Written by
Walt Whitman |
1
TO think of time—of all that retrospection!
To think of to-day, and the ages continued henceforward!
Have you guess’d you yourself would not continue?
Have you dreaded these earth-beetles?
Have you fear’d the future would be nothing to you?
Is to-day nothing? Is the beginningless past nothing?
If the future is nothing, they are just as surely nothing.
To think that the sun rose in the east! that men and women were flexible, real, alive!
that
everything was alive!
To think that you and I did not see, feel, think, nor bear our part!
To think that we are now here, and bear our part!
2
Not a day passes—not a minute or second, without an accouchement!
Not a day passes—not a minute or second, without a corpse!
The dull nights go over, and the dull days also,
The soreness of lying so much in bed goes over,
The physician, after long putting off, gives the silent and terrible look for an answer,
The children come hurried and weeping, and the brothers and sisters are sent for,
Medicines stand unused on the shelf—(the camphor-smell has long pervaded the rooms,)
The faithful hand of the living does not desert the hand of the dying,
The twitching lips press lightly on the forehead of the dying,
The breath ceases, and the pulse of the heart ceases,
The corpse stretches on the bed, and the living look upon it,
It is palpable as the living are palpable.
The living look upon the corpse with their eye-sight,
But without eye-sight lingers a different living, and looks curiously on the corpse.
3
To think the thought of Death, merged in the thought of materials!
To think that the rivers will flow, and the snow fall, and fruits ripen, and act upon
others as
upon us now—yet not act upon us!
To think of all these wonders of city and country, and others taking great interest in
them—and we taking no interest in them!
To think how eager we are in building our houses!
To think others shall be just as eager, and we quite indifferent!
(I see one building the house that serves him a few years, or seventy or eighty years at
most,
I see one building the house that serves him longer than that.
)
Slow-moving and black lines creep over the whole earth—they never cease—they are
the
burial lines,
He that was President was buried, and he that is now President shall surely be buried.
4
A reminiscence of the vulgar fate,
A frequent sample of the life and death of workmen,
Each after his kind:
Cold dash of waves at the ferry-wharf—posh and ice in the river, half-frozen mud in
the
streets, a gray, discouraged sky overhead, the short, last daylight of Twelfth-month,
A hearse and stages—other vehicles give place—the funeral of an old Broadway
stage-driver, the cortege mostly drivers.
Steady the trot to the cemetery, duly rattles the death-bell, the gate is pass’d, the
new-dug grave is halted at, the living alight, the hearse uncloses,
The coffin is pass’d out, lower’d and settled, the whip is laid on the coffin,
the
earth is swiftly shovel’d in,
The mound above is flatted with the spades—silence,
A minute—no one moves or speaks—it is done,
He is decently put away—is there anything more?
He was a good fellow, free-mouth’d, quick-temper’d, not bad-looking, able to
take his
own part, witty, sensitive to a slight, ready with life or death for a friend, fond of
women,
gambled, ate hearty, drank hearty, had known what it was to be flush, grew low-spirited
toward
the last, sicken’d, was help’d by a contribution, died, aged forty-one
years—and
that was his funeral.
Thumb extended, finger uplifted, apron, cape, gloves, strap, wet-weather clothes, whip
carefully chosen, boss, spotter, starter, hostler, somebody loafing on you, you loafing
on
somebody, headway, man before and man behind, good day’s work, bad day’s work,
pet
stock, mean stock, first out, last out, turning-in at night;
To think that these are so much and so nigh to other drivers—and he there takes no
interest in them!
5
The markets, the government, the working-man’s wages—to think what account they
are
through our nights and days!
To think that other working-men will make just as great account of them—yet we make
little
or no account!
The vulgar and the refined—what you call sin, and what you call goodness—to
think how
wide a difference!
To think the difference will still continue to others, yet we lie beyond the difference.
To think how much pleasure there is!
Have you pleasure from looking at the sky? have you pleasure from poems?
Do you enjoy yourself in the city? or engaged in business? or planning a nomination and
election? or with your wife and family?
Or with your mother and sisters? or in womanly housework? or the beautiful maternal cares?
—These also flow onward to others—you and I flow onward,
But in due time, you and I shall take less interest in them.
Your farm, profits, crops,—to think how engross’d you are!
To think there will still be farms, profits, crops—yet for you, of what avail?
6
What will be, will be well—for what is, is well,
To take interest is well, and not to take interest shall be well.
