Written by
Eliza Cook |
THE worm, the rich worm, has a noble domain
In the field that is stored with its millions of slain ;
The charnel-grounds widen, to me they belong,
With the vaults of the sepulchre, sculptured and strong.
The tower of ages in fragments is laid,
Moss grows on the stones, and I lurk in its shade ;
And the hand of the giant and heart of the brave
Must turn weak and submit to the worm and the grave.
Daughters of earth, if I happen to meet
Your bloom-plucking fingers and sod-treading feet--
Oh ! turn not away with the shriek of disgust
From the thing you must mate with in darkness and dust.
Your eyes may be flashing in pleasure and pride,
'Neath the crown of a Queen or the wreath of a bride ;
Your lips may be fresh and your cheeks may be fair--
Let a few years pass over, and I shall be there.
Cities of splendour, where palace and gate,
Where the marble of strength and the purple of state ;
Where the mart and arena, the olive and vine,
Once flourished in glory ; oh ! are ye not mine ?
Go look for famed Carthage, and I shall be found
In the desolate ruin and weed-covered mound ;
And the slime of my trailing discovers my home,
'Mid the pillars of Tyre and the temples of Rome.
I am sacredly sheltered and daintily fed
Where the velvet bedecks, and the white lawn is spread ;
I may feast undisturbed, I may dwell and carouse
On the sweetest of lips and the smoothest of brows.
The voice of the sexton, the chink of the spade,
Sound merrily under the willow's dank shade.
They are carnival notes, and I travel with glee
To learn what the churchyard has given to me.
Oh ! the worm, the rich worm, has a noble domain,
For where monarchs are voiceless I revel and reign ;
I delve at my ease and regale where I may ;
None dispute with the worm in his will or his way.
The high and the bright for my feasting must fall--
Youth, Beauty, and Manhood, I prey on ye all :
The Prince and the peasant, the despot and slave ;
All, all must bow down to the worm and the grave.
|
Written by
Mark Strand |
1
We are reading the story of our lives
which takes place in a room.
The room looks out on a street.
There is no one there,
no sound of anything.
The tress are heavy with leaves,
the parked cars never move.
We keep turning the pages, hoping for something,
something like mercy or change,
a black line that would bind us
or keep us apart.
The way it is, it would seem
the book of our lives is empty.
The furniture in the room is never shifted,
and the rugs become darker each time
our shadows pass over them.
It is almost as if the room were the world.
We sit beside each other on the couch,
reading about the couch.
We say it is ideal.
It is ideal.
2
We are reading the story of our lives,
as though we were in it,
as though we had written it.
This comes up again and again.
In one of the chapters
I lean back and push the book aside
because the book says
it is what I am doing.
I lean back and begin to write about the book.
I write that I wish to move beyond the book.
Beyond my life into another life.
I put the pen down.
The book says: "He put the pen down
and turned and watched her reading
the part about herself falling in love."
The book is more accurate than we can imagine.
I lean back and watch you read
about the man across the street.
They built a house there,
and one day a man walked out of it.
You fell in love with him
because you knew that he would never visit you,
would never know you were waiting.
Night after night you would say
that he was like me.
I lean back and watch you grow older without me.
Sunlight falls on your silver hair.
The rugs, the furniture,
seem almost imaginary now.
"She continued to read.
She seemed to consider his absence
of no special importance,
as someone on a perfect day will consider
the weather a failure
because it did not change his mind."
You narrow your eyes.
You have the impulse to close the book
which describes my resistance:
how when I lean back I imagine
my life without you, imagine moving
into another life, another book.
It describes your dependence on desire,
how the momentary disclosures
of purpose make you afraid.
The book describes much more than it should.
It wants to divide us.
3
This morning I woke and believed
there was no more to to our lives
than the story of our lives.
When you disagreed, I pointed
to the place in the book where you disagreed.
You fell back to sleep and I began to read
those mysterious parts you used to guess at
while they were being written
and lose interest in after they became
part of the story.
In one of them cold dresses of moonlight
are draped over the chairs in a man's room.
He dreams of a woman whose dresses are lost,
who sits in a garden and waits.
She believes that love is a sacrifice.
The part describes her death
and she is never named,
which is one of the things
you could not stand about her.
A little later we learn
that the dreaming man lives
in the new house across the street.
This morning after you fell back to sleep
I began to turn the pages early in the book:
it was like dreaming of childhood,
so much seemed to vanish,
so much seemed to come to life again.
I did not know what to do.
The book said: "In those moments it was his book.
A bleak crown rested uneasily on his head.
He was the brief ruler of inner and outer discord,
anxious in his own kingdom."
4
Before you woke
I read another part that described your absence
and told how you sleep to reverse
the progress of your life.
I was touched by my own loneliness as I read,
knowing that what I feel is often the crude
and unsuccessful form of a story
that may never be told.
"He wanted to see her naked and vulnerable,
to see her in the refuse, the discarded
plots of old dreams, the costumes and masks
of unattainable states.
It was as if he were drawn
irresistably to failure."
