Written by
Dorothy Parker |
Authors and actors and artists and such
Never know nothing, and never know much.
Sculptors and singers and those of their kidney
Tell their affairs from Seattle to Sydney.
Playwrights and poets and such horses' necks
Start off from anywhere, end up at sex.
Diarists, critics, and similar roe
Never say nothing, and never say no.
People Who Do Things exceed my endurance;
God, for a man that solicits insurance!
|
Written by
Thomas Warton |
Ah, stay thy treacherous hand, forbear to trace
Those faultless forms of elegance and grace!
Ah, cease to spread the bright transparent mass,
With Titian's pencil, o'er the speaking glass!
Nor steal, by strokes of art with truth combin'd,
The fond illusions of my wayward mind!
For long, enamour'd of a barbarous age,
A faithless truant to the classic page;
Long have I lov'd to catch the simple chime
Of minstrel-harps, and spell the fabling rime;
To view the festive rites, the knightly play,
That deck'd heroic Albion's elder day;
To mark the mouldering halls of barons bold,
And the rough castle, cast in giant mould;
With Gothic manners Gothic arts explore,
And muse on the magnificence of yore.
But chief, enraptur'd have I lov'd to roam,
A lingering votary, the vaulted dome,
Where the tall shafts, that mount in massy pride,
Their mingling branches shoot from side to side;
Where elfin sculptors, with fantastic clew,
O'er the long roof their wild embroidery drew;
Where Superstition with capricious hand
In many a maze the wreathed window plann'd,
With hues romantic ting'd the gorgeous pane,
To fill with holy light the wondrous fane;
To aid the builder's model, richly rude,
By no Vitruvian symmetry subdu'd;
To suit the genius of the mystic pile:
Whilst as around the far-retiring aisle,
And fretted shrines, with hoary trophies hung,
Her dark illumination wide she flung,
With new solemnity, the nooks profound,
The caves of death, and the dim arches frown'd.
From bliss long felt unwillingly we part:
Ah, spare the weakness of a lover's heart!
Chase not the phantoms of my fairy dream,
Phantoms that shrink at Reason's painful gleam!
That softer touch, insidious artist, stay,
Nor to new joys my struggling breast betray!
Such was a pensive bard's mistaken strain.--
But, oh, of ravish'd pleasures why complain?
No more the matchless skill I call unkind,
That strives to disenchant my cheated mind.
For when again I view thy chaste design,
The just proportion, and the genuine line;
Those native portraitures of Attic art,
That from the lucid surface seem to start;
Those tints, that steal no glories from the day,
Nor ask the sun to lend his streaming ray:
The doubtful radiance of contending dyes,
That faintly mingle, yet distinctly rise;
'Twixt light and shade the transitory strife;
The feature blooming with immortal life:
The stole in casual foldings taught to flow,
Not with ambitious ornaments to glow;
The tread majestic, and the beaming eye,
That lifted speaks its commerce with the sky;
Heaven's golden emanation, gleaming mild
O'er the mean cradle of the Virgin's child:
Sudden, the sombrous imagery is fled,
Which late my visionary rapture fed:
Thy powerful hand has broke the Gothic chain,
And brought my bosom back to truth again;
To truth, by no peculiar taste confin'd,
Whose universal pattern strikes mankind;
To truth, whose bold and unresisted aim
Checks frail caprice, and fashion's fickle claim;
To truth, whose charms deception's magic quell,
And bind coy Fancy in a stronger spell.
Ye brawny Prophets, that in robes so rich,
At distance due, possess the crisped niche;
Ye rows of Patriarchs, that sublimely rear'd
Diffuse a proud primeval length of beard:
Ye Saints, who clad in crimson's bright array,
More pride than humble poverty display:
Ye Virgins meek, that wear the palmy crown
Of patient faith, and yet so fiercely frown:
Ye Angels, that from clouds of gold recline,
But boast no semblance to a race divine:
Ye tragic tales of legendary lore,
That draw devotion's ready tear no more;
Ye martyrdoms of unenlighten'd days,
Ye miracles, that now no wonder raise:
Shapes, that with one broad glare the gazer strike,
Kings, bishops, nuns, apostles, all alike!
Ye colours, that th' unwary sight amaze,
And only dazzle in the noontide blaze!
No more the sacred window's round disgrace,
But yield to Grecian groups the shining space.
Lo, from the canvas Beauty shifts her throne,
Lo, Picture's powers a new formation own!
