Written by
T S (Thomas Stearns) Eliot |
Thou hast committed—
Fornication: but that was in another country,
And besides, the wench is dead.
The Jew of Malta.
I
AMONG the smoke and fog of a December afternoon
You have the scene arrange itself—as it will seem to do—
With “I have saved this afternoon for you”;
And four wax candles in the darkened room,
Four rings of light upon the ceiling overhead,
An atmosphere of Juliet’s tomb
Prepared for all the things to be said, or left unsaid.
We have been, let us say, to hear the latest Pole
Transmit the Preludes, through his hair and fingertips.
“So intimate, this Chopin, that I think his soul
Should be resurrected only among friends
Some two or three, who will not touch the bloom
That is rubbed and questioned in the concert room.”
—And so the conversation slips
Among velleities and carefully caught regrets
Through attenuated tones of violins
Mingled with remote cornets
And begins.
“You do not know how much they mean to me, my friends,
And how, how rare and strange it is, to find
In a life composed so much, so much of odds and ends,
[For indeed I do not love it ... you knew? you are not blind!
How keen you are!]
To find a friend who has these qualities,
Who has, and gives
Those qualities upon which friendship lives.
How much it means that I say this to you—
Without these friendships—life, what cauchemar!”
Among the windings of the violins
And the ariettes
Of cracked cornets
Inside my brain a dull tom-tom begins
Absurdly hammering a prelude of its own,
Capricious monotone
That is at least one definite “false note.”
—Let us take the air, in a tobacco trance,
Admire the monuments,
Discuss the late events,
Correct our watches by the public clocks.
Then sit for half an hour and drink our bocks.
II
Now that lilacs are in bloom
She has a bowl of lilacs in her room
And twists one in his fingers while she talks.
“Ah, my friend, you do not know, you do not know
What life is, you who hold it in your hands”;
(Slowly twisting the lilac stalks)
“You let it flow from you, you let it flow,
And youth is cruel, and has no remorse
And smiles at situations which it cannot see.”
I smile, of course,
And go on drinking tea.
“Yet with these April sunsets, that somehow recall
My buried life, and Paris in the Spring,
I feel immeasurably at peace, and find the world
To be wonderful and youthful, after all.”
The voice returns like the insistent out-of-tune
Of a broken violin on an August afternoon:
“I am always sure that you understand
My feelings, always sure that you feel,
Sure that across the gulf you reach your hand.
You are invulnerable, you have no Achilles’ heel.
You will go on, and when you have prevailed
You can say: at this point many a one has failed.
But what have I, but what have I, my friend,
To give you, what can you receive from me?
Only the friendship and the sympathy
Of one about to reach her journey’s end.
I shall sit here, serving tea to friends...”
I take my hat: how can I make a cowardly amends
For what she has said to me?
You will see me any morning in the park
Reading the comics and the sporting page.
Particularly I remark
An English countess goes upon the stage.
A Greek was murdered at a Polish dance,
Another bank defaulter has confessed.
I keep my countenance,
I remain self-possessed
Except when a street piano, mechanical and tired
Reiterates some worn-out common song
With the smell of hyacinths across the garden
Recalling things that other people have desired.
Are these ideas right or wrong?
III
The October night comes down; returning as before
Except for a slight sensation of being ill at ease
I mount the stairs and turn the handle of the door
And feel as if I had mounted on my hands and knees.
“And so you are going abroad; and when do you return?
But that’s a useless question.
You hardly know when you are coming back,
You will find so much to learn.”
My smile falls heavily among the bric-à-brac.
“Perhaps you can write to me.”
My self-possession flares up for a second;
This is as I had reckoned.
“I have been wondering frequently of late
(But our beginnings never know our ends!)
Why we have not developed into friends.”
I feel like one who smiles, and turning shall remark
Suddenly, his expression in a glass.
My self-possession gutters; we are really in the dark.
“For everybody said so, all our friends,
They all were sure our feelings would relate
So closely! I myself can hardly understand.
