Written by
Victor Hugo |
("Enfants! Oh! revenez!")
{XXII, April, 1837}
Children, come back—come back, I say—
You whom my folly chased away
A moment since, from this my room,
With bristling wrath and words of doom!
What had you done, you bandits small,
With lips as red as roses all?
What crime?—what wild and hapless deed?
What porcelain vase by you was split
To thousand pieces? Did you need
For pastime, as you handled it,
Some Gothic missal to enrich
With your designs fantastical?
Or did your tearing fingers fall
On some old picture? Which, oh, which
Your dreadful fault? Not one of these;
Only when left yourselves to please
This morning but a moment here
'Mid papers tinted by my mind
You took some embryo verses near—
Half formed, but fully well designed
To open out. Your hearts desire
Was but to throw them on the fire,
Then watch the tinder, for the sight
Of shining sparks that twinkle bright
As little boats that sail at night,
Or like the window lights that spring
From out the dark at evening.
'Twas all, and you were well content.
Fine loss was this for anger's vent—
A strophe ill made midst your play,
Sweet sound that chased the words away
In stormy flight. An ode quite new,
With rhymes inflated—stanzas, too,
That panted, moving lazily,
And heavy Alexandrine lines
That seemed to jostle bodily,
Like children full of play designs
That spring at once from schoolroom's form.
Instead of all this angry storm,
Another might have thanked you well
For saving prey from that grim cell,
That hollowed den 'neath journals great,
Where editors who poets flout
With their demoniac laughter shout.
And I have scolded you! What fate
For charming dwarfs who never meant
To anger Hercules! And I
Have frightened you!—My chair I sent
Back to the wall, and then let fly
A shower of words the envious use—
"Get out," I said, with hard abuse,
"Leave me alone—alone I say."
Poor man alone! Ah, well-a-day,
What fine result—what triumph rare!
As one turns from the coffin'd dead
So left you me:—I could but stare
Upon the door through which you fled—
I proud and grave—but punished quite.
And what care you for this my plight!—
You have recovered liberty,
Fresh air and lovely scenery,
The spacious park and wished-for grass;
lights
And gratefully to sing.
E'e
A blade to watch what comes to pass;
Blue sky, and all the spring can show;
Nature, serenely fair to see;
The book of birds and spirits free,
God's poem, worth much more than mine,
Where flowers for perfect stanzas shine—
Flowers that a child may pluck in play,
No harsh voice frightening it away.
And I'm alone—all pleasure o'er—
Alone with pedant called "Ennui,"
For since the morning at my door
Ennui has waited patiently.
That docto-r-London born, you mark,
One Sunday in December dark,
Poor little ones—he loved you not,
And waited till the chance he got
To enter as you passed away,
And in the very corner where
You played with frolic laughter gay,
He sighs and yawns with weary air.
What can I do? Shall I read books,
Or write more verse—or turn fond looks
Upon enamels blue, sea-green,
And white—on insects rare as seen
Upon my Dresden china ware?
Or shall I touch the globe, and care
To make the heavens turn upon
Its axis? No, not one—not one
Of all these things care I to do;
All wearies me—I think of you.
In truth with you my sunshine fled,
And gayety with your light tread—
Glad noise that set me dreaming still.
'Twas my delight to watch your will,
And mark you point with finger-tips
To help your spelling out a word;
To see the pearls between your lips
When I your joyous laughter heard;
Your honest brows that looked so true,
And said "Oh, yes!" to each intent;
Your great bright eyes, that loved to view
With admiration innocent
My fine old Sèvres; the eager thought
That every kind of knowledge sought;
The elbow push with "Come and see!"
Oh, certes! spirits, sylphs, there be,
And fays the wind blows often here;
The gnomes that squat the ceiling near,
In corners made by old books dim;
The long-backed dwarfs, those goblins grim
That seem at home 'mong vases rare,
And chat to them with friendly air—
Oh, how the joyous demon throng
Must all have laughed with laughter long
To see you on my rough drafts fall,
My bald hexameters, and all
The mournful, miserable band,
And drag them with relentless hand
From out their box, with true delight
To set them each and all a-light,
And then with clapping hands to lean
Above the stove and watch the scene,
How to the mass deformed there came
A soul that showed itself in flame!
Bright tricksy children—oh, I pray
Come back and sing and dance away,
And chatter too—sometimes you may,
A giddy group, a big book seize—
Or sometimes, if it so you please,
With nimble step you'll run to me
And push the arm that holds the pen,
Till on my finished verse will be
A stroke that's like a steeple when
Seen suddenly upon a plain.
My soul longs for your breath again
To warm it. Oh, return—come here
With laugh and babble—and no fear
When with your shadow you obscure
The book I read, for I am sure,
Oh, madcaps terrible and dear,
That you were right and I was wrong.
