Written by
Oscar Wilde |
The lily's withered chalice falls
Around its rod of dusty gold,
And from the beech-trees on the wold
The last wood-pigeon coos and calls.
The gaudy leonine sunflower
Hangs black and barren on its stalk,
And down the windy garden walk
The dead leaves scatter, - hour by hour.
Pale privet-petals white as milk
Are blown into a snowy mass:
The roses lie upon the grass
Like little shreds of crimson silk.
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Written by
Andre Breton |
(Translated from the French by Edouard Rodti)
My wife with the hair of a wood fire
With the thoughts of heat lightning
With the waist of an hourglass
With the waist of an otter in the teeth of a tiger
My wife with the lips of a cockade and of a bunch of stars of the last magnitude
With the teeth of tracks of white mice on the white earth
With the tongue of rubbed amber and glass
My wife with the tongue of a stabbed host
With the tongue of a doll that opens and closes its eyes
With the tongue of an unbelievable stone
My wife with the eyelashes of strokes of a child's writing
With brows of the edge of a swallow's nest
My wife with the brow of slates of a hothouse roof
And of steam on the panes
My wife with shoulders of champagne
And of a fountain with dolphin-heads beneath the ice
My wife with wrists of matches
My wife with fingers of luck and ace of hearts
With fingers of mown hay
My wife with armpits of marten and of beechnut
And of Midsummer Night
Of privet and of an angelfish nest
With arms of seafoam and of riverlocks
And of a mingling of the wheat and the mill
My wife with legs of flares
With the movements of clockwork and despair
My wife with calves of eldertree pith
My wife with feet of initials
With feet of rings of keys and Java sparrows drinking
My wife with a neck of unpearled barley
My wife with a throat of the valley of gold
Of a tryst in the very bed of the torrent
With breasts of night
My wife with breasts of a marine molehill
My wife with breasts of the ruby's crucible
With breasts of the rose's spectre beneath the dew
My wife with the belly of an unfolding of the fan of days
With the belly of a gigantic claw
My wife with the back of a bird fleeing vertically
With a back of quicksilver
With a back of light
With a nape of rolled stone and wet chalk
And of the drop of a glass where one has just been drinking
My wife with hips of a skiff
With hips of a chandelier and of arrow-feathers
And of shafts of white peacock plumes
Of an insensible pendulum
My wife with buttocks of sandstone and asbestos
My wife with buttocks of swans' backs
My wife with buttocks of spring
With the sex of an iris
My wife with the sex of a mining-placer and of a platypus
My wife with a sex of seaweed and ancient sweetmeat
My wife with a sex of mirror
My wife with eyes full of tears
With eyes of purple panoply and of a magnetic needle
My wife with savanna eyes
My wife with eyes of water to he drunk in prison
My wife with eyes of wood always under the axe
My wife with eyes of water-level of level of air earth and fire
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Written by
Conrad Aiken |
Beloved, let us once more praise the rain.
Let us discover some new alphabet,
For this, the often praised; and be ourselves,
The rain, the chickweed, and the burdock leaf,
The green-white privet flower, the spotted stone,
And all that welcomes the rain; the sparrow too,—
Who watches with a hard eye from seclusion,
Beneath the elm-tree bough, till rain is done.
There is an oriole who, upside down,
Hangs at his nest, and flicks an orange wing,—
Under a tree as dead and still as lead;
There is a single leaf, in all this heaven
Of leaves, which rain has loosened from its twig:
The stem breaks, and it falls, but it is caught
Upon a sister leaf, and thus she hangs;
There is an acorn cup, beside a mushroom
Which catches three drops from the stooping cloud.
The timid bee goes back to the hive; the fly
Under the broad leaf of the hollyhock
Perpends stupid with cold; the raindark snail
Surveys the wet world from a watery stone...
And still the syllables of water whisper:
The wheel of cloud whirs slowly: while we wait
In the dark room; and in your heart I find
One silver raindrop,—on a hawthorn leaf,—
Orion in a cobweb, and the World.
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Written by
Rudyard Kipling |
"For here lay the excellent wisdom of him that built Mansoul, thatthe
walls could never be broken down nor hurt by the most mighty adverse
potentate unless the townsmen gave consent thereto."--Bunyan's Holy War.)