We must leave it now to fate.
You will write, at any rate.
Perhaps it is not too late.
I shall sit here, serving tea to friends.”
And I must borrow every changing shape
To find expression ... dance, dance
Like a dancing bear,
Cry like a parrot, chatter like an ape.
Let us take the air, in a tobacco trance—
Well! and what if she should die some afternoon,
Afternoon grey and smoky, evening yellow and rose;
Should die and leave me sitting pen in hand
With the smoke coming down above the housetops;
Doubtful, for a while
Not knowing what to feel or if I understand
Or whether wise or foolish, tardy or too soon...
Would she not have the advantage, after all?
This music is successful with a “dying fall”
Now that we talk of dying—
And should I have the right to smile?
|
Written by
Edna St. Vincent Millay |
I should like to rise and go
Where the golden apples grow;--
Where below another sky
Parrot islands anchored lie,
And, watched by cockatoos and goats,
Lonely Crusoes building boats;--
Where in sunshine reaching out
Eastern cities, miles about,
Are with mosque and minaret
Among sandy gardens set,
And the rich goods from near and far
Hang for sale in the bazaar;--
Where the Great Wall round China goes,
And on one side the desert blows,
And with the voice and bell and drum,
Cities on the other hum;--
Where are forests hot as fire,
Wide as England, tall as a spire,
Full of apes and cocoa-nuts
And the ***** hunters' huts;--
Where the knotty crocodile
Lies and blinks in the Nile,
And the red flamingo flies
Hunting fish before his eyes;--
Where in jungles near and far,
Man-devouring tigers are,
Lying close and giving ear
Lest the hunt be drawing near,
Or a comer-by be seen
Swinging in the palanquin;--
Where among the desert sands
Some deserted city stands,
All its children, sweep and prince,
Grown to manhood ages since,
Not a foot in street or house,
Not a stir of child or mouse,
And when kindly falls the night,
In all the town no spark of light.
There I'll come when I'm a man
With a camel caravan;
Light a fire in the gloom
Of some dusty dining-room;
See the pictures on the walls,
Heroes fights and festivals;
And in a corner find the toys
Of the old Egyptian boys.
|
Written by
Kathleen Raine |
Earth no longer
hymns the Creator,
the seven days of wonder,
the Garden is over —
all the stories are told,
the seven seals broken
all that begins
must have its ending,
our striving, desiring,
our living and dying,
for Time, the bringer
of abundant days
is Time the destroyer —
In the Iron Age
the Kali Yuga
To whom can we pray
at the end of an era
but the Lord Shiva,
the Liberator, the purifier?
Our forests are felled,
our mountains eroded,
the wild places
where the beautiful animals
found food and sanctuary
we have desolated,
a third of our seas,
a third of our rivers
we have polluted
and the sea-creatures dying.
Our civilization’s
blind progress
in wrong courses
through wrong choices
has brought us to nightmare
where what seems,
is, to the dreamer,
the collective mind
of the twentieth century —
this world of wonders
not divine creation
but a big bang
of blind chance,
purposeless accident,
mother earth’s children,
their living and loving,
their delight in being
not joy but chemistry,
stimulus, reflex,
valueless, meaningless,
while to our machines
we impute intelligence,
in computers and robots
we store information
and call it knowledge,
we seek guidance
by dialling numbers,
pressing buttons,
throwing switches,
in place of family
our companions are shadows,
cast on a screen,
bodiless voices, fleshless faces,
where was the Garden
a Disney-land
of virtual reality,
in place of angels
the human imagination
is peopled with foot-ballers
film-stars, media-men,
experts, know-all
television personalities,
animated puppets
with cartoon faces —
To whom can we pray
for release from illusion,
from the world-cave,
but Time the destroyer,
the liberator, the purifier?
