Written by
John Masefield |
We were schooner-rigged and rakish,
with a long and lissome hull,
And we flew the pretty colours of the crossbones and the skull;
We'd a big black Jolly Roger flapping grimly at the fore,
And we sailed the Spanish Water in the happy days of yore.
We'd a long brass gun amidships, like a well-conducted ship,
We had each a brace of pistols and a cutlass at the hip;
It's a point which tells against us, and a fact to be deplored,
But we chased the goodly merchant-men and laid their ships aboard.
Then the dead men fouled the scuppers and the wounded filled the chains,
And the paint-work all was spatter dashed with other peoples brains,
She was boarded, she was looted, she was scuttled till she sank.
And the pale survivors left us by the medium of the plank.
O! then it was (while standing by the taffrail on the poop)
We could hear the drowning folk lament the absent chicken coop;
Then, having washed the blood away, we'd little else to do
Than to dance a quiet hornpipe as the old salts taught us to.
O! the fiddle on the fo'c'sle, and the slapping naked soles,
And the genial "Down the middle, Jake, and curtsey when she rolls!"
With the silver seas around us and the pale moon overhead,
And the look-out not a-looking and his pipe-bowl glowing red.
Ah! the pig-tailed, quidding pirates and the pretty pranks we played,
All have since been put a stop to by the naughty Board of Trade;
The schooners and the merry crews are laid away to rest,
A little south the sunset in the islands of the Blest.
|
Written by
Delmira Agustini |
Spanish –Eros: acaso no sentiste nuncaPiedad de las estatuas?Se dirían crisálidas de piedraDe yo no sé qué formidable razaEn una eterna espera inenarrable.
Los cráteres dormidos de sus bocasDan la ceniza negra del Silencio,Mana de las columnas de sus hombrosLa mortaja copiosa de la CalmaY fluye de sus órbitas la noche;Victimas del Futuro o del Misterio,En capullos terribles y magníficosEsperan a la Vida o a la Muerte.
Eros: acaso no sentiste nuncaPiedad de las estatuas?– Piedad para las vidasQue no doran a fuego tus bonanzasNi riegan o desgajan tus tormentas;Piedad para los cuerpos revestidosDel armiño solemne de la Calma,Y las frentes en luz que sobrellevanGrandes lirios marmóreos de pureza,Pesados y glaciales como témpanos;Piedad para las manos enguantadasDe hielo, que no arrancanLos frutos deleitosos de la CarneNi las flores fantásticas del alma;Piedad para los ojos que aleteanEspirituales párpados:Escamas de misterio,Negros telones de visiones rosas…Nunca ven nada por mirar tan lejos! Piedad para las pulcras cabelleras–Misticas aureolas–Peinadas como lagosQue nunca airea el abanico *****,***** y enorme de la tempestad;Piedad para los ínclitos espiritusTallados en diamante,Altos, claros, extáticosPararrayos de cúpulas morales;Piedad para los labios como engarcesCelestes donde fulgeInvisible la perla de la Hostia;–Labios que nunca fueron,Que no apresaron nuncaUn vampiro de fuegoCon más sed y más hambre que un abismo.
–Piedad para los sexos sacrosantosQue acoraza de unaHoja de viña astral la Castidad;Piedad para las plantas imantadasDe eternidad que arrastranPor el eterno azurLas sandalias quemantes de sus llagas;Piedad, piedad, piedadPara todas las vidas que defiendeDe tus maravillosas intemperiesEl mirador enhiesto del Orgullo;Apuntales tus soles o tus rayos!Eros: acaso no sentiste nuncaPiedad de las estatuas?… English –Eros: have you never feltPiety for the statues?These chrysalides of stone,Some formidable raceIn an eternal, unutterable hope.
The sleeping craters of their mouthsUtter the black ash of silence;A copious shroud of CalmFalls from the columns of their arms,And night flows from their eyesockets;Victims of Destiny or Mystery,In magnificent and terrible cocoons,They wait for Life or Death.