The sky continues beautiful,
The pleasure of men with women shall never be sated, nor the pleasure of women with men,
nor
the pleasure from poems,
The domestic joys, the daily housework or business, the building of houses—these are
not
phantasms—they have weight, form, location;
Farms, profits, crops, markets, wages, government, are none of them phantasms,
The difference between sin and goodness is no delusion,
The earth is not an echo—man and his life, and all the things of his life, are
well-consider’d.
You are not thrown to the winds—you gather certainly and safely around yourself;
Yourself! Yourself! Yourself, forever and ever!
7
It is not to diffuse you that you were born of your mother and father—it is to
identify
you;
It is not that you should be undecided, but that you should be decided;
Something long preparing and formless is arrived and form’d in you,
You are henceforth secure, whatever comes or goes.
The threads that were spun are gather’d, the weft crosses the warp, the pattern is
systematic.
The preparations have every one been justified,
The orchestra have sufficiently tuned their instruments—the baton has given the
signal.
The guest that was coming—he waited long, for reasons—he is now housed,
He is one of those who are beautiful and happy—he is one of those that to look upon
and be
with is enough.
The law of the past cannot be eluded,
The law of the present and future cannot be eluded,
The law of the living cannot be eluded—it is eternal,
The law of promotion and transformation cannot be eluded,
The law of heroes and good-doers cannot be eluded,
The law of drunkards, informers, mean persons—not one iota thereof can be eluded.
8
Slow moving and black lines go ceaselessly over the earth,
Northerner goes carried, and Southerner goes carried, and they on the Atlantic side, and
they
on the Pacific, and they between, and all through the Mississippi country, and all over
the
earth.
The great masters and kosmos are well as they go—the heroes and good-doers are well,
The known leaders and inventors, and the rich owners and pious and distinguish’d, may
be
well,
But there is more account than that—there is strict account of all.
The interminable hordes of the ignorant and wicked are not nothing,
The barbarians of Africa and Asia are not nothing,
The common people of Europe are not nothing—the American aborigines are not nothing,
The infected in the immigrant hospital are not nothing—the murderer or mean person is
not
nothing,
The perpetual successions of shallow people are not nothing as they go,
The lowest prostitute is not nothing—the mocker of religion is not nothing as he
goes.
9
Of and in all these things,
I have dream’d that we are not to be changed so much, nor the law of us changed,
I have dream’d that heroes and good-doers shall be under the present and past law,
And that murderers, drunkards, liars, shall be under the present and past law,
For I have dream’d that the law they are under now is enough.
If otherwise, all came but to ashes of dung,
If maggots and rats ended us, then Alarum! for we are betray’d!
Then indeed suspicion of death.
Do you suspect death? If I were to suspect death, I should die now,
Do you think I could walk pleasantly and well-suited toward annihilation?
10
Pleasantly and well-suited I walk,
Whither I walk I cannot define, but I know it is good,
The whole universe indicates that it is good,
The past and the present indicate that it is good.
How beautiful and perfect are the animals!
How perfect the earth, and the minutest thing upon it!
What is called good is perfect, and what is called bad is just as perfect,
The vegetables and minerals are all perfect, and the imponderable fluids are perfect;
Slowly and surely they have pass’d on to this, and slowly and surely they yet pass
on.
11
I swear I think now that everything without exception has an eternal Soul!
The trees have, rooted in the ground! the weeds of the sea have! the animals!
I swear I think there is nothing but immortality!
That the exquisite scheme is for it, and the nebulous float is for it, and the cohering is
for
it;
And all preparation is for it! and identity is for it! and life and materials are
altogether
for it
|
Written by
Hilaire Belloc |
Be kind and tender to the Frog,
And do not call him names,
As "Slimy skin," or "Polly-wog,"
Or likewise "Ugly James,"
Or "Gap-a-grin," or "Toad-gone-wrong,"
Or "Bill Bandy-knees":
The Frog is justly sensitive
To epithets like these.
