Written by
Shel Silverstein |
Well, my daddy left home when I was three,
and he didn't leave much to Ma and me,
just this old guitar and a bottle of booze.
Now I don't blame him because he run and hid,
but the meanest thing that he ever did was
before he left he went and named me Sue.
Well, he must have thought it was quite a joke,
and it got lots of laughs from a lot of folks,
it seems I had to fight my whole life through.
Some gal would giggle and I'd get red
and some guy would laugh and I'd bust his head,
I tell you, life ain't easy for a boy named Sue.
Well, I grew up quick and I grew up mean.
My fist got hard and my wits got keen.
Roamed from town to town to hide my shame,
but I made me a vow to the moon and the stars,
I'd search the honky tonks and bars and kill
that man that gave me that awful name.
But it was Gatlinburg in mid July and I had
just hit town and my throat was dry.
I'd thought i'd stop and have myself a brew.
At an old saloon in a street of mud
and at a table dealing stud sat the dirty,
mangy dog that named me Sue.
Well, I knew that snake was my own sweet dad
from a worn-out picture that my mother had
and I knew the scar on his cheek and his evil eye.
He was big and bent and gray and old
and I looked at him and my blood ran cold,
and I said, "My name is Sue. How do you do?
Now you're gonna die." Yeah, that's what I told him.
Well, I hit him right between the eyes and he went down
but to my surprise he came up with a knife
and cut off a piece of my ear. But I busted a chair
right across his teeth. And we crashed through
the wall and into the street kicking and a-gouging
in the mud and the blood and the beer.
I tell you I've fought tougher men but I really can't remember when.
He kicked like a mule and bit like a crocodile.
I heard him laughin' and then I heard him cussin',
he went for his gun and I pulled mine first.
He stood there looking at me and I saw him smile.
And he said, "Son, this world is rough and if
a man's gonna make it, he's gotta be tough
and I knew I wouldn't be there to help you along.
So I gave you that name and I said 'Goodbye'.
I knew you'd have to get tough or die. And it's
that name that helped to make you strong."
Yeah, he said, "Now you have just fought one
helluva fight, and I know you hate me and you've
got the right to kill me now and I wouldn't blame you
if you do. But you ought to thank me
before I die for the gravel in your guts and the spit
in your eye because I'm the nut that named you Sue."
Yeah, what could I do? What could I do?
I got all choked up and I threw down my gun,
called him pa and he called me a son,
and I came away with a different point of view
and I think about him now and then.
Every time I tried, every time I win and if I
ever have a son I think I am gonna name him
Bill or George - anything but Sue.
|
Written by
Joseph Brodsky |
I said fate plays a game without a score,
and who needs fish if you've got caviar?
The triumph of the Gothic style would come to pass
and turn you on--no need for coke, or grass.
I sit by the window. Outside, an aspen.
When I loved, I loved deeply. It wasn't often.
I said the forest's only part of a tree.
Who needs the whole girl if you've got her knee?
Sick of the dust raised by the modern era,
the Russian eye would rest on an Estonian spire.
I sit by the window. The dishes are done.
I was happy here. But I won't be again.
I wrote: The bulb looks at the flower in fear,
and love, as an act, lacks a verb; the zer-
o Euclid thought the vanishing point became
wasn't math--it was the nothingness of Time.
I sit by the window. And while I sit
my youth comes back. Sometimes I'd smile. Or spit.
I said that the leaf may destory the bud;
what's fertile falls in fallow soil--a dud;
that on the flat field, the unshadowed plain
nature spills the seeds of trees in vain.
I sit by the window. Hands lock my knees.
My heavy shadow's my squat company.
My song was out of tune, my voice was cracked,
but at least no chorus can ever sing it back.
That talk like this reaps no reward bewilders
no one--no one's legs rest on my sholders.
I sit by the window in the dark. Like an express,
the waves behind the wavelike curtain crash.
A loyal subject of these second-rate years,
I proudly admit that my finest ideas
are second-rate, and may the future take them
as trophies of my struggle against suffocation.
I sit in the dark. And it would be hard to figure out
which is worse; the dark inside, or the darkness out.
|
Written by
Charlotte Bronte |
I leave the office, take the stairs,
in time to mail a letter
before 3 in the afternoon--the last dispatch.
The red, white and blue air mail
falls past the slot for foreign mail
and hits bottom with a sound
that tells me my letter is alone.
