Written by
John Greenleaf Whittier |
In the outskirts of the village
On the river's winding shores
Stand the Occidental plane-trees,
Stand the ancient sycamores.
One long century hath been numbered,
And another half-way told
Since the rustic Irish gleeman
Broke for them the virgin mould.
Deftly set to Celtic music
At his violin's sound they grew,
Through the moonlit eves of summer,
Making Amphion's fable true.
Rise again, thou poor Hugh Tallant!
Pass in erkin green along
With thy eyes brim full of laughter,
And thy mouth as full of song.
Pioneer of Erin's outcasts
With his fiddle and his pack-
Little dreamed the village Saxons
Of the myriads at his back.
How he wrought with spade and fiddle,
Delved by day and sang by night,
With a hand that never wearied
And a heart forever light,---
Still the gay tradition mingles
With a record grave and drear
Like the rollic air of Cluny
With the solemn march of Mear.
When the box-tree, white with blossoms,
Made the sweet May woodlands glad,
And the Aronia by the river
Lighted up the swarming shad,
And the bulging nets swept shoreward
With their silver-sided haul,
Midst the shouts of dripping fishers,
He was merriest of them all.
When, among the jovial huskers
Love stole in at Labor's side
With the lusty airs of England
Soft his Celtic measures vied.
Songs of love and wailing lyke-wake
And the merry fair's carouse;
Of the wild Red Fox of Erin
And the Woman of Three Cows,
By the blazing hearths of winter
Pleasant seemed his simple tales,
Midst the grimmer Yorkshire legends
And the mountain myths of Wales.
How the souls in Purgatory
Scrambled up from fate forlorn
On St. Keven's sackcloth ladder
Slyly hitched to Satan's horn.
Of the fiddler who at Tara
Played all night to ghosts of kings;
Of the brown dwarfs, and the fairies
Dancing in their moorland rings!
Jolliest of our birds of singing
Best he loved the Bob-o-link.
"Hush!" he'd say, "the tipsy fairies!
Hear the little folks in drink!"
Merry-faced, with spade and fiddle,
Singing through the ancient town,
Only this, of poor Hugh Tallant
Hath Tradtion handed down.
Not a stone his grave discloses;
But if yet his spirit walks
Tis beneath the trees he planted
And when Bob-o-Lincoln talks.
Green memorials of the gleeman!
Linking still the river-shores,
With their shadows cast by sunset
Stand Hugh Tallant's sycamores!
When the Father of his Country
Through the north-land riding came
And the roofs were starred with banners,
And the steeples rang acclaim,---
When each war-scarred Continental
Leaving smithy, mill,.and farm,
Waved his rusted sword in welcome,
And shot off his old king's-arm,---
Slowly passed that august Presence
Down the thronged and shouting street;
Village girls as white as angels
Scattering flowers around his feet.
Midway, where the plane-tree's shadow
Deepest fell, his rein he drew:
On his stately head, uncovered,
Cool and soft the west-wind blew.
And he stood up in his stirrups,
Looking up and looking down
On the hills of Gold and Silver
Rimming round the little town,---
On the river, full of sunshine,
To the lap of greenest vales
Winding down from wooded headlands,
Willow-skirted, white with sails.
And he said, the landscape sweeping
Slowly with his ungloved hand
"I have seen no prospect fairer
In this goodly Eastern land."
Then the bugles of his escort
Stirred to life the cavalcade:
And that head, so bare and stately
Vanished down the depths of shade.
Ever since, in town and farm-house,
Life has had its ebb and flow;
Thrice hath passed the human harvest
To its garner green and low.
But the trees the gleeman planted,
Through the changes, changeless stand;
As the marble calm of Tadmor
Mocks the deserts shifting sand.
Still the level moon at rising
Silvers o'er each stately shaft;
Still beneath them, half in shadow,
Singing, glides the pleasure craft;
Still beneath them, arm-enfolded,
Love and Youth together stray;
While, as heart to heart beats faster,
More and more their feet delay.
Where the ancient cobbler, Keezar,
On the open hillside justice wrought,
Singing, as he drew his stitches,
Songs his German masters taught.
Singing, with his gray hair floating
Round a rosy ample face,---
Now a thousand Saxon craftsmen
Stitch and hammer in his place.
All the pastoral lanes so grassy
Now are Traffic's dusty streets;
From the village, grown a city,
Fast the rural grace retreats.
But, still green and tall and stately,
On the river's winding shores,
Stand the occidental plane-trees,
Stand Hugh Tallant's sycamores.
|
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.
|
Written by
Dylan Thomas |
From love's first fever to her plague, from the soft second
And to the hollow minute of the womb,
From the unfolding to the scissored caul,
The time for breast and the green apron age
When no mouth stirred about the hanging famine,
All world was one, one windy nothing,
My world was christened in a stream of milk.
And earth and sky were as one airy hill.
The sun and mood shed one white light.
