Written by
Anna Akhmatova |
Not under foreign skies
Nor under foreign wings protected -
I shared all this with my own people
There, where misfortune had abandoned us.
[1961]
INSTEAD OF A PREFACE
During the frightening years of the Yezhov terror, I
spent seventeen months waiting in prison queues in
Leningrad. One day, somehow, someone 'picked me out'.
On that occasion there was a woman standing behind me,
her lips blue with cold, who, of course, had never in
her life heard my name. Jolted out of the torpor
characteristic of all of us, she said into my ear
(everyone whispered there) - 'Could one ever describe
this?' And I answered - 'I can.' It was then that
something like a smile slid across what had previously
been just a face.
[The 1st of April in the year 1957. Leningrad]
DEDICATION
Mountains fall before this grief,
A mighty river stops its flow,
But prison doors stay firmly bolted
Shutting off the convict burrows
And an anguish close to death.
Fresh winds softly blow for someone,
Gentle sunsets warm them through; we don't know this,
We are everywhere the same, listening
To the scrape and turn of hateful keys
And the heavy tread of marching soldiers.
Waking early, as if for early mass,
Walking through the capital run wild, gone to seed,
We'd meet - the dead, lifeless; the sun,
Lower every day; the Neva, mistier:
But hope still sings forever in the distance.
The verdict. Immediately a flood of tears,
Followed by a total isolation,
As if a beating heart is painfully ripped out, or,
Thumped, she lies there brutally laid out,
But she still manages to walk, hesitantly, alone.
Where are you, my unwilling friends,
Captives of my two satanic years?
What miracle do you see in a Siberian blizzard?
What shimmering mirage around the circle of the moon?
I send each one of you my salutation, and farewell.
[March 1940]
INTRODUCTION
[PRELUDE]
It happened like this when only the dead
Were smiling, glad of their release,
That Leningrad hung around its prisons
Like a worthless emblem, flapping its piece.
Shrill and sharp, the steam-whistles sang
Short songs of farewell
To the ranks of convicted, demented by suffering,
As they, in regiments, walked along -
Stars of death stood over us
As innocent Russia squirmed
Under the blood-spattered boots and tyres
Of the black marias.
I
You were taken away at dawn. I followed you
As one does when a corpse is being removed.
Children were crying in the darkened house.
A candle flared, illuminating the Mother of God. . .
The cold of an icon was on your lips, a death-cold
sweat
On your brow - I will never forget this; I will gather
To wail with the wives of the murdered streltsy (1)
Inconsolably, beneath the Kremlin towers.
[1935. Autumn. Moscow]
II
Silent flows the river Don
A yellow moon looks quietly on
Swanking about, with cap askew
It sees through the window a shadow of you
Gravely ill, all alone
The moon sees a woman lying at home
Her son is in jail, her husband is dead
Say a prayer for her instead.
III
It isn't me, someone else is suffering. I couldn't.
Not like this. Everything that has happened,
Cover it with a black cloth,
Then let the torches be removed. . .
Night.
IV
Giggling, poking fun, everyone's darling,
The carefree sinner of Tsarskoye Selo (2)
If only you could have foreseen
What life would do with you -
That you would stand, parcel in hand,
Beneath the Crosses (3), three hundredth in
line,
Burning the new year's ice
With your hot tears.
Back and forth the prison poplar sways
With not a sound - how many innocent
Blameless lives are being taken away. . .
[1938]
V
For seventeen months I have been screaming,
Calling you home.
I've thrown myself at the feet of butchers
For you, my son and my horror.
Everything has become muddled forever -
I can no longer distinguish
Who is an animal, who a person, and how long
The wait can be for an execution.
There are now only dusty flowers,
The chinking of the thurible,
Tracks from somewhere into nowhere
And, staring me in the face
And threatening me with swift annihilation,
An enormous star.
[1939]
VI
Weeks fly lightly by. Even so,
I cannot understand what has arisen,
How, my son, into your prison
White nights stare so brilliantly.
Now once more they burn,
Eyes that focus like a hawk,
And, upon your cross, the talk
Is again of death.