They will have to bring in a plane
from a place of coastline and beaches,
from a climate of fresh figs and apricot,
to cradle my one letter. Up in the air
it will leave behind some of its ugly nuance,
its unpleasant habit of humanity
which wants to smear itself over others:
the spot in which it wasn't clear, perhaps,
how to take my words, which were suggestive,
the paragraph in which the names of flowers,
ostensibly to indicate travel,
make a bed for lovers,
the parts that contain spit and phlegm,
the words only a wet tongue can manage,
hissing sounds and letters of the alphabet
which can only be formed
by biting down on the bottom lip.
In the next-to-last paragraph, some hair
came off in the comb. Then clothes
were gathered from everywhere in the room
in one sentence, and the sun rose
while a door closed with sincerity.
No doubt such sincerity will be judged,
but first the investigation of the postmark.
Am I where I was expected? Did I have at hand
the right denominations of stamps,
or did I make a childish quilt of ones and sevens?
Ah yes, they will have to cancel me twice.
Once to make my words worthless.
Once more to stop me from writing.
|
Written by
Wole Soyinka |
Dedication
for Moremi, 1963
Earth will not share the rafter's envy; dung floors
Break, not the gecko's slight skin, but its fall
Taste this soil for death and plumb her deep for life
As this yam, wholly earthed, yet a living tuber
To the warmth of waters, earthed as springs
As roots of baobab, as the hearth.
The air will not deny you. Like a top
Spin you on the navel of the storm, for the hoe
That roots the forests plows a path for squirrels.
Be ageless as dark peat, but only that rain's
Fingers, not the feet of men, may wash you over.
Long wear the sun's shadow; run naked to the night.
Peppers green and red—child—your tongue arch
To scorpion tail, spit straight return to danger's threats
Yet coo with the brown pigeon, tendril dew between your lips.
Shield you like the flesh of palms, skyward held
Cuspids in thorn nesting, insealed as the heart of kernel—
A woman's flesh is oil—child, palm oil on your tongue
Is suppleness to life, and wine of this gourd
From self-same timeless run of runnels as refill
Your podlings, child, weaned from yours we embrace
Earth's honeyed milk, wine of the only rib.
Now roll your tongue in honey till your cheeks are
Swarming honeycombs—your world needs sweetening, child.
Camwood round the heart, chalk for flight
Of blemish—see? it dawns!—antimony beneath
Armpits like a goddess, and leave this taste
Long on your lips, of salt, that you may seek
None from tears. This, rain-water, is the gift
Of gods—drink of its purity, bear fruits in season.
Fruits then to your lips: haste to repay
The debt of birth. Yield man-tides like the sea
And ebbing, leave a meaning of the fossilled sands.
|
Written by
Vladimir Mayakovsky |
My most respected
comrades of posterity!
Rummaging among
these days’
petrified crap,
exploring the twilight of our times,
you,
possibly,
will inquire about me too.
And, possibly, your scholars
will declare,
with their erudition overwhelming
a swarm of problems;
once there lived
a certain champion of boiled water,
and inveterate enemy of raw water.
Professor,
take off your bicycle glasses!
I myself will expound
those times
and myself.
I, a latrine cleaner
and water carrier,
by the revolution
mobilized and drafted,
went off to the front
from the aristocratic gardens
of poetry -
the capricious wench
She planted a delicious garden,
the daughter,
cottage,
pond
and meadow.
Myself a garden I did plant,
myself with water sprinkled it.
some pour their verse from water cans;
others spit water
from their mouth -
the curly Macks,
the clever jacks -
but what the hell’s it all about!
There’s no damming al this up -
beneath the walls they mandoline:
“Tara-tina, tara-tine,
tw-a-n-g...”
It’s no great honor, then,
for my monuments
to rise from such roses
above the public squares,
where consumption coughs,
where whores, hooligans and syphilis
walk.
Agitprop
sticks
in my teeth too,
and I’d rather
compose
romances for you -
more profit in it
and more charm.
But I
subdued
myself,
setting my heel
on the throat
of my own song.
Listen,
comrades of posterity,
to the agitator
the rabble-rouser.
Stifling
the torrents of poetry,
I’ll skip
the volumes of lyrics;
as one alive,
I’ll address the living.
I’ll join you
in the far communist future,
I who am
no Esenin super-hero.
My verse will reach you
across the peaks of ages,
over the heads
of governments and poets.
My verse
will reach you
not as an arrow
in a cupid-lyred chase,
not as worn penny
Reaches a numismatist,
not as the light of dead stars reaches you.
My verse
by labor
will break the mountain chain of years,
and will present itself
ponderous,
crude,
tangible,
as an aqueduct,
by slaves of Rome
constructed,
enters into our days.
When in mounds of books,
where verse lies buried,
you discover by chance the iron filings of lines,
touch them
with respect,
as you would
some antique
yet awesome weapon.
