Written by
William Butler Yeats |
An old man cocked his car upon a bridge;
He and his friend, their faces to the South,
Had trod the uneven road. Their hoots were soiled,
Their Connemara cloth worn out of shape;
They had kept a steady pace as though their beds,
Despite a dwindling and late-risen moon,
Were distant still. An old man cocked his ear.
Aherne. What made that Sound?
Robartes. A rat or water-hen
Splashed, or an otter slid into the stream.
We are on the bridge; that shadow is the tower,
And the light proves that he is reading still.
He has found, after the manner of his kind,
Mere images; chosen this place to live in
Because, it may be, of the candle-light
From the far tower where Milton's Platonist
Sat late, or Shelley's visionary prince:
The lonely light that Samuel Palmer engraved,
An image of mysterious wisdom won by toil;
And now he seeks in book or manuscript
What he shall never find.
Ahernc. Why should not you
Who know it all ring at his door, and speak
Just truth enough to show that his whole life
Will scarcely find for him a broken crust
Of all those truths that are your daily bread;
And when you have spoken take the roads again?
Robartes. He wrote of me in that extravagant style
He had learnt from pater, and to round his tale
Said I was dead; and dead I choose to be.
Aherne. Sing me the changes of the moon once more;
True song, though speech: "mine author sung it me.'
Robartes. Twenty-and-eight the phases of the moon,
The full and the moon's dark and all the crescents,
Twenty-and-eight, and yet but six-and-twenty
The cradles that a man must needs be rocked in:
For there's no human life at the full or the dark.
From the first crescent to the half, the dream
But summons to adventure and the man
Is always happy like a bird or a beast;
But while the moon is rounding towards the full
He follows whatever whim's most difficult
Among whims not impossible, and though scarred.
As with the cat-o'-nine-tails of the mind,
His body moulded from within his body
Grows comelier. Eleven pass, and then
Athene takes Achilles by the hair,
Hector is in the dust, Nietzsche is born,
Because the hero's crescent is the twelfth.
And yet, twice born, twice buried, grow he must,
Before the full moon, helpless as a worm.
The thirteenth moon but sets the soul at war
In its own being, and when that war's begun
There is no muscle in the arm; and after,
Under the frenzy of the fourteenth moon,
The soul begins to tremble into stillness,
To die into the labyrinth of itself!
Aherne. Sing out the song; sing to the end, and sing
The strange reward of all that discipline.
Robartes. All thought becomes an image and the soul
Becomes a body: that body and that soul
Too perfect at the full to lie in a cradle,
Too lonely for the traffic of the world:
Body and soul cast out and cast away
Beyond the visible world.
Aherne. All dreams of the soul
End in a beautiful man's or woman's body.
Robartes, Have you not always known it?
Aherne. The song will have it
That those that we have loved got their long fingers
From death, and wounds, or on Sinai's top,
Or from some bloody whip in their own hands.
They ran from cradle to cradle till at last
Their beauty dropped out of the loneliness
Of body and soul.
Robartes. The lover's heart knows that.
Aherne. It must be that the terror in their eyes
Is memory or foreknowledge of the hour
When all is fed with light and heaven is bare.
Robartes. When the moon's full those creatures of the
full
Are met on the waste hills by countrymen
Who shudder and hurry by: body and soul
Estranged amid the strangeness of themselves,
Caught up in contemplation, the mind's eye
Fixed upon images that once were thought;
For separate, perfect, and immovable
Images can break the solitude
Of lovely, satisfied, indifferent eyes.
And thereupon with aged, high-pitched voice
Aherne laughed, thinking of the man within,
His sleepless candle and lahorious pen.
Robartes. And after that the crumbling of the moon.
The soul remembering its loneliness
Shudders in many cradles; all is changed,
It would be the world's servant, and as it serves,
Choosing whatever task's most difficult
Among tasks not impossible, it takes
Upon the body and upon the soul
The coarseness of the drudge.
Aherne. Before the full
It sought itself and afterwards the world.
Robartes. Because you are forgotten, half out of life,
And never wrote a book, your thought is clear.
Reformer, merchant, statesman, learned man,
Dutiful husband, honest wife by turn,
Cradle upon cradle, and all in flight and all
Deformed because there is no deformity
But saves us from a dream.
Aherne. And what of those
That the last servile crescent has set free?
Robartes. Because all dark, like those that are all light,
They are cast beyond the verge, and in a cloud,
Crying to one another like the bats;
And having no desire they cannot tell
What's good or bad, or what it is to triumph
At the perfection of one's own obedience;
And yet they speak what's blown into the mind;
Deformed beyond deformity, unformed,
Insipid as the dough before it is baked,
They change their bodies at a word.
