Written by
Billy Collins |
Remember the 1340's? We were doing a dance called the Catapult.
You always wore brown, the color craze of the decade,
and I was draped in one of those capes that were popular,
the ones with unicorns and pomegranates in needlework.
Everyone would pause for beer and onions in the afternoon,
and at night we would play a game called "Find the Cow.
"
Everything was hand-lettered then, not like today.
Where has the summer of 1572 gone? Brocade and sonnet
marathons were the rage.
We used to dress up in the flags
of rival baronies and conquer one another in cold rooms of stone.
Out on the dance floor we were all doing the Struggle
while your sister practiced the Daphne all alone in her room.
We borrowed the jargon of farriers for our slang.
These days language seems transparent a badly broken code.
The 1790's will never come again.
Childhood was big.
People would take walks to the very tops of hills
and write down what they saw in their journals without speaking.
Our collars were high and our hats were extremely soft.
We would surprise each other with alphabets made of twigs.
It was a wonderful time to be alive, or even dead.
I am very fond of the period between 1815 and 1821.
Europe trembled while we sat still for our portraits.
And I would love to return to 1901 if only for a moment,
time enough to wind up a music box and do a few dance steps,
or shoot me back to 1922 or 1941, or at least let me
recapture the serenity of last month when we picked
berries and glided through afternoons in a canoe.
Even this morning would be an improvement over the present.
I was in the garden then, surrounded by the hum of bees
and the Latin names of flowers, watching the early light
flash off the slanted windows of the greenhouse
and silver the limbs on the rows of dark hemlocks.
As usual, I was thinking about the moments of the past,
letting my memory rush over them like water
rushing over the stones on the bottom of a stream.
I was even thinking a little about the future, that place
where people are doing a dance we cannot imagine,
a dance whose name we can only guess.
|
Written by
T S (Thomas Stearns) Eliot |
I
In my beginning is my end.
In succession
Houses rise and fall, crumble, are extended,
Are removed, destroyed, restored, or in their place
Is an open field, or a factory, or a by-pass.
Old stone to new building, old timber to new fires,
Old fires to ashes, and ashes to the earth
Which is already flesh, fur and faeces,
Bone of man and beast, cornstalk and leaf.
Houses live and die: there is a time for building
And a time for living and for generation
And a time for the wind to break the loosened pane
And to shake the wainscot where the field-mouse trots
And to shake the tattered arras woven with a silent motto.
In my beginning is my end.
Now the light falls
Across the open field, leaving the deep lane
Shuttered with branches, dark in the afternoon,
Where you lean against a bank while a van passes,
And the deep lane insists on the direction
Into the village, in the electric heat
Hypnotised.
In a warm haze the sultry light
Is absorbed, not refracted, by grey stone.
The dahlias sleep in the empty silence.
Wait for the early owl.
In that open field
If you do not come too close, if you do not come too close,
On a summer midnight, you can hear the music
Of the weak pipe and the little drum
And see them dancing around the bonfire
The association of man and woman
In daunsinge, signifying matrimonie—
A dignified and commodiois sacrament.
Two and two, necessarye coniunction,
Holding eche other by the hand or the arm
Whiche betokeneth concorde.
Round and round the fire
Leaping through the flames, or joined in circles,
Rustically solemn or in rustic laughter
Lifting heavy feet in clumsy shoes,
Earth feet, loam feet, lifted in country mirth
Mirth of those long since under earth
Nourishing the corn.
Keeping time,
Keeping the rhythm in their dancing
As in their living in the living seasons
The time of the seasons and the constellations
The time of milking and the time of harvest
The time of the coupling of man and woman
And that of beasts.
Feet rising and falling.
Eating and drinking.
Dung and death.
Dawn points, and another day
Prepares for heat and silence.
Out at sea the dawn wind
Wrinkles and slides.
I am here
Or there, or elsewhere.
In my beginning.
II
What is the late November doing
With the disturbance of the spring
And creatures of the summer heat,
And snowdrops writhing under feet
And hollyhocks that aim too high
Red into grey and tumble down
Late roses filled with early snow?