Eros: have you never perhaps feltPiety for the statues? Piety for the livesThat will not strew nor rend your battlesNor gild your fiery truces;Piety for the bodies clothedIn the solemn ermine of Calm,The luminous foreheads that endureTheir marble wreaths, grand and pure,Weighty and glacial as icebergs;Piety for the gloved hands of iceThat cannot uprootThe delicious fruits of the Flesh,The fantastic flowers of the soul;Piety for the eyes that flutterTheir spiritual eyelids:Mysterious fish scales,Dark curtains on rose visions…For looking so far, they never see! Piety for the tidy heads of hair–Mystical haloes–Gently combed like lakesWhich the storm’s black fan,Black and enormous, never thrashes;Piety for the spirits, illustrious,Carved of diamonds,High, clear, ecstaticLightning rods on pious domes;Piety for the lips like celestial settingsWhere the invisible pearls of the Host gleam;–Lips that never existed,Never seized anything,A fiery vampireWith more thirst and hunger than an abyss.
Piety for the sacrosanct sexesThat armor themselves with sheathsFrom the astral vineyards of Chastity;Piety for the magnetized footsolesWho eternally dragSandals burning with soresThrough the eternal azure;Piety, piety, pityFor all the lives defendedBy the lighthouse of PrideFrom your marvelous raw weathers:Aim your suns and rays at them!Eros: have you never perhaps feltPity for the statues?
|
Written by
Jonathan Swift |
As, when a lofty pile is raised,
We never hear the workmen praised,
Who bring the lime, or place the stones;
But all admire Inigo Jones:
So, if this pile of scattered rhymes
Should be approved in aftertimes;
If it both pleases and endures,
The merit and the praise are yours.
Thou, Stella, wert no longer young,
When first for thee my harp was strung,
Without one word of Cupid's darts,
Of killing eyes, or bleeding hearts;
With friendship and esteem possest,
I ne'er admitted Love a guest.
In all the habitudes of life,
The friend, the mistress, and the wife,
Variety we still pursue,
In pleasure seek for something new;
Or else, comparing with the rest,
Take comfort that our own is best;
The best we value by the worst,
As tradesmen show their trash at first;
But his pursuits are at an end,
Whom Stella chooses for a friend.
A poet starving in a garret,
Invokes his mistress and his Muse,
And stays at home for want of shoes:
Should but his Muse descending drop
A slice of bread and mutton-chop;
Or kindly, when his credit's out,
Surprise him with a pint of stout;
Or patch his broken stocking soles;
Or send him in a peck of coals;
Exalted in his mighty mind,
He flies and leaves the stars behind;
Counts all his labours amply paid,
Adores her for the timely aid.
Or, should a porter make inquiries
For Chloe, Sylvia, Phillis, Iris;
Be told the lodging, lane, and sign,
The bowers that hold those nymphs divine;
Fair Chloe would perhaps be found
With footmen tippling under ground;
The charming Sylvia beating flax,
Her shoulders marked with bloody tracks;
Bright Phyllis mending ragged smocks:
And radiant Iris in the pox.
These are the goddesses enrolled
In Curll's collection, new and old,
Whose scoundrel fathers would not know 'em,
If they should meet them in a poem.
True poets can depress and raise,
Are lords of infamy and praise;
They are not scurrilous in satire,
Nor will in panegyric flatter.
Unjustly poets we asperse;
Truth shines the brighter clad in verse,
And all the fictions they pursue
Do but insinuate what is true.
Now, should my praises owe their truth
To beauty, dress, or paint, or youth,
What stoics call without our power,
They could not be ensured an hour;
'Twere grafting on an annual stock,
That must our expectation mock,
And, making one luxuriant shoot,
Die the next year for want of root:
Before I could my verses bring,
Perhaps you're quite another thing.
So Maevius, when he drained his skull
To celebrate some suburb trull,
His similes in order set,
And every crambo he could get;
Had gone through all the common-places
Worn out by wits, who rhyme on faces;
Before he could his poem close,
The lovely nymph had lost her nose.