It was hard to keep reading.
I was tired and wanted to give up.
The book seemed aware of this.
It hinted at changing the subject.
I waited for you to wake not knowing
how long I waited,
and it seemed that I was no longer reading.
I heard the wind passing
like a stream of sighs
and I heard the shiver of leaves
in the trees outside the window.
It would be in the book.
Everything would be there.
I looked at your face
and I read the eyes, the nose, the mouth . . .
5
If only there were a perfect moment in the book;
if only we could live in that moment,
we could being the book again
as if we had not written it,
as if we were not in it.
But the dark approaches
to any page are too numerous
and the escapes are too narrow.
We read through the day.
Each page turning is like a candle
moving through the mind.
Each moment is like a hopeless cause.
If only we could stop reading.
"He never wanted to read another book
and she kept staring into the street.
The cars were still there,
the deep shade of trees covered them.
The shades were drawn in the new house.
Maybe the man who lived there,
the man she loved, was reading
the story of another life.
She imagine a bare parlor,
a cold fireplace, a man sitting
writing a letter to a woman
who has sacrificed her life for love."
If there were a perfect moment in the book,
it would be the last.
The book never discusses the causes of love.
It claims confusion is a necessary good.
It never explains. It only reveals.
6
The day goes on.
We study what we remember.
We look into the mirror across the room.
We cannot bear to be alone.
The book goes on.
"They became silent and did not know how to begin
the dialogue which was necessary.
It was words that created divisions in the first place,
that created loneliness.
They waited
they would turn the pages, hoping
something would happen.
They would patch up their lives in secret:
each defeat forgiven because it could not be tested,
each pain rewarded because it was unreal.
They did nothing."
7
The book will not survive.
We are the living proof of that.
It is dark outside, in the room it is darker.
I hear your breathing.
You are asking me if I am tired,
if I want to keep reading.
Yes, I am tired.
Yes, I want to keep reading.
I say yes to everything.
You cannot hear me.
"They sat beside each other on the couch.
They were the copies, the tired phantoms
of something they had been before.
The attitudes they took were jaded.
They stared into the book
and were horrified by their innocence,
their reluctance to give up.
They sat beside each other on the couch.
They were determined to accept the truth.
Whatever it was they would accept it.
The book would have to be written
and would have to be read.
They are the book and they are
nothing else.
|
Written by
William Butler Yeats |
That lover of a night
Came when he would,
Went in the dawning light
Whether I would or no;
Men come, men go;
All things remain in God.
Banners choke the sky;
Men-at-arms tread;
Armoured horses neigh
In the narrow pass:
All things remain in God.
Before their eyes a house
That from childhood stood
Uninhabited, ruinous,
Suddenly lit up
From door to top:
All things remain in God.
I had wild Jack for a lover;
Though like a road
That men pass over
My body makes no moan
But sings on:
All things remain in God.
|
Written by
Kahlil Gibran |
Your pain is the breaking of the shell that encloses
your understanding.
Even as the stone of the fruit must break, that its
heart may stand in the sun, so must you know pain.
And could you keep your heart in wonder at the
daily miracles of your life, your pain would not seem
less wondrous than your joy;
And you would accept the seasons of your heart,
even as you have always accepted the seasons that
pass over your fields.
And you would watch with serenity through the
winters of your grief.
Much of your pain is self-chosen.
It is the bitter potion by which the physician within
you heals your sick self.
Therefore trust the physician, and drink his remedy
in silence and tranquillity:
For his hand, though heavy and hard, is guided by
the tender hand of the Unseen,
And the cup he brings, though it burn your lips, has
been fashioned of the clay which the Potter has
moistened with His own sacred tears.
|
Written by
Robert Desnos |
A frightening stillness will mark that day
And the shadow of streetlights and fire-alarms will exhaust the light
All things, the quietest and the loudest, will be silent
The suckling brats will die
The tugboats the locomotives the wind will glide by in silence
We will hear the great voice which coming from far away will pass over the city
We will wait a long time for it
Then at the rich man's time of day
When the dust the stones the missing tears
form the sun's robe on the huge deserted squares
We shall finally hear the voice.
It will growl at doors for a long while
It will pass over the town tearing up flags and breaking windowpanes.
We will hear it
What silence before it, but still greater the silence
it will not disturb but will hold guilty will brand and denounce
Day of sorrows and joys
The day the day to come when the voice will pass over the city
A ghostly seagull told me she loved me as much as I loved her
That this great terrible silence was my love
That the wind carrying the voice was the great revolt of the world
And that the voice would look kindly on me.
|
Written by
Carl Sandburg |
I AM the people--the mob--the crowd--the mass.
Do you know that all the great work of the world is
done through me?
I am the workingman, the inventor, the maker of the
world's food and clothes.
I am the audience that witnesses history. The Napoleons
come from me and the Lincolns. They die. And
then I send forth more Napoleons and Lincolns.
I am the seed ground. I am a prairie that will stand
for much plowing. Terrible storms pass over me.
I forget. The best of me is sucked out and wasted.