It’s no habit of mine
to caress
the ear
with words;
a maiden’s ear
curly-ringed
will not crimson
when flicked by smut.
In parade deploying
the armies of my pages,
I shall inspect
the regiments in line.
Heavy as lead,
my verses at attention stand,
ready for death
and for immortal fame.
The poems are rigid,
pressing muzzle
to muzzle their gaping
pointed titles.
The favorite
of all the armed forces
the cavalry of witticisms
ready
to launch a wild hallooing charge,
reins its chargers still,
raising
the pointed lances of the rhymes.
and all
these troops armed to the teeth,
which have flashed by
victoriously for twenty years,
all these,
to their very last page,
I present to you,
the planet’s proletarian.
The enemy
of the massed working class
is my enemy too
inveterate and of long standing.
Years of trial
and days of hunger
ordered us
to march
under the red flag.
We opened
each volume
of Marx
as we would open
the shutters
in our own house;
but we did not have to read
to make up our minds
which side to join,
which side to fight on.
Our dialectics
were not learned
from Hegel.
In the roar of battle
it erupted into verse,
when,
under fire,
the bourgeois decamped
as once we ourselves
had fled
from them.
Let fame
trudge
after genius
like an inconsolable widow
to a funeral march -
die then, my verse,
die like a common soldier,
like our men
who nameless died attacking!
I don’t care a spit
for tons of bronze;
I don’t care a spit
for slimy marble.
We’re men of kind,
we’ll come to terms about our fame;
let our
common monument be
socialism
built
in battle.
Men of posterity
examine the flotsam of dictionaries:
out of Lethe
will bob up
the debris of such words
as “prostitution,”
“tuberculosis,”
“blockade.”
For you,
who are now
healthy and agile,
the poet
with the rough tongue
of his posters,
has licked away consumptives’ spittle.
With the tail of my years behind me,
I begin to resemble
those monsters,
excavated dinosaurs.
Comrade life,
let us
march faster,
march
faster through what’s left
of the five-year plan.
My verse
has brought me
no rubles to spare:
no craftsmen have made
mahogany chairs for my house.
In all conscience,
I need nothing
except
a freshly laundered shirt.
When I appear
before the CCC
of the coming
bright years,
by way of my Bolshevik party card,
I’ll raise
above the heads
of a gang of self-seeking
poets and rogues,
all the hundred volumes
of my
communist-committed books.
Transcribed: by Mitch Abidor.
|
Written by
Anne Sexton |
Because there was no other place
to flee to,
I came back to the scene of the disordered senses,
came back last night at midnight,
arriving in the thick June night
without luggage or defenses,
giving up my car keys and my cash,
keeping only a pack of Salem cigarettes
the way a child holds on to a toy.
I signed myself in where a stranger
puts the inked-in X's—
for this is a mental hospital,
not a child's game.
Today an intern knocks my knees,
testing for reflexes.
Once I would have winked and begged for dope.
Today I am terribly patient.
Today crows play black-jack
on the stethoscope.
Everyone has left me
except my muse,
that good nurse.
She stays in my hand,
a mild white mouse.
The curtains, lazy and delicate,
billow and flutter and drop
like the Victorian skirts
of my two maiden aunts
who kept an antique shop.
Hornets have been sent.
They cluster like floral arrangements on the screen.
Hornets, dragging their thin stingers,
hover outside, all knowing,
hissing: the hornet knows.
I heard it as a child
but what was it that he meant?
The hornet knows!
What happened to Jack and Doc and Reggy?
Who remembers what lurks in the heart of man?
What did The Green Hornet mean, he knows?
Or have I got it wrong?
Is it The Shadow who had seen
me from my bedside radio?
Now it's Dinn, Dinn, Dinn!
while the ladies in the next room argue
and pick their teeth.
Upstairs a girl curls like a snail;
in another room someone tries to eat a shoe;
meanwhile an adolescent pads up and down
the hall in his white tennis socks.
A new doctor makes rounds
advertising tranquilizers, insulin, or shock
to the uninitiated.
Six years of such small preoccupations!
Six years of shuttling in and out of this place!
O my hunger! My hunger!
I could have gone around the world twice
or had new children - all boys.
It was a long trip with little days in it
and no new places.
In here,
it's the same old crowd,
the same ruined scene.
The alcoholic arrives with his gold culbs.
The suicide arrives with extra pills sewn
into the lining of her dress.
The permanent guests have done nothing new.
Their faces are still small
like babies with jaundice.
Meanwhile,
they carried out my mother,
wrapped like somebody's doll, in sheets,
bandaged her jaw and stuffed up her holes.
My father, too. He went out on the rotten blood
he used up on other women in the Middle West.
He went out, a cured old alcoholic
on crooked feet and useless hands.