But who has ne'er with scolding tongue
Blamed out of season. Pardon me!
You must forgive—for sad are we.
The young should not be hard and cold
And unforgiving to the old.
Children each morn your souls ope out
Like windows to the shining day,
Oh, miracle that comes about,
The miracle that children gay
Have happiness and goodness too,
Caressed by destiny are you,
Charming you are, if you but play.
But we with living overwrought,
And full of grave and sombre thought,
Are snappish oft: dear little men,
We have ill-tempered days, and then,
Are quite unjust and full of care;
It rained this morning and the air
Was chill; but clouds that dimm'd the sky
Have passed. Things spited me, and why?
But now my heart repents. Behold
What 'twas that made me cross, and scold!
All by-and-by you'll understand,
When brows are mark'd by Time's stern hand;
Then you will comprehend, be sure,
When older—that's to say, less pure.
The fault I freely own was mine.
But oh, for pardon now I pine!
Enough my punishment to meet,
You must forgive, I do entreat
With clasped hands praying—oh, come back,
Make peace, and you shall nothing lack.
See now my pencils—paper—here,
And pointless compasses, and dear
Old lacquer-work; and stoneware clear
Through glass protecting; all man's toys
So coveted by girls and boys.
Great China monsters—bodies much
Like cucumbers—you all shall touch.
I yield up all! my picture rare
Found beneath antique rubbish heap,
My great and tapestried oak chair
I will from you no longer keep.
You shall about my table climb,
And dance, or drag, without a cry
From me as if it were a crime.
Even I'll look on patiently
If you your jagged toys all throw
Upon my carved bench, till it show
The wood is torn; and freely too,
I'll leave in your own hands to view,
My pictured Bible—oft desired—
But which to touch your fear inspired—
With God in emperor's robes attired.
Then if to see my verses burn,
Should seem to you a pleasant turn,
Take them to freely tear away
Or burn. But, oh! not so I'd say,
If this were Méry's room to-day.
That noble poet! Happy town,
Marseilles the Greek, that him doth own!
Daughter of Homer, fair to see,
Of Virgil's son the mother she.
To you I'd say, Hold, children all,
Let but your eyes on his work fall;
These papers are the sacred nest
In which his crooning fancies rest;
To-morrow winged to Heaven they'll soar,
For new-born verse imprisoned still
In manuscript may suffer sore
At your small hands and childish will,
Without a thought of bad intent,
Of cruelty quite innocent.
You wound their feet, and bruise their wings,
And make them suffer those ill things
That children's play to young birds brings.
But mine! no matter what you do,
My poetry is all in you;
You are my inspiration bright
That gives my verse its purest light.
Children whose life is made of hope,
Whose joy, within its mystic scope,
Owes all to ignorance of ill,
You have not suffered, and you still
Know not what gloomy thoughts weigh down
The poet-writer weary grown.
What warmth is shed by your sweet smile!
How much he needs to gaze awhile
Upon your shining placid brow,
When his own brow its ache doth know;
With what delight he loves to hear
Your frolic play 'neath tree that's near,
Your joyous voices mixing well
With his own song's all-mournful swell!
Come back then, children! come to me,
If you wish not that I should be
As lonely now that you're afar
As fisherman of Etrétat,
Who listless on his elbow leans
Through all the weary winter scenes,
As tired of thought—as on Time flies—
And watching only rainy skies!
MRS. NEWTON CROSLAND.
|
Written by
Walt Whitman |
1
A SONG of the good green grass!
A song no more of the city streets;
A song of farms—a song of the soil of fields.
A song with the smell of sun-dried hay, where the nimble pitchers handle the pitch-fork;
A song tasting of new wheat, and of fresh-husk’d maize.
2
For the lands, and for these passionate days, and for myself,
Now I awhile return to thee, O soil of Autumn fields,
Reclining on thy breast, giving myself to thee,
Answering the pulses of thy sane and equable heart,
Tuning a verse for thee.
O Earth, that hast no voice, confide to me a voice!
O harvest of my lands! O boundless summer growths!
O lavish, brown, parturient earth! O infinite, teeming womb!
A verse to seek, to see, to narrate thee.
3
Ever upon this stage,
Is acted God’s calm, annual drama,
Gorgeous processions, songs of birds,
Sunrise, that fullest feeds and freshens most the soul,
The heaving sea, the waves upon the shore, the musical, strong waves,
The woods, the stalwart trees, the slender, tapering trees,
The flowers, the grass, the lilliput, countless armies of the grass,
The heat, the showers, the measureless pasturages,
The scenery of the snows, the winds’ free orchestra,
The stretching, light-hung roof of clouds—the clear cerulean, and the bulging,
silvery
fringes,
The high dilating stars, the placid, beckoning stars,
The moving flocks and herds, the plains and emerald meadows,
The shows of all the varied lands, and all the growths and products.