A tinker out of Bedford,
A vagrant oft in quod,
A privet under Fairfax,
A minister of God--
Two hundred years and thirty
Ere Armageddon came
His single hand portrayed it,
And Bunyan was his name!
He mapped for those who follow,
The world in which we are--
"This famous town of Mansoul"
That takes the Holy War.
Her true and traitor people,
The gates along her wall,
From Eye Gate unto Feel Gate,
John Bunyan showed them all.
All enemy divisions,
Recruits of every class,
And highly-screened positions
For flame or poison-gas;
The craft that we call modern,
The crimes that we call new,
John Bunyan had 'em typed and filed
In sixteen Eighty-two.
Likewise the Lords of Looseness
That hamper faith and works,
The Perseverance-Doubters,
And Present-Comfort shirks,
With brittle intellectuals
Who crack beneath a strain--
John Bunyan met that helpful set
In Charles the Second's reign.
Emmanuel's vanguard dying
For right and not for rights,
My Lord Apollyon lying
To the State-kept Stockholmites,
The Pope, the swithering Neutrals
The Kaiser and his Gott--
Their roles, their goals, their naked souls--
He knew and drew the lot.
Now he hath left his quarters,
In Bunhill Fields to lie,
The wisdom that he taught us
Is proven prophecy--
One watchword through our Armies,
One answer from our Lands:--
"No dealings with Diabolus
As long as Mansoul stands!"
A pedlar from a hovel,
The lowest of the low,
The Father of the Novel,
Salvation's first Defoe,
Eight blinded generations
Ere Armageddon came,
He showed us how to meet it,
And Bunyan was his name!
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Written by
John Betjeman |
Hark, I hear the bells of Westgate,
I will tell you what they sigh,
Where those minarets and steeples
Prick the open Thanet sky.
Happy bells of eighteen-ninety,
Bursting from your freestone tower!
Recalling laurel, shrubs and privet,
Red geraniums in flower.
Feet that scamper on the asphalt
Through the Borough Council grass,
Till they hide inside the shelter
Bright with ironwork and glass,
Striving chains of ordered children
Purple by the sea-breeze made,
Striving on to prunes and suet
Past the shops on the Parade.
Some with wire around their glasses,
Some with wire across their teeth,
Writhing frames for running noses
And the drooping lip beneath.
Church of England bells of Westgate!
On this balcony I stand,
White the woodwork wriggles round me,
Clocktowers rise on either hand.
For me in my timber arbour
You have one more message yet,
"Plimsolls, plimsolls in the summer,
Oh galoshes in the wet!"
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Written by
Victor Hugo |
("Comme le matin rit sur les roses.")
{Bk. I. xii.}
The dawn is smiling on the dew that covers
The tearful roses—lo, the little lovers—
That kiss the buds and all the flutterings
In jasmine bloom, and privet, of white wings
That go and come, and fly, and peep, and hide
With muffled music, murmured far and wide!
Ah, Springtime, when we think of all the lays
That dreamy lovers send to dreamy Mays,
Of the proud hearts within a billet bound,
Of all the soft silk paper that men wound,
The messages of love that mortals write,
Filled with intoxication of delight,
Written in April, and before the Maytime
Shredded and flown, playthings for the winds' playtime.
We dream that all white butterflies above,
Who seek through clouds or waters souls to love,
And leave their lady mistress to despair,
To flirt with flowers, as tender and more fair,
Are but torn love-letters, that through the skies
Flutter, and float, and change to Butterflies.
A. LANG.
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Written by
Marilyn Hacker |
Cherry-ripe: dark sweet burlats, scarlet reverchons
firm-fleshed and tart in the mouth
bigarreaux, peach-and-white napoléons
as the harvest moves north
from Provence to the banks of the Yonne
(they grow napoléons in Washington
State now). Before that, garriguettes,
from Périgord, in wooden punnets
afterwards, peaches: yellow-fleshed, white,
moss-skinned ruby pêches de vigne.
The vendors cry out "Taste," my appetite
does, too.. Birdsong, from an unseen
source on this street-island, too close for the trees:
it’s a young woman with a tin basin
of plastic whistles moulded like canaries.
– which children warbled on in Claremont Park
one spring day in my third year. Gísela
my father’s mother, took
me there. I spent the days with her
now that my mother had gone back to work.
