Written by
Rainer Maria Rilke |
The First Elegy
Who if I cried out would hear me among the angels'
hierarchies? and even if one of them pressed me
suddenly against his heart: I would be consumed
I that overwhelming existence. For beauty is nothing
but the beginning of terror which we still are just able to endure
and we are so awed because it serenely disdains
to annihilate us. Every angel is terrifying.
And so I hold myself back and swallow the call-note
Of my dark sobbing. Ah whom can we ever turn to
in our need? Not angels not humans
and already the knowing animals are aware
that we are not really at home in
our interpreted world. Perhaps there remains for us
some tree on a hillside which every day we can take
into our vision; there remains for us yesterday's street
and the loyalty of a habit so much at ease
when it stayed with us that it moved in and never left.
Oh and night: there is night when a wind full of infinite space
gnaws at out faces. Whom would it not remain for-that longed-after
mildly disillusioning presence which the solitary heart
so painfully meets. Is it any less difficult for lovers?
But they keep on using each other to hide their own fate.
Don't you know yet? Fling the emptiness out of your arms
Into the spaces we breathe; perhaps the birds
will feel the expanded air with more passionate flying.
Yes-the springtime needed you. Often a star
was waiting for you to notice it. A wave rolled toward you
out of the distant past or as you walked
under an open window a violin
yielded itself to your hearing. All this was mission.
But could you accomplish it? Weren't you always
Distracted by expectation as if every event
announced a beloved? (Where can you find a place
to keep her with all the huge strange thoughts inside you
going and coming and often staying all night.)
But when you feel longing sing of women in love;
for their famous passion is still not immortal. Sing
of women abandoned and desolate (you envy them almost)
who could love so much more purely than those who were gratified.
Begin again and again the never-attainable praising;
remember: the hero lives on; even his downfall was
merely a pretext for achieving his final birth.
But Nature spent and exhausted takes lovers back
into herself as if there were not enough strength
to create them a second time. Have you imagined
Gaspara Stampa intensely enough so that any girl
deserted by her beloved might be inspired
by that fierce example of soaring objectless love
and might say to herself Perhaps I can be like her ?
Shouldn't this most ancient suffering finally grow
more fruitful for us? Isn't it time that we lovingly
freed ourselves from the beloved and quivering endured:
as the arrow endures the bowstring's tension so that
gathered in the snap of release it can be more than
itself. For there is no place where we can remain.
Voices. Voices. Listen my heart as only
Saints have listened: until the gigantic call lifted them
off the ground; yet they kept on impossibly
kneeling and didn't notice at all:
so complete was their listening. Not that you could endure
God's voice-far from it. But listen to the voice of the wind
and the ceaseless message that forms itself out of silence.
It is murmuring toward you now from those who died young.
Didn't their fate whenever you stepped into a church
In Naples or Rome quietly come to address you?
Or high up some eulogy entrusted you with a mission
as last year on the plaque in Santa Maria Formosa.
What they want of me is that I gently remove the appearance
of injustice about their death-which at times
slightly hinders their souls from proceeding onward.
Of course it is strange to inhabit the earth no longer
to give up customs one barely had time to learn
not to see roses and other promising Things
in terms of a human future; no longer to be
what one was in infinitely anxious hands; to leave
even one's own first name behind forgetting it
as easily as a child abandons a broken toy.
Strange to no longer desire one's desires. Strange
to see meanings that clung together once floating away
in every direction. And being dead is hard work
and full of retrieval before one can gradually feel
a trace of eternity. -Though the living are wrong to believe
in the too-sharp distinctions which they themselves have created.
Angels (they say) don't know whether it is the living
they are moving among or the dead. The eternal torrent
whirls all ages along in it through both realms
forever and their voices are drowned out in its thunderous roar.
In the end those who were carried off early no longer need us:
they are weaned from earth's sorrows and joys as gently as children
outgrow the soft breasts of their mothers. But we who do need
such great mysteries we for whom grief is so often
the source of our spirit's growth-: could we exist without them?
Is the legend meaningless that tells how in the lament for Linus
the daring first notes of song pierced through the barren numbness;
and then in the startled space which a youth as lovely as a god
had suddenly left forever the Void felt for the first time
that harmony which now enraptures and comforts and helps us.
|
Written by
Billy Collins |
I am standing on a disused iron bridge
that was erected in 1902,
according to the iron plaque bolted into a beam,
the year my mother turned one.
Imagine--a mother in her infancy,
and she was a Canadian infant at that,
one of the great infants of the province of Ontario.