Your virtues safely I commend;
They on no accidents depend:
Let malice look with all her eyes,
She dare not say the poet lies.
Stella, when you these lines transcribe,
Lest you should take them for a bribe,
Resolved to mortify your pride,
I'll here expose your weaker side.
Your spirits kindle to a flame,
Moved by the lightest touch of blame;
And when a friend in kindness tries
To show you where your error lies,
Conviction does but more incense;
Perverseness is your whole defence;
Truth, judgment, wit, give place to spite,
Regardless both of wrong and right;
Your virtues all suspended wait,
Till time has opened reason's gate;
And, what is worse, your passion bends
Its force against your nearest friends,
Which manners, decency, and pride,
Have taught from you the world to hide;
In vain; for see, your friend has brought
To public light your only fault;
And yet a fault we often find
Mixed in a noble, generous mind:
And may compare to Etna's fire,
Which, though with trembling, all admire;
The heat that makes the summit glow,
Enriching all the vales below.
Those who, in warmer climes, complain
From Phoebus' rays they suffer pain,
Must own that pain is largely paid
By generous wines beneath a shade.
Yet, when I find your passions rise,
And anger sparkling in your eyes,
I grieve those spirits should be spent,
For nobler ends by nature meant.
One passion, with a different turn,
Makes wit inflame, or anger burn:
So the sun's heat, with different powers,
Ripens the grape, the liquor sours:
Thus Ajax, when with rage possest,
By Pallas breathed into his breast,
His valour would no more employ,
Which might alone have conquered Troy;
But, blinded be resentment, seeks
For vengeance on his friends the Greeks.
You think this turbulence of blood
From stagnating preserves the flood,
Which, thus fermenting by degrees,
Exalts the spirits, sinks the lees.
Stella, for once your reason wrong;
For, should this ferment last too long,
By time subsiding, you may find
Nothing but acid left behind;
From passion you may then be freed,
When peevishness and spleen succeed.
Say, Stella, when you copy next,
Will you keep strictly to the text?
Dare you let these reproaches stand,
And to your failing set your hand?
Or, if these lines your anger fire,
Shall they in baser flames expire?
Whene'er they burn, if burn they must,
They'll prove my accusation just.
|
Written by
Henry Lawson |
When you wear a cloudy collar and a shirt that isn't white,
And you cannot sleep for thinking how you'll reach to-morrow night,
You may be a man of sorrows, and on speaking terms with Care,
And as yet be unacquainted with the Demon of Despair;
For I rather think that nothing heaps the trouble on your mind
Like the knowledge that your trousers badly need a patch behind.
I have noticed when misfortune strikes the hero of the play,
That his clothes are worn and tattered in a most unlikely way;
And the gods applaud and cheer him while he whines and loafs around,
And they never seem to notice that his pants are mostly sound;
But, of course, he cannot help it, for our mirth would mock his care,
If the ceiling of his trousers showed the patches of repair.
You are none the less a hero if you elevate your chin
When you feel the pavement wearing through the leather, sock, and skin;
You are rather more heroic than are ordinary folk
If you scorn to fish for pity under cover of a joke;
You will face the doubtful glances of the people that you know;
But -- of course, you're bound to face them when your pants begin to go.
If, when flush, you took your pleasures -- failed to make a god of Pelf,
Some will say that for your troubles you can only thank yourself --
Some will swear you'll die a beggar, but you only laugh at that,
While your garments hand together and you wear a decent hat;
You may laugh at their predictions while your soles are wearing low,
But -- a man's an awful coward when his pants begin to go.
Though the present and the future may be anything but bright,
It is best to tell the fellows that you're getting on all right,
And a man prefers to say it -- 'tis a manly lie to tell,
For the folks may be persuaded that you're doing very well;
But it's hard to be a hero, and it's hard to wear a grin,
When your most important garment is in places very thin.
Get some sympathy and comfort from the chum who knows you best,
That your sorrows won't run over in the presence of the rest;
There's a chum that you can go to when you feel inclined to whine,
He'll declare your coat is tidy, and he'll say: `Just look at mine!'