From the first print of the unshodden foot, the lifting
Hand, the breaking of the hair,
From the first scent of the heart, the warning ghost,
And to the first dumb wonder at the flesh,
The sun was red, the moon was grey,
The earth and sky were as two mountains meeting.
The body prospered, teeth in the marrowed gums,
The growing bones, the rumour of the manseed
Within the hallowed gland, blood blessed the heart,
And the four winds, that had long blown as one,
Shone in my ears the light of sound,
Called in my eyes the sound of light.
And yellow was the multiplying sand,
Each golden grain spat life into its fellow,
Green was the singing house.
The plum my mother picked matured slowly,
The boy she dropped from darkness at her side
Into the sided lap of light grew strong,
Was muscled, matted, wise to the crying thigh,
And to the voice that, like a voice of hunger,
Itched in the noise of wind and sun.
And from the first declension of the flesh
I learnt man's tongue, to twist the shapes of thoughts
Into the stony idiom of the brain,
To shade and knit anew the patch of words
Left by the dead who, in their moonless acre,
Need no word's warmth.
The root of tongues ends in a spentout cancer,
That but a name, where maggots have their X.
I learnt the verbs of will, and had my secret;
The code of night tapped on my tongue;
What had been one was many sounding minded.
One wound, one mind, spewed out the matter,
One breast gave suck the fever's issue;
From the divorcing sky I learnt the double,
The two-framed globe that spun into a score;
A million minds gave suck to such a bud
As forks my eye;
Youth did condense; the tears of spring
Dissolved in summer and the hundred seasons;
One sun, one manna, warmed and fed.
|
Written by
Robert Graves |
(For D. C. T., Killed at Fricourt, March, 1916)
Yet once an earlier David took
Smooth pebbles from the brook:
Out between the lines he went
To that one-sided tournament,
A shepherd boy who stood out fine
And young to fight a Philistine
Clad all in brazen mail. He swears
That he’s killed lions, he’s killed bears,
And those that scorn the God of Zion
Shall perish so like bear or lion.
But … the historian of that fight
Had not the heart to tell it right.
Striding within javelin range,
Goliath marvels at this strange
Goodly-faced boy so proud of strength.
David’s clear eye measures the length;
With hand thrust back, he cramps one knee,
Poises a moment thoughtfully,
And hurls with a long vengeful swing.
The pebble, humming from the sling
Like a wild bee, flies a sure line
For the forehead of the Philistine;
Then … but there comes a brazen clink,
And quicker than a man can think
Goliath’s shield parries each cast.
Clang! clang! and clang! was David’s last.
Scorn blazes in the Giant’s eye,
Towering unhurt six cubits high.
Says foolish David, “Damn your shield!
And damn my sling! but I’ll not yield.”
He takes his staff of Mamre oak,
A knotted shepherd-staff that’s broke
The skull of many a wolf and fox
Come filching lambs from Jesse’s flocks.
Loud laughs Goliath, and that laugh
Can scatter chariots like blown chaff
To rout; but David, calm and brave,
Holds his ground, for God will save.
Steel crosses wood, a flash, and oh!
Shame for beauty’s overthrow! 40
(God’s eyes are dim, His ears are shut.)
One cruel backhand sabre-cut—
“I’m hit! I’m killed!” young David cries,
Throws blindly forward, chokes … and dies.
And look, spike-helmeted, grey, grim,
Goliath straddles over him.
|
Written by
Sylvia Plath |
Pocket watch, I tick well.
The streets are lizardly crevices
Sheer-sided, with holes where to hide.
It is best to meet in a cul-de-sac,
A palace of velvet
With windows of mirrors.
There one is safe,
There are no family photographs,
No rings through the nose, no cries.
Bright fish hooks, the smiles of women
Gulp at my bulk
And I, in my snazzy blacks,
Mill a litter of breasts like jellyfish.
To nourish
The cellos of moans I eat eggs --
Eggs and fish, the essentials,
The aphrodisiac squid.
My mouth sags,
The mouth of Christ
When my engine reaches the end of it.
The tattle of my
Gold joints, my way of turning
Bitches to ripples of silver
Rolls out a carpet, a hush.
And there is no end, no end of it.
I shall never grow old. New oysters
Shriek in the sea and I
Glitter like Fontainebleu
Gratified,
All the fall of water an eye
Over whose pool I tenderly
Lean and see me.
|
Written by
Sylvia Plath |
A smile fell in the grass.
Irretrievable!
And how will your night dances
Lose themselves. In mathematics?
Such pure leaps and spirals ----
Surely they travel
The world forever, I shall not entirely
Sit emptied of beauties, the gift
Of your small breath, the drenched grass
Smell of your sleeps, lilies, lilies.
Their flesh bears no relation.
Cold folds of ego, the calla,
And the tiger, embellishing itself ----
Spots, and a spread of hot petals.
The comets
Have such a space to cross,
Such coldness, forgetfulness.
So your gestures flake off ----
Warm and human, then their pink light
Bleeding and peeling
Through the black amnesias of heaven.
Why am I given
These lamps, these planets
Falling like blessings, like flakes
Six sided, white
On my eyes, my lips, my hair
Touching and melting.
