Written by
Billy Collins |
Remember the 1340's? We were doing a dance called the Catapult.
You always wore brown, the color craze of the decade,
and I was draped in one of those capes that were popular,
the ones with unicorns and pomegranates in needlework.
Everyone would pause for beer and onions in the afternoon,
and at night we would play a game called "Find the Cow."
Everything was hand-lettered then, not like today.
Where has the summer of 1572 gone? Brocade and sonnet
marathons were the rage. We used to dress up in the flags
of rival baronies and conquer one another in cold rooms of stone.
Out on the dance floor we were all doing the Struggle
while your sister practiced the Daphne all alone in her room.
We borrowed the jargon of farriers for our slang.
These days language seems transparent a badly broken code.
The 1790's will never come again. Childhood was big.
People would take walks to the very tops of hills
and write down what they saw in their journals without speaking.
Our collars were high and our hats were extremely soft.
We would surprise each other with alphabets made of twigs.
It was a wonderful time to be alive, or even dead.
I am very fond of the period between 1815 and 1821.
Europe trembled while we sat still for our portraits.
And I would love to return to 1901 if only for a moment,
time enough to wind up a music box and do a few dance steps,
or shoot me back to 1922 or 1941, or at least let me
recapture the serenity of last month when we picked
berries and glided through afternoons in a canoe.
Even this morning would be an improvement over the present.
I was in the garden then, surrounded by the hum of bees
and the Latin names of flowers, watching the early light
flash off the slanted windows of the greenhouse
and silver the limbs on the rows of dark hemlocks.
As usual, I was thinking about the moments of the past,
letting my memory rush over them like water
rushing over the stones on the bottom of a stream.
I was even thinking a little about the future, that place
where people are doing a dance we cannot imagine,
a dance whose name we can only guess.
|
Written by
Henry Wadsworth Longfellow |
Between the dark and the daylight,
When the night is beginning to lower,
Comes a pause in the day's occupations,
That is known as the Children's Hour.
I hear in the chamber above me
The patter of little feet,
The sound of a door that is opened,
And voices soft and sweet.
From my study I see in the lamplight,
Descending the broad hall stair,
Grave Alice, and laughing Allegra,
And Edith with golden hair.
A whisper, and then a silence:
Yet I know by their merry eyes
They are plotting and planning together
To take me by surprise.
A sudden rush from the stairway,
A sudden raid from the hall!
By three doors left unguarded
They enter my castle wall!
They climb up into my turret
O'er the arms and back of my chair;
If I try to escape, they surround me;
They seem to be everywhere.
They almost devour me with kisses,
Their arms about me entwine,
Till I think of the Bishop of Bingen
In his Mouse-Tower on the Rhine!
Do you think, O blue-eyed banditti,
Because you have scaled the wall,
Such an old mustache as I am
Is not a match for you all!
I have you fast in my fortress,
And will not let you depart,
But put you down into the dungeon
In the round-tower of my heart.
And there will I keep you forever,
Yes, forever and a day,
Till the walls shall crumble to ruin,
And moulder in dust away!
|
Written by
Rabindranath Tagore |
Mother, let us imagine we are travelling, and passing through a
strange and dangerous country.
You are riding in a palanquin and I am trotting by you on a
red horse.
It is evening and the sun goes down. The waste of Joradighi
lies wan and grey before us. The land is desolate and barren.
You are frightened and thinking-"I know not where we have come
to."
I say to you, "Mother, do not be afraid."
The meadow is prickly with spiky grass, and through it runs
a narrow broken path.
There are no cattle to be seen in the wide field; they have
gone to their village stalls.
It grows dark and dim on the land and sky, and we cannot tell
where we are going.
Suddenly you call me and ask me in a whisper, "What light is
that near the bank?"
Just then there bursts out a fearful yell, and figures come
running towards us.
You sit crouched in your palanquin and repeat the names of the
gods in prayer.