He went out calling for his father
who died all by himself long ago -
that fat banker who got locked up,
his genes suspened like dollars,
wrapped up in his secret,
tied up securely in a straitjacket.
But you, my doctor, my enthusiast,
were better than Christ;
you promised me another world
to tell me who
I was.
I spent most of my time,
a stranger,
damned and in trance—that little hut,
that naked blue-veined place,
my eyes shut on the confusing office,
eyes circling into my childhood,
eyes newly cut.
Years of hints
strung out—a serialized case history—
thirty-three years of the same dull incest
that sustained us both.
You, my bachelor analyst,
who sat on Marlborough Street,
sharing your office with your mother
and giving up cigarettes each New Year,
were the new God,
the manager of the Gideon Bible.
I was your third-grader
with a blue star on my forehead.
In trance I could be any age,
voice, gesture—all turned backward
like a drugstore clock.
Awake, I memorized dreams.
Dreams came into the ring
like third string fighters,
each one a bad bet
who might win
because there was no other.
I stared at them,
concentrating on the abyss
the way one looks down into a rock quarry,
uncountable miles down,
my hands swinging down like hooks
to pull dreams up out of their cage.
O my hunger! My hunger!
Once, outside your office,
I collapsed in the old-fashioned swoon
between the illegally parked cars.
I threw myself down,
pretending dead for eight hours.
I thought I had died
into a snowstorm.
Above my head
chains cracked along like teeth
digging their way through the snowy street.
I lay there
like an overcoat
that someone had thrown away.
You carried me back in,
awkwardly, tenderly,
with help of the red-haired secretary
who was built like a lifeguard.
My shoes,
I remember,
were lost in the snowbank
as if I planned never to walk again.
That was the winter
that my mother died,
half mad on morphine,
blown up, at last,
like a pregnant pig.
I was her dreamy evil eye.
In fact,
I carried a knife in my pocketbook—
my husband's good L. L. Bean hunting knife.
I wasn't sure if I should slash a tire
or scrape the guts out of some dream.
You taught me
to believe in dreams;
thus I was the dredger.
I held them like an old woman with arthritic fingers,
carefully straining the water out—
sweet dark playthings,
and above all, mysterious
until they grew mournful and weak.
O my hunger! My hunger!
I was the one
who opened the warm eyelid
like a surgeon
and brought forth young girls
to grunt like fish.
I told you,
I said—
but I was lying—
that the kife was for my mother . . .
and then I delivered her.
The curtains flutter out
and slump against the bars.
They are my two thin ladies
named Blanche and Rose.
The grounds outside
are pruned like an estate at Newport.
Far off, in the field,
something yellow grows.
Was it last month or last year
that the ambulance ran like a hearse
with its siren blowing on suicide—
Dinn, dinn, dinn!—
a noon whistle that kept insisting on life
all the way through the traffic lights?
I have come back
but disorder is not what it was.
I have lost the trick of it!
The innocence of it!
That fellow-patient in his stovepipe hat
with his fiery joke, his manic smile—
even he seems blurred, small and pale.
I have come back,
recommitted,
fastened to the wall like a bathroom plunger,
held like a prisoner
who was so poor
he fell in love with jail.
I stand at this old window
complaining of the soup,
examining the grounds,
allowing myself the wasted life.
Soon I will raise my face for a white flag,
and when God enters the fort,
I won't spit or gag on his finger.
I will eat it like a white flower.
Is this the old trick, the wasting away,
the skull that waits for its dose
of electric power?
This is madness
but a kind of hunger.
What good are my questions
in this hierarchy of death
where the earth and the stones go
Dinn! Dinn! Dinn!
It is hardly a feast.
It is my stomach that makes me suffer.
Turn, my hungers!
For once make a deliberate decision.
There are brains that rot here
like black bananas.
Hearts have grown as flat as dinner plates.
Anne, Anne,
flee on your donkey,
flee this sad hotel,
ride out on some hairy beast,
gallop backward pressing
your buttocks to his withers,
sit to his clumsy gait somehow.
Ride out
any old way you please!
In this place everyone talks to his own mouth.
That's what it means to be crazy.
Those I loved best died of it—
the fool's disease.
|
Written by
Robert Pinsky |
Dire one and desired one,
Savior, sentencer--
In an old allegory you would carry
A chained alphabet of tokens:
Ankh Badge Cross.
Dragon,
Engraved figure guarding a hallowed intaglio,
Jasper kinema of legendary Mind,
Naked omphalos pierced
By quills of rhyme or sense, torah-like: unborn
Vein of will, xenophile
Yearning out of Zero.