Thunder rolled by the rolling stars
Simulates triumphal cars
Deployed in constellated wars
Scorpion fights against the Sun
Until the Sun and Moon go down
Comets weep and Leonids fly
Hunt the heavens and the plains
Whirled in a vortex that shall bring
The world to that destructive fire
Which burns before the ice-cap reigns.
That was a way of putting it—not very satisfactory:
A periphrastic study in a worn-out poetical fashion,
Leaving one still with the intolerable wrestle
With words and meanings.
The poetry does not matter.
It was not (to start again) what one had expected.
What was to be the value of the long looked forward to,
Long hoped for calm, the autumnal serenity
And the wisdom of age? Had they deceived us
Or deceived themselves, the quiet-voiced elders,
Bequeathing us merely a receipt for deceit?
The serenity only a deliberate hebetude,
The wisdom only the knowledge of dead secrets
Useless in the darkness into which they peered
Or from which they turned their eyes.
There is, it seems to us,
At best, only a limited value
In the knowledge derived from experience.
The knowledge imposes a pattern, and falsifies,
For the pattern is new in every moment
And every moment is a new and shocking
Valuation of all we have been.
We are only undeceived
Of that which, deceiving, could no longer harm.
In the middle, not only in the middle of the way
But all the way, in a dark wood, in a bramble,
On the edge of a grimpen, where is no secure foothold,
And menaced by monsters, fancy lights,
Risking enchantment.
Do not let me hear
Of the wisdom of old men, but rather of their folly,
Their fear of fear and frenzy, their fear of possession,
Of belonging to another, or to others, or to God.
The only wisdom we can hope to acquire
Is the wisdom of humility: humility is endless.
The houses are all gone under the sea.
The dancers are all gone under the hill.
III
O dark dark dark.
They all go into the dark,
The vacant interstellar spaces, the vacant into the vacant,
The captains, merchant bankers, eminent men of letters,
The generous patrons of art, the statesmen and the rulers,
Distinguished civil servants, chairmen of many committees,
Industrial lords and petty contractors, all go into the dark,
And dark the Sun and Moon, and the Almanach de Gotha
And the Stock Exchange Gazette, the Directory of Directors,
And cold the sense and lost the motive of action.
And we all go with them, into the silent funeral,
Nobody's funeral, for there is no one to bury.
I said to my soul, be still, and let the dark come upon you
Which shall be the darkness of God.
As, in a theatre,
The lights are extinguished, for the scene to be changed
With a hollow rumble of wings, with a movement of darkness on darkness,
And we know that the hills and the trees, the distant panorama
And the bold imposing façade are all being rolled away—
Or as, when an underground train, in the tube, stops too long between stations
And the conversation rises and slowly fades into silence
And you see behind every face the mental emptiness deepen
Leaving only the growing terror of nothing to think about;
Or when, under ether, the mind is conscious but conscious of nothing—
I said to my soul, be still, and wait without hope
For hope would be hope for the wrong thing; wait without love,
For love would be love of the wrong thing; there is yet faith
But the faith and the love and the hope are all in the waiting.
Wait without thought, for you are not ready for thought:
So the darkness shall be the light, and the stillness the dancing.
Whisper of running streams, and winter lightning.
The wild thyme unseen and the wild strawberry,
The laughter in the garden, echoed ecstasy
Not lost, but requiring, pointing to the agony
Of death and birth.
You say I am repeating
Something I have said before.
I shall say it again.
Shall I say it again? In order to arrive there,
To arrive where you are, to get from where you are not,
You must go by a way wherein there is no ecstasy.
In order to arrive at what you do not know
You must go by a way which is the way of ignorance.
In order to possess what you do not possess
You must go by the way of dispossession.
In order to arrive at what you are not
You must go through the way in which you are not.
And what you do not know is the only thing you know
And what you own is what you do not own
And where you are is where you are not.
IV
The wounded surgeon plies the steel
That questions the distempered part;
Beneath the bleeding hands we feel
The sharp compassion of the healer's art
Resolving the enigma of the fever chart.
Our only health is the disease
If we obey the dying nurse
Whose constant care is not to please
But to remind of our, and Adam's curse,
And that, to be restored, our sickness must grow worse.
