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In a half savage country, out of date;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
Sor Juana Inés de la Cruz |
(Español)
Hombres necios que acusáis
a la mujer sin razón,
sin ver que sois la ocasión
de lo mismo que culpáis:
si con ansia sin igual
solicitáis su desdén,
¿por qué quereis que obren bien
si las incitáis al mal?
Combatís su resistencia
y luego, con gravedad,
decís que fue liviandad
lo que hizo la diligencia.
Parecer quiere el denuedo
de vuestro parecer loco,
al niño que pone el coco
y luego le tiene miedo.
Queréis, con presunción necia,
hallar a la que buscáis,
para pretendida, Thais,
y en la posesión, Lucrecia
¿Qué humor puede ser más raro
que el que, falto de consejo,
el mismo empaña el espejo
y siente que no esté claro?
Con el favor y el desdén
tenéis condición igual,
quejándoos, si os tratan mal,
burlándoos, si os quieren bien.
Opinión, ninguna gana:
pues la que más se recata,
si no os admite, es ingrata,
y si os admite, es liviana
Siempre tan necios andáis
que, con desigual nivel,
a una culpáis por crüel
y a otra por fácil culpáis.
¿Pues cómo ha de estar templada
la que vuestro amor pretende,
si la que es ingrata, ofende,
y la que es fácil, enfada?
Mas, entre el enfado y pena
que vuestro gusto refiere,
bien haya la que no os quiere
y quejaos en hora buena.
Dan vuestras amantes penas
a sus libertades alas,
y después de hacerlas malas
las queréis hallar muy buenas.
¿Cuál mayor culpa ha tenido
en una pasión errada:
la que cae de rogada
o el que ruega de caído?
¿O cuál es más de culpar,
aunque cualquiera mal haga:
la que peca por la paga
o el que paga por pecar?
Pues ¿para quée os espantáis
de la culpa que tenéis?
Queredlas cual las hacéis
o hacedlas cual las buscáis.
Dejad de solicitar,
y después, con más razón,
acusaréis la afición
de la que os fuere a rogar.
Bien con muchas armas fundo
que lidia vuestra arrogancia,
pues en promesa e instancia
juntáis diablo, carne y mundo.
(English)
Silly, you men-so very adept
at wrongly faulting womankind,
not seeing you're alone to blame
for faults you plant in woman's mind.
After you've won by urgent plea
the right to tarnish her good name,
you still expect her to behave--
you, that coaxed her into shame.
You batter her resistance down
and then, all righteousness, proclaim
that feminine frivolity,
not your persistence, is to blame.
When it comes to bravely posturing,
your witlessness must take the prize:
you're the child that makes a bogeyman,
and then recoils in fear and cries.
Presumptuous beyond belief,
you'd have the woman you pursue
be Thais when you're courting her,
Lucretia once she falls to you.
For plain default of common sense,
could any action be so *****
as oneself to cloud the mirror,
then complain that it's not clear?
Whether you're favored or disdained,
nothing can leave you satisfied.
You whimper if you're turned away,
you sneer if you've been gratified.
With you, no woman can hope to score;
whichever way, she's bound to lose;
spurning you, she's ungrateful--
succumbing, you call her lewd.
Your folly is always the same:
you apply a single rule
to the one you accuse of looseness
and the one you brand as cruel.
What happy mean could there be
for the woman who catches your eye,
if, unresponsive, she offends,
yet whose complaisance you decry?
Still, whether it's torment or anger--
and both ways you've yourselves to blame--
God bless the woman who won't have you,
no matter how loud you complain.
It's your persistent entreaties
that change her from timid to bold.
Having made her thereby naughty,
you would have her good as gold.
So where does the greater guilt lie
for a passion that should not be:
with the man who pleads out of baseness
or the woman debased by his plea?
Or which is more to be blamed--
though both will have cause for chagrin:
the woman who sins for money
or the man who pays money to sin?
So why are you men all so stunned
at the thought you're all guilty alike?
Either like them for what you've made them
or make of them what you can like.
If you'd give up pursuing them,
you'd discover, without a doubt,
you've a stronger case to make
against those who seek you out.
I well know what powerful arms
you wield in pressing for evil:
your arrogance is allied
with the world, the flesh, and the devil!
|
Written by
Federico García Lorca |
Y que yo me la llev? al r?o
creyendo que era mozuela,
pero ten?a marido.
Fue la noche de Santiago
y casi por compromiso.
Se apagaron los faroles
y se encendieron los grillos.
