Written by
Christina Rossetti |
A fool I was to sleep at noon,
And wake when night is chilly
Beneath the comfortless cold moon;
A fool to pluck my rose too soon,
A fool to snap my lily.
My garden-plot I have not kept;
Faded and all-forsaken,
I weep as I have never wept:
Oh it was summer when I slept,
It's winter now I waken.
Talk what you please of future spring
And sun-warm'd sweet to-morrow:—
Stripp'd bare of hope and everything,
No more to laugh, no more to sing,
I sit alone with sorrow.
|
Written by
Charles Baudelaire |
CARRYING bouquet, and handkerchief, and gloves,
Proud of her height as when she lived, she moves
With all the careless and high-stepping grace,
And the extravagant courtesan's thin face.
Was slimmer waist e'er in a ball-room wooed?
Her floating robe, in royal amplitude,
Falls in deep folds around a dry foot, shod
With a bright flower-like shoe that gems the sod.
The swarms that hum about her collar-bones
As the lascivious streams caress the stones,
Conceal from every scornful jest that flies,
Her gloomy beauty; and her fathomless eyes
Are made of shade and void; with flowery sprays
Her skull is wreathed artistically, and sways,
Feeble and weak, on her frail vertebrae.
O charm of nothing decked in folly! they
Who laugh and name you a Caricature,
They see not, they whom flesh and blood allure,
The nameless grace of every bleached, bare bone,
That is most dear to me, tall skeleton!
Come you to trouble with your potent sneer
The feast of Life! or are you driven here,
To Pleasure's Sabbath, by dead lusts that stir
And goad your moving corpse on with a spur?
Or do you hope, when sing the violins,
And the pale candle-flame lights up our sins,
To drive some mocking nightmare far apart,
And cool the flame hell lighted in your heart?
Fathomless well of fault and foolishness!
Eternal alembic of antique distress!
Still o'er the curved, white trellis of your sides
The sateless, wandering serpent curls and glides.
And truth to tell, I fear lest you should find,
Among us here, no lover to your mind;
Which of these hearts beat for the smile you gave?
The charms of horror please none but the brave.
Your eyes' black gulf, where awful broodings stir,
Brings giddiness; the prudent reveller
Sees, while a horror grips him from beneath,
The eternal smile of thirty-two white teeth.
For he who has not folded in his arms
A skeleton, nor fed on graveyard charms,
Recks not of furbelow, or paint, or scent,
When Horror comes the way that Beauty went.
O irresistible, with fleshless face,
Say to these dancers in their dazzled race:
"Proud lovers with the paint above your bones,
Ye shall taste death, musk scented skeletons!
Withered Antino?s, dandies with plump faces,
Ye varnished cadavers, and grey Lovelaces,
Ye go to lands unknown and void of breath,
Drawn by the rumour of the Dance of Death.
From Seine's cold quays to Ganges' burning stream,
The mortal troupes dance onward in a dream;
They do not see, within the opened sky,
The Angel's sinister trumpet raised on high.
In every clime and under every sun,
Death laughs at ye, mad mortals, as ye run;
And oft perfumes herself with myrrh, like ye
And mingles with your madness, irony!"
|
Written by
Charlotte Bronte |
BUT two miles more, and then we rest !
Well, there is still an hour of day,
And long the brightness of the West
Will light us on our devious way;
Sit then, awhile, here in this wood
So total is the solitude,
We safely may delay.
These massive roots afford a seat,
Which seems for weary travellers made.
There rest. The air is soft and sweet
In this sequestered forest glade,
And there are scents of flowers around,
The evening dew draws from the ground;
How soothingly they spread !
Yes; I was tired, but not at heart;
Nothat beats full of sweet content,
For now I have my natural part
Of action with adventure blent;
Cast forth on the wide vorld with thee,
And all my once waste energy
To weighty purpose bent.
Yetsay'st thou, spies around us roam,
Our aims are termed conspiracy ?
Haply, no more our English home
An anchorage for us may be ?
That there is risk our mutual blood
May redden in some lonely wood
The knife of treachery ?