The whole earth is our hospital
Endowed by the ruined millionaire,
Wherein, if we do well, we shall
Die of the absolute paternal care
That will not leave us, but prevents us everywhere.
The chill ascends from feet to knees,
The fever sings in mental wires.
If to be warmed, then I must freeze
And quake in frigid purgatorial fires
Of which the flame is roses, and the smoke is briars.
The dripping blood our only drink,
The bloody flesh our only food:
In spite of which we like to think
That we are sound, substantial flesh and blood—
Again, in spite of that, we call this Friday good.
V
So here I am, in the middle way, having had twenty years—
Twenty years largely wasted, the years of l'entre deux guerres
Trying to use words, and every attempt
Is a wholly new start, and a different kind of failure
Because one has only learnt to get the better of words
For the thing one no longer has to say, or the way in which
One is no longer disposed to say it.
And so each venture
Is a new beginning, a raid on the inarticulate
With shabby equipment always deteriorating
In the general mess of imprecision of feeling,
Undisciplined squads of emotion.
And what there is to conquer
By strength and submission, has already been discovered
Once or twice, or several times, by men whom one cannot hope
To emulate—but there is no competition—
There is only the fight to recover what has been lost
And found and lost again and again: and now, under conditions
That seem unpropitious.
But perhaps neither gain nor loss.
For us, there is only the trying.
The rest is not our business.
Home is where one starts from.
As we grow older
The world becomes stranger, the pattern more complicated
Of dead and living.
Not the intense moment
Isolated, with no before and after,
But a lifetime burning in every moment
And not the lifetime of one man only
But of old stones that cannot be deciphered.
There is a time for the evening under starlight,
A time for the evening under lamplight
(The evening with the photograph album).
Love is most nearly itself
When here and now cease to matter.
Old men ought to be explorers
Here or there does not matter
We must be still and still moving
Into another intensity
For a further union, a deeper communion
Through the dark cold and the empty desolation,
The wave cry, the wind cry, the vast waters
Of the petrel and the porpoise.
In my end is my beginning.
|
Written by
Robert William Service |
No man can be a failure if he thinks he's a success;
he may not own his roof-tree overhead,
He may be on his uppers and have hocked his evening dress -
(Financially speaking - in the red)
He may have chronic shortage to repay the old home mortgage,
And almost be a bankrupt in his biz.
,
But though he skips his dinner,
And each day he's growing thinner,
If he thinks he is a winner,
Then he is.
But when I say Success I mean the sublimated kind;
A man may gain it yet be on the dole.
To me it's music of the heart and sunshine of the mind,
Serenity and sweetness of the soul.
You may not have a brace of bucks to jingle in your jeans,
Far less the dough to buy a motor car;
But though the row you're hoeing
May be grim, ungodly going,
If you think the skies are glowing -
Then they are.
For a poor man may be wealthy and a millionaire may fail,
It all depends upon the point of view.
It's the sterling of your spirit tips the balance of the scale,
It's optimism, and it's up to you.
For what I figure as success is simple Happiness,
The consummate contentment of your mood:
You may toil with brain and sinew,
And though little wealth is win you,
If there's health and hope within you -
You've made good.
|
Written by
Czeslaw Milosz |
When everything was fine
And the notion of sin had vanished
And the earth was ready
In universal peace
To consume and rejoice
Without creeds and utopias,
I, for unknown reasons,
Surrounded by the books
Of prophets and theologians,
Of philosophers, poets,
Searched for an answer,
Scowling, grimacing,
Waking up at night, muttering at dawn.
What oppressed me so much
Was a bit shameful.
Talking of it aloud
Would show neither tact nor prudence.
It might even seem an outrage
Against the health of mankind.
Alas, my memory
Does not want to leave me
And in it, live beings
Each with its own pain,
Each with its own dying,
Its own trepidation.
Why then innocence
On paradisal beaches,
An impeccable sky
Over the church of hygiene?
Is it because that
Was long ago?
To a saintly man
--So goes an Arab tale--
God said somewhat maliciously:
"Had I revealed to people
How great a sinner you are,
They could not praise you.