Though you may be patched all over he will say it doesn't show,
And he'll swear it can't be noticed when your pants begin to go.
Brother mine, and of misfortune! times are hard, but do not fret,
Keep your courage up and struggle, and we'll laugh at these things yet,
Though there is no corn in Egypt, surely Africa has some --
Keep your smile in working order for the better days to come!
We shall often laugh together at the hard times that we know,
And get measured by the tailor when our pants begin to go.
.
.
.
.
.
.
Now the lady of refinement, in the lap of comfort rocked,
Chancing on these rugged verses, will pretend that she is shocked.
Leave her to her smelling-bottle; 'tis the wealthy who decide
That the world should hide its patches 'neath the cruel look of pride;
And I think there's something noble, and I swear there's nothing low,
In the pride of Human Nature when its pants begin to go.
|
Written by
William Matthews |
"First, do no harm," the Hippocratic
Oath begins, but before she might enjoy
such balm, the docs had to harm her tumor.
It was large, rare, and so anomalous
in its behavior that at first they mis-
diagnosed it.
"Your wife will die of it
within a year.
" But in ten days or so
I sat beside her bed with hot-and-sour
soup and heard an intern congratulate
her on her new diagnosis: a children's
cancer (doesn't that possessive break
your heart?) had possessed her.
I couldn't stop
personifying it.
Devious, dour,
it had a clouded heart, like Iago's.
It loved disguise.
It was a garrison
in a captured city, a bad horror film
(The Blob), a stowaway, an inside job.
If I could make it be like something else,
I wouldn't have to think of it as what,
in fact, it was: part of my lovely wife.
Next, then, chemotherapy.
Her hair fell
out in tufts, her color dulled, she sat laced
to bags of poison she endured somewhat
better than her cancer cells could, though not
by much.
And indeed, the cancer cells waned
more slowly than the chemical "cocktails"
(one the bright color of Campari), as the chemo
nurses called them, dripped into her.
There were
three hundred days of this: a week inside
the hospital and two weeks out, the fierce
elixirs percolating all the while.
She did five weeks of radiation, too,
Monday to Friday like a stupid job.
She wouldn't eat the food the hospital
wheeled in.
"Pureed fish" and "minced fish" were worth,
I thought, a sharp surge of food snobbery,
but she'd grown averse to it all -- the nurses'
crepe soles' muffled squeaks along the hall,
the filtered air, the smothered urge to read,
the fear, the perky visitors, flowers
she'd not been sent when she was well, the room-
mate (what do "semiprivate" and "extra
virgin" have in common?) who died, the nights
she wept and sweated faster than the tubes
could moisten her with lurid poison.
One chemotherapy veteran, six
years in remission, chanced on her former
chemo nurse at a bus stop and threw up.
My wife's tumor has not come back.
I like to think of it in Tumor Hell
strapped to a dray, flat as a deflated
football, bleak and nubbled like a poorly
ironed truffle.
There's one tense in Tumor Hell:
forever, or what we call the present.
For that long the flaccid tumor marinates
in lurid toxins.
Tumor Hell Clinic
is, it turns out, a teaching hospital.
Every century or so, the way
we'd measure it, a chief doc brings a pack
of students round.
They run some simple tests:
surge current through the tumor, batter it
with mallets, push a wood-plane across its
pebbled hide and watch a scurf of tumor-
pelt kink loose from it, impale it, strafe it
with lye and napalm.
There might be nothing
left in there but a still space surrounded
by a carapace.
"This one is nearly
dead," the chief doc says.
"What's the cure for that?"
The students know: "Kill it slower, of course.
"
They sprinkle it with rock salt and move on.
Here on the aging earth the tumor's gone:
My wife is hale, though wary, and why not?
Once you've had cancer, you don't get headaches
anymore, you get brain tumors, at least
until the aspirin kicks in.
Her hair's back,
her weight, her appetite.
"And what about you?"
friends ask me.