No animal will more repay
A treatment kind and fair;
At least so lonely people say
Who keep a frog (and, by the way,
They are extremely rare).
|
Written by
Rg Gregory |
(a)
they seek to celebrate the word
not to bring their knives out on a poem
dissecting it to find a heart
whose beat lies naked on a table
not to score in triumph on a line
no sensitive would put a nostril to
but simply to receive it as an
offering glimpsing the sacred there
poem probes the poet's once-intention
but each time said budges its truth
afresh (leaving the poet's self
estranged from the once-intending man)
and six ears in the room have tuned
objectives sifting the coloured strands
the words have hidden from the poet
asking what world has come to light
people measured by their heartbeats
language can't flout that come-and-go
to touch the heartbeat in a poem
calls for the brain's surrender
a warm diffusion of the mind
a listening to an eery silence
the words both mimic and destroy
(no excuses slipping off the tongue)
and when a poem works the unknown
opens a timid shutter on a world
so familiar it's not been seen
before - and then it's gone bringing
a frisson to an altered room
and in a stuttering frenzy dusty
attributes are tried to resurrect
a glimpse of what it's like inside
a truth (the glow a glow-worm makes)
this is not (not much) what happens
there's serious concern and banter
there's opacity there's chit-chat
diversions and derailings from
a line some avalanche has blocked
(what a fine pass through the mountains)
poetry and fidgets are blood-brothers
it's within all these the cosmos calls
that makes these afternoons a rich
adventure through a common field
when three men moving towards death
(without alacrity but conscious of it)
find youth again and bubble with
its springs - opening worn valves
to give such flow their own direction
there's no need of competition
no wish to prove that one of us
holds keys the others don't to the
sacral chambers - no want to find
consensus in technique or drench
the rites of words in orthodox
belief - difference is essential
and delightful (integrity's all)
quality's a private quarrel
between the poem and the poet - taste
the private hang-up of receivers
mostly migrained by exposure
to opinions not their own - fed
from a culture no one bleeds in
sustained by reputations manured
by a few and spread by hearsay
(b)
these meetings are a modest vow
to let each poet speak uncluttered
from establishment's traditions
and conditions where passions rippling
from the marrow can choose a space
to innocent themselves and long-held
tastes for carlos williams gurney
poems to siva (to name a few)
can surface in a side-attempt
to show unexpected lineage from
the source to present patterns
of the poet - but at the core
of every poem read and comment made
it's not the poem or the poet
being sifted to the seed but
poetry itself given the works
the most despised belittled
enervated creative cowcake
of them all in the public eye
prestigious when it doesn't matter
to the clapped-out powers and turned
away from when too awkward and
impolitic to confront - ball
to be bounced from high art to low
when fights break out amongst the teachers
and shakespeare's wielded as a cane
as the rich old crusty clan reverts
to the days it hated him at school
but loved the beatings - loudhailer
broken-down old-banger any ram-it-
up-your-**** and suck-my-prick to those
who want to tear chintz curtains down
and shock the cosy populace to taste
life at its rawest (most obscene)
courtesan to fashion and today's
ploy - advertisement's gold gimmick
slave of beat and rhythm - dead but
much loved donkey in the hearts of all
who learned di-dah di-dah at school
and have been stuck in the custard since
plaything political-tool pop-
star's goo - poetry's been made to garb
itself in all these rags and riches
this age applauds the eye - is one
of outward exploration - the earth
(in life) and universe (in fiction)
are there for scurrying over - haste
is everything and the beat is all
fireworks feed the fancy - a great ah
rewards the enterprise that fills
night skies with flashing bountifuls
of way-out stars - poetry has to be
in service to this want (is fed
into the system gracelessly)
there can be no standing-still or
stopping-by no take a little time
and see what blossoms here - we're into
poetry in motion and all that ****
and i can accept it all - what stirs
the surface of the ocean ignores
the depths - what talks the hindlegs off
the day can't murder dreams - that's not
to say the depths and dreams aren't there
for those who need them - it's commonplace
they hold the keystones of our lives
i fear something else much deeper
the diabolical self-deceiving
(wilful destruction of the spirit)
by those loudspeaking themselves
as poetry's protectors - publishers
editors literature officers
poetry societies and centres
all all jumping on the flagship
competition's crock of gold
find the winners pick the famous
all the hopefuls cry please name us
aspiring poets search their wardrobes
for the wordy swimsuit likely
to catch the eyeful of the judges
(winners too in previous contests
inured to the needle of success
but this time though now they are tops
totally pissed-off with the process
only here because the money's good)
winners' middle name is wordsworth
losers swallow a dose of shame
organisers rub their golden hands
pride themselves on their discernment