"
"And I," answered the pious one,
"Had I unveiled to them
How merciful you are,
They would not care for you.
"
To whom should I turn
With that affair so dark
Of pain and also guilt
In the structure of the world,
If either here below
Or over there on high
No power can abolish
The cause and the effect?
Don't think, don't remember
The death on the cross,
Though everyday He dies,
The only one, all-loving,
Who without any need
Consented and allowed
To exist all that is,
Including nails of torture.
Totally enigmatic.
Impossibly intricate.
Better to stop speech here.
This language is not for people.
Blessed be jubilation.
Vintages and harvests.
Even if not everyone
Is granted serenity.
|
Written by
Robert William Service |
You ask me what I call Success -
It is, I wonder, Happiness?
It is not wealth, it is not fame,
Nor rank, nor power nor honoured name.
It is not triumph in the Arts -
Best-selling books or leading parts.
It is not plaudits of the crowd,
The flame of flags, processions proud.
The panegyrics of the Press
are but the mirage of Success.
You may have all of them, my friend,
Yet be a failure in the end.
I've know proud Presidents of banks
Who've fought their way up from the ranks,
And party leaders of renown
Who played as boys in Shantytown.
Strong, self-made men, yet seek to trace
Benignity in any face;
Grim purpose, mastery maybe,
Yet never sweet serenity;
Never contentment, thoughts that bless -
That mellow joy I deem Success.
The haply seek some humble hearth,
Quite poor in goods yet rich in mirth,
And see a man of common clay
Watching his little ones at play;
A laughing fellow full of cheer,
Health, strength and faith that mocks at fear;
Who for his happiness relies
On joys he lights in other eyes;
He loves his home and envies none.
.
.
.
Who happier beneath the sun?
Aye, though he walk in lowly ways,
Shining Success has crowned his days.
|
Written by
Thomas Hardy |
Thy shadow, Earth, from Pole to Central Sea,
Now steals along upon the Moon's meek shine
In even monochrome and curving line
Of imperturbable serenity.
How shall I link such sun-cast symmetry
With the torn troubled form I know as thine,
That profile, placid as a brow divine,
With continents of moil and misery?
And can immense Mortality but throw
So small a shade, and Heaven's high human scheme
Be hemmed within the coasts yon arc implies?
Is such the stellar gauge of earthly show,
Nation at war with nation, brains that teem,
Heroes, and women fairer than the skies?
|
Written by
Kahlil Gibran |
And the priestess spoke again and said: "Speak to us of Reason and Passion.
"
And he answered saying:
Your soul is oftentimes a battlefield, upon which your reason and your judgment wage war against passion and your appetite.
Would that I could be the peacemaker in your soul, that I might turn the discord and the rivalry of your elements into oneness and melody.
But how shall I, unless you yourselves be also the peacemakers, nay, the lovers of all your elements?
Your reason and your passion are the rudder and the sails of your seafaring soul.
If either your sails or our rudder be broken, you can but toss and drift, or else be held at a standstill in mid-seas.
For reason, ruling alone, is a force confining; and passion, unattended, is a flame that burns to its own destruction.
Therefore let your soul exalt your reason to the height of passion; that it may sing;
And let it direct your passion with reason, that your passion may live through its own daily resurrection, and like the phoenix rise above its own ashes.
I would have you consider your judgment and your appetite even as you would two loved guests in your house.
Surely you would not honour one guest above the other; for he who is more mindful of one loses the love and the faith of both.
Among the hills, when you sit in the cool shade of the white poplars, sharing the peace and serenity of distant fields and meadows - then let your heart say in silence, "God rests in reason.
"
And when the storm comes, and the mighty wind shakes the forest, and thunder and lightning proclaim the majesty of the sky, - then let your heart say in awe, "God moves in passion.
"
And since you are a breath In God's sphere, and a leaf in God's forest, you too should rest in reason and move in passion.
|
Written by
Edward Taylor |
The common is unusually calm--they captured the storm
last night, it's sleeping in the stockade, relieved
of its duty, pacified, tamed, a pussycat.
But not before it tied the flagpole in knots,
and not before it alarmed the firemen out of their pants.