Say'st thouthat where we lodge each night,
In each lone farm, or lonelier hall
Of Norman Peerere morning light
Suspicion must as duly fall,
As day returnssuch vigilance
Presides and watches over France,
Such rigour governs all ?
I fear not, William; dost thou fear ?
So that the knife does not divide,
It may be ever hovering near:
I could not tremble at thy side,
And strenuous lovelike mine for thee
Is buckler strong, 'gainst treachery,
And turns its stab aside.
I am resolved that thou shalt learn
To trust my strength as I trust thine;
I am resolved our souls shall burn,
With equal, steady, mingling shine;
Part of the field is conquered now,
Our lives in the same channel flow,
Along the self-same line;
And while no groaning storm is heard,
Thou seem'st content it should be so,
But soon as comes a warning word
Of dangerstraight thine anxious brow
Bends over me a mournful shade,
As doubting if my powers are made
To ford the floods of woe.
Know, then it is my spirit swells,
And drinks, with eager joy, the air
Of freedomwhere at last it dwells,
Chartered, a common task to share
With thee, and then it stirs alert,
And pants to learn what menaced hurt
Demands for thee its care.
Remember, I have crossed the deep,
And stood with thee on deck, to gaze
On waves that rose in threatening heap,
While stagnant lay a heavy haze,
Dimly confusing sea with sky,
And baffling, even, the pilot's eye,
Intent to thread the maze
Of rocks, on Bretagne's dangerous coast,
And find a way to steer our band
To the one point obscure, which lost,
Flung us, as victims, on the strand;
All, elsewhere, gleamed the Gallic sword,
And not a wherry could be moored
Along the guarded land.
I feared not thenI fear not now;
The interest of each stirring scene
Wakes a new sense, a welcome glow,
In every nerve and bounding vein;
Alike on turbid Channel sea,
Or in still wood of Normandy,
I feel as born again.
The rain descended that wild morn
When, anchoring in the cove at last,
Our band, all weary and forlorn,
Ashore, like wave-worn sailors, cast
Sought for a sheltering roof in vain,
And scarce could scanty food obtain
To break their morning fast.
Thou didst thy crust with me divide,
Thou didst thy cloak around me fold;
And, sitting silent by thy side,
I ate the bread in peace untold:
Given kindly from thy hand, 'twas sweet
As costly fare or princely treat
On royal plate of gold.
Sharp blew the sleet upon my face,
And, rising wild, the gusty wind
Drove on those thundering waves apace,
Our crew so late had left behind;
But, spite of frozen shower and storm,
So close to thee, my heart beat warm,
And tranquil slept my mind.
So nownor foot-sore nor opprest
With walking all this August day,
I taste a heaven in this brief rest,
This gipsy-halt beside the way.
England's wild flowers are fair to view,
Like balm is England's summer dew,
Like gold her sunset ray.
But the white violets, growing here,
Are sweeter than I yet have seen,
And ne'er did dew so pure and clear
Distil on forest mosses green,
As now, called forth by summer heat,
Perfumes our cool and fresh retreat
These fragrant limes between.
That sunset ! Look beneath the boughs,
Over the copsebeyond the hills;
How soft, yet deep and warm it glows,
And heaven with rich suffusion fills;
With hues where still the opal's tint,
Its gleam of poisoned fire is blent,
Where flame through azure thrills !
Depart we nowfor fast will fade
That solemn splendour of decline,
And deep must be the after-shade
As stars alone to-night will shine;
No moon is destinedpaleto gaze
On such a day's vast Phoenix blaze,
A day in fires decayed !
Therehand-in-hand we tread again
The mazes of this varying wood,
And soon, amid a cultured plain,
Girt in with fertile solitude,
We shall our resting-place descry,
Marked by one roof-tree, towering high
Above a farm-stead rude.
Refreshed, erelong, with rustic fare,
We'll seek a couch of dreamless ease;
Courage will guard thy heart from fear,
And Love give mine divinest peace:
To-morrow brings more dangerous toil,
And through its conflict and turmoil
We'll pass, as God shall please.
|
Written by
Robert Frost |
Something there is that doesn't love a wall,
That sends the frozen-ground-swell under it,
And spills the upper boulders in the sun;
And makes gaps even two can pass abreast.