But here I am leaning on the rusted railing
looking at the water below,
which is flat and reflective this morning,
sky-blue and streaked with high clouds,
and the more I look at the water,
which is like a talking picture,
the more I think of 1902
when workmen in shirts and caps
riveted this iron bridge together
across a thin channel joining two lakes
where wildflowers blow along the shore now
and pairs of swans float in the leafy coves.
1902--my mother was so tiny
she could have fit into one of those oval
baskets for holding apples,
which her mother could have lined with a soft cloth
and placed on the kitchen table
so she could keep an eye on infant Katherine
while she scrubbed potatoes or shelled a bag of peas,
the way I am keeping an eye on that cormorant
who just broke the glassy surface
and is moving away from me and the iron bridge,
swiveling his curious head,
slipping out to where the sun rakes the water
and filters through the trees that crowd the shore.
And now he dives,
disappears below the surface,
and while I wait for him to pop up,
I picture him flying underwater with his strange wings,
as I picture you, my tiny mother,
who disappeared last year,
flying somewhere with your strange wings,
your wide eyes, and your heavy wet dress,
kicking deeper down into a lake
with no end or name, some boundless province of water.
|
Written by
Robert William Service |
Heigh ho! to sleep I vainly try;
Since twelve I haven't closed an eye,
And now it's three, and as I lie,
From Notre Dame to St. Denis
The bells of Paris chime to me;
"You're young," they say, "and strong and free."
I do not turn with sighs and groans
To ease my limbs, to rest my bones,
As if my bed were stuffed with stones,
No peevish murmur tips my tongue --
Ah no! for every sound upflung
Says: "Lad, you're free and strong and young."
And so beneath the sheet's caress
My body purrs with happiness;
Joy bubbles in my veins. . . . Ah yes,
My very blood that leaps along
Is chiming in a joyous song,
Because I'm young and free and strong.
Maybe it is the springtide. I am so happy I am afraid.
The sense of living fills me with exultation. I want to sing,
to dance; I am dithyrambic with delight.
I think the moon must be to blame:
It fills the room with fairy flame;
It paints the wall, it seems to pour
A dappled flood upon the floor.
I rise and through the window stare . . .
Ye gods! how marvelously fair!
From Montrouge to the Martyr's Hill,
A silver city rapt and still;
Dim, drowsy deeps of opal haze,
And spire and dome in diamond blaze;
The little lisping leaves of spring
Like sequins softly glimmering;
Each roof a plaque of argent sheen,
A gauzy gulf the space between;
Each chimney-top a thing of grace,
Where merry moonbeams prank and chase;
And all that sordid was and mean,
Just Beauty, deathless and serene.
O magic city of a dream!
From glory unto glory gleam;
And I will gaze and pity those
Who on their pillows drowse and doze . . .
And as I've nothing else to do,
Of tea I'll make a rousing brew,
And coax my pipes until they croon,
And chant a ditty to the moon.
There! my tea is black and strong. Inspiration comes with
every sip. Now for the moon.
The moon peeped out behind the hill
As yellow as an apricot;
Then up and up it climbed until
Into the sky it fairly got;
The sky was vast and violet;
The poor moon seemed to faint in fright,
And pale it grew and paler yet,
Like fine old silver, rinsed and bright.
And yet it climbed so bravely on
Until it mounted heaven-high;
Then earthward it serenely shone,
A silver sovereign of the sky,
A bland sultana of the night,
Surveying realms of lily light.
|
Written by
Philip Levine |
A good man is seized by the police
and spirited away. Months later
someone brags that he shot him once
through the back of the head
with a Walther 7.65, and his life
ended just there. Those who loved
him go on searching the cafés
in the Barrio Chino or the bars
near the harbor. A comrade swears
he saw him at a distance buying
two kilos of oranges in the market
of San José and called out, "Andrés,
Andrés," but instead of turning
to a man he'd known since child-
hood and opening his great arms
wide, he scurried off, the oranges
tumbling out of the damp sack, one
after another, a short bright trail
left on the sidewalk to say,
Farewell! Farewell to what? I ask.
I asked then and I ask now. I first
heard the story fifty years ago;
it became part of the mythology I
hauled with me from one graveyard
to another, this belief in the power
of my yearning. The dead are every-
where, crowding the narrow streets
that jut out from the wide boulevard
on which we take our morning walk.