The curse of Midas
has changed at a touch,
a golden handshake
earthly paradise
to lifeless matter,
where once was seed-time,
summer and winter,
food-chain, factory farming,
monocrops for supermarkets,
pesticides, weed-killers
birdless springs,
endangered species,
battery-hens, hormone injections,
artificial insemination,
implants, transplants, sterilization,
surrogate births, contraception,
cloning, genetic engineering, abortion,
and our days shall be short
in the land we have sown
with the Dragon’s teeth
where our armies arise
fully armed on our killing-fields
with land-mines and missiles,
tanks and artillery,
gas-masks and body-bags,
our air-craft rain down
fire and destruction,
our space-craft broadcast
lies and corruption,
our elected parliaments
parrot their rhetoric
of peace and democracy
while the truth we deny
returns in our dreams
of Armageddon,
the death-wish, the arms-trade,
hatred and slaughter
profitable employment
of our thriving cities,
the arms-race
to the end of the world
of our postmodern,
post-Christian,
post-human nations,
progress to the nihil
of our spent civilization.
But cause and effect,
just and inexorable
law of the universe
no fix of science,
nor amenable god
can save from ourselves
the selves we have become —
At the end of history
to whom can we pray
but to the destroyer,
the liberator, the purifier?
In the beginning
the stars sang together
the cosmic harmony,
but Time, imperceptible
taker-away
of all that has been,
all that will be,
our heart-beat your drum,
our dance of life
your dance of death
in the crematorium,
our high-rise dreams,
Valhalla, Utopia,
Xanadu, Shangri-la, world revolution
Time has taken, and soon will be gone
Cambridge, Princeton and M.I.T.,
Nalanda, Athens and Alexandria
all for the holocaust
of civilization —
To whom shall we pray
when our vision has faded
but the world-destroyer,
the liberator, the purifier?
But great is the realm
of the world-creator,
the world-sustainer
from whom we come,
in whom we move
and have our being,
about us, within us
the wonders of wisdom,
the trees and the fountains,
the stars and the mountains,
all the children of joy,
the loved and the known,
the unknowable mystery
to whom we return
through the world-destroyer, —
Holy, holy
at the end of the world
the purging fire
of the purifier, the liberator!
|
Written by
Derek Walcott |
There were still shards of an ancient pastoral
in those shires of the island where the cattle drank
their pools of shadow from an older sky,
surviving from when the landscape copied such objects as
"Herefords at Sunset in the valley of the Wye."
The mountain water that fell white from the mill wheel
sprinkling like petals from the star-apple trees,
and all of the windmills and sugar mills moved by mules
on the treadmill of Monday to Monday, would repeat
in tongues of water and wind and fire, in tongues
of Mission School pickaninnies, like rivers remembering
their source, Parish Trelawny, Parish St David, Parish
St Andrew, the names afflicting the pastures,
the lime groves and fences of marl stone and the cattle
with a docile longing, an epochal content.
And there were, like old wedding lace in an attic,
among the boas and parasols and the tea-colored
daguerreotypes, hints of an epochal happiness
as ordered and infinite to the child
as the great house road to the Great House
down a perspective of casuarinas plunging green manes
in time to the horses, an orderly life
reduced by lorgnettes day and night, one disc the sun,
the other the moon, reduced into a pier glass:
nannies diminished to dolls, mahogany stairways
no larger than those of an album in which
the flash of cutlery yellows, as gamboge as
the piled cakes of teatime on that latticed
bougainvillea verandah that looked down toward
a prospect of Cuyp-like Herefords under a sky
lurid as a porcelain souvenir with these words:
"Herefords at Sunset in the Valley of the Wye."
Strange, that the rancor of hatred hid in that dream
of slow rivers and lily-like parasols, in snaps
of fine old colonial families, curled at the edge
not from age of from fire or the chemicals, no, not at all,
but because, off at its edges, innocently excluded
stood the groom, the cattle boy, the housemaid, the gardeners,
the tenants, the good ******* down in the village,
their mouth in the locked jaw of a silent scream.
