Written by
Mark Doty |
Today the Masons are auctioning
their discarded pomp: a trunk of turbans,
gemmed and ostrich-plumed, and operetta costumes
labeled inside the collar "Potentate"
and "Vizier.
" Here their chairs, blazoned
with the Masons' sign, huddled
like convalescents, lean against one another
on the grass.
In a casket are rhinestoned poles
the hierophants carried in parades;
here's a splendid golden staff some ranking officer waved,
topped with a golden pyramid and a tiny,
inquisitive sphinx.
No one's worn this stuff
for years, and it doesn't seem worth buying;
where would we put it? Still,
I want that staff.
I used to love
to go to the library -- the smalltown brick refuge
of those with nothing to do, really,
'Carnegie' chiseled on the pediment
above columns that dwarfed an inconsequential street.
Embarrassed to carry the same book past
the water fountain's plaster centaurs
up to the desk again, I'd take
The Wonders of the World to the Reading Room
where Art and Industry met in the mural
on the dome.
The room smelled like two decades
before I was born, when the name
carved over the door meant something.
I never read the second section,
"Wonders of the Modern World";
I loved the promise of my father's blueprints,
the unfulfilled turquoise schemes,
but in the real structures
you could hardly imagine a future.
I wanted the density of history,
which I confused with the smell of the book:
Babylon's ziggurat tropical with ferns,
engraved watercourses rippling;
the Colossus of Rhodes balanced
over the harbormouth on his immense ankles.
Athena filled one end of the Parthenon,
in an "artist's reconstruction",
like an adult in a dollhouse.
At Halicarnassus, Mausolus remembered himself
immensely, though in the book
there wasn't even a sketch,
only a picture of huge fragments.
In the pyramid's deep clockworks,
did the narrow tunnels mount toward
the eye of God? That was the year
photos were beamed back from space;
falling asleep I used to repeat a new word
to myself, telemetry, liking the way
it seemed to allude to something storied.
The earth was whorled marble,
at that distance.
Even the stuck-on porticoes
and collonades downtown were narrative,
somehow, but the buildings my father engineered
were without stories.
All I wanted
was something larger than our ordinary sadness --
greater not in scale but in context,
memorable, true to a proportioned,
subtle form.
Last year I knew a student,
a half mad boy who finally opened his arms
with a razor, not because he wanted to die
but because he wanted to design something grand
on his own body.
Once he said, When a child
realizes his parents aren't enough,
he turns to architecture.
I think I know what he meant.
Imagine the Masons parading,
one of them, in his splendid get-up,
striding forward with the golden staff,
above his head Cheops' beautiful shape --
a form we cannot separate
from the stories about the form,
even if we hardly know them,
even if it no longer signifies, if it only shines.
|
Written by
William Cullen Bryant |
The country ever has a lagging Spring,
Waiting for May to call its violets forth,
And June its roses--showers and sunshine bring,
Slowly, the deepening verdure o'er the earth;
To put their foliage out, the woods are slack,
And one by one the singing-birds come back.
Within the city's bounds the time of flowers
Comes earlier.
Let a mild and sunny day,
Such as full often, for a few bright hours,
Breathes through the sky of March the airs of May,
Shine on our roofs and chase the wintry gloom--
And lo! our borders glow with sudden bloom.
For the wide sidewalks of Broadway are then
Gorgeous as are a rivulet's banks in June,
That overhung with blossoms, through its glen,
Slides soft away beneath the sunny noon,
And they who search the untrodden wood for flowers
Meet in its depths no lovelier ones than ours.
For here are eyes that shame the violet,
Or the dark drop that on the pansy lies,
And foreheads, white, as when in clusters set,
The anemonies by forest fountains rise;
And the spring-beauty boasts no tenderer streak
Than the soft red on many a youthful cheek.
And thick about those lovely temples lie
Locks that the lucky Vignardonne has curled,
Thrice happy man! whose trade it is to buy,
And bake, and braid those love-knots of the world;
Who curls of every glossy colour keepest,
And sellest, it is said, the blackest cheapest.
