by
Elizabeth Jennings
When the gardener has gone this garden
Looks wistful and seems waiting an event.
It is so spruce, a metaphor of Eden
And even more so since the gardener went,
Quietly godlike, but of course, he had
Not made me promise anything and I
Had no one tempting me to make the bad
Choice. Yet I still felt lost and wonder why.
Even the beech tree from next door which shares
Its shadow with me, seemed a kind of threat.
Everything was too neat, and someone cares
In the wrong way. I need not have stood long
Mocked by the smell of a mown lawn, and yet
I did. Sickness for Eden was so strong.
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by
Margaret Atwood
It was taken some time ago.
At first it seems to be
a smeared
print: blurred lines and grey flecks
blended with the paper;
then, as you scan
it, you see in the left-hand corner
a thing that is like a branch: part of a tree
(balsam or spruce) emerging
and, to the right, halfway up
what ought to be a gentle
slope, a small frame house.
In the background there is a lake,
and beyond that, some low hills.
(The photograph was taken
the day after I drowned.
I am in the lake, in the center
of the picture, just under the surface.
It is difficult to say where
precisely, or to say
how large or small I am:
the effect of water
on light is a distortion
but if you look long enough,
eventually
you will be able to see me.)
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by
Thomas Chatterton
Begin, my muse, the imitative lay,
Aonian doxies sound the thrumming string;
Attempt no number of the plaintive Gay,
Let me like midnight cats, or Collins sing.
If in the trammels of the doleful line
The bounding hail, or drilling rain descend;
Come, brooding Melancholy, pow'r divine,
And ev'ry unform'd mass of words amend.
Now the rough goat withdraws his curling horns,
And the cold wat'rer twirls his circling mop:
Swift sudden anguish darts thro' alt'ring corns,
And the spruce mercer trembles in his shop.
Now infant authors, madd'ning for renown,
Extend the plume, and him about the stage,
Procure a benefit, amuse the town,
And proudly glitter in a title page.
Now, wrapt in ninefold fur, his squeamish grace
Defies the fury of the howling storm;
And whilst the tempest whistles round his face,
Exults to find his mantled carcase warm.
Now rumbling coaches furious drive along,
Full of the majesty of city dames,
Whose jewels sparkling in the gaudy throng,
Raise strange emotions and invidious flames.
Now Merit, happy in the calm of place,
To mortals as a highlander appears,
And conscious of the excellence of lace,
With spreading frogs and gleaming spangles glares.
Whilst Envy, on a tripod seated nigh,
In form a shoe-boy, daubs the valu'd fruit,
And darting lightnings from his vengeful eye,
Raves about Wilkes, and politics, and Bute.
Now Barry, taller than a grenadier,
Dwindles into a stripling of eighteen;
Or sabled in Othello breaks the ear,
Exerts his voice, and totters to the scene.
Now Foote, a looking-glass for all mankind,
Applies his wax to personal defects;
But leaves untouch'd the image of the mind,
His art no mental quality reflects.
Now Drury's potent kind extorts applause,
And pit, box, gallery, echo, "how divine!"
Whilst vers'd in all the drama's mystic laws,
His graceful action saves the wooden line.
Now-- but what further can the muses sing?
Now dropping particles of water fall;
Now vapours riding on the north wind's wing,
With transitory darkness shadow all.
Alas! how joyless the descriptive theme,
When sorrow on the writer's quiet preys
And like a mouse in Cheshire cheese supreme,
Devours the substance of the less'ning bays.
Come, February, lend thy darkest sky.
There teach the winter'd muse with clouds to soar;
Come, February, lift the number high;
Let the sharp strain like wind thro' alleys roar.
Ye channels, wand'ring thro' the spacious street,
In hollow murmurs roll the dirt along,
With inundations wet the sabled feet,
Whilst gouts responsive, join th'elegiac song.
Ye damsels fair, whose silver voices shrill,
Sound thro' meand'ring folds of Echo's horn;
Let the sweet cry of liberty be still,
No more let smoking cakes awake the morn.
O, Winter! Put away the snowy pride;
O, Spring! Neglect the cowslip and the bell;
O, Summer! Throw thy pears and plums aside;
O, Autumn! Bid the grape with poison swell.
The pension'd muse of Johnson is no more!
Drown'd in a butt of wine his genius lies;
Earth! Ocean! Heav'n! The wond'rous loss deplore,
The dregs of nature with her glory dies.