The bearers, shaking in terror, hide themselves in the thorny
bush.
I shout to you, "Don't be afraid, mother. I am here."
With long sticks in their hands and hair all wild about their
heads, they come nearer and nearer.
I shout, "Have a care, you villains! One step more and you are
dead men."
They give another terrible yell and rush forward.
You clutch my hand and say, "Dear boy, for heaven's sake, keep
away from them."
I say, "Mother, just you watch me."
Then I spur my horse for a wild gallop, and my sword and
buckler clash against each other.
The fight becomes so fearful, mother, that it would give you
a cold shudder could you see it from your palanquin.
Many of them fly, and a great number are cut to pieces.
I know you are thinking, sitting all by yourself, that your
boy must be dead by this time.
But I come to you all stained with blood, and say,"Mother, the
fight is over now."
You come out and kiss me, pressing me to your heart, and you
say to yourself,
"I don't know what I should do if I hadn't my boy to escort
me."
A thousand useless things happen day after day, and why
couldn't such a thing come true by chance?
It would be like a story in a book.
My brother would say, "Is it possible? I always thought he was
so delicate!"
Our village people would all say in amazement, "Was it not
lucky that the boy was with his mother?"
|
Written by
Mary Elizabeth Frye |
Do not stand at my grave and weep
I am not there; I do not sleep.
I am a thousand winds that blow,
I am the diamond glints on snow,
I am the sun on ripened grain,
I am the gentle autumn rain.
When you awaken in the morning’s hush
I am the swift uplifting rush
Of quiet birds in circled flight.
I am the soft stars that shine at night.
Do not stand at my grave and cry,
I am not there; I did not die.
|
Written by
Elizabeth Bishop |
There are too many waterfalls here; the crowded streams
hurry too rapidly down to the sea,
and the pressure of so many clouds on the mountaintops
makes them spill over the sides in soft slow-motion,
turning to waterfalls under our very eyes.
--For if those streaks, those mile-long, shiny, tearstains,
aren't waterfalls yet,
in a quick age or so, as ages go here,
they probably will be.
But if the streams and clouds keep travelling, travelling,
the mountains look like the hulls of capsized ships,
slime-hung and barnacled.
Think of the long trip home.
Should we have stayed at home and thought of here?
Where should we be today?
Is it right to be watching strangers in a play
in this strangest of theatres?
What childishness is it that while there's a breath of life
in our bodies, we are determined to rush
to see the sun the other way around?
The tiniest green hummingbird in the world?
To stare at some inexplicable old stonework,
inexplicable and impenetrable,
at any view,
instantly seen and always, always delightful?
Oh, must we dream our dreams
and have them, too?
And have we room
for one more folded sunset, still quite warm?
But surely it would have been a pity
not to have seen the trees along this road,
really exaggerated in their beauty,
not to have seen them gesturing
like noble pantomimists, robed in pink.
--Not to have had to stop for gas and heard
the sad, two-noted, wooden tune
of disparate wooden clogs
carelessly clacking over
a grease-stained filling-station floor.
(In another country the clogs would all be tested.
Each pair there would have identical pitch.)
--A pity not to have heard
the other, less primitive music of the fat brown bird
who sings above the broken gasoline pump
in a bamboo church of Jesuit baroque:
three towers, five silver crosses.
--Yes, a pity not to have pondered,
blurr'dly and inconclusively,
on what connection can exist for centuries
between the crudest wooden footwear
and, careful and finicky,
the whittled fantasies of wooden footwear
and, careful and finicky,
the whittled fantasies of wooden cages.
--Never to have studied history in
the weak calligraphy of songbirds' cages.
--And never to have had to listen to rain
so much like politicians' speeches:
two hours of unrelenting oratory
and then a sudden golden silence
in which the traveller takes a notebook, writes:
"Is it lack of imagination that makes us come
to imagined places, not just stay at home?