Now it's really calm, almost too calm, as though
anything could happen, and it would be a first.
It could be the worst thing that ever happened.
All the little rodents are sitting up and counting
their nuts.
What if nothing ever happened again?
Would there be enough to "eke out an existence,"
as they say? I wish "they" were here now, kicking
up a little dust, mussing my hair, taunting me
with weird syllogisms.
Instead, these are the windless,
halcyon days.
The lull dispassion is upon us.
Serenity has triumphed in its mindless, atrophied way.
A school of Stoics walks by, eager, in its phlegmatic way,
to observe human degradation, lust and debauchery
at close quarters.
They are disappointed,
but it barely shows on their faces.
They are late Stoa,
very late.
They missed the bus.
They should have
been here last night.
The joint was jumping.
But people change, they grow up, they fly around.
It's the same old story, but I don't remember it.
It's a tale of gore and glory, but we had to leave.
It could have turned out differently, and it did.
I feel much the same way about the city of Pompeii.
A police officer with a poodle cut squirts his gun
at me for saying that, and it's still just barely
possible that I didn't, and the clock is running
out on his sort of behavior.
I'm napping in a wigwam
as I write this, near Amity Street, which is buried
under fifteen feet of ashes and cinders and rocks.
Moss and a certain herblike creature are beginning to
whisper nearby.
I am beside myself, peering down,
senselessly, since, for us, in space, there is
neither above nor below; and thus the expression
"He is being nibbled to death by ducks" shines
with such style, such poise, and reserve,
a beautiful, puissant form and a lucid thought.
To which I reply "It is time we had our teeth examined
by a dentist.
" So said James the Lesser to James the More.
|
Written by
Rainer Maria Rilke |
That some day, emerging at last from the terrifying vision
I may burst into jubilant praise to assenting angels!
That of the clear-struck keys of the heart not one may fail
to sound because of a loose, doubtful or broken string!
That my streaming countenance may make me more resplendent
That my humble weeping change into blossoms.
Oh, how will you then, nights of suffering, be remembered
with love.
Why did I not kneel more fervently, disconsolate
sisters, more bendingly kneel to receive you, more loosely
surrender myself to your loosened hair? We, squanderers of
gazing beyond them to judge the end of their duration.
They are only our winter's foliage, our sombre evergreen,
one of the seasons of our interior year, -not only season,
but place, settlement, camp, soil and dwelling.
How woeful, strange, are the alleys of the City of Pain,
where in the false silence created from too much noise,
a thing cast out from the mold of emptiness
swaggers that gilded hubbub, the bursting memorial.
Oh, how completely an angel would stamp out their market
of solace, bounded by the church, bought ready for use:
as clean, disappointing and closed as a post office on Sunday.
Farther out, though, there are always the rippling edges
of the fair.
Seasaws of freedom! High-divers and jugglers of zeal!
And the shooting-gallery's targets of bedizened happiness:
targets tumbling in tinny contortions whenever some better
marksman happens to hit one.
From cheers to chance he goes
staggering on, as booths that can please the most curious tastes
are drumming and bawling.
For adults ony there is something
special to see: how money multiplies.
Anatomy made amusing!
Money's organs on view! Nothing concealed! Instructive,
and guaranteed to increase fertility!.
.
.
Oh, and then outside,
behind the farthest billboard, pasted with posters for 'Deathless,'
that bitter beer tasting quite sweet to drinkers,
if they chew fresh diversions with it.
.
Behind the billboard, just in back of it, life is real.
Children play, and lovers hold each other, -aside,
earnestly, in the trampled grass, and dogs respond to nature.
The youth continues onward; perhaps he is in love with
a young Lament.
.
.
.
he follows her into the meadows.
She says: the way is long.
We live out there.
.
.
.
Where? And the youth
follows.
He is touched by her gentle bearing.
The shoulders,
the neck, -perhaps she is of noble ancestry?
Yet he leaves her, turns around, looks back and waves.
.
.
What could come of it? She is a Lament.
Only those who died young, in their first state of
timeless serenity, while they are being weaned,
follow her lovingly.
She waits for girls
and befriends them.
Gently she shows them
what she is wearing.