[1939. Spring]
VII
THE VERDICT
The word landed with a stony thud
Onto my still-beating breast.
Nevermind, I was prepared,
I will manage with the rest.
I have a lot of work to do today;
I need to slaughter memory,
Turn my living soul to stone
Then teach myself to live again. . .
But how. The hot summer rustles
Like a carnival outside my window;
I have long had this premonition
Of a bright day and a deserted house.
[22 June 1939. Summer. Fontannyi Dom (4)]
VIII
TO DEATH
You will come anyway - so why not now?
I wait for you; things have become too hard.
I have turned out the lights and opened the door
For you, so simple and so wonderful.
Assume whatever shape you wish. Burst in
Like a shell of noxious gas. Creep up on me
Like a practised bandit with a heavy weapon.
Poison me, if you want, with a typhoid exhalation,
Or, with a simple tale prepared by you
(And known by all to the point of nausea), take me
Before the commander of the blue caps and let me
glimpse
The house administrator's terrified white face.
I don't care anymore. The river Yenisey
Swirls on. The Pole star blazes.
The blue sparks of those much-loved eyes
Close over and cover the final horror.
[19 August 1939. Fontannyi Dom]
IX
Madness with its wings
Has covered half my soul
It feeds me fiery wine
And lures me into the abyss.
That's when I understood
While listening to my alien delirium
That I must hand the victory
To it.
However much I nag
However much I beg
It will not let me take
One single thing away:
Not my son's frightening eyes -
A suffering set in stone,
Or prison visiting hours
Or days that end in storms
Nor the sweet coolness of a hand
The anxious shade of lime trees
Nor the light distant sound
Of final comforting words.
[14 May 1940. Fontannyi Dom]
X
CRUCIFIXION
Weep not for me, mother.
I am alive in my grave.
1.
A choir of angels glorified the greatest hour,
The heavens melted into flames.
To his father he said, 'Why hast thou forsaken me!'
But to his mother, 'Weep not for me. . .'
[1940. Fontannyi Dom]
2.
Magdalena smote herself and wept,
The favourite disciple turned to stone,
But there, where the mother stood silent,
Not one person dared to look.
[1943. Tashkent]
EPILOGUE
1.
I have learned how faces fall,
How terror can escape from lowered eyes,
How suffering can etch cruel pages
Of cuneiform-like marks upon the cheeks.
I know how dark or ash-blond strands of hair
Can suddenly turn white. I've learned to recognise
The fading smiles upon submissive lips,
The trembling fear inside a hollow laugh.
That's why I pray not for myself
But all of you who stood there with me
Through fiercest cold and scorching July heat
Under a towering, completely blind red wall.
2.
The hour has come to remember the dead.
I see you, I hear you, I feel you:
The one who resisted the long drag to the open window;
The one who could no longer feel the kick of familiar
soil beneath her feet;
The one who, with a sudden flick of her head, replied,
'I arrive here as if I've come home!'
I'd like to name you all by name, but the list
Has been removed and there is nowhere else to look.
So,
I have woven you this wide shroud out of the humble
words
I overheard you use. Everywhere, forever and always,
I will never forget one single thing. Even in new
grief.
Even if they clamp shut my tormented mouth
Through which one hundred million people scream;
That's how I wish them to remember me when I am dead
On the eve of my remembrance day.
If someone someday in this country
Decides to raise a memorial to me,
I give my consent to this festivity
But only on this condition - do not build it
By the sea where I was born,
I have severed my last ties with the sea;
Nor in the Tsar's Park by the hallowed stump
Where an inconsolable shadow looks for me;
Build it here where I stood for three hundred hours
And no-one slid open the bolt.
Listen, even in blissful death I fear
That I will forget the Black Marias,
Forget how hatefully the door slammed and an old woman
Howled like a wounded beast.
Let the thawing ice flow like tears
From my immovable bronze eyelids
And let the prison dove coo in the distance
While ships sail quietly along the river.