En las ?ltimas esquinas
toqu? sus pechos dormidos,
y se me abrieron de pronto
como ramos de jacintos.
.
El almid?n de su enagua
me sonaba en el o?do,
como una pieza de seda
rasgada por diez cuchillos.
Sin luz de plata en sus copas
los ?rboles han crecido,
y un horizonte de perros
ladra muy lejos del r?o.
Pasadas la zarzamoras,
los juncos y los espinos,
bajo su mata de pelo
hice un hoyo sobre el limo.
Yo me quit? la corbata.
Ella se quit? el vestido.
Yo el cintur?n de rev?lver.
Ella sus cuatro corpi?os.
Ni nardos ni caracolas
tienen el cutis tan fino,
ni los critales con luna
relumbran con ese brillo.
Sus muslos se me escapaban
como peces sorprendidos,
la mitad llenos de lumbre,
la mitad llenos de fr?o.
Aquella noche corr?
el mejor de los caminos,
montado en potra de n?car
sin bridas y sin estribos.
No quiero decir, por hombre,
las cosas que ella me dijo.
La luz del entendimiento
me hace ser muy comedido.
Sucia de besos y arena
yo me la llev? al r?o.
Con el aire se bat?an
las espadas de los lirios.
Me port? como quien soy.
Como un gitano leg?timo.
La regal? un costurero
grande de raso pajizo,
y no quise enamorarme
porque teniendo marido
me dijo que era mozuela
cuando la llevaba al r?o.
|
Written by
Federico García Lorca |
El campo
de olivos
se abre y se cierra
como un abanico.
Sobre el olivar
hay un cielo hundido
y una lluvia oscura
de luceros fr?os.
Tiembla junco y penumbra
a la orilla del r?o.
Se riza el aire gris.
Los olivos,
est?n cargados
de gritos.
Una bandada
de p?jaros cautivos,
que mueven sus largu?simas
colas en lo sombr?o.
|
Written by
Derek Walcott |
Koening knew now there was no one on the river.
Entering its brown mouth choking with lilies
and curtained with midges, Koenig poled the shallop
past the abandoned ferry and the ferry piles
coated with coal dust.
Staying aboard, he saw, up
in a thick meadow, a sand-colored mule,
untethered, with no harness, and no signs
of habitation round the ruined factory wheel
locked hard in rust, and through whose spokes the vines
of wild yam leaves leant from overweight;
the wild bananas in the yellowish sunlight
were dugged like aching cows with unmilked fruit.
This was the last of the productive mines.
Only the vegetation here looked right.
A crab of pain scuttled shooting up his foot
and fastened on his neck, at the brain's root.
He felt his reason curling back like parchment
in this fierce torpor.
Well, he no longer taxed
and tired what was left of his memory;
he should thank heaven he had escaped the sea,
and anyway, he had demanded to be sent
here with the others - why get this river vexed
with his complaints? Koenig wanted to sing,
suddenly, if only to keep the river company -
this was a river, and Koenig, his name meant King.
They had all caught the missionary fever:
they were prepared to expiate the sins
os savages, to tame them as he would tame this river
subtly, as it flowed, accepting its bends;
he had seen how other missionaries met their ends -
swinging in the wind, like a dead clapper when
a bell is broken, if that sky was a bell -
for treating savages as if they were men,
and frightening them with talk of Heaven and Hell.
But I have forgotten our journey's origins,
mused Koenig, and our purpose.
He knew it was noble,
based on some phrase, forgotten, from the Bible,
but he felt bodiless, like a man stumbling from
the pages of a novel, not a forest,
written a hundred years ago.
He stroked his uniform,
clogged with the hooked burrs that had tried
to pull him, like the other drowning hands whom
his panic abandoned.
The others had died,
like real men, by death.
I, Koenig, am a ghost,
ghost-king of rivers.
Well, even ghosts must rest.
If he knew he was lost he was not lost.
It was when you pretended that you were a fool.
He banked and leaned tiredly on the pole.
If I'm a character called Koenig, then I
shall dominate my future like a fiction
in which there is a real river and real sky,
so I'm not really tired, and should push on.
The lights between the leaves were beautiful,
and, as in that far life, now he was grateful
for any pool of light between the dull, usual
clouds of life: a sunspot haloed his tonsure;
silver and copper coins danced on the river;
his head felt warm - the light danced on his skull
like a benediction.
Koenig closed his eyes,
and he felt blessed.
It made direction sure.
He leant on the pole.
He must push on some more.
He said his name.
His voice sounded German,
then he said "river", but what was German
if he alone could hear it? Ich spreche Deutsch
sounded as genuine as his name in English,
Koenig in Deutsch, and, in English, King.