4
Fecund America! To-day,
Thou art all over set in births and joys!
Thou groan’st with riches! thy wealth clothes thee as with a swathing garment!
Thou laughest loud with ache of great possessions!
A myriad-twining life, like interlacing vines, binds all thy vast demesne!
As some huge ship, freighted to water’s edge, thou ridest into port!
As rain falls from the heaven, and vapors rise from earth, so have the precious values
fallen
upon thee, and risen out of thee!
Thou envy of the globe! thou miracle!
Thou, bathed, choked, swimming in plenty!
Thou lucky Mistress of the tranquil barns!
Thou Prairie Dame that sittest in the middle, and lookest out upon thy world, and lookest
East,
and lookest West!
Dispensatress, that by a word givest a thousand miles—that giv’st a million
farms,
and missest nothing!
Thou All-Acceptress—thou Hospitable—(thou only art hospitable, as God is
hospitable.)
5
When late I sang, sad was my voice;
Sad were the shows around me, with deafening noises of hatred, and smoke of conflict;
In the midst of the armies, the Heroes, I stood,
Or pass’d with slow step through the wounded and dying.
But now I sing not War,
Nor the measur’d march of soldiers, nor the tents of camps,
Nor the regiments hastily coming up, deploying in line of battle.
No more the dead and wounded;
No more the sad, unnatural shows of War.
Ask’d room those flush’d immortal ranks? the first forth-stepping armies?
Ask room, alas, the ghastly ranks—the armies dread that follow’d.
6
(Pass—pass, ye proud brigades!
So handsome, dress’d in blue—with your tramping, sinewy legs;
With your shoulders young and strong—with your knapsacks and your muskets;
—How elate I stood and watch’d you, where, starting off, you march’d!
Pass;—then rattle, drums, again!
Scream, you steamers on the river, out of whistles loud and shrill, your salutes!
For an army heaves in sight—O another gathering army!
Swarming, trailing on the rear—O you dread, accruing army!
O you regiments so piteous, with your mortal diarrhoea! with your fever!
O my land’s maimed darlings! with the plenteous bloody bandage and the crutch!
Lo! your pallid army follow’d!)
7
But on these days of brightness,
On the far-stretching beauteous landscape, the roads and lanes, the high-piled
farm-wagons, and
the fruits and barns,
Shall the dead intrude?
Ah, the dead to me mar not—they fit well in Nature;
They fit very well in the landscape, under the trees and grass,
And along the edge of the sky, in the horizon’s far margin.
Nor do I forget you, departed;
Nor in winter or summer, my lost ones;
But most, in the open air, as now, when my soul is rapt and at peace—like pleasing
phantoms,
Your dear memories, rising, glide silently by me.
8
I saw the day, the return of the Heroes;
(Yet the Heroes never surpass’d, shall never return;
Them, that day, I saw not.)
I saw the interminable Corps—I saw the processions of armies,
I saw them approaching, defiling by, with divisions,
Streaming northward, their work done, camping awhile in clusters of mighty camps.
No holiday soldiers!—youthful, yet veterans;
Worn, swart, handsome, strong, of the stock of homestead and workshop,
Harden’d of many a long campaign and sweaty march,
Inured on many a hard-fought, bloody field.
9
A pause—the armies wait;
A million flush’d, embattled conquerors wait;
The world, too, waits—then, soft as breaking night, and sure as dawn,
They melt—they disappear.
Exult, indeed, O lands! victorious lands!
Not there your victory, on those red, shuddering fields;
But here and hence your victory.
Melt, melt away, ye armies! disperse, ye blue-clad soldiers!
Resolve ye back again—give up, for good, your deadly arms;
Other the arms, the fields henceforth for you, or South or North, or East or West,
With saner wars—sweet wars—life-giving wars.
10
Loud, O my throat, and clear, O soul!
The season of thanks, and the voice of full-yielding;
The chant of joy and power for boundless fertility.
All till’d and untill’d fields expand before me;
I see the true arenas of my race—or first, or last,
Man’s innocent and strong arenas.
I see the Heroes at other toils;
I see, well-wielded in their hands, the better weapons.
11
I see where America, Mother of All,
Well-pleased, with full-spanning eye, gazes forth, dwells long,
And counts the varied gathering of the products.
Busy the far, the sunlit panorama;
Prairie, orchard, and yellow grain of the North,
Cotton and rice of the South, and Louisianian cane;
Open, unseeded fallows, rich fields of clover and timothy,
Kine and horses feeding, and droves of sheep and swine,
And many a stately river flowing, and many a jocund brook,
And healthy uplands with their herby-perfumed breezes,
And the good green grass—that delicate miracle, the ever-recurring grass.
12
Toil on, Heroes! harvest the products!
Not alone on those warlike fields, the Mother of All,
With dilated form and lambent eyes, watch’d you.