A scream which would open the doors to swing wildly
all night, that was bringing in heavier clouds,
more black smoke than cloud, frightening the cattle
in whose bulging eyes the Great House diminished;
a scorching wind of a scream
that began to extinguish the fireflies,
that dried the water mill creaking to a stop
as it was about to pronounce Parish Trelawny
all over, in the ancient pastoral voice,
a wind that blew all without bending anything,
neither the leaves of the album nor the lime groves;
blew Nanny floating back in white from a feather
to a chimerical, chemical pin speck that shrank
the drinking Herefords to brown porcelain cows
on a mantelpiece, Trelawny trembling with dusk,
the scorched pastures of the old benign Custos; blew
far the decent servants and the lifelong cook,
and shriveled to a shard that ancient pastoral
of dusk in a gilt-edged frame now catching the evening sun
in Jamaica, making both epochs one.
He looked out from the Great House windows on
clouds that still held the fragrance of fire,
he saw the Botanical Gardens officially drown
in a formal dusk, where governors had strolled
and black gardeners had smiled over glinting shears
at the lilies of parasols on the floating lawns,
the flame trees obeyed his will and lowered their wicks,
the flowers tightened their fists in the name of thrift,
the porcelain lamps of ripe cocoa, the magnolia's jet
dimmed on the one circuit with the ginger lilies
and left a lonely bulb on the verandah,
and, had his mandate extended to that ceiling
of star-apple candelabra, he would have ordered
the sky to sleep, saying, I'm tired,
save the starlight for victories, we can't afford it,
leave the moon on for one more hour,and that's it.
But though his power, the given mandate, extended
from tangerine daybreaks to star-apple dusks,
his hand could not dam that ceaseless torrent of dust
that carried the shacks of the poor, to their root-rock music,
down the gullies of Yallahs and August Town,
to lodge them on thorns of maca, with their rags
crucified by cactus, tins, old tires, cartons;
from the black Warieka Hills the sky glowed fierce as
the dials of a million radios,
a throbbing sunset that glowed like a grid
where the dread beat rose from the jukebox of Kingston.
He saw the fountains dried of quadrilles, the water-music
of the country dancers, the fiddlers like fifes
put aside. He had to heal
this malarial island in its bath of bay leaves,
its forests tossing with fever, the dry cattle
groaning like winches, the grass that kept shaking
its head to remember its name. No vowels left
in the mill wheel, the river. Rock stone. Rock stone.
The mountains rolled like whales through phosphorous stars,
as he swayed like a stone down fathoms into sleep,
drawn by that magnet which pulls down half the world
between a star and a star, by that black power
that has the assassin dreaming of snow,
that poleaxes the tyrant to a sleeping child.
The house is rocking at anchor, but as he falls
his mind is a mill wheel in moonlight,
and he hears, in the sleep of his moonlight, the drowned
bell of Port Royal's cathedral, sees the copper pennies
of bubbles rising from the empty eye-pockets
of green buccaneers, the parrot fish floating
from the frayed shoulders of pirates, sea horses
drawing gowned ladies in their liquid promenade
across the moss-green meadows of the sea;
he heard the drowned choirs under Palisadoes,
a hymn ascending to earth from a heaven inverted
by water, a crab climbing the steeple,
and he climbed from that submarine kingdom
as the evening lights came on in the institute,
the scholars lamplit in their own aquarium,
he saw them mouthing like parrot fish, as he passed
upward from that baptism, their history lessons,
the bubbles like ideas which he could not break:
Jamaica was captured by Penn and Venables,
Port Royal perished in a cataclysmic earthquake.
Before the coruscating façades of cathedrals
from Santiago to Caracas, where penitential archbishops
washed the feet of paupers (a parenthetical moment
that made the Caribbean a baptismal font,
turned butterflies to stone, and whitened like doves
the buzzards circling municipal garbage),
the Caribbean was borne like an elliptical basin
in the hands of acolytes, and a people were absolved
of a history which they did not commit;
the slave pardoned his whip, and the dispossessed
said the rosary of islands for three hundred years,
a hymn that resounded like the hum of the sea
inside a sea cave, as their knees turned to stone,
while the bodies of patriots were melting down walls
still crusted with mute outcries of La Revolucion!