Did the river want to be called anything?
He asked the river.
The river said nothing.
Around the bend the river poured its silver
like some remorseful mine, giving and giving
everything green and white: white sky, white
water, and the dull green like a drumbeat
of the slow-sliding forest, the green heat;
then, on some sandbar, a mirage ahead:
fabric of muslin sails, spiderweb rigging,
a schooner, foundered on black river mud,
was rising slowly up from the riverbed,
and a top-hatted native reading an inverted
newspaper.
"Where's our Queen?" Koenig shouted.
"Where's our Kaiser?"
The ****** disappeared.
Koenig felt that he himself was being read
like the newspaper or a hundred-year-old novel.
"The Queen dead! Kaiser dead!" the voices shouted.
And it flashed through him those trunks were not wood
but that the ghosts of slaughtered Indians stood
there in the mangrroves, their eyes like fireflies
in the green dark, and that like hummingbirds
they sailed rather than ran between the trees.
The river carried him past his shouted words.
The schooner had gone down without a trace.
"There was a time when we ruled everything,"
Koenig sang to his corrugated white reflection.
"The German Eagle and the British Lion,
we ruled worlds wider than this river flows,
worlds with dyed elephants, with tassled howdahs,
tigers that carried the striped shade when they rose
from their palm coverts; men shall not see these days
again; our flags sank with the sunset on the dhows
of Egypt; we ruled rivers as huge as the Nile,
the Ganges, and the Congo, we tamed, we ruled
you when our empires reached their blazing peak.
"
This was a small creek somewhere in the world,
never mind where - victory was in sight.
Koenig laughed and spat in the brown creek.
The mosquitoes now were singing to the night
that rose up from the river, the fog uncurled
under the mangroves.
Koenig clenched each fist
around his barge-pole scepter, as a mist
rises from the river and the page goes white.
|
Written by
Adam Lindsay Gordon |
They are rhymes rudely strung with intent less
Of sound than of words,
In lands where bright blossoms are scentless,
And songless bright birds;
Where, with fire and fierce drought on her tresses,
Insatiable Summer oppresses
Sere woodlands and sad wildernesses,
And faint flocks and herds.
Where in drieariest days, when all dews end,
And all winds are warm,
Wild Winter's large floodgates are loosen'd,
And floods, freed by storm;
From broken-up fountain heads, dash on
Dry deserts with long pent up passion--
Here rhyme was first framed without fashion,
Song shaped without form.
Whence gather'd?--The locust's glad chirrup
May furnish a stave;
The ring os rowel and stirrup,
The wash of a wave.
The chauntof a marsh frog in rushes
That chimes through the pauses and hushes
Of nightfall, the torrent that gushes,
The tempests that rave.
In the deep'ning of dawn, when it dapples
The dusk of the sky,
With streaks like the redd'ning of apples,
The ripening of rye.
To eastward, when cluster by cluster,
Dim stars and dull planets, that muster,
Wax wan in a world of white lustre
That spreads far and high.
In the gathering of night gloom o'er head, in
The still silent change,
All fire-flush'd when forest trees redden
On slopes of the range.
When the gnarl'd knotted trunks Eucalyptian
Seemed carved like weird columns Egyptian
With curious device--quaint inscription,
And heiroglyph strange.
In the Spring, when the wattle gold trembles
'Twixt shadow and shine,
When each dew-laden air draught resembles
A long draught of wine;
When the skyline's blue burnished resistance
Makes deeper the dreamiest distance,
Some song in all hearts hath existence,--
Such songs have been mine.
|
Written by
Florbela Espanca |
Ser poeta é ser mais alto, é ser maior
Do que os homens! Morder como quem beija!
É ser mendigo e dar como quem seja
Rei do Reino de Aquém e de Além Dor!
É ter de mil desejos o esplendor
E não saber sequer que se deseja!
É ter cá dentro um astro que flameja,
É ter garras e asas de condor!
É ter fome, é ter sede de Infinito!
Por elmo, as manhãs de oiro e de cetim.
.
.
É condensar o mundo num só grito!
E é amar-te, assim, perdidamente.
.
.
É seres alma, e sangue, e vida em mim
E dizê-lo cantando a toda a gente!
|
Written by
Federico García Lorca |
En la redonda
encrucijada,
seis doncellas
bailan.
Tres de carne
y tres de plata.
Los sue?os de ayer las buscan
pero las tiene abrazadas
un Polifemo de oro.
?La guitarra!
|