these jacks have found the beanstalk
castle harp and the golden egg
the stupid giant and his frightened wife
who let them steal their best possessions
whose ear for poetry's so poor
they think fum rhymes with englishman
and so of course they get no prizes
thief and trickster now come rich
poetry's purpose is to hit the jackpot
so great the lust for poetic fame
thousands without a ghost of winning
find poems like mothballs in their drawers
sprinkle them with twinkling stardust
post them off with copperplate cheques
the judges wipe their arses on them
the money's gone to a super cause
everyone knows it's just a joke
who gets taken - the foolish and vain
if they're daft enough and such bad poets
more money than sense the best advice
is - keep it up grannies the cause
is noble and we'll take your cheque
again and again and again
it's the winners who fall in the bog
to win is to be preened - conceit
finds a little fluffy nest dear
to the feted heart and swells there
fed (for a foetal space) on all
the praisiest worms but in the nest
is a bloated thing that sucks (and chokes)
on hurt that has the knack of pecking
where there's malice - it grows two heads
winners by their nature soon become
winged and weighted - icarus begins
to prey upon their waking dreams
prometheus gnawed by eagles
the tight-shut box epimetheus
gave pandora about to burst
apart - yeats's centre cannot hold
being poets they know the references
and they learn the lesson quickly
climb upon others as they would
climb on you - in short be ruthless
or be dead they mostly fade away
being too intact or too weak-willed
to go the shining way with light-
ning bolts at every second bend
agents breathing fire up their pants
those who withstand the course become
the poets of their day (and every one
naturally good as gold - exceptions
to the rule - out of the hearing
and the judgment of their rivals)
the media covet the heartache
and the bile - love the new meteor
can't wait to blast it from the heavens
universities will start the cult
with-it secondary teachers catch
the name on fast - magazines begin
to taste the honey on the plate
and soon another name is buzzing
round the bars where literary pass-
ons meet to dole out bits of hem
i accept it all - it's not for me
above it all the literary lions
(jackals to each other) stand posed
upon their polystyrene mountains
constructed by their fans and foes
alike (they have such need of them)
disdaining what they see but terror-
stricken when newcomers climb up
waving their thin bright books
for so long they've dubbed themselves
the intellectual cream - deigning
to hand out poems when they're asked
(for proper recompense in cash
or fawning) - but well beyond the risk
of letting others turn the bleeders
down so sure they are they're halfway
to the gods (yet still need preening)
a poem from one of them is like
the loaves and fishes jesus touched
and rendered food for the five thousand
they too can walk on water in
their home - or so the reviewers say
poetry from their mouths is such a gift
if you don't read or understand it
you'll be damned - i accept all that
but what i can't accept is (all
this while) the source and bed of what
is poetry to me as cracked and parched -
condemned ignored made mock of
shoved in wilderness by those
who've gone the gilded route (mapped out
by ego and a driving need to claim
best prick with a capital pee)
it's being roomed with the said poem
coming back and back to the same
felt heartbeat having its way with words
absorbing the strains and promises
that make the language opt for paths
no other voice would go - shifting
a dull stone and knowing what bright
creature this instinct has bred there
it's trusting the poet with his own map
not wanting to tear it up before
the ink is dry because the symbols
he's been using don't suit your own
conception of terrain you've not
been born to - it's being pleased
to have connections made in ways
you couldn't dream of (wouldn't want to)
|
Written by
Carolyn Kizer |
For Ann London
As you described your mastectomy in calm detail
and bared your chest so I might see
the puckered scar,
"They took a hatchet to your breast!" I said.
"What an
Amazon you are.
"
When we were girls we climbed Mt.
Tamalpais
chewing bay leaves we had plucked
along the way;
we got high all right, from animal pleasure in each other,
shouting to the sky.
On your houseboat we tried to ignore the impossible guy
you had married to enrage your family,
a typical ploy.
We were great fools let loose in the No Name bar
on Sausalito's bay.
In San Francisco we'd perch on a waterfront pier
chewing sourdough and cheese, swilling champagne,
kicking our heels;
crooning lewd songs, hooting like seagulls,
we bayed with the seals.
Then you married someone in Mexico,
broke up in two weeks, didn't bother to divorce,
claimed it didn't count.
You dumped number three, fled to Albany
to become a pedant.
Averse to domesticity, you read for your Ph.
D.
Your four-year-old looked like a miniature
John Lennon.
You fed him peanut butter from your jar and raised him
on Beowulf and Grendal.
Much later in New York we reunited;
in an elevator at Sak's a woman asked for
your autograph.
You glowed like a star, like Anouk Aimee
at forty, close enough.
Your pedantry found its place in the Women's Movement.
You rose fast, seen suddenly as the morning star;
wrote the ERA
found the right man at last, a sensitive artist;
flying too high
not to crash.