And well thou may'st--for Italy's brown maids
Send the dark locks with which their brows are dressed,
And Gascon lasses, from their jetty braids,
Crop half, to buy a riband for the rest;
But the fresh Norman girls their tresses spare,
And the Dutch damsel keeps her flaxen hair.
Then, henceforth, let no maid nor matron grieve,
To see her locks of an unlovely hue,
Frouzy or thin, for liberal art shall give
Such piles of curls as nature never knew.
Eve, with her veil of tresses, at the sight
Had blushed, outdone, and owned herself a fright.
Soft voices and light laughter wake the street,
Like notes of woodbirds, and where'er the eye
Threads the long way, plumes wave, and twinkling feet
Fall light, as hastes that crowd of beauty by.
The ostrich, hurrying o'er the desert space,
Scarce bore those tossing plumes with fleeter pace.
No swimming Juno gait, of languor born,
Is theirs, but a light step of freest grace,
Light as Camilla's o'er the unbent corn,
A step that speaks the spirit of the place,
Since Quiet, meek old dame, was driven away
To Sing Sing and the shores of Tappan bay.
Ye that dash by in chariots! who will care
For steeds or footmen now? ye cannot show
Fair face, and dazzling dress, and graceful air,
And last edition of the shape! Ah no,
These sights are for the earth and open sky,
And your loud wheels unheeded rattle by.
|
Written by
Aleksandr Blok |
The restaurants on hot spring evenings
Lie under a dense and savage air.
Foul drafts and hoots from dunken revelers
Contaminate the thoroughfare.
Above the dusty lanes of suburbia
Above the tedium of bungalows
A pretzel sign begilds a bakery
And children screech fortissimo.
And every evening beyond the barriers
Gentlemen of practiced wit and charm
Go strolling beside the drainage ditches --
A tilted derby and a lady at the arm.
The squeak of oarlocks comes over the lake water
A woman's shriek assaults the ear
While above, in the sky, inured to everything,
The moon looks on with a mindless leer.
And every evening my one companion
Sits here, reflected in my glass.
Like me, he has drunk of bitter mysteries.
Like me, he is broken, dulled, downcast.
The sleepy lackeys stand beside tables
Waiting for the night to pass
And tipplers with the eyes of rabbits
Cry out: "In vino veritas!"
And every evening (or am I imagining?)
Exactly at the appointed time
A girl's slim figure, silk raimented,
Glides past the window's mist and grime.
And slowly passing throught the revelers,
Unaccompanied, always alone,
Exuding mists and secret fragrances,
She sits at the table that is her own.
Something ancient, something legendary
Surrounds her presence in the room,
Her narrow hand, her silk, her bracelets,
Her hat, the rings, the ostrich plume.
Entranced by her presence, near and enigmatic,
I gaze through the dark of her lowered veil
And I behold an enchanted shoreline
And enchanted distances, far and pale.
I am made a guardian of the higher mysteries,
Someone's sun is entrusted to my control.
Tart wine has pierced the last convolution
of my labyrinthine soul.
And now the drooping plumes of ostriches
Asway in my brain droop slowly lower
And two eyes, limpid, blue, and fathomless
Are blooming on a distant shore.
Inside my soul a treasure is buried.
The key is mine and only mine.
How right you are, you drunken monster!
I know: the truth is in the wine.
|
Written by
Robert Lowell |
(for Elizabeth Bishop)
Nautilus Island's hermit
heiress still lives through winter in her Spartan cottage;
her sheep still graze above the sea.
Her son's a bishop.
Her farmer
is first selectman in our village;
she's in her dotage.
Thirsting for
the hierarchic privacy
of Queen Victoria's century
she buys up all
the eyesores facing her shore
and lets them fall.
The season's ill--
we've lost our summer millionaire
who seemed to leap from an L.
L.
Bean
catalogue.