Untrusting I court you. Wavering
I seek your face, I read
That Crusoe's knife
Reeked of you, that to defile you
The soldier makes the rabbi spit on the torah.
"I'll drown my book" says Shakespeare.
Drowned walker, revenant.
After my mother fell on her head, she became
More than ever your sworn enemy. She spoke
Sometimes like a poet or critic of forty years later.
Or she spoke of the world as Thersites spoke of the heroes,
"I think they have swallowed one another. I
Would laugh at that miracle."
You also in the laughter, warrior angel:
Your helmet the zodiac, rocket-plumed
Your spear the beggar's finger pointing to the mouth
Your heel planted on the serpent Formulation
Your face a vapor, the wreath of cigarette smoke crowning
Bogart as he winces through it.
You not in the words, not even
Between the words, but a torsion,
A cleavage, a stirring.
You stirring even in the arctic ice,
Even at the dark ocean floor, even
In the cellular flesh of a stone.
Gas. Gossamer. My poker friends
Question your presence
In a poem by me, passing the magazine
One to another.
Not the stone and not the words, you
Like a veil over Arthur's headstone,
The passage from Proverbs he chose
While he was too ill to teach
And still well enough to read, I was
Beside the master craftsman
Delighting him day after day, ever
At play in his presence--you
A soothing veil of distraction playing over
Dying Arthur playing in the hospital,
Thumbing the Bible, fuzzy from medication,
Ever courting your presence,
And you the prognosis,
You in the cough.
Gesturer, when is your spur, your cloud?
You in the airport rituals of greeting and parting.
Indicter, who is your claimant?
Bell at the gate. Spiderweb iron bridge.
Cloak, video, aroma, rue, what is your
Elected silence, where was your seed?
What is Imagination
But your lost child born to give birth to you?
Dire one. Desired one.
Savior, sentencer--
Absence,
Or presence ever at play:
Let those scorn you who never
Starved in your dearth. If I
Dare to disparage
Your harp of shadows I taste
Wormwood and motor oil, I pour
Ashes on my head. You are the wound. You
Be the medicine.
|
Written by
Vladimir Mayakovsky |
No.
It can’t be.
No!
You too, beloved?
Why? What for?
Darling, look -
I came,
I brought flowers,
but, but... I never took
silver spoons from your drawer!
Ashen-faced,
I staggered down five flights of stairs.
The street eddied round me. Blasts. Blares.
Tires screeched.
It was gusty.
The wind stung my cheeks.
Horn mounted horn lustfully.
Above the capital’s madness
I raised my face,
stern as the faces of ancient icons.
Sorrow-rent,
on your body as on a death-bed, its days
my heart ended.
You did not sully your hands with brute murder.
Instead,
you let drop calmly:
“He’s in bed.
There’s fruit and wine
On the bedstand’s palm.”
Love!
You only existed in my inflamed brain.
Enough!
Stop this foolish comedy
and take notice:
I’m ripping off
my toy armour,
I,
the greatest of all Don Quixotes!
Remember?
Weighed down by the cross,
Christ stopped for a moment,
weary.
Watching him, the mob
yelled, jeering:
“Get movin’, you clod!”
That’s right!
Be spiteful.
Spit upon him who begs for a rest
on his day of days,
harry and curse him.
To the army of zealots, doomed to do good,
man shows no mercy!
That does it!
I swear by my pagan strength -
gimme a girl,
young,
eye-filling,
and I won’t waste my feelings on her.
I'll rape her
and spear her heart with a gibe
willingly.
An eye for an eye!
A thousand times over reap of revenge the crops'
Never stop!
Petrify, stun,
howl into every ear:
“The earth is a convict, hear,
his head half shaved by the sun!”
An eye for an eye!
Kill me,
bury me -
I’ll dig myself out,
the knives of my teeth by stone — no wonder!-
made sharper,
A snarling dog, under
the plank-beds of barracks I’ll crawl,
sneaking out to bite feet that smell
of sweat and of market stalls!
You'll leap from bed in the night’s early hours.
“Moo!” I’ll roar.
Over my neck,
a yoke-savaged sore,
tornados of flies
will rise.
I'm a white bull over the earth towering!
Into an elk I’ll turn,
my horns-branches entangled in wires,
my eyes red with blood.
Above the world,
a beast brought to bay,
I'll stand tirelessly.
Man can’t escape!
Filthy and humble,
a prayer mumbling,
on cold stone he lies.
What I’ll do is paint
on the royal gates,
over God’s own
the face of Razin.
Dry up, rivers, stop him from quenching his thirst! Scorn him!
Don’t waste your rays, sun! Glare!
Let thousands of my disciples be born
to trumpet anathemas on the squares!