[March 1940. Fontannyi Dom]
FOOTNOTES
1 An elite guard which rose up in rebellion
against Peter the Great in 1698. Most were either
executed or exiled.
2 The imperial summer residence outside St
Petersburg where Ahmatova spent her early years.
3 A prison complex in central Leningrad near the
Finland Station, called The Crosses because of the
shape of two of the buildings.
4 The Leningrad house in which Ahmatova lived.
|
Written by
Raymond Carver |
And all at length are gathered in.
--LOUISE BOGAN
By the time I came around to feeling pain
and woke up, moonlight
flooded the room. My arm lay paralyzed,
propped up like an old anchor under
your back. You were in a dream,
you said later, where you'd arrived
early for the dance. But after
a moment's anxiety you were okay
because it was really a sidewalk
sale, and the shoes you were wearing,
or not wearing, were fine for that.
*
"Help me," I said. And tried to hoist
my arm. But it just lay there, aching,
unable to rise on its own. Even after
you said, "What is it? What's wrong?"
it stayed put -- deaf, unmoved
by any expression of fear or amazement.
We shouted at it, and grew afraid
when it didn't answer. "It's gone to sleep,"
I said, and hearing those words
knew how absurd this was. But
I couldn't laugh. Somehow,
between the two of us, we managed
to raise it. This can't be my arm
is what I kept thinking as
we thumped it, squeezed it, and
prodded it back to life. Shook it
until that stinging went away.
We said a few words to each other.
I don't remember what. Whatever
reassuring things people
who love each other say to each other
given the hour and such odd
circumstance. I do remember
you remarked how it was light
enough in the room that you could see
circles under my eyes.
You said I needed more regular sleep,
and I agreed. Each of us went
to the bathroom, and climbed back into bed
on our respective sides.
Pulled the covers up. "Good night,"
you said, for the second time that night.
And fell asleep. Maybe
into that same dream, or else another.
*
I lay until daybreak, holding
both arms fast across my chest.
Working my fingers now and then.
While my thoughts kept circling
around and around, but always going back
where they'd started from.
That one inescapable fact: even while
we undertake this trip,
there's another, far more bizarre,
we still have to make.
|
Written by
Edwin Arlington Robinson |
Aunt Imogen was coming, and therefore
The children—Jane, Sylvester, and Young George—
Were eyes and ears; for there was only one
Aunt Imogen to them in the whole world,
And she was in it only for four weeks
In fifty-two. But those great bites of time
Made all September a Queen’s Festival;
And they would strive, informally, to make
The most of them.—The mother understood,
And wisely stepped away. Aunt Imogen
Was there for only one month in the year,
While she, the mother,—she was always there;
And that was what made all the difference.
She knew it must be so, for Jane had once
Expounded it to her so learnedly
That she had looked away from the child’s eyes
And thought; and she had thought of many things.
There was a demonstration every time
Aunt Imogen appeared, and there was more
Than one this time. And she was at a loss
Just how to name the meaning of it all:
It puzzled her to think that she could be
So much to any crazy thing alive—
Even to her sister’s little savages
Who knew no better than to be themselves;
But in the midst of her glad wonderment
She found herself besieged and overcome
By two tight arms and one tumultuous head,
And therewith half bewildered and half pained
By the joy she felt and by the sudden love
That proved itself in childhood’s honest noise.
Jane, by the wings of sex, had reached her first;
And while she strangled her, approvingly,
Sylvester thumped his drum and Young George howled.
But finally, when all was rectified,
And she had stilled the clamor of Young George
By giving him a long ride on her shoulders,
They went together into the old room
That looked across the fields; and Imogen
Gazed out with a girl’s gladness in her eyes,
Happy to know that she was back once more
Where there were those who knew her, and at last
Had gloriously got away again
From cabs and clattered asphalt for a while;
And there she sat and talked and looked and laughed
And made the mother and the children laugh.
Aunt Imogen made everybody laugh.
There was the feminine paradox—that she
Who had so little sunshine for herself
Should have so much for others. How it was
That she could make, and feel for making it,
So much of joy for them, and all along
Be covering, like a scar, and while she smiled,
That hungering incompleteness and regret—
That passionate ache for something of her own,
For something of herself—she never knew.