"San Salvador, pray for us,St. Thomas, San Domingo,
ora pro nobis, intercede for us, Sancta Lucia
of no eyes," and when the circular chaplet
reached the last black bead of Sancta Trinidad
they began again, their knees drilled into stone,
where Colon had begun, with San Salvador's bead,
beads of black colonies round the necks of Indians.
And while they prayed for an economic miracle,
ulcers formed on the municipal portraits,
the hotels went up, and the casinos and brothels,
and the empires of tobacco, sugar, and bananas,
until a black woman, shawled like a buzzard,
climbed up the stairs and knocked at the door
of his dream, whispering in the ear of the keyhole:
"Let me in, I'm finished with praying, I'm the Revolution.
I am the darker, the older America."
She was as beautiful as a stone in the sunrise,
her voice had the gutturals of machine guns
across khaki deserts where the cactus flower
detonates like grenades, her sex was the slit throat
of an Indian, her hair had the blue-black sheen of the crow.
She was a black umbrella blown inside out
by the wind of revolution, La Madre Dolorosa,
a black rose of sorrow, a black mine of silence,
raped wife, empty mother, Aztec virgin
transfixed by arrows from a thousand guitars,
a stone full of silence, which, if it gave tongue
to the tortures done in the name of the Father,
would curdle the blood of the marauding wolf,
the fountain of generals, poets, and cripples
who danced without moving over their graves
with each revolution; her Caesarean was stitched
by the teeth of machine guns,and every sunset
she carried the Caribbean's elliptical basin
as she had once carried the penitential napkins
to be the footbath of dictators, Trujillo, Machado,
and those whose faces had yellowed like posters
on municipal walls. Now she stroked his hair
until it turned white, but she would not understand
that he wanted no other power but peace,
that he wanted a revolution without any bloodshed,
he wanted a history without any memory,
streets without statues,
and a geography without myth. He wanted no armies
but those regiments of bananas, thick lances of cane,
and he sobbed,"I am powerless, except for love."
She faded from him, because he could not kill;
she shrunk to a bat that hung day and night
in the back of his brain. He rose in his dream.
(to be continued)
|
Written by
John Ashbery |
Something strange is creeping across me.
La Celestina has only to warble the first few bars
Of "I Thought about You" or something mellow from
Amadigi di Gaula for everything--a mint-condition can
Of Rumford's Baking Powder, a celluloid earring, Speedy
Gonzales, the latest from Helen Topping Miller's fertile
Escritoire, a sheaf of suggestive pix on greige, deckle-edged
Stock--to come clattering through the rainbow trellis
Where Pistachio Avenue rams the 2300 block of Highland
Fling Terrace. He promised he'd get me out of this one,
That mean old cartoonist, but just look what he's
Done to me now! I scarce dare approach me mug's attenuated
Reflection in yon hubcap, so jaundiced, so déconfit
Are its lineaments--fun, no doubt, for some quack phrenologist's
Fern-clogged waiting room, but hardly what you'd call
Companionable. But everything is getting choked to the point of
Silence. Just now a magnetic storm hung in the swatch of sky
Over the Fudds' garage, reducing it--drastically--
To the aura of a plumbago-blue log cabin on
A Gadsden Purchase commemorative cover. Suddenly all is
Loathing. I don't want to go back inside any more. You meet
Enough vague people on this emerald traffic-island--no,
Not people, comings and goings, more: mutterings, splatterings,
The bizarrely but effectively equipped infantries of
happy-go-nutty
Vegetal jacqueries, plumed, pointed at the little
White cardboard castle over the mill run. "Up
The lazy river, how happy we could be?"