When the cancer caught you
you went on talk shows to say you had no fear
or faith.
In Baltimore we joked on your bed as you turned into
a witty wraith.
When you died I cleaned out your bureau drawers:
your usual disorder; an assortment of gorgeous wigs
and prosthetic breasts
tossed in garbage bags, to spare your gentle spouse.
Then the bequests
you had made to every friend you had!
For each of us a necklace or a ring.
A snapshot for me:
We two, barefoot in chiffon, laughing amid blossoms
your last wedding day.
|
Written by
Hilaire Belloc |
Be kind and tender to the Frog,
And do not call him names,
As "Slimy skin," or "Polly-wog,"
Or likewise "Ugly James,"
Or "Gap-a-grin," or "Toad-gone-wrong,"
Or "Bill Bandy-knees":
The Frog is justly sensitive
To epithets like these.
No animal will more repay
A treatment kind and fair;
At least so lonely people say
Who keep a frog (and, by the way,
They are extremely rare).
|
Written by
William Butler Yeats |
Hic.
On the grey sand beside the shallow stream
Under your old wind-beaten tower, where still
A lamp burns on beside the open book
That Michael Robartes left, you walk in the moon,
And, though you have passed the best of life, still trace,
Enthralled by the unconquerable delusion,
Magical shapes.
Ille.
By the help of an image
I call to my own opposite, summon all
That I have handled least, least looked upon.
Hic.
And I would find myself and not an image.
Ille.
That is our modern hope, and by its light
We have lit upon the gentle, sensitive mind
And lost the old nonchalance of the hand;
Whether we have chosen chisel, pen or brush,
We are but critics, or but half create,
Timid, entangled, empty and abashed,
Lacking the countenance of our friends.
Hic.
And yet
The chief imagination of Christendom,
Dante Alighieri, so utterly found himself
That he has made that hollow face of his
More plain to the mind's eye than any face
But that of Christ.
Ille.
And did he find himself
Or was the hunger that had made it hollow
A hunger for the apple on the bough
Most out of reach? and is that spectral image
The man that Lapo and that Guido knew?
I think he fashioned from his opposite
An image that might have been a stony face
Staring upon a Bedouin's horse-hair roof
From doored and windowed cliff, or half upturned
Among the coarse grass and the camel-dung.
He set his chisel to the hardest stone.
Being mocked by Guido for his lecherous life,
Derided and deriding, driven out
To climb that stair and eat that bitter bread,
He found the unpersuadable justice, he found
The most exalted lady loved by a man.
Hic.
Yet surely there are men who have made their art
Out of no tragic war, lovers of life,
Impulsive men that look for happiness
And sing when t"hey have found it.
Ille.
No, not sing,
For those that love the world serve it in action,
Grow rich, popular and full of influence,
And should they paint or write, still it is action:
The struggle of the fly in marmalade.
The rhetorician would deceive his neighbours,
The sentimentalist himself; while art
Is but a vision of reality.
What portion in the world can the artist have
Who has awakened from the common dream
But dissipation and despair?
Hic.
And yet
No one denies to Keats love of the world;
Remember his deliberate happiness.
Ille.
His art is happy, but who knows his mind?
I see a schoolboy when I think of him,
With face and nose pressed to a sweet-shop window,
For certainly he sank into his grave
His senses and his heart unsatisfied,
And made - being poor, ailing and ignorant,
Shut out from all the luxury of the world,
The coarse-bred son of a livery-stable keeper --
Luxuriant song.
Hic.
Why should you leave the lamp
Burning alone beside an open book,
And trace these characters upon the sands?
A style is found by sedentary toil
And by the imitation of great masters.
Ille.
Because I seek an image, not a book.
Those men that in their writings are most wise,
Own nothing but their blind, stupefied hearts.
I call to the mysterious one who yet
Shall walk the wet sands by the edge of the stream
And look most like me, being indeed my double,
And prove of all imaginable things
The most unlike, being my anti-self,
And, standing by these characters, disclose
All that I seek; and whisper it as though
He were afraid the birds, who cry aloud
Their momentary cries before it is dawn,
Would carry it away to blasphemous men.
|
Written by
Lewis Carroll |
PREFACE
If---and the thing is wildly possible---the charge of writing
nonsense were ever brought against the author of this brief but
instructive poem, it would be based, I feel convinced, on the line
``Then the bowsprit got mixed with the rudder sometimes''
In view of this painful possibility, I will not (as I might) appeal
indignantly to my other writings as a proof that I am incapable of
such a deed: I will not (as I might) point to the strong moral
purpose of this poem itself, to the arithmetical principles so
cautiously inculcated in it, or to its noble teachings in Natural
History---I will take the more prosaic course of simply explaining
how it happened.