Nowhere.
|
Written by
Amy Lowell |
Cross-hatchings of rain against grey walls,
Slant lines of black rain
In front of the up and down, wet stone sides of buildings.
Below,
Greasy, shiny, black, horizontal,
The street.
And over it, umbrellas,
Black polished dots
Struck to white
An instant,
Stream in two flat lines
Slipping past each other with the smoothness of oil.
Like a four-sided wedge
The Custom House Tower
Pokes at the low, flat sky,
Pushing it farther and farther up,
Lifting it away from the house-tops,
Lifting it in one piece as though it were a sheet of tin,
With the lever of its apex.
The cross-hatchings of rain cut the Tower obliquely,
Scratching lines of black wire across it,
Mutilating its perpendicular grey surface
With the sharp precision of tools.
The city is rigid with straight lines and angles,
A chequered table of blacks and greys.
Oblong blocks of flatness
Crawl by with low-geared engines,
And pass to short upright squares
Shrinking with distance.
A steamer in the basin blows its whistle,
And the sound shoots across the rain hatchings,
A narrow, level bar of steel.
Hard cubes of lemon
Superimpose themselves upon the fronts of buildings
As the windows light up.
But the lemon cubes are edged with angles
Upon which they cannot impinge.
Up, straight, down, straight -- square.
Crumpled grey-white papers
Blow along the side-walks,
Contorted, horrible,
Without curves.
A horse steps in a puddle,
And white, glaring water spurts up
In stiff, outflaring lines,
Like the rattling stems of reeds.
The city is heraldic with angles,
A sombre escutcheon of argent and sable
And countercoloured bends of rain
Hung over a four-square civilization.
When a street lamp comes out,
I gaze at it for fully thirty seconds
To rest my brain with the suffusing, round brilliance of its globe.
|
Written by
Rudyard Kipling |
Much I owe to the Lands that grew--
More to the Lives that fed--
But most to Allah Who gave me two
Separate sides to my head.
Much I reflect on the Good and the True
In the Faiths beneath the sun,
But most to Allah Who gave me two
Sides to my head, not one.
Wesley's following, Calvin's flock,
White or yellow or bronze,
Shaman, Ju-ju or Angekok,
Minister, Mukamuk, Bonze--
Here is a health, my brothers, to you,
However your prayers are said,
And praised be Allah Who gave me two
Separate sides to my head!
I would go without shirt or shoe,
Friend, tobacco or bread,
Sooner than lose for a minute the two
Separate sides of my head!
|
Written by
Henry Van Dyke |
I
Lover of beauty, walking on the height
Of pure philosophy and tranquil song;
Born to behold the visions that belong
To those who dwell in melody and light;
Milton, thou spirit delicate and bright!
What drew thee down to join the Roundhead throng
Of iron-sided warriors, rude and strong,
Fighting for freedom in a world half night?
Lover of Liberty at heart wast thou,
Above all beauty bright, all music clear:
To thee she bared her bosom and her brow,
Breathing her virgin promise in thine ear,
And bound thee to her with a double vow, --
Exquisite Puritan, grave Cavalier!
II
The cause, the cause for which thy soul resigned
Her singing robes to battle on the plain,
Was won, O poet, and was lost again;
And lost the labour of thy lonely mind
On weary tasks of prose. What wilt thou find
To comfort thee for all the toil and pain?
What solace, now thy sacrifice is vain
And thou art left forsaken, poor, and blind?
Like organ-music comes the deep reply:
"The cause of truth looks lost, but shall be won.
For God hath given to mine inward eye
Vision of England soaring to the sun.
And granted me great peace before I die,
In thoughts of lowly duty bravely done."
III
O bend again above thine organ-board,
Thou blind old poet longing for repose!
Thy Master claims thy service not with those
Who only stand and wait for his reward.
He pours the heavenly gift of song restored
Into thy breast, and bids thee nobly close
A noble life, with poetry that flows
In mighty music of the major chord.
Where hast thou learned this deep, majestic strain,
Surpassing all thy youthful lyric grace,
To sing of Paradise? Ah, not in vain
The griefs that won at Dante's side thy place,
And made thee, Milton, by thy years of pain,
The loftiest poet of the Saxon race!
|
Written by
Edgar Lee Masters |
Reverend Wiley advised me not to divorce him
For the sake of the children,
And Judge Somers advised him the same.
So we stuck to the end of the path.
But two of the children thought he was right,
And two of the children thought I was right.
And the two who sided with him blamed me,
And the two who sided with me blamed him,
And they grieved for the one they sided with.
And all were torn with the guilt of judging,
And tortured in soul because they could not admire
Equally him and me.
Now every gardener knows that plants grown in cellars
Or under stones are twisted and yellow and weak.
And no mother would let her baby suck
Diseased milk from her breast.
Yet preachers and judges advise the raising of souls
Where there is no sunlight, but only twilight,
No warmth, but only dampness and cold --
Preachers and judges!
|