafage bosomed close;
Whether the mist in reefs of fire extend its reaches sheer,
Or a hundred sunbeams splinter in an azure atmosphere
On cloudy archipelagos.
Oh, gaze ye on the firmament! a hundred clouds in motion,
Up-piled in the immense sublime beneath the winds' commotion,
Their unimagined shapes accord:
Under their waves at intervals flame a pale levin through,
As if some giant of the air amid the vapors drew
A sudden elemental sword.
The sun at bay with splendid thrusts still keeps the sullen fold;
And momently at distance sets, as a cupola of gold,
The thatched roof of a cot a-glance;
Or on the blurred horizon joins his battle with the haze;
Or pools the blooming fields about with inter-isolate blaze,
Great moveless meres of radiance.
Then mark you how there hangs athwart the firmament's swept track,
Yonder a mighty crocodile with vast irradiant back,
A triple row of pointed teeth?
Under its burnished belly slips a ray of eventide,
The flickerings of a hundred glowing clouds in tenebrous side
With scales of golden mail ensheathe.
Then mounts a palace, then the air vibrates--the vision flees.
Confounded to its base, the fearful cloudy edifice
Ruins immense in mounded wrack;
Afar the fragments strew the sky, and each envermeiled cone
Hangeth, peak downward, overhead, like mountains overthrown
When the earthquake heaves its hugy back.
These vapors, with their leaden, golden, iron, bronzèd glows,
Where the hurricane, the waterspout, thunder, and hell repose,
Muttering hoarse dreams of destined harms,--
'Tis God who hangs their multitude amid the skiey deep,
As a warrior that suspendeth from the roof-tree of his keep
His dreadful and resounding arms!
All vanishes! The Sun, from topmost heaven precipitated,
Like a globe of iron which is tossed back fiery red
Into the furnace stirred to fume,
Shocking the cloudy surges, plashed from its impetuous ire,
Even to the zenith spattereth in a flecking scud of fire
The vaporous and inflamèd spaume.
O contemplate the heavens! Whenas the vein-drawn day dies pale,
In every season, every place, gaze through their every veil?
With love that has not speech for need!
Beneath their solemn beauty is a mystery infinite:
If winter hue them like a pall, or if the summer night
Fantasy them starre brede.
Maya Angelou |
Your hands easy
weight, teasing the bees
hived in my hair, your smile at the
slope of my cheek.
occasion, you press
above me, glowing, spouting
readiness, mystery rapes
When you have withdrawn
your self and the magic, when
only the smell of your
love lingers between
my breasts, then, only
then, can I greedily consume
Maya Angelou |
Pretty women wonder where my secret lies.
I'm not cute or built to suit a fashion model's size
But when I start to tell them,
They think I'm telling lies.
It's in the reach of my arms
The span of my hips,
The stride of my step,
The curl of my lips.
I'm a woman
I walk into a room
Just as cool as you please,
And to a man,
The fellows stand or
Fall down on their knees.
Then they swarm around me,
A hive of honey bees.
It's the fire in my eyes,
And the flash of my teeth,
The swing in my waist,
And the joy in my feet.
I'm a woman
Men themselves have wondered
What they see in me.
They try so much
But they can't touch
My inner mystery.
When I try to show them
They say they still can't see.
It's in the arch of my back,
The sun of my smile,
The ride of my breasts,
The grace of my style.
I'm a woman
Now you understand
Just why my head's not bowed.
I don't shout or jump about
Or have to talk real loud.
When you see me passing
It ought to make you proud.
It's in the click of my heels,
The bend of my hair,
the palm of my hand,
The need of my care,
'Cause I'm a woman
Fleda Brown |
Sometimes I feel her easing further into her grave,
resigned, as always, and I have to come to her rescue.
Like now, when I have so much else to do.
she'd want a poem.
She would have been proud, of course,
of all its mystery, involving her, but scared a little.
Her eyes would have filled with tears.
It always comes
to that, I don't know why I bother.
and she's gone down a well of raw feeling, and I'm left
I avert my eyes, to keep from scaring her.
On her dresser is one of those old glass bottles
of Jergen's Lotion with the black label, a little round
bottle of Mum deodorant, a white plastic tray
with Avon necklaces and earrings, pennies, paper clips,
and a large black coat button.
I appear to be very
interested in these objects, even interested in the sun
through the blinds.
It falls across her face, and not,
as she changes the bed.
She would rather have clean sheets
than my poem, but as long as I don't bother her, she's glad
to know I care.
She's talked my father into taking
a drive later, stopping for an A & W root beer.
She is dreaming of foam on the glass, the tray propped
on the car window.
And trees, farmhouses, the expanse
of the world as seen from inside the car.