And when at last there comes,
stepping onto the peaks of the ages,
chillingly,
the last of their days,
in the black souls of anarchists and killers
I, a gory vision, will blaze!
It’s dawning,
The sky’s mouth stretches out more and more,
it drinks up the night
sip by sip, thirstily.
The windows send off a glow.
Through the panes heat pours.
The sun, viscous, streams down onto the sleeping city.
O sacred vengeance!
Lead me again
above the dust without
and up the steps of my poetic lines.
This heart of mine,
full to the brim,
in a confession
I will pour out.
Men of the future!
Who are you?
I must know. Please!
Here am I,
all bruises and aches,
pain-scorched...
To you of my great soul I bequeath
the orchard.
|
Written by
Edna St. Vincent Millay |
The room is full of you!—As I came in
And closed the door behind me, all at once
A something in the air, intangible,
Yet stiff with meaning, struck my senses sick!—
Sharp, unfamiliar odors have destroyed
Each other room's dear personality.
The heavy scent of damp, funereal flowers,—
The very essence, hush-distilled, of Death—
Has strangled that habitual breath of home
Whose expiration leaves all houses dead;
And wheresoe'er I look is hideous change.
Save here. Here 'twas as if a weed-choked gate
Had opened at my touch, and I had stepped
Into some long-forgot, enchanted, strange,
Sweet garden of a thousand years ago
And suddenly thought, "I have been here before!"
You are not here. I know that you are gone,
And will not ever enter here again.
And yet it seems to me, if I should speak,
Your silent step must wake across the hall;
If I should turn my head, that your sweet eyes
Would kiss me from the door.—So short a time
To teach my life its transposition to
This difficult and unaccustomed key!—
The room is as you left it; your last touch—
A thoughtless pressure, knowing not itself
As saintly—hallows now each simple thing;
Hallows and glorifies, and glows between
The dust's grey fingers like a shielded light.
There is your book, just as you laid it down,
Face to the table,—I cannot believe
That you are gone!—Just then it seemed to me
You must be here. I almost laughed to think
How like reality the dream had been;
Yet knew before I laughed, and so was still.
That book, outspread, just as you laid it down!
Perhaps you thought, "I wonder what comes next,
And whether this or this will be the end";
So rose, and left it, thinking to return.
Perhaps that chair, when you arose and passed
Out of the room, rocked silently a while
Ere it again was still. When you were gone
Forever from the room, perhaps that chair,
Stirred by your movement, rocked a little while,
Silently, to and fro...
And here are the last words your fingers wrote,
Scrawled in broad characters across a page
In this brown book I gave you. Here your hand,
Guiding your rapid pen, moved up and down.
Here with a looping knot you crossed a "t,"
And here another like it, just beyond
These two eccentric "e's." You were so small,
And wrote so brave a hand!
How strange it seems
That of all words these are the words you chose!
And yet a simple choice; you did not know
You would not write again. If you had known—
But then, it does not matter,—and indeed
If you had known there was so little time
You would have dropped your pen and come to me
And this page would be empty, and some phrase
Other than this would hold my wonder now.
Yet, since you could not know, and it befell
That these are the last words your fingers wrote,
There is a dignity some might not see
In this, "I picked the first sweet-pea to-day."
To-day! Was there an opening bud beside it
You left until to-morrow?—O my love,
The things that withered,—and you came not back
That day you filled this circle of my arms
That now is empty. (O my empty life!)
That day—that day you picked the first sweet-pea,—
And brought it in to show me! I recall
With terrible distinctness how the smell
Of your cool gardens drifted in with you.
I know, you held it up for me to see
And flushed because I looked not at the flower,
But at your face; and when behind my look
You saw such unmistakable intent
You laughed and brushed your flower against my lips.
(You were the fairest thing God ever made,
I think.) And then your hands above my heart
Drew down its stem into a fastening,
And while your head was bent I kissed your hair.
I wonder if you knew. (Beloved hands!
Somehow I cannot seem to see them still.
Somehow I cannot seem to see the dust
In your bright hair.) What is the need of Heaven
When earth can be so sweet?—If only God
Had let us love,—and show the world the way!
Strange cancellings must ink th' eternal books
When love-crossed-out will bring the answer right!
That first sweet-pea! I wonder where it is.
It seems to me I laid it down somewhere,
And yet,—I am not sure. I am not sure,
Even, if it was white or pink; for then
'Twas much like any other flower to me
Save that it was the first. I did not know
Then, that it was the last. If I had known—
But then, it does not matter. Strange how few,
After all's said and done, the things that are
Of moment.
Few indeed! When I can make
Of ten small words a rope to hang the world!
"I had you and I have you now no more."