The Bellman, who was almost morbidly sensitive about appearances,
used to have the bowsprit unshipped once or twice a week to be
revarnished, and it more than once happened, when the time came for
replacing it, that no one on board could remember which end of the
ship it belonged to.
They knew it was not of the slightest use to
appeal to the Bellman about it---he would only refer to his Naval
Code, and read out in pathetic tones Admiralty Instructions which
none of them had ever been able to understand---so it generally ended
in its being fastened on, anyhow, across the rudder.
The helmsman
used to stand by with tears in his eyes: he knew it was all wrong,
but alas! Rule 42 of the Code, ``No one shall speak to the Man at the
Helm'', had been completed by the Bellman himself with the words
``and the Man at the Helm shall speak to no one''.
So remonstrance
was impossible, and no steering could be done till the next
varnishing day.
During these bewildering intervals the ship usually
sailed backwards.
This office was usually undertaken by the Boots, who found in it
a refuge from the Baker's constant complaints about the insufficient
blacking of his three pairs of boots.
As this poem is to some extent connected with the lay of the
Jabberwock, let me take this opportunity of answering a question that
has often been asked me, how to pronounce ``slithy toves''.
The
``i'' in ``slithy'' is long, as in ``writhe''; and ``toves'' is
pronounced so as to rhyme with ``groves''.
Again, the first ``o'' in
``borogoves'' is pronounced like the ``o'' in ``borrow''.
I have
heard people try to give it the sound of the ``o'' in ``worry''.
Such is Human Perversity.
This also seems a fitting occasion to notice the other hard words in
that poem.
Humpty-Dumpty's theory, of two meanings packed into one
word like a portmanteau, seems to me the right explanation for all.
For instance, take the two words ``fuming'' and ``furious''.
Make up
your mind that you will say both words, but leave it unsettled which
you will say first.
Now open your mouth and speak.
If your thoughts
incline ever so little towards ``fuming'', you will say
``fuming-furious''; if they turn, by even a hair's breadth, towards
``furious'', you will say ``furious-fuming''; but if you have that
rarest of gifts, a perfectly balanced mind, you will say
``frumious''.
Supposing that, when Pistol uttered the well-known words---
``Under which king, Bezonian? Speak or die!''
Justice Shallow had felt certain that it was either William or
Richard, but had not been able to settle which, so that he could not
possibly say either name before the other, can it be doubted that,
rather than die, he would have gasped out ``Rilchiam!''.
|
Written by
Walt Whitman |
SPONTANEOUS me, Nature,
The loving day, the mounting sun, the friend I am happy with,
The arm of my friend hanging idly over my shoulder,
The hill-side whiten’d with blossoms of the mountain ash,
The same, late in autumn—the hues of red, yellow, drab, purple, and light and dark
green,
The rich coverlid of the grass—animals and birds—the private untrimm’d
bank—the primitive apples—the pebble-stones,
Beautiful dripping fragments—the negligent list of one after another, as I happen to
call them to me, or think of them,
The real poems, (what we call poems being merely pictures,)
The poems of the privacy of the night, and of men like me,
This poem, drooping shy and unseen, that I always carry, and that all men carry,
(Know, once for all, avow’d on purpose, wherever are men like me, are our lusty,
lurking, masculine poems;)
Love-thoughts, love-juice, love-odor, love-yielding, love-climbers, and the climbing sap,
Arms and hands of love—lips of love—phallic thumb of love—breasts of
love—bellies press’d and glued together with love,
Earth of chaste love—life that is only life after love,
The body of my love—the body of the woman I love—the body of the man—the
body of the earth,
Soft forenoon airs that blow from the south-west,
The hairy wild-bee that murmurs and hankers up and down—that gripes the full-grown
lady-flower, curves upon her with amorous firm legs, takes his will of her, and holds
himself tremulous and tight till he is satisfied,
The wet of woods through the early hours,
Two sleepers at night lying close together as they sleep, one with an arm slanting down
across and below the waist of the other,
The smell of apples, aromas from crush’d sage-plant, mint, birch-bark,
The boy’s longings, the glow and pressure as he confides to me what he was dreaming,
The dead leaf whirling its spiral whirl, and falling still and content to the ground,
The no-form’d stings that sights, people, objects, sting me with,
