Written by
Elizabeth Bishop |
Although it is a cold evening,
down by one of the fishhouses
an old man sits netting,
his net, in the gloaming almost invisible,
a dark purple-brown,
and his shuttle worn and polished.
The air smells so strong of codfish
it makes one's nose run and one's eyes water.
The five fishhouses have steeply peaked roofs
and narrow, cleated gangplanks slant up
to storerooms in the gables
for the wheelbarrows to be pushed up and down on.
All is silver: the heavy surface of the sea,
swelling slowly as if considering spilling over,
is opaque, but the silver of the benches,
the lobster pots, and masts, scattered
among the wild jagged rocks,
is of an apparent translucence
like the small old buildings with an emerald moss
growing on their shoreward walls.
The big fish tubs are completely lined
with layers of beautiful herring scales
and the wheelbarrows are similarly plastered
with creamy iridescent coats of mail,
with small iridescent flies crawling on them.
Up on the little slope behind the houses,
set in the sparse bright sprinkle of grass,
is an ancient wooden capstan,
cracked, with two long bleached handles
and some melancholy stains, like dried blood,
where the ironwork has rusted.
The old man accepts a Lucky Strike.
He was a friend of my grandfather.
We talk of the decline in the population
and of codfish and herring
while he waits for a herring boat to come in.
There are sequins on his vest and on his thumb.
He has scraped the scales, the principal beauty,
from unnumbered fish with that black old knife,
the blade of which is almost worn away.
Down at the water's edge, at the place
where they haul up the boats, up the long ramp
descending into the water, thin silver
tree trunks are laid horizontally
across the gray stones, down and down
at intervals of four or five feet.
Cold dark deep and absolutely clear,
element bearable to no mortal,
to fish and to seals .
.
.
One seal particularly
I have seen here evening after evening.
He was curious about me.
He was interested in music;
like me a believer in total immersion,
so I used to sing him Baptist hymns.
I also sang "A Mighty Fortress Is Our God.
"
He stood up in the water and regarded me
steadily, moving his head a little.
Then he would disappear, then suddenly emerge
almost in the same spot, with a sort of shrug
as if it were against his better judgment.
Cold dark deep and absolutely clear,
the clear gray icy water .
.
.
Back, behind us,
the dignified tall firs begin.
Bluish, associating with their shadows,
a million Christmas trees stand
waiting for Christmas.
The water seems suspended
above the rounded gray and blue-gray stones.
I have seen it over and over, the same sea, the same,
slightly, indifferently swinging above the stones,
icily free above the stones,
above the stones and then the world.
If you should dip your hand in,
your wrist would ache immediately,
your bones would begin to ache and your hand would burn
as if the water were a transmutation of fire
that feeds on stones and burns with a dark gray flame.
If you tasted it, it would first taste bitter,
then briny, then surely burn your tongue.
It is like what we imagine knowledge to be:
dark, salt, clear, moving, utterly free,
drawn from the cold hard mouth
of the world, derived from the rocky breasts
forever, flowing and drawn, and since
our knowledge is historical, flowing, and flown.
|
Written by
Philip Larkin |
In this dream that dogs me I am part
Of a silent crowd walking under a wall,
Leaving a football match, perhaps, or a pit,
All moving the same way.
After a while
A second wall closes on our right,
Pressing us tighter.
We are now shut in
Like pigs down a concrete passage.
When I lift
My head, I see the walls have killed the sun,
And light is cold.
Now a giant whitewashed D
Comes on the second wall, but much too high
For them to recognise: I await the E,
Watch it approach and pass.
By now
We have ceased walking and travel
Like water through sewers, steeply, despite
The tread that goes on ringing like an anvil
Under the striding A.
I crook
My arm to shield my face, for we must pass
Beneath the huge, decapitated cross,
White on the wall, the T, and I cannot halt
The tread, the beat of it, it is my own heart,
The walls of my room rise, it is still night,
I have woken again before the word was spelt.
|
Written by
Mihai Eminescu |
'Tis eve on the hillside, the bagpipes are distantly wailing,
Flocks going homewards, and stars o'er the firmament sailing,
Sound of the bubbling spring sorrow's legend narrating,
And beneath a tall willow for me, dear one, you are waiting.