How will it end? That geranium glow
Over Anaheim's had the riot act read to it by the
Etna-size firecracker that exploded last minute into
A carte du Tendre in whose lower right-hand corner
(Hard by the jock-itch sand-trap that skirts
The asparagus patch of algolagnic nuits blanches) Amadis
Is cozening the Princesse de Cleves into a midnight
micturition spree
On the Tamigi with the Wallets (Walt, Blossom, and little
Sleezix) on a lamé barge "borrowed" from Ollie
Of the Movies' dread mistress of the robes. Wait!
I have an announcement! This wide, tepidly meandering,
Civilized Lethe (one can barely make out the maypoles
And châlets de nécessitê on its sedgy shore)
leads to Tophet, that
Landfill-haunted, not-so-residential resort from which
Some travellers return! This whole moment is the groin
Of a borborygmic giant who even now
Is rolling over on us in his sleep. Farewell bocages,
Tanneries, water-meadows. The allegory comes unsnarled
Too soon; a shower of pecky acajou harpoons is
About all there is to be noted between tornadoes. I have
Only my intermittent life in your thoughts to live
Which is like thinking in another language. Everything
Depends on whether somebody reminds you of me.
That this is a fabulation, and that those "other times"
Are in fact the silences of the soul, picked out in
Diamonds on stygian velvet, matters less than it should.
Prodigies of timing may be arranged to convince them
We live in one dimension, they in ours. While I
Abroad through all the coasts of dark destruction seek
Deliverance for us all, think in that language: its
Grammar, though tortured, offers pavillions
At each new parting of the ways. Pastel
Ambulances scoop up the quick and hie them to hospitals.
"It's all bits and pieces, spangles, patches, really; nothing
Stands alone. What happened to creative evolution?"
Sighed Aglavaine. Then to her Sélysette: "If his
Achievement is only to end up less boring than the others,
What's keeping us here? Why not leave at once?
I have to stay here while they sit in there,
Laugh, drink, have fine time. In my day
One lay under the tough green leaves,
Pretending not to notice how they bled into
The sky's aqua, the wafted-away no-color of regions supposed
Not to concern us. And so we too
Came where the others came: nights of physical endurance,
Or if, by day, our behavior was anarchically
Correct, at least by New Brutalism standards, all then
Grew taciturn by previous agreement. We were spirited
Away en bateau, under cover of fudge dark.
It's not the incomplete importunes, but the spookiness
Of the finished product. True, to ask less were folly, yet
If he is the result of himself, how much the better
For him we ought to be! And how little, finally,
We take this into account! Is the puckered garance satin
Of a case that once held a brace of dueling pistols our
Only acknowledging of that color? I like not this,
Methinks, yet this disappointing sequel to ourselves
Has been applauded in London and St. Petersburg. Somewhere
Ravens pray for us." The storm finished brewing. And thus
She questioned all who came in at the great gate, but none
She found who ever heard of Amadis,
Nor of stern Aureng-Zebe, his first love. Some
They were to whom this mattered not a jot: since all
By definition is completeness (so
In utter darkness they reasoned), why not
Accept it as it pleases to reveal itself? As when
Low skyscrapers from lower-hanging clouds reveal
A turret there, an art-deco escarpment here, and last perhaps
The pattern that may carry the sense, but
Stays hidden in the mysteries of pagination.
Not what we see but how we see it matters; all's
Alike, the same, and we greet him who announces
The change as we would greet the change itself.
All life is but a figment; conversely, the tiny
Tome that slips from your hand is not perhaps the
Missing link in this invisible picnic whose leverage
Shrouds our sense of it. Therefore bivouac we
On this great, blond highway, unimpeded by
Veiled scruples, worn conundrums. Morning is
Impermanent. Grab sex things, swing up
Over the horizon like a boy
On a fishing expedition. No one really knows
Or cares whether this is the whole of which parts
Were vouchsafed--once--but to be ambling on's
The tradition more than the safekeeping of it. This mulch for
Play keeps them interested and busy while the big,
Vaguer stuff can decide what it wants--what maps, what
Model cities, how much waste space. Life, our
Life anyway, is between. We don't mind
Or notice any more that the sky is green, a parrot
One, but have our earnest where it chances on us,
Disingenuous, intrigued, inviting more,
Always invoking the echo, a summer's day.