First the fear felt like sudden
weightlessness: I couldn't steer and couldn't stay.
I couldn't concentrate: surely my spit would
dry before I could slather a stamp.
I made a list of things to do next day
before I went to bed, slept like a cork,
woke to no more memory of last night's
list than smoke has of fire, made a new list,
began to do the things on it, wept, paced,
berated myself, drove to the hospital,
and brought my wife food from the takeout joints
that ring a hospital as surely as
brothels surround a gold strike.
I drove home
rancid with anger at her luck and mine --
anger that filled me the same way nature
hates a vacuum.
"This must be hell for you,"
some said.
Hell's not other people: Sartre
was wrong about that, too.
L'enfer, c'est moi?
I've not got the ego for it.
There'd be
no hell if Dante hadn't built a model
of his rage so well, and he contrived to
get exiled from it, for it was Florence.
Why would I live in hell? I love New York.
Some even said the tumor and fierce cure
were harder on the care giver -- yes, they
said "care giver" -- than on the "sick person.
"
They were wrong who said those things.
Of course
I hated it, but some of "it" was me --
the self-pity I allowed myself,
the brave poses I struck.
The rest was dire
threat my wife met with moral stubbornness,
terror, rude jokes, nausea, you name it.
No, let her think of its name and never
say it, as if it were the name of God.
|
Written by
Natasha Trethewey |
--New Orleans, November 1910
Four weeks have passed since I left, and still
I must write to you of no work.
I've worn down
the soles and walked through the tightness
of my new shoes calling upon the merchants,
their offices bustling.
All the while I kept thinking
my plain English and good writing would secure
for me some modest position Though I dress each day
in my best, hands covered with the lace gloves
you crocheted--no one needs a girl.
How flat
the word sounds, and heavy.
My purse thins.
I spend foolishly to make an appearance of quiet
industry, to mask the desperation that tightens
my throat.
I sit watching--
though I pretend not to notice--the dark maids
ambling by with their white charges.
Do I deceive
anyone? Were they to see my hands, brown
as your dear face, they'd know I'm not quite
what I pretend to be.
I walk these streets
a white woman, or so I think, until I catch the eyes
of some stranger upon me, and I must lower mine,
a negress again.
There are enough things here
to remind me who I am.
Mules lumbering through
the crowded streets send me into reverie, their footfall
the sound of a pointer and chalk hitting the blackboard
at school, only louder.
Then there are women, clicking
their tongues in conversation, carrying their loads
on their heads.
Their husky voices, the wash pots
and irons of the laundresses call to me.
I thought not to do the work I once did, back bending
and domestic; my schooling a gift--even those half days
at picking time, listening to Miss J--.
How
I'd come to know words, the recitations I practiced
to sound like her, lilting, my sentences curling up
or trailing off at the ends.
I read my books until
I nearly broke their spines, and in the cotton field,
I repeated whole sections I'd learned by heart,
spelling each word in my head to make a picture
I could see, as well as a weight I could feel
in my mouth.
So now, even as I write this
and think of you at home, Goodbye
is the waving map of your palm, is
a stone on my tongue.
|
Written by
Robert Lowell |
(for Elizabeth Bishop)
Nautilus Island's hermit
heiress still lives through winter in her Spartan cottage;
her sheep still graze above the sea.
Her son's a bishop.
Her farmer
is first selectman in our village;
she's in her dotage.
Thirsting for
the hierarchic privacy
of Queen Victoria's century
she buys up all
the eyesores facing her shore
and lets them fall.
The season's ill--
we've lost our summer millionaire
who seemed to leap from an L.
L.
Bean
catalogue.
His nine-knot yawl
was auctioned off to lobstermen.
A red fox stain covers Blue Hill.
And bow our fairy
decorator brightens his shop for fall;
his fishnet's filled with orange cork
orange his cobbler's bench and awl;
there is no money in his work
he'd rather marry.
One dark night
my Tutor Ford climbed the hill's skull;
I watched for love-cars.
Lights turned down
they lay together hull to hull
where the graveyard shelves on the town.