Behold, she prints upon the crystal plain,
With her own energy, th' expressive stain!
The mighty master spreads his mimic toil
More wide, nor only blends the breathing oil;
But calls the lineaments of life complete
From genial alchymy's creative heat;
Obedient forms to the bright fusion gives,
While in the warm enamel Nature lives.
Reynolds, 'tis thine, from the broad window's height,
To add new lustre to religious light:
Not of its pomp to strip this ancient shrine,
But bid that pomp with purer radiance shine:
With arts unknown before, to reconcile
The willing Graces to the Gothic pile.
|
Written by
Carl Sandburg |
SMOKE of autumn is on it all.
The streamers loosen and travel.
The red west is stopped with a gray haze.
They fill the ash trees, they wrap the oaks,
They make a long-tailed rider
In the pocket of the first, the earliest evening star.. . .
Three muskrats swim west on the Desplaines River.
There is a sheet of red ember glow on the river; it is dusk; and the muskrats one by one go on patrol routes west.
Around each slippery padding rat, a fan of ripples; in the silence of dusk a faint wash of ripples, the padding of the rats going west, in a dark and shivering river gold.
(A newspaper in my pocket says the Germans pierce the Italian line; I have letters from poets and sculptors in Greenwich Village; I have letters from an ambulance man in France and an I. W. W. man in Vladivostok.)
I lean on an ash and watch the lights fall, the red ember glow, and three muskrats swim west in a fan of ripples on a sheet of river gold.. . .
Better the blue silence and the gray west,
The autumn mist on the river,
And not any hate and not any love,
And not anything at all of the keen and the deep:
Only the peace of a dog head on a barn floor,
And the new corn shoveled in bushels
And the pumpkins brought from the corn rows,
Umber lights of the dark,
Umber lanterns of the loam dark.
Here a dog head dreams.
Not any hate, not any love.
Not anything but dreams.
Brother of dusk and umber.
|
Written by
Robert Browning |
Among these latter busts we count by scores,
Half-emperors and quarter-emperors,
Each with his bay-leaf fillet, loose-thonged vest,
Loricand low-browed Gorgon on the breast,---
One loves a baby face, with violets there,
Violets instead of laurel in the hair,
As those were all the little locks could bear.
Now read here. ``Protus ends a period
``Of empery beginning with a god;
``Born in the porphyry chamber at Byzant,
``Queens by his cradle, proud and ministrant:
``And if he quickened breath there, 'twould like fire
``Pantingly through the dim vast realm transpire.
``A fame that he was missing spread afar:
``The world from its four corners, rose in war,
``Till he was borne out on a balcony
``To pacify the world when it should see.
``The captains ranged before him, one, his hand
``Made baby points at, gained the chief command.
``And day by day more beautiful he grew
``In shape, all said, in feature and in hue,
``While young Greek sculptors, gazing on the child,
``Because with old Greek sculptore reconciled.
``Already sages laboured to condense
``In easy tomes a life's experience:
``And artists took grave counsel to impart
``In one breath and one hand-sweep, all their art---
``To make his graces prompt as blossoming
``Of plentifully-watered palms in spring:
``Since well beseems it, whoso mounts the throne,
``For beauty, knowledge, strength, should stand alone,
``And mortals love the letters of his name.''
---Stop! Have you turned two pages? Still the same.
New reign, same date. The scribe goes on to say
How that same year, on such a month and day,
``John the Pannonian, groundedly believed
``A Blacksmith's bastard, whose hard hand reprieved
``The Empire from its fate the year before,---
``Came, had a mind to take the crown, and wore
``The same for six years (during which the Huns
``Kept off their fingers from us), till his sons
``Put something in his liquor''---and so forth.
Then a new reign. Stay---``Take at its just worth''
(Subjoins an annotator) ``what I give
``As hearsay. Some think, John let Protus live
``And slip away. 'Tis said, he reached man's age
``At some blind northern court; made, first a page,
``Then tutor to the children; last, of use
``About the hunting-stables. I deduce
``He wrote the little tract `On worming dogs,'
``Whereof the name in sundry catalogues
``Is extant yet. A Protus of the race
``Is rumoured to have died a monk in Thrace,---
``And if the same, he reached senility.''
Here's John the Smith's rough-hammered head. Great eye,
Gross jaw and griped lips do what granite can
To give you the crown-grasper. What a man!
|
Written by
Ruth Padel |
We're talking different kinds of vulnerability here.