Or could Pascal have been not entirely right
about just sitting quietly in one's room?
Continent, city, country, society:
the choice is never wide and never free.
And here, or there . . . No. Should we have stayed at home,
wherever that may be?"
|
Written by
D. H. Lawrence |
I wish it were spring in the world.
Let it be spring!
Come, bubbling, surging tide of sap!
Come, rush of creation!
Come, life! surge through this mass of mortification!
Come, sweep away these exquisite, ghastly first-flowers,
which are rather last-flowers!
Come, thaw down their cool portentousness, dissolve them:
snowdrops, straight, death-veined exhalations of white and purple crocuses,
flowers of the penumbra, issue of corruption, nourished in mortification,
jets of exquisite finality;
Come, spring, make havoc of them!
I trample on the snowdrops, it gives me pleasure to tread down the jonquils,
to destroy the chill Lent lilies;
for I am sick of them, their faint-bloodedness,
slow-blooded, icy-fleshed, portentous.
I want the fine, kindling wine-sap of spring,
gold, and of inconceivably fine, quintessential brightness,
rare almost as beams, yet overwhelmingly potent,
strong like the greatest force of world-balancing.
This is the same that picks up the harvest of wheat
and rocks it, tons of grain, on the ripening wind;
the same that dangles the globe-shaped pleiads of fruit
temptingly in mid-air, between a playful thumb and finger;
oh, and suddenly, from out of nowhere, whirls the pear-bloom,
upon us, and apple- and almond- and apricot- and quince-blossom,
storms and cumulus clouds of all imaginable blossom
about our bewildered faces,
though we do not worship.
I wish it were spring
cunningly blowing on the fallen sparks, odds and ends of the old, scattered fire,
and kindling shapely little conflagrations
curious long-legged foals, and wide-eared calves, and naked sparrow-bubs.
I wish that spring
would start the thundering traffic of feet
new feet on the earth, beating with impatience.
I wish it were spring, thundering
delicate, tender spring.
I wish these brittle, frost-lovely flowers of passionate, mysterious corruption
were not yet to come still more from the still-flickering discontent.
Oh, in the spring, the bluebell bows him down for very exuberance,
exulting with secret warm excess,
bowed down with his inner magnificence!
Oh, yes, the gush of spring is strong enough
to toss the globe of earth like a ball on a water-jet
dancing sportfully;
as you see a tiny celluloid ball tossing on a squirt of water
for men to shoot at, penny-a-time, in a booth at a fair.
The gush of spring is strong enough
to play with the globe of earth like a ball on a fountain;
At the same time it opens the tiny hands of the hazel
with such infinite patience.
The power of the rising, golden, all-creative sap could take the earth
and heave it off among the stars, into the invisible;
the same sets the throstle at sunset on a bough
singing against the blackbird;
comes out in the hesitating tremor of the primrose,
and betrays its candour in the round white strawberry flower,
is dignified in the foxglove, like a Red-Indian brave.
Ah come, come quickly, spring!
come and lift us towards our culmination, we myriads;
we who have never flowered, like patient cactuses.
Come and lift us to our end, to blossom, bring us to our summer
we who are winter-weary in the winter of the of the world.
Come making the chaffinch nests hollow and cosy,
come and soften the willow buds till they are puffed and furred,
then blow them over with gold.
Coma and cajole the gawky colt’s-foot flowers.
Come quickly, and vindicate us.
against too much death.
Come quickly, and stir the rotten globe of the world from within,
burst it with germination, with world anew.
Come now, to us, your adherents, who cannot flower from the ice.
All the world gleams with the lilies of death the Unconquerable,
but come, give us our turn.
Enough of the virgins and lilies, of passionate, suffocating perfume of corruption,
no more narcissus perfume, lily harlots, the blades of sensation
piercing the flesh to blossom of death.
Have done, have done with this shuddering, delicious business
of thrilling ruin in the flesh, of pungent passion, of rare, death-edged ecstasy.