I forget. Everything but Death comes to me and
makes me work and give up what I have. And I
forget.
Sometimes I growl, shake myself and spatter a few red
drops for history to remember. Then--I forget.
When I, the People, learn to remember, when I, the
People, use the lessons of yesterday and no longer
forget who robbed me last year, who played me for
a fool--then there will be no speaker in all the world
say the name: "The People," with any fleck of a
sneer in his voice or any far-off smile of derision.
The mob--the crowd--the mass--will arrive then.
|
Written by
Philip Levine |
1
Dawn. First light tearing
at the rough tongues of the zinnias,
at the leaves of the just born.
Today it will rain. On the road
black cars are abandoned, but the clouds
ride above, their wisdom intact.
They are predictions. They never matter.
The jet fighters lift above the flat roofs,
black arrowheads trailing their future.
2
When the night comes small fires go out.
Blood runs to the heart and finds it locked.
Morning is exhaustion, tranquilizers, gasoline,
the screaming of frozen bearings,
the failures ofwill, the TV talking to itself
The clouds go on eating oil, cigars,
housewives, sighing letters,
the breath of lies. In their great silent pockets
they carry off all our dead.
3
The clouds collect until there's no sky.
A boat slips its moorings and drifts
toward the open sea, turning and turning.
The moon bends to the canal and bathes
her torn lips, and the earth goes on
giving off her angers and sighs
and who knows or cares except these
breathing the first rains,
the last rivers running over iron.
4
You cut an apple in two pieces
and ate them both. In the rain
the door knocked and you dreamed it.
On bad roads the poor walked under cardboard boxes.
The houses are angry because they're watched.
A soldier wants to talk with God
but his mouth fills with lost tags.
The clouds have seen it all, in the dark
they pass over the graves of the forgotten
and they don't cry or whisper.
They should be punished every morning,
they should be bitten and boiled like spoons.
|
Written by
Walt Whitman |
NOT alone those camps of white, O soldiers,
When, as order’d forward, after a long march,
Footsore and weary, soon as the light lessen’d, we halted for the night;
Some of us so fatigued, carrying the gun and knapsack, dropping asleep in our tracks;
Others pitching the little tents, and the fires lit up began to sparkle;
Outposts of pickets posted, surrounding, alert through the dark,
And a word provided for countersign, careful for safety;
Till to the call of the drummers at daybreak loudly beating the drums,
We rose up refresh’d, the night and sleep pass’d over, and resumed our journey,
Or proceeded to battle.
Lo! the camps of the tents of green,
Which the days of peace keep filling, and the days of war keep filling,
With a mystic army, (is it too order’d forward? is it too only halting awhile,
Till night and sleep pass over?)
Now in those camps of green—in their tents dotting the world;
In the parents, children, husbands, wives, in them—in the old and young,
Sleeping under the sunlight, sleeping under the moonlight, content and silent there at
last,
Behold the mighty bivouac-field, and waiting-camp of all,
Of corps and generals all, and the President over the corps and generals all,
And of each of us, O soldiers, and of each and all in the ranks we fought,
(There without hatred we shall all meet.)
For presently, O soldiers, we too camp in our place in the bivouac-camps of green;
But we need not provide for outposts, nor word for the countersign,
Nor drummer to beat the morning drum.
|
Written by
Carl Sandburg |
Thousands of sheep, soft-footed, black-nosed sheep--
one by one going up the hill and over the fence--one by
one four-footed pattering up and over--one by one wiggling
their stub tails as they take the short jump and go
over--one by one silently unless for the multitudinous
drumming of their hoofs as they move on and go over--
thousands and thousands of them in the grey haze of
evening just after sundown--one by one slanting in a
long line to pass over the hill--
I am the slow, long-legged Sleepyman and I love you
sheep in Persia, California, Argentine, Australia, or
Spain--you are the thoughts that help me when I, the
Sleepyman, lay my hands on the eyelids of the children
of the world at eight o'clock every night--you thousands
and thousands of sheep in a procession of dusk making
an endless multitudinous drumming on the hills with
your hoofs.
|
Written by
Carl Sandburg |
I LOVE your faces I saw the many years
I drank your milk and filled my mouth
With your home talk, slept in your house
And was one of you.
But a fire burns in my heart.
Under the ribs where pulses thud
And flitting between bones of skull
Is the push, the endless mysterious command,
Saying:
"I leave you behind--
You for the little hills and the years all alike,
You with your patient cows and old houses
Protected from the rain,
I am going away and I never come back to you;
Crags and high rough places call me,
Great places of death
Where men go empty handed
And pass over smiling
To the star-drift on the horizon rim.
My last whisper shall be alone, unknown;
I shall go to the city and fight against it,
And make it give me passwords
Of luck and love, women worth dying for,
And money.
I go where you wist not of
Nor I nor any man nor woman.
I only know I go to storms
Grappling against things wet and naked."
There is no pity of it and no blame.
None of us is in the wrong.
After all it is only this:
You for the little hills and I go away.
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