His nine-knot yawl
was auctioned off to lobstermen.
A red fox stain covers Blue Hill.
And bow our fairy
decorator brightens his shop for fall;
his fishnet's filled with orange cork
orange his cobbler's bench and awl;
there is no money in his work
he'd rather marry.
One dark night
my Tutor Ford climbed the hill's skull;
I watched for love-cars.
Lights turned down
they lay together hull to hull
where the graveyard shelves on the town.
.
.
.
My mind's not right.
A car radio bleats
"Love, O careless Love.
.
.
.
" I hear
my ill-spirit sob in each blood cell,
as if my hand were at its throat.
.
.
.
I myself am hell;
nobody's here--
only skunks, that search
in the moonlight for a bite to eat.
They march on their soles up Main Street:
white stripes, moonstruck eyes' red fire
under the chalk-dry and spar spire
of the Trinitarian Church.
I stand on top
of our back steps and breathe the rich air--
a mother skunk with her column of kittens swills the garbage
pail.
She jabs her wedge-head in a cup
of sour cream, drops her ostrich tail,
and will not scare.
|
Written by
Christopher Smart |
Sweet is the dew that falls betimes,
And drops upon the leafy limes;
Sweet Hermon's fragrant air:
Sweet is the lily's silver bell,
And sweet the wakeful tapers smell
That watch for early pray'r.
Sweet the young nurse with love intense,
Which smiles o'er sleeping innocence;
Sweet when the lost arrive:
Sweet the musician's ardour beats,
While his vague mind's in quest of sweets,
The choicest flow'rs to hive.
Sweeter in all the strains of love,
The language of thy turtle dove,
Pair'd to thy swelling chord;
Sweeter with ev'ry grace endu'd,
The glory of thy gratitude,
Respir'd unto the Lord.
Strong is the horse upon his speed;
Strong in pursuit the rapid glede,
Which makes at once his game:
Strong the tall ostrich on the ground;
Strong thro' the turbulent profound
Shoots xiphias to his aim.
Strong is the lion--like a coal
His eye-ball--like a bastion's mole
His chest against the foes:
Strong, the gier-eagle on his sail,
Strong against tide, th' enormous whale
Emerges as he goes.
But stronger still, in earth and air,
And in the sea, the man of pray'r;
And far beneath the tide;
And in the seat to faith assign'd,
Where ask is have, where seek is find,
Where knock is open wide.
Beauteous the fleet before the gale;
Beauteous the multitudes in mail,
Rank'd arms and crested heads:
Beauteous the garden's umbrage mild,
Walk, water, meditated wild,
And all the bloomy beds.
Beauteous the moon full on the lawn;
And beauteous, when the veil's withdrawn,
The virgin to her spouse:
Beauteous the temple deck'd and fill'd,
When to the heav'n of heav'ns they build
Their heart-directed vows.
Beauteous, yea beauteous more than these,
The shepherd king upon his knees,
For his momentous trust;
With wish of infinite conceit,
For man, beast, mute, the small and great,
And prostrate dust to dust.
Precious the bounteous widow's mite;
And precious, for extreme delight,
The largess from the churl:
Precious the ruby's blushing blaze,
And alba's blest imperial rays,
And pure cerulean pearl.
Precious the penitential tear;
And precious is the sigh sincere,
Acceptable to God:
And precious are the winning flow'rs,
In gladsome Israel's feast of bow'rs,
Bound on the hallow'd sod.
More precious that diviner part
Of David, ev'n the Lord's own heart,
Great, beautiful, and new:
In all things where it was intent,
In all extremes, in each event,
Proof--answ'ring true to true.