It is no
use to try to get her out to watch airplanes
take off, or walk a trail, or hear this poem
and offer anything more than "Isn't that sweet!"
Right now bombs are exploding in Kosovo, students
shot in Colorado, and my mother is wearing a root beer
Her eyes are unfocused, everything's root beer.
I write root beer, root beer, to make her happy.
from Breathing In, Breathing Out, Anhinga Press, 2002
© 2000, Fleda Brown
(first published in The Southern Review, 36 )
Marianne Moore |
perhaps one should say enterprise
out of respect for which
one says one need not change one's mind
about a thing one has believed in,
requiring public promises
of one's intention
to fulfill a private obligation:
I wonder what Adam and Eve
think of it by this time,
this firegilt steel
alive with goldenness;
how bright it shows --
"of circular traditions and impostures,
committing many spoils,"
requiring all one's criminal ingenuity
Psychology which explains everything
and we are still in doubt.
Eve: beautiful woman --
I have seen her
when she was so handsome
she gave me a start,
able to write simultaneously
in three languages --
English, German and French
and talk in the meantime;
equally positive in demanding a commotion
and in stipulating quiet:
"I should like to be alone;"
to which the visitor replies,
"I should like to be alone;
why not be alone together?"
Below the incandescent stars
below the incandescent fruit,
the strange experience of beauty;
its existence is too much;
it tears one to pieces
and each fresh wave of consciousness
"See her, see her in this common world,"
the central flaw
in that first crystal-fine experiment,
this amalgamation which can never be more
than an interesting possibility,
as "that strange paradise
unlike flesh, gold, or stately buildings,
the choicest piece of my life:
the heart rising
in its estate of peace
as a boat rises
with the rising of the water;"
constrained in speaking of the serpent --
that shed snakeskin in the history of politeness
not to be returned to again --
that invaluable accident
And he has beauty also;
it's distressing -- the O thou
to whom, from whom,
without whom nothing -- Adam;
something colubrine" -- how true!
a crouching mythological monster
in that Persian miniature of emerald mines,
raw silk -- ivory white, snow white,
oyster white and six others --
that paddock full of leopards and giraffes --
long lemonyellow bodies
sown with trapezoids of blue.
Alive with words,
vibrating like a cymbal
touched before it has been struck,
he has prophesied correctly --
the industrious waterfall,
"the speedy stream
which violently bears all before it,
at one time silent as the air
and now as powerful as the wind.
on the uncertain footing of a spear,"
forgetting that there is in woman
a quality of mind
which is an instinctive manifestation
he goes on speaking
in a formal, customary strain
of "past states," the present state,
the evil one suffered,
the good one enjoys,
to promote one's joy.
There is in him a state of mind
by force of which,
perceiving what it was not
intended that he should,
"he experiences a solemn joy
in seeing that he has become an idol.
Plagued by the nightingale
in the new leaves,
with its silence --
not its silence but its silences,
he says of it:
"It clothes me with a shirt of fire.
"He dares not clap his hands
to make it go on
lest it should fly off;
if he does nothing, it will sleep;
if he cries out, it will not understand.
Unnerved by the nightingale
and dazzled by the apple,
impelled by "the illusion of a fire
effectual to extinguish fire,"
compared with which
the shining of the earth
is but deformity -- a fire
"as high as deep as bright as broad
as long as life itself,"
he stumbles over marriage,
"a very trivial object indeed"
to have destroyed the attitude
in which he stood --
the ease of the philosopher
unfathered by a woman.
"a kind of overgrown cupid"
reduced to insignificance
by the mechanical advertising
parading as involuntary comment,
by that experiment of Adam's
with ways out but no way in --
the ritual of marriage,
augmenting all its lavishness;
its fiddle-head ferns,
lotus flowers, opuntias, white dromedaries,
its hippopotamus --
nose and mouth combined
in one magnificent hopper,
"the crested screamer --
that huge bird almost a lizard,"
its snake and the potent apple.
He tells us
that "for love
that will gaze an eagle blind,
that is like a Hercules
climbing the trees
in the garden of the Hesperides,
from forty-five to seventy
is the best age,"
as a fine art, as an experiment,
a duty or as merely recreation.
One must not call him ruffian
nor friction a calamity --
the fight to be affectionate:
"no truth can be fully known
until it has been tried
by the tooth of disputation.
The blue panther with black eyes,
the basalt panther with blue eyes,
entirely graceful --
one must give them the path --
the black obsidian Diana
who "darkeneth her countenance
as a bear doth,
causing her husband to sigh,"
the spiked hand
that has an affection for one
and proves it to the bone,
impatient to assure you
that impatience is the mark of independence
not of bondage.
"Married people often look that way" --
"seldom and cold, up and down,
mixed and malarial
with a good day and bad.