The work of hunters is another thing:
I have come after them and made repair
Where they have left not one stone on a stone,
But they would have the rabbit out of hiding,
To please the yelping dogs. The gaps I mean,
No one has seen them made or heard them made,
But at spring mending-time we find them there.
I let my neighbor know beyond the hill;
And on a day we meet to walk the line
And set the wall between us once again.
We keep the wall between us as we go.
To each the boulders that have fallen to each.
And some are loaves and some so nearly balls
We have to use a spell to make them balance:
"Stay where you are until our backs are turned!"
We wear our fingers rough with handling them.
Oh, just another kind of outdoor game,
One on a side. It comes to little more:
There where it is we do not need the wall:
He is all pine and I am apple orchard.
My apple trees will never get across
And eat the cones under his pines, I tell him.
He only says, "Good fences make good neighbors."
Spring is the mischief in me, and I wonder
If I could put a notion in his head:
"Why do they make good neighbors? Isn't it
Where there are cows? But here there are no cows.
Before I built a wall I'd ask to know
What I was walling in or walling out,
And to whom I was like to give offense.
Something there is that doesn't love a wall,
That wants it down." I could say "Elves" to him,
But it's not elves exactly, and I'd rather
He said it for himself. I see him there
Bringing a stone grasped firmly by the top
In each hand, like an old-stone savage armed.
He moves in darkness as it seems to me,
Not of woods only and the shade of trees.
He will not go behind his father's saying,
And he likes having thought of it so well
He says again, "Good fences make good neighbors."
|
Written by
Maya Angelou |
Pretty women wonder where my secret lies.
I'm not cute or built to suit a fashion model's size
But when I start to tell them,
They think I'm telling lies.
I say,
It's in the reach of my arms
The span of my hips,
The stride of my step,
The curl of my lips.
I'm a woman
Phenomenally.
Phenomenal woman,
That's me.
I walk into a room
Just as cool as you please,
And to a man,
The fellows stand or
Fall down on their knees.
Then they swarm around me,
A hive of honey bees.
I say,
It's the fire in my eyes,
And the flash of my teeth,
The swing in my waist,
And the joy in my feet.
I'm a woman
Phenomenally.
Phenomenal woman,
That's me.
Men themselves have wondered
What they see in me.
They try so much
But they can't touch
My inner mystery.
When I try to show them
They say they still can't see.
I say,
It's in the arch of my back,
The sun of my smile,
The ride of my breasts,
The grace of my style.
I'm a woman
Phenomenally.
Phenomenal woman,
That's me.
Now you understand
Just why my head's not bowed.
I don't shout or jump about
Or have to talk real loud.
When you see me passing
It ought to make you proud.
I say,
It's in the click of my heels,
The bend of my hair,
the palm of my hand,
The need of my care,
'Cause I'm a woman
Phenomenally.
Phenomenal woman,
That's me.
|
Written by
T S (Thomas Stearns) Eliot |
I
In my beginning is my end. In succession
Houses rise and fall, crumble, are extended,
Are removed, destroyed, restored, or in their place
Is an open field, or a factory, or a by-pass.
Old stone to new building, old timber to new fires,
Old fires to ashes, and ashes to the earth
Which is already flesh, fur and faeces,
Bone of man and beast, cornstalk and leaf.
Houses live and die: there is a time for building
And a time for living and for generation
And a time for the wind to break the loosened pane
And to shake the wainscot where the field-mouse trots
And to shake the tattered arras woven with a silent motto.
In my beginning is my end. Now the light falls
Across the open field, leaving the deep lane
Shuttered with branches, dark in the afternoon,
Where you lean against a bank while a van passes,
And the deep lane insists on the direction
Into the village, in the electric heat
Hypnotised. In a warm haze the sultry light
Is absorbed, not refracted, by grey stone.
The dahlias sleep in the empty silence.
Wait for the early owl.