Aherne. And then?
Rohartes. When all the dough has been so kneaded up
That it can take what form cook Nature fancies,
The first thin crescent is wheeled round once more.
Aherne. But the escape; the song's not finished yet.
Robartes. Hunchback and Saint and Fool are the last
crescents.
The burning bow that once could shoot an arrow
Out of the up and down, the wagon-wheel
Of beauty's cruelty and wisdom's chatter -
Out of that raving tide - is drawn betwixt
Deformity of body and of mind.
Aherne. Were not our beds far off I'd ring the bell,
Stand under the rough roof-timbers of the hall
Beside the castle door, where all is stark
Austerity, a place set out for wisdom
That he will never find; I'd play a part;
He would never know me after all these years
But take me for some drunken countryman:
I'd stand and mutter there until he caught
"Hunchback and Sant and Fool,' and that they came
Under the three last crescents of the moon.
And then I'd stagger out. He'd crack his wits
Day after day, yet never find the meaning.
And then he laughed to think that what seemed hard
Should be so simple - a bat rose from the hazels
And circled round him with its squeaky cry,
The light in the tower window was put out.
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Written by
Amy Lowell |
I
The Trumpet-Vine Arbour
The throats of the little red trumpet-flowers are
wide open,
And the clangour of brass beats against the hot sunlight.
They bray and blare at the burning sky.
Red! Red! Coarse notes of red,
Trumpeted at the blue sky.
In long streaks of sound, molten metal,
The vine declares itself.
Clang! -- from its red and yellow trumpets.
Clang! -- from its long, nasal trumpets,
Splitting the sunlight into ribbons, tattered and shot with noise.
I sit in the cool arbour, in a green-and-gold twilight.
It is very still, for I cannot hear the trumpets,
I only know that they are red and open,
And that the sun above the arbour shakes with heat.
My quill is newly mended,
And makes fine-drawn lines with its point.
Down the long, white paper it makes little lines,
Just lines -- up -- down -- criss-cross.
My heart is strained out at the pin-point of my quill;
It is thin and writhing like the marks of the pen.
My hand marches to a squeaky tune,
It marches down the paper to a squealing of fifes.
My pen and the trumpet-flowers,
And Washington's armies away over the smoke-tree to the Southwest.
"Yankee Doodle," my Darling! It is you against the British,
Marching in your ragged shoes to batter down King George.
What have you got in your hat? Not a feather, I wager.
Just a hay-straw, for it is the harvest you are fighting for.
Hay in your hat, and the whites of their eyes for a target!
Like Bunker Hill, two years ago, when I watched all day from the
house-top
Through Father's spy-glass.
The red city, and the blue, bright water,
And puffs of smoke which you made.
Twenty miles away,
Round by Cambridge, or over the Neck,
But the smoke was white -- white!
To-day the trumpet-flowers are red -- red --
And I cannot see you fighting,
But old Mr. Dimond has fled to Canada,
And Myra sings "Yankee Doodle" at her milking.
The red throats of the trumpets bray and clang in the sunshine,
And the smoke-tree puffs dun blossoms into the blue air.
II
The City of Falling Leaves
Leaves fall,
Brown leaves,
Yellow leaves streaked with brown.
They fall,
Flutter,
Fall again.
The brown leaves,
And the streaked yellow leaves,
Loosen on their branches
And drift slowly downwards.
One,
One, two, three,
One, two, five.
All Venice is a falling of Autumn leaves --
Brown,
And yellow streaked with brown.
"That sonnet, Abate,
Beautiful,
I am quite exhausted by it.
Your phrases turn about my heart
And stifle me to swooning.
Open the window, I beg.
Lord! What a strumming of fiddles and mandolins!
'Tis really a shame to stop indoors.
Call my maid, or I will make you lace me yourself.
Fie, how hot it is, not a breath of air!
See how straight the leaves are falling.
Marianna, I will have the yellow satin caught up with silver fringe,
It peeps out delightfully from under a mantle.
Am I well painted to-day, `caro Abate mio'?
You will be proud of me at the `Ridotto', hey?
Proud of being `Cavalier Servente' to such a lady?"
"Can you doubt it, `Bellissima Contessa'?
A pinch more rouge on the right cheek,
And Venus herself shines less . . ."
"You bore me, Abate,
I vow I must change you!
A letter, Achmet?
Run and look out of the window, Abate.
I will read my letter in peace."
The little black slave with the yellow satin turban
Gazes at his mistress with strained eyes.
His yellow turban and black skin
Are gorgeous -- barbaric.
The yellow satin dress with its silver flashings
Lies on a chair
Beside a black mantle and a black mask.
Yellow and black,
Gorgeous -- barbaric.