What iron Stoic can suppress the tear;
What sour reviewer read with vacant eye!
What bard but decks his literary bier!
Alas! I cannot sing-- I howl-- I cry--
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by
Amy Clampitt
A vagueness comes over everything,
as though proving color and contour
alike dispensable: the lighthouse
extinct, the islands' spruce-tips
drunk up like milk in the
universal emulsion; houses
reverting into the lost
and forgotten; granite
subsumed, a rumor
in a mumble of ocean.
Tactile
definition, however, has not been
totally banished: hanging
tassel by tassel, panicled
foxtail and needlegrass,
dropseed, furred hawkweed,
and last season's rose-hips
are vested in silenced
chimes of the finest,
clearest sea-crystal.
Opacity
opens up rooms, a showcase
for the hueless moonflower
corolla, as Georgia
O'Keefe might have seen it,
of foghorns; the nodding
campanula of bell buoys;
the ticking, linear
filigree of bird voices.
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by
Marianne Moore
Another armored animal--scale
lapping scale with spruce-cone regularity until they
form the uninterrupted central
tail-row! This near artichoke with head and legs and grit-equipped
gizzard,
the night miniature artist engineer is,
yes, Leonardo da Vinci's replica--
impressive animal and toiler of whom we seldom hear.
Armor seems extra. But for him,
the closing ear-ridge--
or bare ear lacking even this small
eminence and similarly safe
contracting nose and eye apertures
impenetrably closable, are not; a true ant-eater,
not cockroach eater, who endures
exhausting solitary trips through unfamiliar ground at night,
returning before sunrise, stepping in the moonlight,
on the moonlight peculiarly, that the outside
edges of his hands may bear the weight and save the claws
for digging. Serpentined about
the tree, he draws
away from danger unpugnaciously,
with no sound but a harmless hiss; keeping
the fragile grace of the Thomas-
of-Leighton Buzzard Westminster Abbey wrought-iron vine, or
rolls himself into a ball that has
power to defy all effort to unroll it; strongly intailed, neat
head for core, on neck not breaking off, with curled-in-feet.
Nevertheless he has sting-proof scales; and nest
of rocks closed with earth from inside, which can thus
darken.
Sun and moon and day and night and man and beast
each with a splendor
which man in all his vileness cannot
set aside; each with an excellence!
"Fearfull yet to be feared," the armored
ant-eater met by the driver-ant does not turn back, but
engulfs what he can, the flattened sword-
edged leafpoints on the tail and artichoke set leg- and body-plates
quivering violently when it retaliates
and swarms on him. Compact like the furled fringed frill
on the hat-brim of Gargallo's hollow iron head of a
matador, he will drop and will
then walk away
unhurt, although if unintruded on,
he cautiously works down the tree, helped
by his tail. The giant-pangolin-
tail, graceful tool, as a prop or hand or broom or ax, tipped like
an elephant's trunkwith special skin,
is not lost on this ant- and stone-swallowing uninjurable
artichoke which simpletons thought a living fable
whom the stones had nourished, whereas ants had done
so. Pangolins are not aggressive animals; between
dusk and day they have not unchain-like machine-like
form and frictionless creep of a thing
made graceful by adversities, con-
versities. To explain grace requires
a curious hand. If that which is at all were not forever,
why would those who graced the spires
with animals and gathered there to rest, on cold luxurious
low stone seats--a monk and monk and monk--between the thus
ingenious roof supports, have slaved to confuse
grace with a kindly manner, time in which to pay a debt,
the cure for sins, a graceful use
of what are yet
approved stone mullions branching out across
the perpendiculars? A sailboat
was the first machine. Pangolins, made
for moving quietly also, are models of exactness,
on four legs; on hind feet plantigrade,
with certain postures of a man. Beneath sun and moon, man slaving
to make his life more sweet, leaves half the flowers worth having,
needing to choose wisely how to use his strength;
a paper-maker like the wasp; a tractor of foodstuffs,
like the ant; spidering a length
of web from bluffs
above a stream; in fighting, mechanicked
like the pangolin; capsizing in
disheartenment. Bedizened or stark
naked, man, the self, the being we call human, writing-
masters to this world, griffons a dark
"Like does not like like that is abnoxious"; and writes error with four
r's. Among animals, one has sense of humor.
Humor saves a few steps, it saves years. Unignorant,
modest and unemotional, and all emotion,
he has everlasting vigor,
power to grow,
though there are few creatures who can make one
breathe faster and make one erecter.