In her brocade satchel, crochet-work, a picture-book
for me. But overnight the yellow bird
whistles had appeared
and I wanted one passionately.
Watching big girls play hopscotch at curb’s edge
or telling stories to V.J
under the shiny leaves of privet hedge
were pale pastimes compared to my desire
Did I hector one of the privileged
warblers to tell us where they were acquired?
– the candy store on Tremont Avenue
Of course I don’t call her Gísela.
I call her Grandma.. "Grandma will buy it for you,"
– does she add "mammele "
not letting her annoyance filter through
as an old-world friend moves into view?
The toddler and the stout
grey-haired woman walk out
of the small park toward the shopping streets
into a present tense
where what’s ineffaceable repeats
itself. Accidents.
I dash ahead, new whistle in my hand
She runs behind. The car. The almost-silent
thud. Gísela, prone, also silent, on the ground.
Death is the scandal that was always hidden.
I never saw my grandmother again
Who took me home? Somebody did. In
the next few days (because that afternoon
and night are blank) I don’t think I cried, I didn’t
know what to ask (I wasn’t three), and then I did, and
"She’s gone to live in Florida" they said
and I knew she was dead.
A black woman, to whom I wasn’t nice,
was hired to look after me.
Her name was Josephine – and that made twice
I’d heard that name: my grandmother’s park crony
was Josephine. Where was Grandma; where was Gísela ?
she called me to her bench to ask one day.
I say, "She’s gone to live in Florida."
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Written by
Victor Hugo |
The dawn is smiling on the dew that covers
The tearful roses; lo, the little lovers
That kiss the buds, and all the flutterings
In jasmine bloom, and privet, of white wings,
That go and come, and fly, and peep and hide,
With muffled music, murmured far and wide.
Ah, the Spring time, when we think of all the lays
That dreamy lovers send to dreamy mays,
Of the fond hearts within a billet bound,
Of all the soft silk paper that pens wound,
The messages of love that mortals write
Filled with intoxication of delight,
Written in April and before the May time
Shredded and flown, playthings for the wind's playtime,
We dream that all white butterflies above,
Who seek through clouds or waters souls to love,
And leave their lady mistress in despair,
To flit to flowers, as kinder and more fair,
Are but torn love-letters, that through the skies
Flutter, and float, and change to butterflies
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Written by
William Butler Yeats |
I walked among the seven woods of Coole:
Shan-walla, where a willow-hordered pond
Gathers the wild duck from the winter dawn;
Shady Kyle-dortha; sunnier Kyle-na-no,
Where many hundred squirrels are as happy
As though they had been hidden hy green houghs
Where old age cannot find them; Paire-na-lee,
Where hazel and ash and privet hlind the paths:
Dim Pairc-na-carraig, where the wild bees fling
Their sudden fragrances on the green air;
Dim Pairc-na-tarav, where enchanted eyes
Have seen immortal, mild, proud shadows walk;
Dim Inchy wood, that hides badger and fox
And marten-cat, and borders that old wood
Wise Buddy Early called the wicked wood:
Seven odours, seven murmurs, seven woods.
I had not eyes like those enchanted eyes,
Yet dreamed that beings happier than men
Moved round me in the shadows, and at night
My dreams were clown hy voices and by fires;
And the images I have woven in this story
Of Forgael and Dectora and the empty waters
Moved round me in the voices and the fires,
And more I may not write of, for they that cleave
The waters of sleep can make a chattering tongue
Heavy like stone, their wisdom being half silence.
How shall I name you, immortal, mild, proud shadows?
I only know that all we know comes from you,
And that you come from Eden on flying feet.
Is Eden far away, or do you hide
From human thought, as hares and mice and coneys
That run before the reaping-hook and lie
In the last ridge of the barley? Do our woods
And winds and ponds cover more quiet woods,
More shining winds, more star-glimmering ponds?
Is Eden out of time and out of space?
And do you gather about us when pale light
Shining on water and fallen among leaves,
And winds blowing from flowers, and whirr of feathers
And the green quiet, have uplifted the heart?
I have made this poem for you, that men may read it
Before they read of Forgael and Dectora,
As men in the old times, before the harps began,
Poured out wine for the high invisible ones.
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