Glorious the sun in mid career;
Glorious th' assembled fires appear;
Glorious the comet's train:
Glorious the trumpet and alarm;
Glorious th' almighty stretch'd-out arm;
Glorious th' enraptur'd main:
Glorious the northern lights a-stream;
Glorious the song, when God's the theme;
Glorious the thunder's roar:
Glorious hosanna from the den;
Glorious the catholic amen;
Glorious the martyr's gore:
Glorious--more glorious is the crown
Of Him that brought salvation down
By meekness, call'd thy Son;
Thou that stupendous truth believ'd,
And now the matchless deed's achiev'd,
Determin'd, dar'd, and done.
|
Written by
Rudyard Kipling |
Wot makes the soldier's 'eart to penk, wot makes 'im to perspire?
It isn't standin' up to charge nor lyin' down to fire;
But it's everlastin' waitin' on a everlastin' road
For the commissariat camel an' 'is commissariat load.
O the oont*, O the oont, O the commissariat oont!
With 'is silly neck a-bobbin' like a basket full o' snakes;
We packs 'im like an idol, an' you ought to 'ear 'im grunt,
An' when we gets 'im loaded up 'is blessed girth-rope breaks.
Wot makes the rear-guard swear so 'ard when night is drorin' in,
An' every native follower is shiverin' for 'is skin?
It ain't the chanst o' being rushed by Paythans from the 'ills,
It's the commissariat camel puttin' on 'is bloomin' frills!
O the oont, O the oont, O the hairy scary oont!
A-trippin' over tent-ropes when we've got the night alarm!
We socks 'im with a stretcher-pole an' 'eads 'im off in front,
An' when we've saved 'is bloomin' life 'e chaws our bloomin' arm.
The 'orse 'e knows above a bit, the bullock's but a fool,
The elephant's a gentleman, the battery-mule's a mule;
But the commissariat cam-u-el, when all is said an' done,
'E's a devil an' a ostrich an' a orphan-child in one.
O the oont, O the oont, O the Gawd-forsaken oont!
The lumpy-'umpy 'ummin'-bird a-singin' where 'e lies,
'E's blocked the whole division from the rear-guard to the front,
An' when we get him up again -- the beggar goes an' dies!
'E'll gall an' chafe an' lame an' fight -- 'e smells most awful vile;
'E'll lose 'isself for ever if you let 'im stray a mile;
'E's game to graze the 'ole day long an' 'owl the 'ole night through,
An' when 'e comes to greasy ground 'e splits 'isself in two.
O the oont, O the oont, O the floppin', droppin' oont!
When 'is long legs give from under an' 'is meltin' eye is dim,
The tribes is up be'ind us, and the tribes is out in front --
It ain't no jam for Tommy, but it's kites an' crows for 'im.
So when the cruel march is done, an' when the roads is blind,
An' when we sees the camp in front an' 'ears the shots be'ind,
Ho! then we strips 'is saddle off, and all 'is woes is past:
'E thinks on us that used 'im so, and gets revenge at last.
O the oont, O the oont, O the floatin', bloatin' oont!
The late lamented camel in the water-cut 'e lies;
We keeps a mile be'ind 'im an' we keeps a mile in front,
But 'e gets into the drinkin'-casks, and then o' course we dies.
|
Written by
G K Chesterton |
Old Noah he had an ostrich farm and fowls on the largest scale,
He ate his egg with a ladle in a egg-cup big as a pail,
And the soup he took was Elephant Soup and fish he took was Whale,
But they all were small to the cellar he took when he set out to sail,
And Noah he often said to his wife when he sat down to dine,
"I don't care where the water goes if it doesn't get into the wine.
"
The cataract of the cliff of heaven fell blinding off the brink
As if it would wash the stars away as suds go down a sink,
The seven heavens came roaring down for the throats of hell to drink,
And Noah he cocked his eye and said, "It looks like rain, I think,
The water has drowned the Matterhorn as deep as a Mendip mine,
But I don't care where the water goes if it doesn't get into the wine.
"
But Noah he sinned, and we have sinned; on tipsy feet we trod,
Till a great big black teetotaller was sent to us for a rod,
And you can't get wine at a P.
S.
A.