In that open field
If you do not come too close, if you do not come too close,
On a summer midnight, you can hear the music
Of the weak pipe and the little drum
And see them dancing around the bonfire
The association of man and woman
In daunsinge, signifying matrimonie—
A dignified and commodiois sacrament.
Two and two, necessarye coniunction,
Holding eche other by the hand or the arm
Whiche betokeneth concorde. Round and round the fire
Leaping through the flames, or joined in circles,
Rustically solemn or in rustic laughter
Lifting heavy feet in clumsy shoes,
Earth feet, loam feet, lifted in country mirth
Mirth of those long since under earth
Nourishing the corn. Keeping time,
Keeping the rhythm in their dancing
As in their living in the living seasons
The time of the seasons and the constellations
The time of milking and the time of harvest
The time of the coupling of man and woman
And that of beasts. Feet rising and falling.
Eating and drinking. Dung and death.
Dawn points, and another day
Prepares for heat and silence. Out at sea the dawn wind
Wrinkles and slides. I am here
Or there, or elsewhere. In my beginning.
II
What is the late November doing
With the disturbance of the spring
And creatures of the summer heat,
And snowdrops writhing under feet
And hollyhocks that aim too high
Red into grey and tumble down
Late roses filled with early snow?
Thunder rolled by the rolling stars
Simulates triumphal cars
Deployed in constellated wars
Scorpion fights against the Sun
Until the Sun and Moon go down
Comets weep and Leonids fly
Hunt the heavens and the plains
Whirled in a vortex that shall bring
The world to that destructive fire
Which burns before the ice-cap reigns.
That was a way of putting it—not very satisfactory:
A periphrastic study in a worn-out poetical fashion,
Leaving one still with the intolerable wrestle
With words and meanings. The poetry does not matter.
It was not (to start again) what one had expected.
What was to be the value of the long looked forward to,
Long hoped for calm, the autumnal serenity
And the wisdom of age? Had they deceived us
Or deceived themselves, the quiet-voiced elders,
Bequeathing us merely a receipt for deceit?
The serenity only a deliberate hebetude,
The wisdom only the knowledge of dead secrets
Useless in the darkness into which they peered
Or from which they turned their eyes. There is, it seems to us,
At best, only a limited value
In the knowledge derived from experience.
The knowledge imposes a pattern, and falsifies,
For the pattern is new in every moment
And every moment is a new and shocking
Valuation of all we have been. We are only undeceived
Of that which, deceiving, could no longer harm.
In the middle, not only in the middle of the way
But all the way, in a dark wood, in a bramble,
On the edge of a grimpen, where is no secure foothold,
And menaced by monsters, fancy lights,
Risking enchantment. Do not let me hear
Of the wisdom of old men, but rather of their folly,
Their fear of fear and frenzy, their fear of possession,
Of belonging to another, or to others, or to God.
The only wisdom we can hope to acquire
Is the wisdom of humility: humility is endless.
The houses are all gone under the sea.
The dancers are all gone under the hill.
III
O dark dark dark. They all go into the dark,
The vacant interstellar spaces, the vacant into the vacant,
The captains, merchant bankers, eminent men of letters,
The generous patrons of art, the statesmen and the rulers,
Distinguished civil servants, chairmen of many committees,
Industrial lords and petty contractors, all go into the dark,
And dark the Sun and Moon, and the Almanach de Gotha
And the Stock Exchange Gazette, the Directory of Directors,
And cold the sense and lost the motive of action.
And we all go with them, into the silent funeral,
Nobody's funeral, for there is no one to bury.
I said to my soul, be still, and let the dark come upon you
Which shall be the darkness of God. As, in a theatre,
The lights are extinguished, for the scene to be changed
With a hollow rumble of wings, with a movement of darkness on darkness,
And we know that the hills and the trees, the distant panorama
And the bold imposing façade are all being rolled away—
Or as, when an underground train, in the tube, stops too long between stations
And the conversation rises and slowly fades into silence
And you see behind every face the mental emptiness deepen
Leaving only the growing terror of nothing to think about;
Or when, under ether, the mind is conscious but conscious of nothing—
I said to my soul, be still, and wait without hope
For hope would be hope for the wrong thing; wait without love,
For love would be love of the wrong thing; there is yet faith
But the faith and the love and the hope are all in the waiting.