They stand in the cold shadows
of men and women come to sell
themselves to anyone, they stride
along beside me and stop when I
stop to admire the bright garlands
or the little pyramids of fruit,
they reach a hand out to give
money or to take change, they say
"Good morning" or "Thank you," they
turn with me and retrace my steps
back to the bare little room I've
come to call home. Patiently,
they stand beside me staring out
over the soiled roofs of the world
until the light fades and we are
all one or no one. They ask for
so little, a prayer now and then,
a toast to their health which is
our health, a few lies no one reads
incised on a dull plaque between
a pharmacy and a sports store,
the least little daily miracle.
|
Written by
Philip Larkin |
Closed like confessionals, they thread
Loud noons of cities, giving back
None of the glances they absorb.
Light glossy grey, arms on a plaque,
They come to rest at any kerb:
All streets in time are visited.
Then children strewn on steps or road,
Or women coming from the shops
Past smells of different dinners, see
A wild white face that overtops
Red stretcher-blankets momently
As it is carried in and stowed,
And sense the solving emptiness
That lies just under all we do,
And for a second get it whole,
So permanent and blank and true.
The fastened doors recede. Poor soul,
They whisper at their own distress;
For borne away in deadened air
May go the sudden shut of loss
Round something nearly at an end,
And what cohered in it across
The years, the unique random blend
Of families and fashions, there
At last begin to loosen. Far
From the exchange of love to lie
Unreachable insided a room
The trafic parts to let go by
Brings closer what is left to come,
And dulls to distance all we are.
1964
|
Written by
Randall Jarrell |
Each day brings its toad, each night its dragon.
Der heilige Hieronymus--his lion is at the zoo--
Listens, listens. All the long, soft, summer day
Dreams affright his couch, the deep boils like a pot.
As the sun sets, the last patient rises,
Says to him, Father, trembles, turns away.
Often, to the lion, the saint said, Son.
To the man the saint says--but the man is gone.
Under a plaque of Gradiva, at gloaming.
The old man boils an egg. When he has eaten
He listens a while. The patients have not stopped.
At midnight, he lies down where his patients lay.
All night the old man whispers to the night.
It listens evenly. The great armored paws
Of its forelegs put together in reflection.
It thinks: Where Ego was, there Id shall be.
The world wrestles with it and is changed into it
And after a long time changes it. The dragon
Listens as the old man says, at dawn: I see
--There is an old man, naked in a desert, by a cliff.
He has set out his books, his hat, his ink, his shears
Among scorpions, toads, the wild beasts of the desert.
I lie beside him--I am a lion.
He kneels listening. He holds in his left hand
The stone with which he beats his breat, and holds
In his right hand, the pen with which he puts
Into his book, the words of the angel:
The angel up into whose face he looks.
But the angel does not speak. He looks into the face
Of the night, and the night says--but the night is gone.
He has slept. . . . At morning, when man's flesh is young
And man's soul thankful for it knows not what,
The air is washed, and smells of boiling coffee,
And the sun lights it. The old man walks placidly
To the grocer's; walks on, under leaves, in light,
To a lynx, a leopard--he has come;
The man holds out a lump of liver to the lion,
And the lion licks the man's hand with his tongue.
|
Written by
Seamus Heaney |
1. Sunlight
There was a sunlit absence.
The helmeted pump in the yard
heated its iron,
water honeyed
in the slung bucket
and the sun stood
like a griddle cooling
against the wall
of each long afternoon.
So, her hands scuffled
over the bakeboard,
the reddening stove
sent its plaque of heat
against her where she stood
in a floury apron
by the window.
Now she dusts the board
with a goose's wing,
now sits, broad-lapped,
with whitened nails
and measling shins:
here is a space
again, the scone rising
to the tick of two clocks.
And here is love
like a tinsmith's scoop
sunk past its gleam
in the meal-bin.
2. The Seed Cutters
They seem hundreds of years away. Brueghel,
You'll know them if I can get them true.
They kneel under the hedge in a half-circle
Behind a windbreak wind is breaking through.
They are the seed cutters. The tuck and frill
Of leaf-sprout is on the seed potates
Buried under that straw. With time to kill,
They are taking their time. Each sharp knife goes
Lazily halving each root that falls apart
In the palm of the hand: a milky gleam,
And, at the centre, a dark watermark.
Oh, calendar customs! Under the broom
Yellowing over them, compose the frieze
With all of us there, our anonymities.
|
Written by
Richard Brautigan |
I walked across the park to the fever monument.
It was in the center of a glass square surrounded
by red flowers and fountains. The monument
was in the shape of a sea horse and the plaque read
We got hot and died.
|