She knew that she could seem to make them all
Believe there was no other part of her
Than her persistent happiness; but the why
And how she did not know. Still none of them
Could have a thought that she was living down—
Almost as if regret were criminal,
So proud it was and yet so profitless—
The penance of a dream, and that was good.
Her sister Jane—the mother of little Jane,
Sylvester, and Young George—might make herself
Believe she knew, for she—well, she was Jane.
Young George, however, did not yield himself
To nourish the false hunger of a ghost
That made no good return. He saw too much:
The accumulated wisdom of his years
Had so conclusively made plain to him
The permanent profusion of a world
Where everybody might have everything
To do, and almost everything to eat,
That he was jubilantly satisfied
And all unthwarted by adversity.
Young George knew things. The world, he had found out,
Was a good place, and life was a good game—
Particularly when Aunt Imogen
Was in it. And one day it came to pass—
One rainy day when she was holding him
And rocking him—that he, in his own right,
Took it upon himself to tell her so;
And something in his way of telling it—
The language, or the tone, or something else—
Gripped like insidious fingers on her throat,
And then went foraging as if to make
A plaything of her heart. Such undeserved
And unsophisticated confidence
Went mercilessly home; and had she sat
Before a looking glass, the deeps of it
Could not have shown more clearly to her then
Than one thought-mirrored little glimpse had shown,
The pang that wrenched her face and filled her eyes
With anguish and intolerable mist.
The blow that she had vaguely thrust aside
Like fright so many times had found her now:
Clean-thrust and final it had come to her
From a child’s lips at last, as it had come
Never before, and as it might be felt
Never again. Some grief, like some delight,
Stings hard but once: to custom after that
The rapture or the pain submits itself,
And we are wiser than we were before.
And Imogen was wiser; though at first
Her dream-defeating wisdom was indeed
A thankless heritage: there was no sweet,
No bitter now; nor was there anything
To make a daily meaning for her life—
Till truth, like Harlequin, leapt out somehow
From ambush and threw sudden savor to it—
But the blank taste of time. There were no dreams,
No phantoms in her future any more:
One clinching revelation of what was
One by-flash of irrevocable chance,
Had acridly but honestly foretold
The mystical fulfilment of a life
That might have once … But that was all gone by:
There was no need of reaching back for that:
The triumph was not hers: there was no love
Save borrowed love: there was no might have been.
But there was yet Young George—and he had gone
Conveniently to sleep, like a good boy;
And there was yet Sylvester with his drum,
And there was frowzle-headed little Jane;
And there was Jane the sister, and the mother,—
Her sister, and the mother of them all.
They were not hers, not even one of them:
She was not born to be so much as that,
For she was born to be Aunt Imogen.
Now she could see the truth and look at it;
Now she could make stars out where once had palled
A future’s emptiness; now she could share
With others—ah, the others!—to the end
The largess of a woman who could smile;
Now it was hers to dance the folly down,
And all the murmuring; now it was hers
To be Aunt Imogen.—So, when Young George
Woke up and blinked at her with his big eyes,
And smiled to see the way she blinked at him,
’T was only in old concord with the stars
That she took hold of him and held him close,
Close to herself, and crushed him till he laughed.
|
Written by
Rg Gregory |
(roundel: variation of the rondeau
consisting of three stanzas of three
lines each, linked together with but
two rhymes and a refrain at the end
of the first and third group)
1.
the blind rose
today's fullness is tomorrow's gone
(the next day after no one knows)
last year's dream now feeds upon
what blindly grows
imagine if you like a rose
on which no likely sun has shone
a darkness chokes it (just suppose)
the die though's cast - a marathon
of hopes endeavours then bestows
dawn's right to spill its colours on
what blindly grows
2.