, or chapel, or Eisteddfod,
For the Curse of Water has come again because of the wrath of God,
And water is on the Bishop's board and the Higher Thinker's shrine,
But I don't care where the water goes if it doesn't get into the wine.
|
Written by
Adrienne Rich |
This is the grass your feet are planted on.
You paint it orange or you sing it green,
But you have never found
A way to make the grass mean what you mean.
A cloud can be whatever you intend:
Ostrich or leaning tower or staring eye.
But you have never found
A cloud sufficient to express the sky.
Get out there with your splendid expertise;
Raymond who cuts the meadow does not less.
Inhuman nature says:
Inhuman patience is the true success.
Human impatience trips you as you run;
Stand still and you must lie.
It is the grass that cuts the mower down;
It is the cloud that swallows up the sky.
|
Written by
Jean Toomer |
The sky, lazily disdaining to pursue
The setting sun, too indolent to hold
A lengthened tournament for flashing gold,
Passively darkens for night's barbecue,
A feast of moon and men and barking hounds,
An orgy for some genius of the South
With blood-hot eyes and cane-lipped scented mouth,
Surprised in making folk-songs from soul sounds.
The sawmill blows its whistle, buzz-saws stop,
And silence breaks the bud of knoll and hill,
Soft settling pollen where plowed lands fulfill
Their early promise of a bumper crop.
Smoke from the pyramidal sawdust pile
Curls up, blue ghosts of trees, tarrying low
Where only chips and stumps are left to show
The solid proof of former domicile.
Meanwhile, the men, with vestiges of pomp,
Race memories of king and caravan,
High-priests, an ostrich, and a juju-man,
Go singing through the footpaths of the swamp.
Their voices rise .
.
the pine trees are guitars,
Strumming, pine-needles fall like sheets of rain .
.
Their voices rise .
.
the chorus of the cane
Is caroling a vesper to the stars .
.
O singers, resinous and soft your songs
Above the sarcred whisper of the pines,
Give virgin lips to cornfield concubines,
Bring dreams of Christ to dusky cane-lipped throngs.
|
Written by
Marianne Moore |
Although the aepyornis
or roc that lived in Madagascar, and
the moa are extinct,
the camel-sparrow, linked
with them in size--the large sparrow
Xenophon saw walking by a stream--was and is
a symbol of justice.
This bird watches his chicks with
a maternal concentration-and he's
been mothering the eggs
at night six weeks--his legs
their only weapon of defense.
He is swifter than a horse; he has a foot hard
as a hoof; the leopard
is not more suspicious.
How
could he, prized for plumes and eggs and young
used even as a riding-beast, respect men
hiding actor-like in ostrich skins, with the right hand
making the neck move as if alive
and from a bag the left hand strewing grain, that ostriches
might be decoyed and killed!Yes, this is he
whose plume was anciently
the plume of justice; he
whose comic duckling head on its
great neck revolves with compass-needle nervousness
when he stands guard,
in S-like foragings as he is
preening the down on his leaden-skinned back.
The egg piously shown
as Leda's very own
from which Castor and Pollux hatched,
was an ostrich-egg.
And what could have been more fit
for the Chinese lawn it
grazed on as a gift to an
emperor who admired strange birds, than this
one, who builds his mud-made
nest in dust yet will wade
in lake or sea till only the head shows.
.
.
.
.
.
.
.
Six hundred ostrich-brains served
at one banquet, the ostrich-plume-tipped tent
and desert spear, jewel-
gorgeous ugly egg-shell
goblets, eight pairs of ostriches
in harness, dramatize a meaning
always missed by the externalist.
The power of the visible
is the invisible; as even where
no tree of freedom grows,
so-called brute courage knows.
Heroism is exhausting, yet
it contradicts a greed that did not wisely spare
the harmless solitaire
or great auk in its grandeur;
unsolicitude having swallowed up
all giant birds but an alert gargantuan
little-winged, magnificently speedy running-bird.
This one remaining rebel
is the sparrow-camel.
|