.
.
.
My mind's not right.
A car radio bleats
"Love, O careless Love.
.
.
.
" I hear
my ill-spirit sob in each blood cell,
as if my hand were at its throat.
.
.
.
I myself am hell;
nobody's here--
only skunks, that search
in the moonlight for a bite to eat.
They march on their soles up Main Street:
white stripes, moonstruck eyes' red fire
under the chalk-dry and spar spire
of the Trinitarian Church.
I stand on top
of our back steps and breathe the rich air--
a mother skunk with her column of kittens swills the garbage
pail.
She jabs her wedge-head in a cup
of sour cream, drops her ostrich tail,
and will not scare.
|
Written by
Vasko Popa |
Nobody rests
This one constantly shifts his eyes
Hangs them on his head
And whether he wants it or not starts walking
backwards
He puts them on the soles of his feet
And whether he wants it or not returns walking
on his head
This one turns into an ear
He hears all that won't let itself be heard
But he grows bored
Yearns to turn again into himself
But without eyes he can't see how
That one bares all his faces
One after the other he throws them over the roof
The last one he throws under his feet
And sinks his head into his hands
This one stretches his sight
Stretches it from thumb to thumb
Walks over it walks
First slow then fast
Then faster and faster
That one plays with his head
Juggles it in the air
Meets it with his index finger
Or doesn't meet it at all
Nobody rests
|
Written by
Johann Wolfgang von Goethe |
[Goethe describes this much-admired Poem, which
he wrote in honour of his love Lily, as being "designed to change
his surrender of her into despair, by drolly-fretful images.
"]
THERE'S no menagerie, I vow,
Excels my Lily's at this minute;
She keeps the strangest creatures in it,
And catches them, she knows not how.
Oh, how they hop, and run, and rave,
And their clipp'd pinions wildly wave,--
Poor princes, who must all endure
The pangs of love that nought can cure.
What is the fairy's name?--Is't Lily?--Ask not me!
Give thanks to Heaven if she's unknown to thee.
Oh what a cackling, what a shrieking,
When near the door she takes her stand,
With her food-basket in her hand!
Oh what a croaking, what a squeaking!
Alive all the trees and the bushes appear,
While to her feet whole troops draw near;
The very fish within, the water clear
Splash with impatience and their heads protrude;
And then she throws around the food
With such a look!--the very gods delighting
(To say nought of beasts).
There begins, then, a biting,
A picking, a pecking, a sipping,
And each o'er the legs of another is tripping,
And pushing, and pressing, and flapping,
And chasing, and fuming, and snapping,
And all for one small piece of bread,
To which, though dry, her fair hands give a taste,
As though it in ambrosia had been plac'd.
And then her look! the tone
With which she calls: Pipi! Pipi!
Would draw Jove's eagle from his throne;
Yes, Venus' turtle doves, I wean,
And the vain peacock e'en,
Would come, I swear,
Soon as that tone had reach'd them through the air.
E'en from a forest dark had she
Enticed a bear, unlick'd, ill-bred,
And, by her wiles alluring, led
To join the gentle company,
Until as tame as they was he:
(Up to a certain point, be't understood!)
How fair, and, ah, how good
She seem'd to be! I would have drain'd my blood
To water e'en her flow'rets sweet.
"Thou sayest: I! Who? How? And where?"--
Well, to be plain, good Sirs--I am the bear;
In a net-apron, caught, alas!
Chain'd by a silk-thread at her feet.
But how this wonder came to pass
I'll tell some day, if ye are curious;
Just now, my temper's much too furious.
Ah, when I'm in the corner plac'd,
And hear afar the creatures snapping,
And see the flipping and the flapping,
I turn around
With growling sound,
And backward run a step in haste,
And look around
With growling sound.
Then run again a step in haste,
And to my former post go round.
But suddenly my anger grows,
A mighty spirit fills my nose,
My inward feelings all revolt.
A creature such as thou! a dolt!
Pipi, a squirrel able nuts to crack!