squeaking
there are so few words left now to grow
green on - my vocabulary's stumped
for a hard-edged phrase to let you know
my truth's not been gazumped
love itself of course is blandly thumped
each time it suits you to imagine no
fruits are guilty for their being scrumped
if you can't be honest with me - better go
if dumped is what you wish then i'll be dumped
excuse me if i go on squeaking though
my truth's not been gazumped
3.
ease of mind
the world spins - today i have migraine
the peace i seek is never less than ill
striving's no answer to the bumptious pain
that is love's overspill
wanting warmth encourages the chill
relaxation breeds its bitter strain
the worst of all crimes is - i love you still
hope itself by nature is inane
i squat in a box dismembered from such will
to let me find the ease of mind again
that is love's overspill
4.
a roundel for ptolemy
the earth is not the system's centre- so ok
heliocentric - well our sun's a midget
spawning galaxies blow our minds away
space then equal to a digit
the mightiest telescope's a widget
science at best hard guessing gone astray
no genius stretch beyond a second's fidget
ptolemy discarded yet may have his say
infinity takes a hologram to bridge it
each shard of us contains the cosmos -
space then equal to a digit
5.
reflection
everything you do is my reflection
the hurts you cause are my pain inside out
blame's no matter for a close inspection
your guilt turns mine about
love itself is many hands of doubt
it cannot be without it breeds rejection
its silences result in one big shout
i am left with nothing but dejection
what's gold in me has nowhere to get out
love's pride is fatal to correction
my guilt turns yours about
6.
the round
the round understands the fluidity of order
how the thing lit up and the shadow can't compete
how the centre is that version of the border
the moment makes complete
notice each face around a space at times replete
with insights given to no one else as warder
but not condemned when those insights retreat
impermanence is eternity's recorder -
with an intricate sense of pattern power can't delete
the round honours those cracks in the divine disorder
the moment makes complete
7.
the actor
acting is not the true self's dissipation
but not its preening either - outside the role
it honours it best fights shy of reputation -
being what prometheus stole
it is a distant spark of that first live coal
a conscious glimpse of human desperation
rekindled as a longing to console
the waning spirit or the shattered dedication
actors are allies of the delphic hole
for good or ill they echo human expectation
being what prometheus stole
8.
roundels in honour of the round
(i)
when energy was born it asked this question
which way dear parents do i go from here
mum fluttered indifferently (i blame exhaustion)
dad pointed with his sexual gear
so energy thrust straight ahead and fostered fear
at once its dreaded source became a bastion
too holy to be doubted - mum flipped a gear
she sought revenge on dad for his lewd suggestion
taking too long of course - things went nuclear
the scale of the damage was too much to ingest when
dad pointed with his sexual gear
(ii)
she sat with her flowing skirt spread out on the earth
and tore the garment into strips from toe to waist
laying them to point around the wide world's girth
my way the truth flows best
dad laughed his head off at the pointless waste
and energy itself was seized by powerful mirth
perhaps mum's petalled skirt was not well placed
in time mishandled plenty breeds its dearth
dad's roisterous one-way-ism was disgraced
energy began to sense what mum was worth
her way the truth flows best
|
Written by
Barry Tebb |
(To Paul Sykes, author of 'Sweet Agony')
He demolished five doors at a sitting
And topped it off with an outsize window
One Christmas afternoon, when drunk;
Sober he smiled like an angel, bowed,
Kissed ladies’ hands and courtesy
Was his middle name.
She tried to pass for thirty at fifty-six,
Called him "My Sweet piglet" and laid out
Dainty doylies for his teatime treats; always
She wore black from toe to top and especially
Underneath, her hair dyed black, stuck up in a
Bun, her lipstick caked and smeared, drawling
From the corner of her mouth like a
Thirties gangsters’ moll, her true ambition.
"Kill him, kill him, the bastard!" she’d scream
As all Wakefield watched, "It’s Grotty,
Grotty’s at it again!" as pubs and clubs
Banned them, singly or together and they
Moved lodgings yet again, landlords and
Landladies left reeling behind broken doors.
Blood-smeared walls covered with a shiny
Patina of carefully applied deceits! "It was
The cat, the kids, them druggies, lads from
Football", anyone, anywhere but him and her.