Toil on, Heroes! toil well! Handle the weapons well!
The Mother of All—yet here, as ever, she watches you.
Well-pleased, America, thou beholdest,
Over the fields of the West, those crawling monsters,
The human-divine inventions, the labor-saving implements:
Beholdest, moving in every direction, imbued as with life, the revolving hay-rakes,
The steam-power reaping-machines, and the horse-power machines,
The engines, thrashers of grain, and cleaners of grain, well separating the straw—the
nimble work of the patent pitch-fork;
Beholdest the newer saw-mill, the southern cotton-gin, and the rice-cleanser.
Beneath thy look, O Maternal,
With these, and else, and with their own strong hands, the Heroes harvest.
All gather, and all harvest;
(Yet but for thee, O Powerful! not a scythe might swing, as now, in security;
Not a maize-stalk dangle, as now, its silken tassels in peace.)
13
Under Thee only they harvest—even but a wisp of hay, under thy great face, only;
Harvest the wheat of Ohio, Illinois, Wisconsin—every barbed spear, under thee;
Harvest the maize of Missouri, Kentucky, Tennessee—each ear in its light-green
sheath,
Gather the hay to its myriad mows, in the odorous, tranquil barns,
Oats to their bins—the white potato, the buckwheat of Michigan, to theirs;
Gather the cotton in Mississippi or Alabama—dig and hoard the golden, the sweet
potato of
Georgia and the Carolinas,
Clip the wool of California or Pennsylvania,
Cut the flax in the Middle States, or hemp, or tobacco in the Borders,
Pick the pea and the bean, or pull apples from the trees, or bunches of grapes from the
vines,
Or aught that ripens in all These States, or North or South,
Under the beaming sun, and under Thee.
|
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
Walt Whitman |
RESPONDEZ! Respondez!
(The war is completed—the price is paid—the title is settled beyond recall;)
Let every one answer! let those who sleep be waked! let none evade!
Must we still go on with our affectations and sneaking?
Let me bring this to a close—I pronounce openly for a new distribution of roles;
Let that which stood in front go behind! and let that which was behind advance to the
front and
speak;
Let murderers, bigots, fools, unclean persons, offer new propositions!
Let the old propositions be postponed!
Let faces and theories be turn’d inside out! let meanings be freely criminal, as well
as
results!
Let there be no suggestion above the suggestion of drudgery!
Let none be pointed toward his destination! (Say! do you know your destination?)
Let men and women be mock’d with bodies and mock’d with Souls!
Let the love that waits in them, wait! let it die, or pass stillborn to other spheres!
Let the sympathy that waits in every man, wait! or let it also pass, a dwarf, to other
spheres!
Let contradictions prevail! let one thing contradict another! and let one line of my poems
contradict another!
Let the people sprawl with yearning, aimless hands! let their tongues be broken! let their
eyes
be discouraged! let none descend into their hearts with the fresh lusciousness of love!
(Stifled, O days! O lands! in every public and private corruption!
Smother’d in thievery, impotence, shamelessness, mountain-high;
Brazen effrontery, scheming, rolling like ocean’s waves around and upon you, O my
days! my
lands!
For not even those thunderstorms, nor fiercest lightnings of the war, have purified the
atmosphere;)
—Let the theory of America still be management, caste, comparison! (Say! what other
theory
would you?)
Let them that distrust birth and death still lead the rest! (Say! why shall they not lead
you?)
Let the crust of hell be neared and trod on! let the days be darker than the nights! let
slumber bring less slumber than waking time brings!
Let the world never appear to him or her for whom it was all made!
Let the heart of the young man still exile itself from the heart of the old man! and let
the
heart of the old man be exiled from that of the young man!
Let the sun and moon go! let scenery take the applause of the audience! let there be
apathy
under the stars!
Let freedom prove no man’s inalienable right! every one who can tyrannize, let him
tyrannize to his satisfaction!
Let none but infidels be countenanced!
Let the eminence of meanness, treachery, sarcasm, hate, greed, indecency, impotence, lust,
be
taken for granted above all! let writers, judges, governments, households, religions,
philosophies, take such for granted above all!
Let the worst men beget children out of the worst women!
Let the priest still play at immortality!
Let death be inaugurated!
Let nothing remain but the ashes of teachers, artists, moralists, lawyers, and
learn’d and
polite persons!
Let him who is without my poems be assassinated!
Let the cow, the horse, the camel, the garden-bee—let the mudfish, the lobster, the
mussel, eel, the sting-ray, and the grunting pig-fish—let these, and the like of
these, be
put on a perfect equality with man and woman!
Let churches accommodate serpents, vermin, and the corpses of those who have died of the
most
filthy of diseases!
Let marriage slip down among fools, and be for none but fools!
Let men among themselves talk and think forever obscenely of women! and let women among
themselves talk and think obscenely of men!