The hubb’d sting of myself, stinging me as much as it ever can any one,
The sensitive, orbic, underlapp’d brothers, that only privileged feelers may be
intimate where they are,
The curious roamer, the hand, roaming all over the body—the bashful withdrawing of
flesh where the fingers soothingly pause and edge themselves,
The limpid liquid within the young man,
The vexed corrosion, so pensive and so painful,
The torment—the irritable tide that will not be at rest,
The like of the same I feel—the like of the same in others,
The young man that flushes and flushes, and the young woman that flushes and flushes,
The young man that wakes, deep at night, the hot hand seeking to repress what would master
him;
The mystic amorous night—the strange half-welcome pangs, visions, sweats,
The pulse pounding through palms and trembling encircling fingers—the young man all
color’d, red, ashamed, angry;
The souse upon me of my lover the sea, as I lie willing and naked,
The merriment of the twin-babes that crawl over the grass in the sun, the mother never
turning her vigilant eyes from them,
The walnut-trunk, the walnut-husks, and the ripening or ripen’d long-round walnuts;
The continence of vegetables, birds, animals,
The consequent meanness of me should I skulk or find myself indecent, while birds and
animals never once skulk or find themselves indecent;
The great chastity of paternity, to match the great chastity of maternity,
The oath of procreation I have sworn—my Adamic and fresh daughters,
The greed that eats me day and night with hungry gnaw, till I saturate what shall produce
boys to fill my place when I am through,
The wholesome relief, repose, content;
And this bunch, pluck’d at random from myself;
It has done its work—I tossed it carelessly to fall where it may.
|
Written by
Friedrich von Schiller |
"What knight or what vassal will be so bold
As to plunge in the gulf below?
See! I hurl in its depths a goblet of gold,
Already the waters over it flow.
The man who can bring back the goblet to me,
May keep it henceforward,--his own it shall be.
"
Thus speaks the king, and he hurls from the height
Of the cliffs that, rugged and steep,
Hang over the boundless sea, with strong might,
The goblet afar, in the bellowing deep.
"And who'll be so daring,--I ask it once more,--
As to plunge in these billows that wildly roar?"
And the vassals and knights of high degree
Hear his words, but silent remain.
They cast their eyes on the raging sea,
And none will attempt the goblet to gain.
And a third time the question is asked by the king:
"Is there none that will dare in the gulf now to spring?"
Yet all as before in silence stand,
When a page, with a modest pride,
Steps out of the timorous squirely band,
And his girdle and mantle soon throws aside,
And all the knights, and the ladies too,
The noble stripling with wonderment view.
And when he draws nigh to the rocky brow,
And looks in the gulf so black,
The waters that she had swallowed but now,
The howling Charybdis is giving back;
And, with the distant thunder's dull sound.
From her gloomy womb they all-foaming rebound.
And it boils and it roars, and it hisses and seethes,
As when water and fire first blend;
To the sky spurts the foam in steam-laden wreaths,
And wave presses hard upon wave without end.
And the ocean will never exhausted be,
As if striving to bring forth another sea.
But at length the wild tumult seems pacified,
And blackly amid the white swell
A gaping chasm its jaws opens wide,
As if leading down to the depths of hell:
And the howling billows are seen by each eye
Down the whirling funnel all madly to fly.
Then quickly, before the breakers rebound,
The stripling commends him to Heaven,
And--a scream of horror is heard around,--
And now by the whirlpool away he is driven,
And secretly over the swimmer brave
Close the jaws, and he vanishes 'neath the dark wave.
O'er the watery gulf dread silence now lies,
But the deep sends up a dull yell,
And from mouth to mouth thus trembling it flies:
"Courageous stripling, oh, fare thee well!"
And duller and duller the howls recommence,
While they pause in anxious and fearful suspense.
"If even thy crown in the gulf thou shouldst fling,
And shouldst say, 'He who brings it to me
Shall wear it henceforward, and be the king,'
Thou couldst tempt me not e'en with that precious foe;
What under the howling deep is concealed
To no happy living soul is revealed!"
Full many a ship, by the whirlpool held fast,
Shoots straightway beneath the mad wave,
And, dashed to pieces, the hull and the mast
Emerge from the all-devouring grave,--
And the roaring approaches still nearer and nearer,
Like the howl of the tempest, still clearer and clearer.