"When do we feed?"
We occidentals are so unemotional,
we quarrel as we feed;
one's self is quite lost,
the irony preserved
in "the Ahasuerus t?te ? t?te banquet"
with its "good monster, lead the way,"
with little laughter
and munificence of humor
in that quixotic atmosphere of frankness
in which "Four o'clock does not exist
but at five o'clock
the ladies in their imperious humility
are ready to receive you";
in which experience attests
that men have power
and sometimes one is made to feel it.
He says, "what monarch would not blush
to have a wife
with hair like a shaving-brush?
The fact of woman
is not `the sound of the flute
but every poison.
She says, "`Men are monopolists
of stars, garters, buttons
and other shining baubles' --
unfit to be the guardians
of another person's happiness.
He says, "These mummies
must be handled carefully --
`the crumbs from a lion's meal,
a couple of shins and the bit of an ear';
turn to the letter M
and you will find
that `a wife is a coffin,'
that severe object
with the pleasing geometry
stipulating space and not people,
refusing to be buried
and uniquely disappointing,
revengefully wrought in the attitude
of an adoring child
to a distinguished parent.
She says, "This butterfly,
this waterfly, this nomad
that has `proposed
to settle on my hand for life.
What can one do with it?
There must have been more time
in Shakespeare's day
to sit and watch a play.
You know so many artists are fools.
He says, "You know so many fools
who are not artists.
The fact forgot
that "some have merely rights
while some have obligations,"
he loves himself so much,
he can permit himself
no rival in that love.
She loves herself so much,
she cannot see herself enough --
a statuette of ivory on ivory,
the logical last touch
to an expansive splendor
earned as wages for work done:
one is not rich but poor
when one can always seem so right.
What can one do for them --
condemned to disaffect
all those who are not visionaries
alert to undertake the silly task
of making people noble?
This model of petrine fidelity
who "leaves her peaceful husband
only because she has seen enough of him" --
that orator reminding you,
"I am yours to command.
"Everything to do with love is mystery;
it is more than a day's work
to investigate this science.
One sees that it is rare --
that striking grasp of opposites
opposed each to the other, not to unity,
which in cycloid inclusiveness
has dwarfed the demonstration
of Columbus with the egg --
a triumph of simplicity --
that charitive Euroclydon
of frightening disinterestedness
which the world hates,
"I am such a cow,
if I had a sorrow,
I should feel it a long time;
I am not one of those
who have a great sorrow
in the morning
and a great joy at noon;"
which says: "I have encountered it
among those unpretentious
proteg?s of wisdom,
where seeming to parade
as the debater and the Roman,
of an archaic Daniel Webster
persists to their simplicity of temper
as the essence of the matter:
`Liberty and union
now and forever;'
the book on the writing-table;
the hand in the breast-pocket.
Dylan Thomas |
It was my thirtieth year to heaven
Woke to my hearing from harbour and neighbour wood
And the mussel pooled and the heron
The morning beckon
With water praying and call of seagull and rook
And the knock of sailing boats on the net webbed wall
Myself to set foot
In the still sleeping town and set forth.
My birthday began with the water-
Birds and the birds of the winged trees flying my name
Above the farms and the white horses
And I rose
In rainy autumn
And walked abroad in a shower of all my days.
High tide and the heron dived when I took the road
Over the border
And the gates
Of the town closed as the town awoke.
A springful of larks in a rolling
Cloud and the roadside bushes brimming with whistling
Blackbirds and the sun of October
On the hill's shoulder,
Here were fond climates and sweet singers suddenly
Come in the morning where I wandered and listened
To the rain wringing
Wind blow cold
In the wood faraway under me.
Pale rain over the dwindling harbour
And over the sea wet church the size of a snail
With its horns through mist and the castle
Brown as owls
But all the gardens
Of spring and summer were blooming in the tall tales
Beyond the border and under the lark full cloud.
There could I marvel
Away but the weather turned around.
It turned away from the blithe country
And down the other air and the blue altered sky
Streamed again a wonder of summer
Pears and red currants
And I saw in the turning so clearly a child's
Forgotten mornings when he walked with his mother
Through the parables
Of sun light
And the legends of the green chapels
And the twice told fields of infancy
That his tears burned my cheeks and his heart moved in mine.
These were the woods the river and sea
Where a boy
In the listening
Summertime of the dead whispered the truth of his joy
To the trees and the stones and the fish in the tide.
And the mystery
Still in the water and singingbirds.
And there could I marvel my birthday
Away but the weather turned around.
And the true
Joy of the long dead child sang burning
In the sun.
It was my thirtieth
Year to heaven stood there then in the summer noon
Though the town below lay leaved with October blood.
O may my heart's truth
Still be sung
On this high hill in a year's turning.