The wandering moon up the heavens her journey is wending,
Big-eyed you watch through the boughs her gold lantern ascending,
Now over the dome of the sky all the planets are gleaming,
And heavy your breast with its longing, your brow with its dreaming.
Cornfields bright flooded with beams by the clouds steeply drifted,
Old cottage gables of thatch to the moonlight uplifted,
The tall wooden arm of the well in the wind softly grating,
And the shepherd-boy's pipe from the sheep-pen sad "doina" relating.
The peasants, their scythes on their backs, from their labour are coming,
The sound of the "toaca" its summons more loudly is drumming,
While the clang of the village church bell fills the evening entire,
And with longing for you like a ****** my soul is on fire.
O, soon will the village be silent and scarce a light burning,
O, soon eager steps to the hillside again I'll be turning,
And all the night long I will clasp you in love's hungry fashion,
And in secret we'll tell to each other the tale of our passion.
Till at last we will fall fast asleep neath the shade of that willow,
Your lips drawn aside in a smile and your breast for my pillow,
O, to live one such beautiful night all these wonders fulfilling
And barter the rest of existence, who would not be willing?
English version by Corneliu M.
Popescu
Transcribed by Catalina Stoica
School No.
10, Focsani, Romania
|
Written by
Marilyn Hacker |
August First: it was a year ago
we drove down from St.
-Guilhem-le-Désert
to open the house in St.
Guiraud
rented unseen.
I'd stay; you'd go; that's where
our paths diverged.
I'd settle down to work,
you'd start the next month of your Wanderjahr.
I turned the iron key in the rusted lock
(it came, like a detective-story clue,
in a manila envelope, postmarked
elsewhere, unmarked otherwise) while you
stood behind me in the midday heat.
Somnolent shudders marked our progress.
Two
horses grazed on a roof across the street.
You didn't believe me until you turned around.
They were both old, one mottled gray, one white.
Past the kitchen's russet dark, we found
bookshelves on both sides of the fireplace:
Verlaine, L'Étranger, Notes from the Underground.
Through an archway, a fresh-plastered staircase
led steeply upward.
In a white room stood
a white-clad brass bed.
Sunlight in your face
came from the tree-filled window.
"You did good.
"
We laid crisp sheets we would inaugurate
that night, rescued from the grenier a wood-
en table we put under the window.
Date
our homes from that one, to which you returned
the last week of August, on a late
bus, in shorts, like a crew-cut, sunburned
bidasse.
Sunburned, in shorts, a new haircut,
with Auden and a racing pulse I'd earned
by "not being sentimental about
you," I sprinted to "La Populaire.
"
You walked into my arms when you got out.
At a two minute bus stop, who would care?
"La Populaire" puffed onward to Millau
while we hiked up to the hiatus where
we'd left ourselves when you left St.
Guiraud
after an unambiguous decade
of friendship, and some months of something new.
A long week before either of us said
a compromising word acknowledging
what happened every night in the brass bed
and every bird-heralded blue morning
was something we could claim and keep and use;
was, like the house, a place where we could bring
our road-worn, weary selves.
Now, we've a pause
in a year we wouldn't have wagered on.
Dusk climbs the tiled roof opposite; the blue's
still sun-soaked; it's a week now since you've gone
to be a daughter in the capital.
(I came north with you as far as Beaune.
)
I cook things you don't like.
Sometimes I fall
asleep, book open, one A.
M.
, sometimes
I long for you all night in Provencal
or langue d'oc, or wish I could, when I'm
too much awake.
My early walk, my late
walk mark the day's measures like rhyme.
(There's nothing I hate---perhaps I hate
the adipose deposits on my thighs
---as much as having to stay put and wait!)
Although a day alone cuts tight or lies
too limp sometimes, I know what I didn't know
a year ago, that makes it the right size:
owned certainty; perpetual surprise.
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