Let us all, without missing one, be exposed in public, naked, monthly, at the peril of our
lives! let our bodies be freely handled and examined by whoever chooses!
Let nothing but copies at second hand be permitted to exist upon the earth!
Let the earth desert God, nor let there ever henceforth be mention’d the name of God!
Let there be no God!
Let there be money, business, imports, exports, custom, authority, precedents, pallor,
dyspepsia, smut, ignorance, unbelief!
Let judges and criminals be transposed! let the prison-keepers be put in prison! let those
that
were prisoners take the keys! Say! why might they not just as well be transposed?)
Let the slaves be masters! let the masters become slaves!
Let the reformers descend from the stands where they are forever bawling! let an idiot or
insane person appear on each of the stands!
Let the Asiatic, the African, the European, the American, and the Australian, go armed
against
the murderous stealthiness of each other! let them sleep armed! let none believe in good
will!
Let there be no unfashionable wisdom! let such be scorn’d and derided off from the
earth!
Let a floating cloud in the sky—let a wave of the sea—let growing mint, spinach,
onions, tomatoes—let these be exhibited as shows, at a great price for admission!
Let all the men of These States stand aside for a few smouchers! let the few seize on what
they
choose! let the rest gawk, giggle, starve, obey!
Let shadows be furnish’d with genitals! let substances be deprived of their genitals!
Let there be wealthy and immense cities—but still through any of them, not a single
poet,
savior, knower, lover!
Let the infidels of These States laugh all faith away!
If one man be found who has faith, let the rest set upon him!
Let them affright faith! let them destroy the power of breeding faith!
Let the she-harlots and the he-harlots be prudent! let them dance on, while seeming lasts!
(O
seeming! seeming! seeming!)
Let the preachers recite creeds! let them still teach only what they have been taught!
Let insanity still have charge of sanity!
Let books take the place of trees, animals, rivers, clouds!
Let the daub’d portraits of heroes supersede heroes!
Let the manhood of man never take steps after itself!
Let it take steps after eunuchs, and after consumptive and genteel persons!
Let the white person again tread the black person under his heel! (Say! which is trodden
under
heel, after all?)
Let the reflections of the things of the world be studied in mirrors! let the things
themselves
still continue unstudied!
Let a man seek pleasure everywhere except in himself!
Let a woman seek happiness everywhere except in herself!
(What real happiness have you had one single hour through your whole life?)
Let the limited years of life do nothing for the limitless years of death! (What do you
suppose
death will do, then?)
|
Written by
Rainer Maria Rilke |
O trees of life, oh, what when winter comes?
We are not of one mind. Are not like birds
in unison migrating. And overtaken,
overdue, we thrust ourselves into the wind
and fall to earth into indifferent ponds.
Blossoming and withering we comprehend as one.
And somewhere lions roam, quite unaware,
in their magnificence, of any weaknesss.
But we, while wholly concentrating on one thing,
already feel the pressure of another.
Hatred is our first response. And lovers,
are they not forever invading one another's
boundaries? -although they promised space,
hunting and homeland. Then, for a sketch
drawn at a moment's impulse, a ground of contrast
is prepared, painfully, so that we may see.
For they are most exact with us. We do not know
the contours of our feelings. We only know
what shapes them from the outside.
Who has not sat, afraid, before his own heart's
curtain? It lifted and displayed the scenery
of departure. Easy to understand. The well-known
garden swaying just a little. Then came the dancer.
Not he! Enough! However lightly he pretends to move:
he is just disguised, costumed, an ordinary man
who enters through the kitchen when coming home.
I will not have these half-filled human masks;
better the puppet. It at least is full.
I will endure this well-stuffed doll, the wire,
the face that is nothing but appearance. Here out front
I wait. Even if the lights go down and I am told:
"There's nothing more to come," -even if
the grayish drafts of emptiness come drifting down
from the deserted stage -even if not one
of my now silent forebears sist beside me
any longer, not a woman, not even a boy-
he with the brown and squinting eyes-:
I'll still remain. For one can always watch.
Am I not right? You, to whom life would taste
so bitter, Father, after you - for my sake -
slipped of mine, that first muddy infusion
of my necessity. You kept on tasting, Father,
as I kept on growing, troubled by the aftertaste
of my so strange a future as you kept searching
my unfocused gaze -you who, so often since
you died, have been afraid for my well-being,
within my deepest hope, relinquishing that calmness,
the realms of equanimity such as the dead possess
for my so small fate -Am I not right?
And you, my parents, am I not right? You who loved me
for that small beginning of my love for you
from which I always shyly turned away, because
the distance in your features grew, changed,
even while I loved it, into cosmic space
where you no longer were...: and when I feel
inclined to wait before the puppet stage, no,
rather to stare at is so intensely that in the end
to counter-balance my searching gaze, an angel
has to come as an actor, and begin manipulating
the lifeless bodies of the puppets to perform.