And it boils and it roars, and it hisses and seethes,
As when water and fire first blend;
To the sky spurts the foam in steam-laden wreaths,
And wave passes hard upon wave without end.
And, with the distant thunder's dull sound,
From the ocean-womb they all-bellowing bound.
And lo! from the darkly flowing tide
Comes a vision white as a swan,
And an arm and a glistening neck are descried,
With might and with active zeal steering on;
And 'tis he, and behold! his left hand on high
Waves the goblet, while beaming with joy is his eye.
Then breathes he deeply, then breathes he long,
And blesses the light of the day;
While gladly exclaim to each other the throng:
"He lives! he is here! he is not the sea's prey!
From the tomb, from the eddying waters' control,
The brave one has rescued his living soul!"
And he comes, and they joyously round him stand;
At the feet of the monarch he falls,--
The goblet he, kneeling, puts in his hand,
And the king to his beauteous daughter calls,
Who fills it with sparkling wine to the brim;
The youth turns to the monarch, and speaks thus to him:
"Long life to the king! Let all those be glad
Who breathe in the light of the sky!
For below all is fearful, of moment sad;
Let not man to tempt the immortals e'er try,
Let him never desire the thing to see
That with terror and night they veil graciously.
"
"I was torn below with the speed of light,
When out of a cavern of rock
Rushed towards me a spring with furious might;
I was seized by the twofold torrent's wild shock,
And like a top, with a whirl and a bound,
Despite all resistance, was whirled around.
"
"Then God pointed out,--for to Him I cried
In that terrible moment of need,--
A craggy reef in the gulf's dark side;
I seized it in haste, and from death was then freed.
And there, on sharp corals, was hanging the cup,--
The fathomless pit had else swallowed it up.
"
"For under me lay it, still mountain-deep,
In a darkness of purple-tinged dye,
And though to the ear all might seem then asleep
With shuddering awe 'twas seen by the eye
How the salamanders' and dragons' dread forms
Filled those terrible jaws of hell with their swarms.
"
"There crowded, in union fearful and black,
In a horrible mass entwined,
The rock-fish, the ray with the thorny back,
And the hammer-fish's misshapen kind,
And the shark, the hyena dread of the sea,
With his angry teeth, grinned fiercely on me.
"
"There hung I, by fulness of terror possessed,
Where all human aid was unknown,
Amongst phantoms, the only sensitive breast,
In that fearful solitude all alone,
Where the voice of mankind could not reach to mine ear,
'Mid the monsters foul of that wilderness drear.
"
"Thus shuddering methought--when a something crawled near,
And a hundred limbs it out-flung,
And at me it snapped;--in my mortal fear,
I left hold of the coral to which I had clung;
Then the whirlpool seized on me with maddened roar,
Yet 'twas well, for it brought me to light once more.
"
The story in wonderment hears the king,
And he says, "The cup is thine own,
And I purpose also to give thee this ring,
Adorned with a costly, a priceless stone,
If thou'lt try once again, and bring word to me
What thou saw'st in the nethermost depths of the sea.
"
His daughter hears this with emotions soft,
And with flattering accent prays she:
"That fearful sport, father, attempt not too oft!
What none other would dare, he hath ventured for thee;
If thy heart's wild longings thou canst not tame,
Let the knights, if they can, put the squire to shame.
"
The king then seizes the goblet in haste,
In the gulf he hurls it with might:
"When the goblet once more in my hands thou hast placed,
Thou shalt rank at my court as the noblest knight,
And her as a bride thou shalt clasp e'en to-day,
Who for thee with tender compassion doth pray.
"
Then a force, as from Heaven, descends on him there,
And lightning gleams in his eye,
And blushes he sees on her features so fair,
And he sees her turn pale, and swooning lie;
Then eager the precious guerdon to win,
For life or for death, lo! he plunges him in!
The breakers they hear, and the breakers return,
Proclaimed by a thundering sound;
They bend o'er the gulf with glances that yearn,
And the waters are pouring in fast around;
Though upwards and downwards they rush and they rave,
The youth is brought back by no kindly wave.
|
Written by
Sara Teasdale |
To-night I close my eyes and see
A strange procession passing me --
The years before I saw your face
Go by me with a wistful grace;
They pass, the sensitive, shy years,
As one who strives to dance, half blind with tears.
The years went by and never knew
That each one brought me nearer you;
Their path was narrow and apart
And yet it led me to your heart --
Oh, sensitive, shy years, oh, lonely years,
That strove to sing with voices drowned in tears.
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