Wait without thought, for you are not ready for thought:
So the darkness shall be the light, and the stillness the dancing.
Whisper of running streams, and winter lightning.
The wild thyme unseen and the wild strawberry,
The laughter in the garden, echoed ecstasy
Not lost, but requiring, pointing to the agony
Of death and birth.
You say I am repeating
Something I have said before. I shall say it again.
Shall I say it again? In order to arrive there,
To arrive where you are, to get from where you are not,
You must go by a way wherein there is no ecstasy.
In order to arrive at what you do not know
You must go by a way which is the way of ignorance.
In order to possess what you do not possess
You must go by the way of dispossession.
In order to arrive at what you are not
You must go through the way in which you are not.
And what you do not know is the only thing you know
And what you own is what you do not own
And where you are is where you are not.
IV
The wounded surgeon plies the steel
That questions the distempered part;
Beneath the bleeding hands we feel
The sharp compassion of the healer's art
Resolving the enigma of the fever chart.
Our only health is the disease
If we obey the dying nurse
Whose constant care is not to please
But to remind of our, and Adam's curse,
And that, to be restored, our sickness must grow worse.
The whole earth is our hospital
Endowed by the ruined millionaire,
Wherein, if we do well, we shall
Die of the absolute paternal care
That will not leave us, but prevents us everywhere.
The chill ascends from feet to knees,
The fever sings in mental wires.
If to be warmed, then I must freeze
And quake in frigid purgatorial fires
Of which the flame is roses, and the smoke is briars.
The dripping blood our only drink,
The bloody flesh our only food:
In spite of which we like to think
That we are sound, substantial flesh and blood—
Again, in spite of that, we call this Friday good.
V
So here I am, in the middle way, having had twenty years—
Twenty years largely wasted, the years of l'entre deux guerres
Trying to use words, and every attempt
Is a wholly new start, and a different kind of failure
Because one has only learnt to get the better of words
For the thing one no longer has to say, or the way in which
One is no longer disposed to say it. And so each venture
Is a new beginning, a raid on the inarticulate
With shabby equipment always deteriorating
In the general mess of imprecision of feeling,
Undisciplined squads of emotion. And what there is to conquer
By strength and submission, has already been discovered
Once or twice, or several times, by men whom one cannot hope
To emulate—but there is no competition—
There is only the fight to recover what has been lost
And found and lost again and again: and now, under conditions
That seem unpropitious. But perhaps neither gain nor loss.
For us, there is only the trying. The rest is not our business.
Home is where one starts from. As we grow older
The world becomes stranger, the pattern more complicated
Of dead and living. Not the intense moment
Isolated, with no before and after,
But a lifetime burning in every moment
And not the lifetime of one man only
But of old stones that cannot be deciphered.
There is a time for the evening under starlight,
A time for the evening under lamplight
(The evening with the photograph album).
Love is most nearly itself
When here and now cease to matter.
Old men ought to be explorers
Here or there does not matter
We must be still and still moving
Into another intensity
For a further union, a deeper communion
Through the dark cold and the empty desolation,
The wave cry, the wind cry, the vast waters
Of the petrel and the porpoise. In my end is my beginning.
|
Written by
Alexander Pope |
I.
How happy he, who free from care
The rage of courts, and noise of towns;
Contented breathes his native air,
In his own grounds.
II.
Whose herds with milk, whose fields with bread,
Whose flocks supply him with attire,
Whose trees in summer yield him shade,
In winter fire.
III.
Blest! who can unconcern'dly find
Hours, days, and years slide swift away,
In health of body, peace of mind,
Quiet by day,
IV.
Sound sleep by night; study and ease
Together mix'd; sweet recreation,
And innocence, which most does please,
With meditation.
V.