The lady reads her letter,
And the leaves drift slowly
Past the long windows.
"How silly you look, my dear Abate,
With that great brown leaf in your wig.
Pluck it off, I beg you,
Or I shall die of laughing."
A yellow wall
Aflare in the sunlight,
Chequered with shadows,
Shadows of vine leaves,
Shadows of masks.
Masks coming, printing themselves for an instant,
Then passing on,
More masks always replacing them.
Masks with tricorns and rapiers sticking out behind
Pursuing masks with plumes and high heels,
The sunlight shining under their insteps.
One,
One, two,
One, two, three,
There is a thronging of shadows on the hot wall,
Filigreed at the top with moving leaves.
Yellow sunlight and black shadows,
Yellow and black,
Gorgeous -- barbaric.
Two masks stand together,
And the shadow of a leaf falls through them,
Marking the wall where they are not.
From hat-tip to shoulder-tip,
From elbow to sword-hilt,
The leaf falls.
The shadows mingle,
Blur together,
Slide along the wall and disappear.
Gold of mosaics and candles,
And night blackness lurking in the ceiling beams.
Saint Mark's glitters with flames and reflections.
A cloak brushes aside,
And the yellow of satin
Licks out over the coloured inlays of the pavement.
Under the gold crucifixes
There is a meeting of hands
Reaching from black mantles.
Sighing embraces, bold investigations,
Hide in confessionals,
Sheltered by the shuffling of feet.
Gorgeous -- barbaric
In its mail of jewels and gold,
Saint Mark's looks down at the swarm of black masks;
And outside in the palace gardens brown leaves fall,
Flutter,
Fall.
Brown,
And yellow streaked with brown.
Blue-black, the sky over Venice,
With a pricking of yellow stars.
There is no moon,
And the waves push darkly against the prow
Of the gondola,
Coming from Malamocco
And streaming toward Venice.
It is black under the gondola hood,
But the yellow of a satin dress
Glares out like the eye of a watching tiger.
Yellow compassed about with darkness,
Yellow and black,
Gorgeous -- barbaric.
The boatman sings,
It is Tasso that he sings;
The lovers seek each other beneath their mantles,
And the gondola drifts over the lagoon, aslant to the coming dawn.
But at Malamocco in front,
In Venice behind,
Fall the leaves,
Brown,
And yellow streaked with brown.
They fall,
Flutter,
Fall.
|
Written by
Vachel Lindsay |
(Being a Chant of the American Soap-Box and the Russian Revolution.)
O market square, O slattern place,
Is glory in your slack disgrace?
Plump quack doctors sell their pills,
Gentle grafters sell brass watches,
Silly anarchists yell their ills.
Shall we be as weird as these?
In the breezes nod and wheeze?
Heaven's mass is sung,
Tomorrow's mass is sung
In a spirit tongue
By wind and dust and birds,
The high mass of liberty,
While wave the banners red:
Sung round the soap-box,
A mass for soldiers dead.
When you leave your faction in the once-loved hall,
Like a true American tongue-lash them all,
Stand then on the corner under starry skies
And get you a gang of the worn and the wise.
The soldiers of the Lord may be squeaky when they rally,
The soldiers of the Lord are a ***** little army,
But the soldiers of the Lord, before the year is through,
Will gather the whole nation, recruit all creation,
To smite the hosts abhorred, and all the heavens renew —
Enforcing with the bayonet the thing the ages teach —
Free speech!
Free speech!
Down with the Prussians, and all their works.
Down with the Turks.
Down with every army that fights against the soap-box,
The Pericles, Socrates, Diogenes soap-box,
The old Elijah, Jeremiah, John-the-Baptist soap-box,
The Rousseau, Mirabeau, Danton soap-box,
The Karl Marx, Henry George, Woodrow Wilson soap-box.
We will make the wide earth safe for the soap-box,
The everlasting foe of beastliness and tyranny,
Platform of liberty: — Magna Charta liberty,
Andrew Jackson liberty, bleeding Kansas liberty,
New-born Russian liberty: —
Battleship of thought,
The round world over,
Loved by the red-hearted,
Loved by the broken-hearted,
Fair young Amazon or proud tough rover,
Loved by the lion,
Loved by the lion,
Loved by the lion,
Feared by the fox.
The Russian Revolution is the world revolution.
Death at the bedstead of every Kaiser knocks.
The Hohenzollern army shall be felled like the ox.
The fatal hour is striking in all the doomsday clocks.
The while, by freedom's alchemy
Beauty is born.
Ring every sleigh-bell, ring every church bell,
Blow the clear trumpet, and listen for the answer: —
The blast from the sky of the Gabriel horn.