Angel and puppet! Now at last there is a play!
Then what we seperate can come together by our
very presence. And only then the entire cycle
of our own life-seasons is revealed and set in motion.
Above, beyond us, the angel plays. Look:
must not the dying notice how unreal, how full
of pretense is all that we accomplish here, where
nothing is to be itself. O hours of childhood,
when behind each shape more that the past lay hidden,
when that which lay before us was not the future.
We grew, of course, and sometimes were impatient
in growing up, half for the sake of pleasing those
with nothing left but their own grown-upness.
Yet, when alone, we entertained ourselves
with what alone endures, we would stand there
in the infinite space that spans the world and toys,
upon a place, which from the first beginnniing
had been prepared to serve a pure event.
Who shows a child just as it stands? Who places him
within his constellation, with the measuring-rod
of distance in his hand. Who makes his death
from gray bread that grows hard, -or leaves
it there inside his rounded mouth, jagged as the core
of a sweet apple?.......The minds of murderers
are easily comprehended. But this: to contain death,
the whole of death, even before life has begun,
to hold it all so gently within oneself,
and not be angry: that is indescribable.
|
Written by
Ogden Nash |
In fourteen hundred and ninety-two,
Someone sailed the ocean blue.
Somebody borrowed the fare in Spain
For a business trip on the bounding main,
And to prove to the people, by actual test,
You could get to the East by sailing West.
Somebody said, Sail on! Sail on!
And studied China and China's lingo,
And cried from the bow, There's China now!
And promptly bumped into San Domingo.
Somebody murmured, Oh dear, oh dear!
I've discovered the Western Hemisphere.
And that, you may think, my friends, was that.
But it wasn't. Not by a fireman's hat.
Well enough wasn't left alone,
And Columbus was only a cornerstone.
There came the Spaniards,
There came the Greeks,
There came the Pilgrims in leather breeks.
There came the Dutch,
And the Poles and Swedes,
The Persians, too,
And perhaps the Medes,
The Letts, the Lapps, and the Lithuanians,
Regal Russians, and ripe Roumanians.
There came the French
And there came the Finns,
And the Japanese
With their formal grins.
The Tartars came,
And the Terrible Turks -
In a word, humanity shot the works.
And the country that should have been Cathay
Decided to be
The U.S.A.
And that, you may think, my friends, was that.
But it wasn't. Not by a fireman's hat.
Christopher C. was the cornerstone,
And well enough wasn't left alone.
For those who followed
When he was through,
They burned to discover something, too.
Somebody, bored with rural scenery,
Went to work and invented machinery,
While a couple of other mental giants
Got together
And thought up Science.
Platinum blondes
(They were once peroxide),
Peruvian bonds
And carbon monoxide,
Tax evaders
And Vitamin A,
Vice crusaders,
And tattletale gray -
These, with many another phobia,
We owe to that famous Twelfth of Octobia.
O misery, misery, mumble and moan!
Someone invented the telephone,
And interrupted a nation's slumbers,
Ringing wrong but similar numbers.
Someone devised the silver screen
And the intimate Hollywood magazine,
And life is a Hades
Of clicking cameras,
And foreign ladies
Behaving amorous.
Gags have erased
Amusing dialog,
As gas has replaced
The crackling firelog.
All that glitters is sold as gold,
And our daily diet grows odder and odder,
And breakfast foods are dusty and cold -
It's a wise child
That knows its fodder.
Someone invented the automobile,
And good Americans took the wheel
To view American rivers and rills
And justly famous forests and hills -
But someone equally enterprising
Had invented billboard advertising.
You linger at home
In dark despair,
And wistfully try the electric air.
You hope against hope for a quiz imperial,
And what do they give you?
A doctor serial.
Oh, Columbus was only a cornerstone,
And well enough wasn't left alone,
For the Inquisition was less tyrannical
Than the iron rules of an age mechanical,
Which, because of an error in '92,
Are clamped like corsets on me and you,
While Children of Nature we'd be today
If San Domingo
Had been Cathay.
And that, you may think, my friends, is that.
But it isn't - not by a fireman's hat.
The American people,
With grins jocose,
Always survive the fatal dose.
And though our systems are slightly wobbly,
We'll fool the doctor this time, probly.
|
Written by
Sylvia Plath |
(1)
This is the sea, then, this great abeyance.
How the sun's poultice draws on my inflammation.
Electrifyingly-colored sherbets, scooped from the freeze
By pale girls, travel the air in scorched hands.
Why is it so quiet, what are they hiding?
I have two legs, and I move smilingly..
A sandy damper kills the vibrations;
It stretches for miles, the shrunk voices
Waving and crutchless, half their old size.
The lines of the eye, scalded by these bald surfaces,
Boomerang like anchored elastics, hurting the owner.