These icicles aren't going to last for ever
Suspended in the ultra violet rays of a Dumfries sun.
But here they hang, a frozen whirligig of lightning,
And the famous American sculptor
Who scrambles the world with his tripod
For strangeness au naturel, got sunset to fill them.
It's not comfortable, a double helix of opalescent fire
*
Wrapping round you, swishing your bark
Down cotton you can't see,
On which a sculptor planned his icicles,
Working all day for that Mesopotamian magic
Of last light before the dark
In a suspended helter-skelter, lit
By almost horizontal rays
Making a mist-carousel from the House of Diamond,
*
A spiral of Pepsodent darkening to the shadowfrost
Of cedars at the Great Gate of Kiev.
Why it makes me think of opening the door to you
I can't imagine. No one could be less
Of an icicle. But there it is -
Having put me down in felt-tip
In the mystical appointment book,
You shoot that quick
*
Inquiry-glance, head tilted, when I open up,
Like coming in's another country,
A country you want but have to get used to, hot
From your bal masqu?, making sure
That what you found before's
Still here: a spiral of touch and go,
Lightning licking a tree
Imagining itself Aretha Franklin
*
Singing "You make me feel like a natural woman"
In basso profondo,
Firing the bark with its otherworld ice
The way you fire, lifting me
Off my own floor, legs furled
Round your trunk as that tree goes up
At an angle inside the lightning, roots in
The orange and silver of Dumfries.
*
Now I'm the lightning now you, you are,
As you pour yourself round me
Entirely. No who's doing what and to who,
Just a tangle of spiral and tree.
You might wonder about sculptors who come all this way
To make a mad thing that won't last.
You know how it is: you spend a day, a whole life.
Then the light's gone, you walk away
*
To the Galloway Paradise Hotel. Pine-logs,
Cutlery, champagne - OK,
But the important thing was making it.
Hours, and you don't know how it'll be.
Then something like light
Arrives last moment, at speed reckoned
Only by horizons: completing, surprising
With its three hundred thousand
*
Kilometres per second. Still, even lightning has its moments of panic.
You don't get icicles catching the midwinter sun
In a perfect double helix in Dumfriesshire every day.
And can they be good for each other,
Lightning and tree? It'd make anyone,
Wouldn't it, afraid? That rowan would adore
To sleep and wake up in your arms
*
But's scared of getting burnt. And the lightning might ask, touching wood,
"What do you want of me, now we're in the same
Atomic chain?" What can the tree say?
"Being the centre of all that you are to yourself -
That'd be OK. Being my own body's fine
But it needs yours to stay that way."
No one could live for ever in
*
A suspended gleam-on-the-edge,
As if sky might tear any minute. Or not for ever for long. Those icicles
Won't be surprise any more. The little snapped threads
Blew away. Glamour left that hill in Dumfries.
The sculptor went off with his black equipment.
Adzes, twine, leather gloves.
*
What's left is a photo of
A completely solitary sight
In a book anyone might open.
But whether our touch at the door gets forgotten
Or turned into other sights, light, form,
I hope you'll be truthful
To me. At least as truthful as lightning,
Skinning a tree.
THIS POEM WON THE 1996 National Poetry Prize
|
Written by
Francesco Petrarch |
SONNET LXXXIII. L' aspettata virtù che 'n voi fioriva. TO PAUDOLFO MALATESTA, LORD OF RIMINI. Sweet virtue's blossom had its promise shedWithin thy breast (when Love became thy foe);Fair as the flower, now its fruit doth glow,And not by visions hath my hope been fed.To hail thee thus, I by my heart am led,That by my pen thy name renown should know;No marble can the lasting fame bestowLike that by poets' characters is spread.Dost think Marcellus' or proud Cæsar's name,Or Africanus, Paulus—still resound,That sculptors proud have effigied their deed?No, Pandolph, frail the statuary's fame,For immortality alone is foundWithin the records of a poet's meed. Wollaston. [Pg 99] The flower, in youth which virtue's promise bore,When Love in your pure heart first sought to dwell,Now beareth fruit that flower which matches well,And my long hopes are richly come ashore,Prompting my spirit some glad verse to pourWhere to due honour your high name may swell,For what can finest marble truly tellOf living mortal than the form he wore?Think you great Cæsar's or Marcellus' name,That Paulus, Africanus to our days,By anvil or by hammer ever came?No! frail the sculptor's power for lasting praise:Our study, my Pandolfo, only canGive immortality of fame to man. Macgregor.
|