|
Written by
Tristan Tzara |
Art is going to sleep for a new world to be born
"ART"-parrot word-replaced by DADA,
PLESIOSAURUS, or handkerchief
The talent THAT CAN BE LEARNED makes the
poet a druggist TODAY the criticism
of balances no longer challenges with resemblances
Hypertrophic painters hyperaes-
theticized and hypnotized by the hyacinths
of the hypocritical-looking muezzins
CONSOLIDATE THE HARVEST OF EX-
ACT CALCULATIONS
Hypodrome of immortal guarantees: there is
no such thing as importance there is no transparence
or appearance
MUSICIANS SMASH YOUR INSTRUMENTS
BLIND MEN take the stage
THE SYRINGE is only for my understanding. I write because it is
natural exactly the way I piss the way I'm sick
ART NEEDS AN OPERATION
Art is a PRETENSION warmed by the
TIMIDITY of the urinary basin, the hysteria born
in THE STUDIO
We are in search of
the force that is direct pure sober
UNIQUE we are in search of NOTHING
we affirm the VITALITY of every IN-
STANT
the anti-philosophy of spontaneous acrobatics
At this moment I hate the man who whispers
before the intermission-eau de cologne-
sour theatre. THE JOYOUS WIND
If each man says the opposite it is because he is
right
Get ready for the action of the geyser of our blood
-submarine formation of transchromatic aero-
planes, cellular metals numbered in
the flight of images
above the rules of the
and its control
BEAUTIFUL
It is not for the sawed-off imps
who still worship their navel
|
Written by
C S Lewis |
All this is flashy rhetoric about loving you.
I never had a selfless thought since I was born.
I am mercenary and self-seeking through and through:
I want God, you, all friends, merely to serve my turn.
Peace, re-assurance, pleasure, are the goals I seek,
I cannot crawl one inch outside my proper skin:
I talk of love --a scholar's parrot may talk Greek--
But, self-imprisoned, always end where I begin.
Only that now you have taught me (but how late) my lack.
I see the chasm. And everything you are was making
My heart into a bridge by which I might get back
From exile, and grow man. And now the bridge is breaking.
For this I bless you as the ruin falls. The pains
You give me are more precious than all other gains.
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Written by
James Tate |
A motorist once said to me,
and this was in the country,
on a county lane, a motorist
slowed his vehicle as I was
walking my dear old collie,
Sithney, by the side of the road,
and the motorist came to a halt
mildly alarming both Sithney and myself,
not yet accustomed to automobiles,
and this particular motorist
sent a little spasm of fright up our spines,
which in turn panicked the driver a bit
and it seemed as if we were off to a bad start,
and that's when Sithney began to bark
and the man could not be heard, that is,
if he was speaking or trying to speak
because I was commanding Sithnewy to be silent,
though, indeed I was sympathetic
to his emotional excitement.
It was, as I recall, a day of prodigious beauty.
April 21, 1932--clouds
like the inside of your head explained.
Bluebirds, too numerous to mention.
The clover calling you by name.
And fields oozing green.
And this motorist from nowhere
moving his lips
like the wings of a butterfly
and nothing coming out,
and Sithney silent now.
He was no longer looking at us,
but straight ahead
where his election was in doubt.
"That's a fine dog," he said.
"Collies are made in heaven."
Well, if I were a voting man I'd vote for you, I said.
"A bedoozling day to be lost in the country, I say.
Leastways, I am a misplaced individual."
We introduced ourselves
and swapped a few stories.
He was a veteran and a salesmen
who didn't believe in his product--
I've forgotten what it was--hair restorer,
parrot feed--and he enjoyed nothing more
then a a day spent meandering the back roads
in his jalopy. I gave him directions
to the Denton farm, but I doubt
that he followed them, he didn't
seem to be listening, and it was getting late
and Sithney had an idea of his own
and I don't know why I am remembering this now,
just that he summed himself up by saying
"I've missed too many boats"
and all these years later
I keep thinking that was a man
who loved to miss boats,
but he didn't miss them that much.