Not afraid of anything is he,
and then goes cowering forth, tread paced to meet an obstacle
at every step. Consistent with the
formula--warm blood, no gills, two pairs of hands and a few hairs--
that
is a mammal; there he sits on his own habitat,
serge-clad, strong-shod. The prey of fear, he, always
curtailed, extinguished, thwarted by the dusk, work partly
done,
says to the alternating blaze,
"Again the sun!
anew each day; and new and new and new,
that comes into and steadies my soul."
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by
Howard Nemerov
Before you can learn the trees, you have to learn
The language of the trees. That's done indoors,
Out of a book, which now you think of it
Is one of the transformations of a tree.
The words themselves are a delight to learn,
You might be in a foreign land of terms
Like samara, capsule, drupe, legume and pome,
Where bark is papery, plated, warty or smooth.
But best of all are the words that shape the leaves –
Orbicular, cordate, cleft and reniform –
And their venation – palmate and parallel –
And tips – acute, truncate, auriculate.
Sufficiently provided, you may now
Go forth to the forests and the shady streets
To see how the chaos of experience
Answers to catalogue and category.
Confusedly. The leaves of a single tree
May differ among themselves more than they do
From other species, so you have to find,
All blandly says the book, "an average leaf."
Example, the catalpa in the book
Sprays out its leaves in whorls of three
Around the stem; the one in front of you
But rarely does, or somewhat, or almost;
Maybe it's not catalpa? Dreadful doubt.
It may be weeks before you see an elm
Fanlike in form, a spruce that pyramids,
A sweetgum spiring up in steeple shape.
Still, pedetemtim as Lucretious says,
Little by little, you do start to learn;
And learn as well, maybe, what language does
And how it does it, cutting across the world
Not always at the joints, competing with
Experience while cooperating with
Experience, and keeping an obstinate
Intransigence, uncanny, of its own.
Think finally about the secret will
Pretending obedience to Nature, but
Invidiously distinguishing everywhere,
Dividing up the world to conquer it.
And think also how funny knowledge is:
You may succeed in learning many trees
And calling off their names as you go by,
But their comprehensive silence stays the same.
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by
Louise Gluck
Little soul, little perpetually undressed one,
Do now as I bid you, climb
The shelf-like branches of the spruce tree;
Wait at the top, attentive, like
A sentry or look-out. He will be home soon;
It behooves you to be
Generous. You have not been completely
Perfect either; with your troublesome body
You have done things you shouldn't
Discuss in poems. Therefore
Call out to him over the open water, over the bright
Water
With your dark song, with your grasping,
Unnatural song--passionate,
Like Maria Callas. Who
Wouldn't want you? Whose most demonic appetite
Could you possibly fail to answer? Soon
He will return from wherever he goes in the
Meantime,
Suntanned from his time away, wanting
His grilled chicken. Ah, you must greet him,
You must shake the boughs of the tree
To get his attention,
But carefully, carefully, lest
His beautiful face be marred
By too many falling needles.
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by
James Dickey
They will soon be down
To one, but he still will be
For a little while still will be stopping
The flakes in the air with a look,
Surrounding himself with the silence
Of whitening snarls. Let him eat
The last red meal of the condemned
To extinction, tearing the guts
From an elk. Yet that is not enough
For me. I would have him eat
The heart, and, from it, have an idea
Stream into his gnawing head
That he no longer has a thing
To lose, and so can walk
Out into the open, in the full
Pale of the sub-Arctic sun
Where a single spruce tree is dying
Higher and higher. Let him climb it
With all his meanness and strength.
Lord, we have come to the end
Of this kind of vision of heaven,
As the sky breaks open
Its fans around him and shimmers
And into its northern gates he rises
Snarling complete in the joy of a weasel
With an elk's horned heart in his stomach
Looking straight into the eternal
Blue, where he hauls his kind. I would have it all
My way: at the top of that tree I place
The New World's last eagle
Hunched in mangy feathers giving
Up on the theory of flight.
Dear God of the wildness of poetry, let them mate
To the death in the rotten branches,
Let the tree sway and burst into flame
And mingle them, crackling with feathers,
In crownfire. Let something come
Of it something gigantic legendary
Rise beyond reason over hills
Of ice SCREAMING that it cannot die,
That it has come back, this time
On wings, and will spare no earthly thing:
That it will hover, made purely of northern
Lights, at dusk and fall
On men building roads: will perch
On the moose's horn like a falcon
Riding into battle into holy war against
Screaming railroad crews: will pull
Whole traplines like fibers from the snow
In the long-jawed night of fur trappers.