There, there it dangles,—where's the little truth
That can for long keep footing under that
When its slack syllables tighten to a thought?
Here, let me write it down! I wish to see
Just how a thing like that will look on paper!
"I had you and I have you now no more."
O little words, how can you run so straight
Across the page, beneath the weight you bear?
How can you fall apart, whom such a theme
Has bound together, and hereafter aid
In trivial expression, that have been
So hideously dignified?—Would God
That tearing you apart would tear the thread
I strung you on! Would God—O God, my mind
Stretches asunder on this merciless rack
Of imagery! O, let me sleep a while!
Would I could sleep, and wake to find me back
In that sweet summer afternoon with you.
Summer? Tis summer still by the calendar!
How easily could God, if He so willed,
Set back the world a little turn or two!
Correct its griefs, and bring its joys again!
We were so wholly one I had not thought
That we could die apart. I had not thought
That I could move,—and you be stiff and still!
That I could speak,—and you perforce be dumb!
I think our heart-strings were, like warp and woof
In some firm fabric, woven in and out;
Your golden filaments in fair design
Across my duller fibre. And to-day
The shining strip is rent; the exquisite
Fine pattern is destroyed; part of your heart
Aches in my breast; part of my heart lies chilled
In the damp earth with you. I have been tom
In two, and suffer for the rest of me.
What is my life to me? And what am I
To life,—a ship whose star has guttered out?
A Fear that in the deep night starts awake
Perpetually, to find its senses strained
Against the taut strings of the quivering air,
Awaiting the return of some dread chord?
Dark, Dark, is all I find for metaphor;
All else were contrast,—save that contrast's wall
Is down, and all opposed things flow together
Into a vast monotony, where night
And day, and frost and thaw, and death and life,
Are synonyms. What now—what now to me
Are all the jabbering birds and foolish flowers
That clutter up the world? You were my song!
Now, let discord scream! You were my flower!
Now let the world grow weeds! For I shall not
Plant things above your grave—(the common balm
Of the conventional woe for its own wound!)
Amid sensations rendered negative
By your elimination stands to-day,
Certain, unmixed, the element of grief;
I sorrow; and I shall not mock my truth
With travesties of suffering, nor seek
To effigy its incorporeal bulk
In little wry-faced images of woe.
I cannot call you back; and I desire
No utterance of my immaterial voice.
I cannot even turn my face this way
Or that, and say, "My face is turned to you";
I know not where you are, I do not know
If Heaven hold you or if earth transmute,
Body and soul, you into earth again;
But this I know:—not for one second's space
Shall I insult my sight with visionings
Such as the credulous crowd so eager-eyed
Beholds, self-conjured, in the empty air.
Let the world wail! Let drip its easy tears!
My sorrow shall be dumb!
—What do I say?
God! God!—God pity me! Am I gone mad
That I should spit upon a rosary?
Am I become so shrunken? Would to God
I too might feel that frenzied faith whose touch
Makes temporal the most enduring grief;
Though it must walk a while, as is its wont,
With wild lamenting! Would I too might weep
Where weeps the world and hangs its piteous wreaths
For its new dead! Not Truth, but Faith, it is
That keeps the world alive. If all at once
Faith were to slacken,—that unconscious faith
Which must, I know, yet be the corner-stone
Of all believing,—birds now flying fearless
Across would drop in terror to the earth;
Fishes would drown; and the all-governing reins
Would tangle in the frantic hands of God
And the worlds gallop headlong to destruction!
O God, I see it now, and my sick brain
Staggers and swoons! How often over me
Flashes this breathlessness of sudden sight
In which I see the universe unrolled
Before me like a scroll and read thereon
Chaos and Doom, where helpless planets whirl
Dizzily round and round and round and round,
Like tops across a table, gathering speed
With every spin, to waver on the edge
One instant—looking over—and the next
To shudder and lurch forward out of sight—
* * * * * * *
Ah, I am worn out—I am wearied out—
It is too much—I am but flesh and blood,
And I must sleep. Though you were dead again,
I am but flesh and blood and I must sleep.
|
Written by
Walt Whitman |
1
OVER the western sea, hither from Niphon come,
Courteous, the swart-cheek’d two-sworded envoys,
Leaning back in their open barouches, bare-headed, impassive,
Ride to-day through Manhattan.
Libertad!
I do not know whether others behold what I behold,
In the procession, along with the nobles of Asia, the errand-bearers,
Bringing up the rear, hovering above, around, or in the ranks marching;
But I will sing you a song of what I behold, Libertad.