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Written by
Les Murray |
Religions are poems. They concert
our daylight and dreaming mind, our
emotions, instinct, breath and native gesture
into the only whole thinking: poetry.
Nothing's said till it's dreamed out in words
and nothing's true that figures in words only.
A poem, compared with an arrayed religion,
may be like a soldier's one short marriage night
to die and live by. But that is a small religion.
Full religion is the large poem in loving repetition;
like any poem, it must be inexhaustible and complete
with turns where we ask Now why did the poet do that?
You can't pray a lie, said Huckleberry Finn;
you can't poe one either. It is the same mirror:
mobile, glancing, we call it poetry,
fixed centrally, we call it a religion,
and God is the poetry caught in any religion,
caught, not imprisoned. Caught as in a mirror
that he attracted, being in the world as poetry
is in the poem, a law against its closure.
There'll always be religion around while there is poetry
or a lack of it. Both are given, and intermittent,
as the action of those birds - crested pigeon, rosella parrot -
who fly with wings shut, then beating, and again shut.
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Written by
Robert William Service |
I watched one day a parrot grey - 'twas in a barber shop.
"Cuckold!" he cried, until I sighed: "You feathered devil, stop!"
Then balefully he looked at me, and slid along his perch,
With sneering eye that seemed to pry me very soul to search.
So fierce, so bold, so grim, so cold, so agate was his stare:
And then that bird I thought I heard this sentiment declare: -
"As it appears, a hundred years a parrot may survive,
When you are gone I'll sit upon this perch and be alive.
In this same spot I'll drop my crot, and crack my sunflower seeds,
And cackle loud when in a shroud you rot beneath the weeds.
I'll carry on when carrion you lie beneath the yew;
With claw and beak my grub I'll seek when grubs are seeking you."
"Foul fowl! said I, "don't prophesy, I'll jolly well contrive
That when I rot in bone-yard lot you cease to be alive."
So I bespoke that barber bloke: "Joe, here's a five pound note.
It's crisp and new, and yours if you will slice that parrot's throat."
"In part," says he, "I must agree, for poor I be in pelf,
With right good will I'll take your bill, but - cut his throat yourself."
So it occurred I took that bird to my ancestral hall,
And there he sat and sniggered at the portraits on the wall.
I sought to cut his wind-pipe but he gave me such a peck,
So cross was I, I swore I'd try to wring his blasted neck;
When shrill he cried: "It's parrotcide what you propose to do;
For every time you make a rhyme you're just a parrot too."
Said I: "It's true. I bow to you. Poor parrots are we all."
And now I sense with reverence the wisdom of his poll.
For every time I want a rhyme he seems to find the word;
In any doubt he helps me out - a most amazing bird.
This line that lies before your eyes he helped me to indite;
I sling the ink but often think it's he who ought to write.
It's he who should in mystic mood concoct poetic screeds,
And I who ought to drop my crot and crackle sunflower seeds.
A parrot nears a hundred years (or so the legend goes),
So were I he this century I might see to its close.
Then I might swing within my ring while revolutions roar,
And watch a world to ruin hurled - and find it all a bore.
As upside-down I cling and clown, I might with parrot eyes
Blink blandly when excited men are moulding Paradise.
New Christs might die, while grimly I would croak and carry on,
Till gnarled and old I should behold the year TWO THOUSAND dawn.
But what a fate! How I should hate upon my perch to sit,
And nothing do to make anew a world for angels fit.
No, better far, though feeble are my lyric notes and flat,
Be dead and done than anyone who lives a life like that.
Though critic-scarred a humble bard I feel I'd rather be,
Than flap and flit and shriek and spit through all a century.
So feathered friend, until the end you may divide my den,
And make a mess, which (more or less) I clean up now and then.
But I prefer the doom to share of dead and gone compeers,
Than parrot be, and live to see ten times a hundred years.
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