Hail the Russian picture around the little box: —
Exiles,
Troops in files,
Generals in uniform,
Mujiks in their smocks,
And holy maiden soldiers who have cut away their locks.
All the peoples and the nations in processions mad and great,
Are rolling through the Russian Soul as through a city gate: —
As though it were a street of stars that paves the shadowy deep.
And mighty Tolstoi leads the van along the stairway steep.
But now the people shout:
"Hail to Kerensky,
He hurled the tyrants out."
And this my song is made for Kerensky,
Prophet of the world-wide intolerable hope,
There on the soap-box, seasoned, dauntless,
There amid the Russian celestial kaleidoscope,
Flags of liberty, rags and battlesmoke.
Moscow and Chicago!
Come let us praise battling Kerensky,
Bravo! Bravo!
Comrade Kerensky the thunderstorm and rainbow!
Comrade Kerensky, Bravo, Bravo!
|
Written by
Galway Kinnell |
Talking with my beloved in New York
I stood at the outdoor public telephone
in Mexican sunlight, in my purple shirt.
Someone had called it a man/woman
shirt. The phrase irked me. But then
I remembered that Rainer Maria
Rilke, who until he was seven wore
dresses and had long yellow hair,
wrote that the girl he almost was
"made her bed in his ear" and "slept him the world."
I thought, OK this shirt will clothe the other in me.
As we fell into long-distance love talk
a squeaky chittering started up all around,
and every few seconds came a sudden loud
buzzing. I half expected to find
the insulation on the telephone line
laid open under the pressure of our talk
leaking low-frequency noises.
But a few yards away a dozen hummingbirds,
gorgets going drab or blazing
according as the sun struck them,
stood on their tail rudders in a circle
around my head, transfixed
by the flower-likeness of the shirt.
And perhaps also by a flush rising into my face,
for a word -- one with a thick sound,
as if a porous vowel had sat soaking up
saliva while waiting to get spoken,
possibly the name of some flower
that hummingbirds love, perhaps
"honeysuckle" or "hollyhock"
or "phlox" -- just then shocked me
with its suddenness, and this time
apparently did burst the insulation,
letting the word sound in the open
where all could hear, for these tiny, irascible,
nectar-addicted puritans jumped back
all at once, as if the air gasped.
|
Written by
Edward Lear |
C was Papa's gray Cat,Who caught a squeaky Mouse; She pulled him by his twirly tailAll about the house.
|
Written by
Paul Laurence Dunbar |
When de fiddle gits to singin' out a ol' Vahginny reel,
An' you 'mence to feel a ticklin' in yo' toe an' in yo' heel;
Ef you t'ink you got 'uligion an' you wants to keep it, too,
You jes' bettah tek a hint an' git yo'self clean out o' view.
Case de time is mighty temptin' when de chune is in de swing,
Fu' a darky, saint or sinner man, to cut de pigeon-wing.
An' you could n't he'p f'om dancin' ef yo' feet was boun' wif twine,
When Angelina Johnson comes a-swingin' down de line.
Don't you know Miss Angelina? She 's de da'lin' of de place.
W'y, dey ain't no high-toned lady wif sich mannahs an' sich grace.
She kin move across de cabin, wif its planks all rough an' wo';
Jes' de same 's ef she was dancin' on ol' mistus' ball-room flo'.
Fact is, you do' see no cabin—evaht'ing you see look grand,
An' dat one ol' squeaky fiddle soun' to you jes' lak a ban';
Cotton britches look lak broadclof an' a linsey dress look fine,
When Angelina Johnson comes a-swingin' down de line.[Pg 139]
Some folks say dat dancin 's sinful, an' de blessed Lawd, dey say,
Gwine to punish us fu' steppin' w'en we hyeah de music play.
But I tell you I don' b'lieve it, fu' de Lawd is wise and good,
An' he made de banjo's metal an' he made de fiddle's wood,
An' he made de music in dem, so I don' quite t'ink he 'll keer
Ef our feet keeps time a little to de melodies we hyeah.
W'y, dey's somep'n' downright holy in de way our faces shine,
When Angelina Johnson comes a-swingin' down de line.
Angelina steps so gentle, Angelina bows so low,
An' she lif huh sku't so dainty dat huh shoetop skacely show:
An' dem teef o' huh'n a-shinin', ez she tek you by de han'—
Go 'way, people, d' ain't anothah sich a lady in de lan'!
When she 's movin' thoo de figgers er a-dancin' by huhse'f,
Folks jes' stan' stock-still a-sta'in', an' dey mos' nigh hol's dey bref;
An' de young mens, dey 's a-sayin', "I 's gwine mek dat damsel mine,"
When Angelina Johnson comes a-swingin' down de line.
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