I bristle up my shaggy back
Unused a slave to be.
I'm laughed at by each trim and upstart tree
To scorn.
The bowling-green I fly,
With neatly-mown and well-kept grass:
The box makes faces as I pass,--
Into the darkest thicket hasten I,
Hoping to 'scape from the ring,
Over the palings to spring!
Vainly I leap and climb;
I feel a leaden spell.
That pinions me as well,
And when I'm fully wearied out in time,
I lay me down beside some mock-cascade,
And roll myself half dead, and foam, and cry,
And, ah! no Oreads hear my sigh,
Excepting those of china made!
But, ah, with sudden power
In all my members blissful feelings reign!
'Tis she who singeth yonder in her bower!
I hear that darling, darling voice again.
The air is warm, and teems with fragrance clear,
Sings she perchance for me alone to hear?
I haste, and trample down the shrubs amain;
The trees make way, the bushes all retreat,
And so--the beast is lying at her feet.
She looks at him: "The monster's droll enough!
He's, for a bear, too mild,
Yet, for a dog, too wild,
So shaggy, clumsy, rough!"
Upon his back she gently strokes her foot;
He thinks himself in Paradise.
What feelings through his seven senses shoot!
But she looks on with careless eyes.
I lick her soles, and kiss her shoes,
As gently as a bear well may;
Softly I rise, and with a clever ruse
Leap on her knee.
--On a propitious day
She suffers it; my ears then tickles she,
And hits me a hard blow in wanton play;
I growl with new-born ecstasy;
Then speaks she in a sweet vain jest, I wot
"Allons lout doux! eh! la menotte!
Et faites serviteur
Comme un joli seigneur.
"
Thus she proceeds with sport and glee;
Hope fills the oft-deluded beast;
Yet if one moment he would lazy be,
Her fondness all at once hath ceas'd.
She doth a flask of balsam-fire possess,
Sweeter than honey bees can make,
One drop of which she'll on her finger take,
When soften'd by his love and faithfulness,
Wherewith her monster's raging thirst to slake;
Then leaves me to myself, and flies at last,
And I, unbound, yet prison'd fast
By magic, follow in her train,
Seek for her, tremble, fly again.
The hapless creature thus tormenteth she,
Regardless of his pleasure or his woe;
Ha! oft half-open'd does she leave the door for me,
And sideways looks to learn if I will fly or no.
And I--Oh gods! your hands alone
Can end the spell that's o'er me thrown;
Free me, and gratitude my heart will fill;
And yet from heaven ye send me down no aid--
Not quite in vain doth life my limbs pervade:
I feel it! Strength is left me still.
1775.
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Written by
Wallace Stevens |
I
An old man sits
In the shadow of a pine tree
In China.
He sees larkspur,
Blue and white,
At the edge of the shadow,
Move in the wind.
His beard moves in the wind.
The pine tree moves in the wind.
Thus water flows
Over weeds.
II
The night is of the colour
Of a woman's arm:
Night, the female,
Obscure,
Fragrant and supple,
Conceals herself.
A pool shines,
Like a bracelet
Shaken in a dance.
III
I measure myself
Against a tall tree.
I find that I am much taller,
For I reach right up to the sun,
With my eye;
And I reach to the shore of the sea
With my ear.
Nevertheless, I dislike
The way ants crawl
In and out of my shadow.
IV
When my dream was near the moon,
The white folds of its gown
Filled with yellow light.
The soles of its feet
Grew red.
Its hair filled
With certain blue crystallizations
From stars,
Not far off.
V
Not all the knives of the lamp-posts,
Nor the chisels of the long streets,
Nor the mallets of the domes
And high towers,
Can carve
What one star can carve,
Shining through the grape-leaves.
VI
Rationalists, wearing square hats,
Think, in square rooms,
Looking at the floor,
Looking at the ceiling.
They confine themselves
To right-angled triangles.
If they tried rhomboids,
Cones, waving lines, ellipses --
As, for example, the ellipse of the half-moon --
Rationalists would wear sombreros.
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