Is it any wonder he puts on dark glasses?
Is it any wonder he affects a black cassock?
Here he comes now, among the mackerel gatherers
Who wall up their backs against him.
They are handling the black and green lozenges like the parts of a body.
The sea, that crystallized these,
Creeps away, many-snaked, with a long hiss of distress.
(2)
This black boot has no mercy for anybody.
Why should it, it is the hearse of a dad foot,
The high, dead, toeless foot of this priest
Who plumbs the well of his book,
The bent print bulging before him like scenery.
Obscene bikinis hid in the dunes,
Breasts and hips a confectioner's sugar
Of little crystals, titillating the light,
While a green pool opens its eye,
Sick with what it has swallowed----
Limbs, images, shrieks. Behind the concrete bunkers
Two lovers unstick themselves.
O white sea-crockery,
What cupped sighs, what salt in the throat....
And the onlooker, trembling,
Drawn like a long material
Through a still virulence,
And a weed, hairy as privates.
(3)
On the balconies of the hotel, things are glittering.
Things, things----
Tubular steel wheelchairs, aluminum crutches.
Such salt-sweetness. Why should I walk
Beyond the breakwater, spotty with barnacles?
I am not a nurse, white and attendant,
I am not a smile.
These children are after something, with hooks and cries,
And my heart too small to bandage their terrible faults.
This is the side of a man: his red ribs,
The nerves bursting like trees, and this is the surgeon:
One mirrory eye----
A facet of knowledge.
On a striped mattress in one room
An old man is vanishing.
There is no help in his weeping wife.
Where are the eye-stones, yellow and vvaluable,
And the tongue, sapphire of ash.
(4)
A wedding-cake face in a paper frill.
How superior he is now.
It is like possessing a saint.
The nurses in their wing-caps are no longer so beautiful;
They are browning, like touched gardenias.
The bed is rolled from the wall.
This is what it is to be complete. It is horrible.
Is he wearing pajamas or an evening suit
Under the glued sheet from which his powdery beak
Rises so whitely unbuffeted?
They propped his jaw with a book until it stiffened
And folded his hands, that were shaking: goodbye, goodbye.
Now the washed sheets fly in the sun,
The pillow cases are sweetening.
It is a blessing, it is a blessing:
The long coffin of soap-colored oak,
The curious bearers and the raw date
Engraving itself in silver with marvelous calm.
(5)
The gray sky lowers, the hills like a green sea
Run fold upon fold far off, concealing their hollows,
The hollows in which rock the thoughts of the wife----
Blunt, practical boats
Full of dresses and hats and china and married daughters.
In the parlor of the stone house
One curtain is flickering from the open window,
Flickering and pouring, a pitiful candle.
This is the tongue of the dead man: remember, remember.
How far he is now, his actions
Around him like livingroom furniture, like a décor.
As the pallors gather----
The pallors of hands and neighborly faces,
The elate pallors of flying iris.
They are flying off into nothing: remember us.
The empty benches of memory look over stones,
Marble facades with blue veins, and jelly-glassfuls of daffodils.
It is so beautiful up here: it is a stopping place.
(6)
The natural fatness of these lime leaves!----
Pollarded green balls, the trees march to church.
The voice of the priest, in thin air,
Meets the corpse at the gate,
Addressing it, while the hills roll the notes of the dead bell;
A glittler of wheat and crude earth.
What is the name of that color?----
Old blood of caked walls the sun heals,
Old blood of limb stumps, burnt hearts.
The widow with her black pocketbook and three daughters,
Necessary among the flowers,
Enfolds her lace like fine linen,
Not to be spread again.
While a sky, wormy with put-by smiles,
Passes cloud after cloud.
And the bride flowers expend a fershness,
And the soul is a bride
In a still place, and the groom is red and forgetful, he is featureless.
(7)
Behind the glass of this car
The world purrs, shut-off and gentle.
And I am dark-suited and stil, a member of the party,
Gliding up in low gear behind the cart.
And the priest is a vessel,
A tarred fabric,sorry and dull,
Following the coffin on its flowery cart like a beautiful woman,
A crest of breasts, eyelids and lips
Storming the hilltop.
Then, from the barred yard, the children
Smell the melt of shoe-blacking,
Their faces turning, wordless and slow,
Their eyes opening
On a wonderful thing----
Six round black hats in the grass and a lozenge of wood,
And a naked mouth, red and awkward.
For a minute the sky pours into the hole like plasma.
There is no hope, it is given up.
|
Written by
Billy Collins |
How agreeable it is not to be touring Italy this summer,
wandering her cities and ascending her torrid hilltowns.
How much better to cruise these local, familiar streets,
fully grasping the meaning of every roadsign and billboard
and all the sudden hand gestures of my compatriots.