Give us our turn, give us a chance, let our hour strike,
O soon, soon!
Let the darkness turn violet with rich dawn.
Let the darkness be warmed, warmed through to a ruddy violet,
incipient purpling towards summer in the world of the heart of man.
Are the violets already here!
Show me! I tremble so much to hear it, that even now
on the threshold of spring, I fear I shall die.
Show me the violets that are out.
Oh, if it be true, and the living darkness of the blood of man is purpling with violets,
if the violets are coming out from under the rack of men, winter-rotten and fallen,
we shall have spring.
Pray not to die on this Pisgah blossoming with violets.
Pray to live through.
If you catch a whiff of violets from the darkness of the shadow of man
it will be spring in the world,
it will be spring in the world of the living;
wonderment organising itself, heralding itself with the violets,
stirring of new seasons.
Ah, do not let me die on the brink of such anticipation!
Worse, let me not deceive myself.
|
Written by
Edgar Allan Poe |
Lo! 't is a gala night
Within the lonesome latter years!
An angel throng bewinged bedight
In veils and drowned in tears
Sit in a theatre to see
A play of hopes and fears
While the orchestra breathes fitfully
The music of the spheres.
Mimes in the form of God on high
Mutter and mumble low
And hither and thither fly -
Mere puppets they who come and go
At bidding of vast formless things
That shift the scenery to and fro
Flapping from out their Condor wings
Invisible Woe!
That motley drama! - oh be sure
It shall not be forgot!
With its Phantom chased for evermore
By a crowd that seize it not
Through a circle that ever returneth in
To the self-same spot
And much of Madness and more of Sin
And Horror the soul of the plot.
But see amid the mimic rout
A crawling shape intrude!
A blood-red thing that writhes from out
The scenic solitude!
It writhes! - it writhes! - with mortal pangs
The mimes become its food
And the seraphs sob at vermin fangs
In human gore imbued.
Out - out are the lights - out all!
And over each quivering form
The curtain a funeral pall
Comes down with the rush of a storm
And the angels all pallid and wan
Uprising unveiling affirm
That the play is the tragedy "Man"
And its hero the Conqueror Worm.
|
Written by
Matthew Arnold |
Light flows our war of mocking words, and yet,
Behold, with tears mine eyes are wet!
I feel a nameless sadness o'er me roll.
Yes, yes, we know that we can jest,
We know, we know that we can smile!
But there's a something in this breast,
To which thy light words bring no rest,
And thy gay smiles no anodyne.
Give me thy hand, and hush awhile,
And turn those limpid eyes on mine,
And let me read there, love! thy inmost soul.
Alas! is even love too weak
To unlock the heart, and let it speak?
Are even lovers powerless to reveal
To one another what indeed they feel?
I knew the mass of men conceal'd
Their thoughts, for fear that if reveal'd
They would by other men be met
With blank indifference, or with blame reproved;
I knew they lived and moved
Trick'd in disguises, alien to the rest
Of men, and alien to themselves--and yet
The same heart beats in every human breast!
But we, my love!--doth a like spell benumb
Our hearts, our voices?--must we too be dumb?
Ah! well for us, if even we,
Even for a moment, can get free
Our heart, and have our lips unchain'd;
For that which seals them hath been deep-ordain'd!
Fate, which foresaw
How frivolous a baby man would be--
By what distractions he would be possess'd,
How he would pour himself in every strife,
And well-nigh change his own identity--
That it might keep from his capricious play
His genuine self, and force him to obey
Even in his own despite his being's law,
Bade through the deep recesses of our breast
The unregarded river of our life
Pursue with indiscernible flow its way;
And that we should not see
The buried stream, and seem to be
Eddying at large in blind uncertainty,
Though driving on with it eternally.