But, small, filthy, unwinged,
You will soon be crouching
Alone, with maybe some dim racial notion
Of being the last, but none of how much
Your unnoticed going will mean:
How much the timid poem needs
The mindless explosion of your rage,
The glutton's internal fire the elk's
Heart in the belly, sprouting wings,
The pact of the "blind swallowing
Thing," with himself, to eat
The world, and not to be driven off it
Until it is gone, even if it takes
Forever. I take you as you are
And make of you what I will,
Skunk-bear, carcajou, bloodthirsty
Non-survivor.
Lord, let me die but not die
Out.
Copyright © 1966 by James Dickey
Online Source - http://www.theatlantic.com/unbound/poetry/dickey/wolverine.htm
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by
Galway Kinnell
He climbed to the top
of one of those million white pines
set out across the emptying pastures
of the fifties - some program to enrich the rich
and rebuke the forefathers
who cleared it all at once with ox and axe -
climbed to the top, probably to get out
of the shadow
not of those forefathers but of this father
and saw for the first time
down in its valley, Bruce Pond, giving off
its little steam in the afternoon,
pond where Clarence Akley came on Sunday mornings to cut
down
the cedars around the shore, I'd sometimes hear the slow
spondees
of his work, he's gone,
where Milton Norway came up behind me while I was
fishing and
stood awhile before I knew he was there, he's the one who
put the
cedar shingles on the house, some have curled or split, a
few have
blown off, he's gone,
where Gus Newland logged in the cold snap of '58, the only
man will-
ing to go into those woods that never got warmer than ten
below,
he's gone,
pond where two wards of the state wandered on Halloween,
the Na-
tional Guard searched for them in November, in vain, the
next fall a
hunter found their skeletons huddled together, in vain,
they're
gone,
pond where an old fisherman in a rowboat sits, drowning
hooked
worms, when he goes he's replaced and is never gone,
and when Fergus
saw the pond for the first time
in the clear evening, saw its oldness down there
in its old place in the valley, he became heavier suddenly
in his bones
the way fledglings do just before they fly,
and the soft pine cracked . . .
I would not have heard his cry
if my electric saw had been working,
its carbide teeth speeding through the bland spruce of our
time, or
burning
black arcs into some scavenged hemlock plank,
like dark circles under eyes
when the brain thinks too close to the skin,
but I was sawing by hand and I heard that cry
as though he were attacked; we ran out,
when we bent over him he said, "Galway, In¨¦s, I saw a
pond!"
His face went gray, his eyes fluttered close a frightening
moment . . .
Yes - a pond
that lets off its mist
on clear afternoons of August, in that valley
to which many have come, for their reasons,
from which many have gone, a few for their reasons, most
not,
where even now and old fisherman only the pinetops can see
sits in the dry gray wood of his rowboat, waiting for pickerel.
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by
Elizabeth Bishop
(In Memoriam: Robert Lowell)
I can make out the rigging of a schooner
a mile off; I can count
the new cones on the spruce. It is so still
the pale bay wears a milky skin; the sky
no clouds except for one long, carded horse1s tail.
The islands haven't shifted since last summer,
even if I like to pretend they have
--drifting, in a dreamy sort of way,
a little north, a little south, or sidewise,
and that they're free within the blue frontiers of bay.
This month, our favorite one is full of flowers:
Buttercups, Red Clover, Purple Vetch,
Hackweed still burning, Daisies pied, Eyebright,
the Fragrant Bedstraw's incandescent stars,
and more, returned, to paint the meadows with delight.
The Goldfinches are back, or others like them,
and the White-throated Sparrow's five-note song,
pleading and pleading, brings tears to the eyes.
Nature repeats herself, or almost does:
repeat, repeat, repeat; revise, revise, revise.
Years ago, you told me it was here
(in 1932?) you first "discovered girls"
and learned to sail, and learned to kiss.
You had "such fun," you said, that classic summer.
("Fun"--it always seemed to leave you at a loss...)
You left North Haven, anchored in its rock,
afloat in mystic blue...And now--you've left
for good. You can't derange, or re-arrange,
your poems again. (But the Sparrows can their song.)
The words won't change again. Sad friend, you cannot change.
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