There are no abbeys here, no crumbling frescoes or famous
domes and there is no need to memorize a succession
of kings or tour the dripping corners of a dungeon.
No need to stand around a sarcophagus, see Napoleon's
little bed on Elba, or view the bones of a saint under glass.
How much better to command the simple precinct of home
than be dwarfed by pillar, arch, and basilica.
Why hide my head in phrase books and wrinkled maps?
Why feed scenery into a hungry, one-eyes camera
eager to eat the world one monument at a time?
Instead of slouching in a café ignorant of the word for ice,
I will head down to the coffee shop and the waitress
known as Dot. I will slide into the flow of the morning
paper, all language barriers down,
rivers of idiom running freely, eggs over easy on the way.
And after breakfast, I will not have to find someone
willing to photograph me with my arm around the owner.
I will not puzzle over the bill or record in a journal
what I had to eat and how the sun came in the window.
It is enough to climb back into the car
as if it were the great car of English itself
and sounding my loud vernacular horn, speed off
down a road that will never lead to Rome, not even Bologna.
|
Written by
Linda Pastan |
It was early May, I think
a moment of lilac or dogwood
when so many promises are made
it hardly matters if a few are broken.
My mother and father still hovered
in the background, part of the scenery
like the houses I had grown up in,
and if they would be torn down later
that was something I knew
but didn't believe. Our children were asleep
or playing, the youngest as new
as the new smell of the lilacs,
and how could I have guessed
their roots were shallow
and would be easily transplanted.
I didn't even guess that I was happy.
The small irritations that are like salt
on melon were what I dwelt on,
though in truth they simply
made the fruit taste sweeter.
So we sat on the porch
in the cool morning, sipping
hot coffee. Behind the news of the day--
strikes and small wars, a fire somewhere--
I could see the top of your dark head
and thought not of public conflagrations
but of how it would feel on my bare shoulder.
If someone could stop the camera then...
if someone could only stop the camera
and ask me: are you happy?
perhaps I would have noticed
how the morning shone in the reflected
color of lilac. Yes, I might have said
and offered a steaming cup of coffee.
|
Written by
Elizabeth Bishop |
Now can you see the monument? It is of wood
built somewhat like a box. No. Built
like several boxes in descending sizes
one above the other.
Each is turned half-way round so that
its corners point toward the sides
of the one below and the angles alternate.
Then on the topmost cube is set
a sort of fleur-de-lys of weathered wood,
long petals of board, pierced with odd holes,
four-sided, stiff, ecclesiastical.
From it four thin, warped poles spring out,
(slanted like fishing-poles or flag-poles)
and from them jig-saw work hangs down,
four lines of vaguely whittled ornament
over the edges of the boxes
to the ground.
The monument is one-third set against
a sea; two-thirds against a sky.
The view is geared
(that is, the view's perspective)
so low there is no "far away,"
and we are far away within the view.
A sea of narrow, horizontal boards
lies out behind our lonely monument,
its long grains alternating right and left
like floor-boards--spotted, swarming-still,
and motionless. A sky runs parallel,
and it is palings, coarser than the sea's:
splintery sunlight and long-fibred clouds.
"Why does the strange sea make no sound?
Is it because we're far away?
Where are we? Are we in Asia Minor,
or in Mongolia?"
An ancient promontory,
an ancient principality whose artist-prince
might have wanted to build a monument
to mark a tomb or boundary, or make
a melancholy or romantic scene of it...
"But that ***** sea looks made of wood,
half-shining, like a driftwood, sea.
And the sky looks wooden, grained with cloud.
It's like a stage-set; it is all so flat!
Those clouds are full of glistening splinters!
What is that?"
It is the monument.
"It's piled-up boxes,
outlined with shoddy fret-work, half-fallen off,
cracked and unpainted. It looks old."
--The strong sunlight, the wind from the sea,
all the conditions of its existence,
may have flaked off the paint, if ever it was painted,
and made it homelier than it was.
"Why did you bring me here to see it?
A temple of crates in cramped and crated scenery,
what can it prove?
I am tired of breathing this eroded air,
this dryness in which the monument is cracking."
It is an artifact
of wood. Wood holds together better
than sea or cloud or and could by itself,
much better than real sea or sand or cloud.
It chose that way to grow and not to move.
The monument's an object, yet those decorations,
carelessly nailed, looking like nothing at all,
give it away as having life, and wishing;
wanting to be a monument, to cherish something.
The crudest scroll-work says "commemorate,"
while once each day the light goes around it
like a prowling animal,
or the rain falls on it, or the wind blows into it.
It may be solid, may be hollow.
The bones of the artist-prince may be inside
or far away on even drier soil.
But roughly but adequately it can shelter
what is within (which after all
cannot have been intended to be seen).
It is the beginning of a painting,
a piece of sculpture, or poem, or monument,
and all of wood. Watch it closely.
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