But often, in the world's most crowded streets,
But often, in the din of strife,
There rises an unspeakable desire
After the knowledge of our buried life;
A thirst to spend our fire and restless force
In tracking out our true, original course;
A longing to inquire
Into the mystery of this heart which beats
So wild, so deep in us--to know
Whence our lives come and where they go.
And many a man in his own breast then delves,
But deep enough, alas! none ever mines.
And we have been on many thousand lines,
And we have shown, on each, spirit and power;
But hardly have we, for one little hour,
Been on our own line, have we been ourselves--
Hardly had skill to utter one of all
The nameless feelings that course through our breast,
But they course on for ever unexpress'd.
And long we try in vain to speak and act
Our hidden self, and what we say and do
Is eloquent, is well--but 't#is not true!
And then we will no more be rack'd
With inward striving, and demand
Of all the thousand nothings of the hour
Their stupefying power;
Ah yes, and they benumb us at our call!
Yet still, from time to time, vague and forlorn,
From the soul's subterranean depth upborne
As from an infinitely distant land,
Come airs, and floating echoes, and convey
A melancholy into all our day.
Only--but this is rare--
When a belov{'e}d hand is laid in ours,
When, jaded with the rush and glare
Of the interminable hours,
Our eyes can in another's eyes read clear,
When our world-deafen'd ear
Is by the tones of a loved voice caress'd--
A bolt is shot back somewhere in our breast,
And a lost pulse of feeling stirs again.
The eye sinks inward, and the heart lies plain,
And what we mean, we say, and what we would, we know.
A man becomes aware of his life's flow,
And hears its winding murmur; and he sees
The meadows where it glides, the sun, the breeze.
And there arrives a lull in the hot race
Wherein he doth for ever chase
That flying and elusive shadow, rest.
An air of coolness plays upon his face,
And an unwonted calm pervades his breast.
And then he thinks he knows
The hills where his life rose,
And the sea where it goes.
|
Written by
Thomas Hood |
I Remember, I Remember
I remember, I remember
The house where I was born,
The little window where the sun
Came peeping in at morn;
He never came a wink too soon
Nor brought too long a day;
But now, I often wish the night
Had borne my breath away.
I remember, I remember
The roses red and white,
The violets and the lily cups--
Those flowers made of light!
The lilacs where the robin built,
And where my brother set
The laburnum on his birthday,--
The tree is living yet!
I remember, I remember
Where I was used to swing,
And thought the air must rush as fresh
To swallows on the wing;
My spirit flew in feathers then
That is so heavy now,
The summer pools could hardly cool
The fever on my brow.
I remember, I remember
The fir-trees dark and high;
I used to think their slender tops
Were close against the sky:
It was a childish ignorance,
But now 'tis little joy
To know I'm farther off from Heaven
Than when I was a boy.
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Written by
Billy Collins |
I wonder how it all got started, this business
about seeing your life flash before your eyes
while you drown, as if panic, or the act of submergence,
could startle time into such compression, crushing
decades in the vice of your desperate, final seconds.
After falling off a steamship or being swept away
in a rush of floodwaters, wouldn't you hope
for a more leisurely review, an invisible hand
turning the pages of an album of photographs-
you up on a pony or blowing out candles in a conic hat.
How about a short animated film, a slide presentation?
Your life expressed in an essay, or in one model photograph?
Wouldn't any form be better than this sudden flash?
Your whole existence going off in your face
in an eyebrow-singeing explosion of biography-
nothing like the three large volumes you envisioned.
Survivors would have us believe in a brilliance
here, some bolt of truth forking across the water,
an ultimate Light before all the lights go out,
dawning on you with all its megalithic tonnage.
But if something does flash before your eyes
as you go under, it will probably be a fish,
a quick blur of curved silver darting away,
having nothing to do with your life or your death.
The tide will take you, or the lake will accept it all
as you sink toward the weedy disarray of the bottom,
leaving behind what you have already forgotten,
the surface, now overrun with the high travel of clouds.
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