Thus let me live, unheard, unknown;
Thus unlamented let me die;
Steal from the world, and not a stone
Tell where I lie.
|
Written by
Ruth Padel |
(After Pushkin)
Look at the bare wood hand-waxed floor and long
White dressing-gown, the good child's writing-desk
And passionate cold feet
Summoning music of the night - tumbrils, gongs
And gamelans - with one neat pen, one candle
Puttering its life out hour by hour.
Is "Tell Him I love him" never a good idea? You can't wish this
Unlived - this world on fire, on storm
Alert, till the shepherd's song
Outside, some hyper-active yellowhammer, bulbul,
Wren, amplified in hills and woods, tell her to bestow
A spot of notice on the dawn.
*
"I'm writing to you. Well, that's it, that's everything.
You'll laugh, but you'll pity me too. I'm ashamed of this.
I meant to keep it quiet. You'd never have known, if -
I wish - I could have seen you once a week. To mull over, day
And night, the things you say, or what we say together.
But word is, you're misogynist. Laddish. A philanderer
Who says what he doesn't mean. (That's not how you come across
To me.) Who couldn't give a toss for domestic peace -
Only for celebrity and showing off -
And won't hang round in a provincial zone
Like this. We don't glitter. Though we do,
Warmly, truly, welcome you.
*
"Why did you come? I'd never have set eyes
On a star like you, or blundered up against
This crazed not-sleeping, hour after hour
In the dark. I might have got the better of
My clumsy fury with constraint, my fret
For things I lack all lexica and phrase-book art
To say. I might have been a faithful wife; a mother.
But that's all done with. This is Fate. God.
Sorted. Here I am - yours, to the last breath.
I couldn't give my heart to anyone else.
My life till now has been a theorem, to demonstrate
How right it is to love you. This love is love to death.
*
"I knew you anyway. I loved you, I'm afraid,
In my sleep. Your eyes, that denim-lapis, grey-sea-
Grey-green blue, that Chinese fold of skin
At the inner corner, that shot look
Bleeping "vulnerable" under the screensaver charm,
Kept me alive. Every cell, every last gold atom
Of your body, was engraved in me
Already. Don't tell me that was dream! When you came in,
Staring round in your stripey coat and brocade
Vest, I nearly died! I fainted, I was flame! I recognized
The you I'd always listened to alone, when I wrote
Or tried to wrestle my scatty soul into calm.
*
"Wasn't it you who slipped through the transparent
Darkness to my bed and whispered love? Aren't you
My guardian angel? Or is this arrant
Seeming, hallucination, thrown
Up by that fly engineering a novel does
So beguilingly, or poems? Is this mad?
Are there ways of dreaming I don't know?
Too bad. My soul has made its home
In you. I'm here and bare before you: shy,
In tears. But if I didn't heft my whole self up and hold it there -
A crack-free mirror - loving you, or if I couldn't share
It, set it out in words, I'd die.
*
"I'll wait to hear from you. I must. Please let me hope.
Give me one look, from eyes I hardly dare
To look back at. Or scupper my dream
By scolding me. I've given you rope
To hang me: tell me I'm mistaken. You're so much in
The world; while I just live here, bent on jam
And harvest, songs and books. That's not complaint.
We live such different lives. So - this is the end. It's taken
All night. I'm scared to read it back. I'm faint
With shame and fear. But this is what I am. My crumpled bed,
My words, my open self. All I can do is trust
The whole damn lot of it to you."
*
She sighs. The paper trembles as she presses down
The pink wax seal. Outside, a milk mist clears
From the shimmering valley. If I were her guardian
Angel, I'd divide myself. One half would holler
Don't! Stay on an even keel! Don't dollop over
All you are, to a man who'll go to town
On his next little fling. If he's entranced today
By the way you finger your silk throat inside your collar,
Tomorrow there'll be Olga, Sally, Jane. But then I'd whisper
Go for it, petal. Nothing's as real as what you write.
His funeral, if he's not up to it. What we feel
Is mortal, and won't come again.
*
So cut, weeks later, to an outside shot: the same girl
Taking cover ("Dear God, he's here, he's come!")