Pearls of grief
and the fine-spun veils of patience.
-
With youths she walks in silence.
But there, where they live, in the valley,
an elderly Lament responds to the youth as he asks:-
We were once, she says, a great race, we Laments.
Our fathers worked the mines up there in the mountains;
sometimes among men you will find a piece of polished
primeval pain, or a petrified slag from an ancient volcano.
Yes, that came from there.
Once we were rich.
-
And she leads him gently through the vast landscape
of Lamentation, shows him the columns of temples,
the ruins of strongholds from which long ago
the princes of Lament wisely governed the country.
Shows him the tall trees of tears,
the fields of flowering sadness,
(the living know them only as softest foliage);
show him the beasts of mourning, grazing-
and sometimes a startled bird, flying straight through
their field of vision, far away traces the image of its
solitary cry.
-
At evening she leads him to the graves of elders
of the race of Lamentation, the sybils and prophets.
With night approaching, they move more softly,
and soon there looms ahead, bathed in moonlight,
the sepulcher, that all-guarding ancient stone,
Twin-brother to that on the Nile, the lofty Sphinx-:
the silent chamber's countenance.
They marvel at the regal head that has, forever silent,
laid the features of manking upon the scales of the stars.
His sight, still blinded by his early death,
cannot grasp it.
But the Sphinx's gaze
frightens an owl from the rim of the double-crown.
The bird, with slow down-strokes, brushes
along the cheek, that with the roundest curve,
and faintly inscribes on the new death-born hearing,
as though on the double page of an opened book,
the indescribable outline.
And higher up, the stars.
New ones.
Stars
of the land of pain.
Slowly she names them:
"There, look: the Rider ,the Staff,and that
crowded constellation they call the the Garland of Fruit.
Then farther up toward the Pole:
Cradle, Way, the Burning Book, Doll, Window.
And in the Southern sky, pure as lines
on the palm of a blessed hand, the clear sparkling M,
standing for Mothers.
.
.
.
.
"
Yet the dead youth must go on alone.
In silence the elder Lament brings him
as far as the gorge where it shimmers in the moonlight:
The Foutainhead of Joy.
With reverance she names it,
saying: "In the world of mankind it is a life-bearing stream.
"
They reach the foothills of the mountain,
and there she embraces him, weeping.
Alone, he climbs the mountains of primeval pain.
Not even his footsteps ring from this soundless fate.
But were these timeless dead to awaken an image for us,
see, they might be pointing to th catkins, hanging
from the leafless hazels, or else they might mean
the rain that falls upon the dark earth in early Spring.
And we, who always think
of happiness as rising feel the emotion
that almost overwhelms us
whenever a happy thing falls.
|
Written by
Francesco Petrarch |
SONNET CLIX.
Stiamo, Amor, a veder la gloria nostra.
TO LOVE, ON LAURA WALKING ABROAD.
Here stand we, Love, our glory to behold—
How, passing Nature, lovely, high, and rare!
Behold! what showers of sweetness falling there!
What floods of light by heaven to earth unroll'd!
How shine her robes, in purple, pearls, and gold,
So richly wrought, with skill beyond compare!
How glance her feet!—her beaming eyes how fair
Through the dark cloister which these hills enfold!
The verdant turf, and flowers of thousand hues
Beneath yon oak's old canopy of state,
Spring round her feet to pay their amorous duty.
The heavens, in joyful reverence, cannot choose
But light up all their fires, to celebrate
Her praise, whose presence charms their awful beauty.
Merivale.
Here tarry, Love, our glory to behold;
Nought in creation so sublime we trace;
Ah! see what sweetness showers upon that face,
Heaven's brightness to this earth those eyes unfold!
See, with what magic art, pearls, purple, gold,
That form transcendant, unexampled, grace:
Beneath the shadowing hills observe her pace,
Her glance replete with elegance untold!
The verdant turf, and flowers of every hue,
Clustering beneath yon aged holm-oak's gloom,
For the sweet pressure of her fair feet sue;
The orbs of fire that stud yon beauteous sky,
Cheer'd by her presence and her smiles, assume
Superior lustre and serenity.
Nott.
|