2
When million-footed Manhattan, unpent, descends to her pavements;
When the thunder-cracking guns arouse me with the proud roar I love;
When the round-mouth’d guns, out of the smoke and smell I love, spit their salutes;
When the fire-flashing guns have fully alerted me—when heaven-clouds canopy my city with a
delicate thin haze;
When, gorgeous, the countless straight stems, the forests at the wharves, thicken with
colors;
When every ship, richly drest, carries her flag at the peak;
When pennants trail, and street-festoons hang from the windows;
When Broadway is entirely given up to foot-passengers and foot-standers—when the mass is
densest;
When the façades of the houses are alive with people—when eyes gaze, riveted, tens of
thousands
at a time;
When the guests from the islands advance—when the pageant moves forward, visible;
When the summons is made—when the answer that waited thousands of years, answers;
I too, arising, answering, descend to the pavements, merge with the crowd, and gaze with
them.
3
Superb-faced Manhattan!
Comrade Americanos!—to us, then, at last, the Orient comes.
To us, my city,
Where our tall-topt marble and iron beauties range on opposite sides—to walk in the space
between,
To-day our Antipodes comes.
The Originatress comes,
The nest of languages, the bequeather of poems, the race of eld,
Florid with blood, pensive, rapt with musings, hot with passion,
Sultry with perfume, with ample and flowing garments,
With sunburnt visage, with intense soul and glittering eyes,
The race of Brahma comes!
4
See, my cantabile! these, and more, are flashing to us from the procession;
As it moves, changing, a kaleidoscope divine it moves, changing, before us.
For not the envoys, nor the tann’d Japanee from his island only;
Lithe and silent, the Hindoo appears—the Asiatic continent itself appears—the Past, the
dead,
The murky night morning of wonder and fable, inscrutable,
The envelop’d mysteries, the old and unknown hive-bees,
The North—the sweltering South—eastern Assyria—the Hebrews—the Ancient of Ancients,
Vast desolated cities—the gliding Present—all of these, and more, are in the
pageant-procession.
Geography, the world, is in it;
The Great Sea, the brood of islands, Polynesia, the coast beyond;
The coast you, henceforth, are facing—you Libertad! from your Western golden shores
The countries there, with their populations—the millions en-masse, are curiously here;
The swarming market places—the temples, with idols ranged along the sides, or at the
end—bonze,
brahmin, and lama;
The mandarin, farmer, merchant, mechanic, and fisherman;
The singing-girl and the dancing-girl—the ecstatic person—the secluded Emperors,
Confucius himself—the great poets and heroes—the warriors, the castes, all,
Trooping up, crowding from all directions—from the Altay mountains,
From Thibet—from the four winding and far-flowing rivers of China,
From the Southern peninsulas, and the demi-continental islands—from Malaysia;
These, and whatever belongs to them, palpable, show forth to me, and are seiz’d by me,
And I am seiz’d by them, and friendlily held by them,
Till, as here, them all I chant, Libertad! for themselves and for you.
5
For I too, raising my voice, join the ranks of this pageant;
I am the chanter—I chant aloud over the pageant;
I chant the world on my Western Sea;
I chant, copious, the islands beyond, thick as stars in the sky;
I chant the new empire, grander than any before—As in a vision it comes to me;
I chant America, the Mistress—I chant a greater supremacy;
I chant, projected, a thousand blooming cities yet, in time, on those groups of
sea-islands;
I chant my sail-ships and steam-ships threading the archipelagoes;
I chant my stars and stripes fluttering in the wind;
I chant commerce opening, the sleep of ages having done its work—races, reborn, refresh’d;
Lives, works, resumed—The object I know not—but the old, the Asiatic, renew’d, as it must
be,
Commencing from this day, surrounded by the world.
6
And you, Libertad of the world!
You shall sit in the middle, well-pois’d, thousands of years;
As to-day, from one side, the nobles of Asia come to you;
As to-morrow, from the other side, the Queen of England sends her eldest son to you.
7
The sign is reversing, the orb is enclosed,
The ring is circled, the journey is done;
The box-lid is but perceptibly open’d—nevertheless the perfume pours copiously out of the
whole
box.
8
Young Libertad!
With the venerable Asia, the all-mother,
Be considerate with her, now and ever, hot Libertad—for you are all;
Bend your proud neck to the long-off mother, now sending messages over the archipelagoes
to
you;
Bend your proud neck low for once, young Libertad.
9
Were the children straying westward so long? so wide the tramping?
Were the precedent dim ages debouching westward from Paradise so long?
Were the centuries steadily footing it that way, all the while unknown, for you, for
reasons?
They are justified—they are accomplish’d—they shall now be turn’d the other way also, to
travel toward you thence;
They shall now also march obediently eastward, for your sake, Libertad.
|