Under fat red gooseberries, glimmering hairy stars:
The old, rude bushes she has hide-and-seeked in all
Her life, where mother commands the serfs to sing
While picking, so they can't hurl
The odd gog into their mouths. No one could spy
Her here, not even the sun in its burn-time. Her cheeks
Are simmering fire.
We're talking iridescence, a Red Admiral's last tremble
Before the avid schoolboy plunks his net.
Or imagine
*
A leveret - like the hare you shot, remember?
Which ran round screaming like a baby?
Only mine is shivering in papery winter corn,
While the hunter (as it might be, you) stomps his Hush
Puppies through dead brush. Everything's quiet.
She's waited - how long? - ages: stoking pebbly embers
Under the evening samovar, filling
The Chinese teapot, sending coils of Lapsang Suchong
Floating to the ceiling in the shadows, tracing O and E
In the window's black reflection, one finger
Tendrilling her own breath on the glass.
Like putting a shell to your ear to hear the sea
*
When it's really your own red little sparkle, the echo
Of marching blood. She's asking a phantom
World of pearled-up mist for proof
That her man exists: that gamelans and tumbrils
Won't evade her. But now, among
The kitchen garden's rose-haws, mallow, Pernod-
Coloured pears, she unhooks herself thorn by thorn
For the exit aria. For fade-out. Suddenly there he is
In the avenue, the man she's written to - Charon
Gazing at her with blazing eyes! Darth Vader
From Star Wars. She's trapped, in a house she didn't realize
Was burning. Her letter was a gate to the inferno.
........
(This poem appeared in Pushkin: An Anthology, ed. E. Feinstein, Carcanet 1999)
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Written by
Spike Milligan |
'Help, help, ' said a man. 'I'm drowning.'
'Hang on, ' said a man from the shore.
'Help, help, ' said the man. 'I'm not clowning.'
'Yes, I know, I heard you before.
Be patient dear man who is drowning,
You, see I've got a disease.
I'm waiting for a Doctor J. Browning.
So do be patient please.'
'How long, ' said the man who was drowning. 'Will it take for the Doc to arrive? '
'Not very long, ' said the man with the disease. 'Till then try staying alive.'
'Very well, ' said the man who was drowning. 'I'll try and stay afloat.
By reciting the poems of Browning
And other things he wrote.'
'Help, help, ' said the man with the disease, 'I suddenly feel quite ill.'
'Keep calm.' said the man who was drowning, ' Breathe deeply and lie quite still.'
'Oh dear, ' said the man with the awful disease. 'I think I'm going to die.'
'Farewell, ' said the man who was drowning.
Said the man with the disease, 'goodbye.'
So the man who was drowning, drownded
And the man with the disease past away.
But apart from that,
And a fire in my flat,
It's been a very nice day.
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Written by
Sylvia Plath |
Touch it: it won't shrink like an eyeball,
This egg-shaped bailiwick, clear as a tear.
Here's yesterday, last year ---
Palm-spear and lily distinct as flora in the vast
Windless threadwork of a tapestry.
Flick the glass with your fingernail:
It will ping like a Chinese chime in the slightest air stir
Though nobody in there looks up or bothers to answer.
The inhabitants are light as cork,
Every one of them permanently busy.
At their feet, the sea waves bow in single file.
Never trespassing in bad temper:
Stalling in midair,
Short-reined, pawing like paradeground horses.
Overhead, the clouds sit tasseled and fancy
As Victorian cushions. This family
Of valentine faces might please a collector:
They ring true, like good china.
Elsewhere the landscape is more frank.
The light falls without letup, blindingly.
A woman is dragging her shadow in a circle
About a bald hospital saucer.
It resembles the moon, or a sheet of blank paper
And appears to have suffered a sort of private blitzkrieg.
She lives quietly
With no attachments, like a foetus in a bottle,
The obsolete house, the sea, flattened to a picture
She has one too many dimensions to enter.
Grief and anger, exorcised,
Leave her alone now.
The future is a grey seagull
Tattling in its cat-voice of departure.
Age and terror, like nurses, attend her,
And a drowned man, complaining of the great cold,
Crawls up out of the sea.
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