Once I heard them fight, "Barry, Barry, get
The police," she thumped my door, double
Five-lever mortice locked against them,
"Call t’ police ‘e’s murderin’ me!" I went
And calmed her down, pathetic in black
Underwear and he, suddenly sober, sorry,
Muttering, "Elaine, Elaine, it were only fun,
Give me a kiss, just one."
Was this her fourth or fifth husband, I’d
Lost count and so had she, each one she said
Was worse than the last, they’d all pulled her
Down, one put her through a Dorothy Perkins
Plate-glass window in Wakefield’s midnight,
Leaving her strewn amongst the furs and
Bridal gowns, blood everywhere, such perfection
Of evidence they nearly let her bleed to death
Getting all the photographs.
Rumour flew and grew around her, finally
They said it was all in a book one ‘husband’
Wrote in prison, how she’d had a great house,
Been a brothel madame, had servants even.
For years I chased that book, "Lynch," they
Told me, "It’s by Paul Lynch" but it wasn’t,
Then finally, "I remember, Sykes, they allus
Called him Sykesy" and so it was, Sweet Agony,
Written in prison by one Paul Sykes, her most
Famous inamorato, amateur boxing champion
Of all England, twenty years inside, fly-pitcher
Supreme, king of spielers; how she hated you
For beating her, getting it all down on paper,
Even making money for doing it, "That bastard
Cheated me, writing lying filth about me and
I never saw a penny!" she’d mutter, side-mouthed,
To her pals.
But that book, that bloody book, was no pub myth,
It even won an Arthur Koestler Literary Award
And is compulsive reading; hardly, as a poet,
My cup of tea but I couldn’t put it down.
Paul Sykes, I salute you, immortaliser of Elaine,
Your book became and is my sweetest pain.
|
Written by
Henry Lawson |
It was pleasant up the country, City Bushman, where you went,
For you sought the greener patches and you travelled like a gent;
And you curse the trams and buses and the turmoil and the push,
Though you know the squalid city needn't keep you from the bush;
But we lately heard you singing of the `plains where shade is not',
And you mentioned it was dusty -- `all was dry and all was hot'.
True, the bush `hath moods and changes' -- and the bushman hath 'em, too,
For he's not a poet's dummy -- he's a man, the same as you;
But his back is growing rounder -- slaving for the absentee --
And his toiling wife is thinner than a country wife should be.
For we noticed that the faces of the folks we chanced to meet
Should have made a greater contrast to the faces in the street;
And, in short, we think the bushman's being driven to the wall,
And it's doubtful if his spirit will be `loyal thro' it all'.
Though the bush has been romantic and it's nice to sing about,
There's a lot of patriotism that the land could do without --
Sort of BRITISH WORKMAN nonsense that shall perish in the scorn
Of the drover who is driven and the shearer who is shorn,
Of the struggling western farmers who have little time for rest,
And are ruined on selections in the sheep-infested West;
Droving songs are very pretty, but they merit little thanks
From the people of a country in possession of the Banks.
And the `rise and fall of seasons' suits the rise and fall of rhyme,
But we know that western seasons do not run on schedule time;
For the drought will go on drying while there's anything to dry,
Then it rains until you'd fancy it would bleach the sunny sky --
Then it pelters out of reason, for the downpour day and night
Nearly sweeps the population to the Great Australian Bight.
It is up in Northern Queensland that the seasons do their best,
But it's doubtful if you ever saw a season in the West;
There are years without an autumn or a winter or a spring,
There are broiling Junes, and summers when it rains like anything.
In the bush my ears were opened to the singing of the bird,
But the `carol of the magpie' was a thing I never heard.
Once the beggar roused my slumbers in a shanty, it is true,
But I only heard him asking, `Who the blanky blank are you?'
And the bell-bird in the ranges -- but his `silver chime' is harsh
When it's heard beside the solo of the curlew in the marsh.
Yes, I heard the shearers singing `William Riley', out of tune,
Saw 'em fighting round a shanty on a Sunday afternoon,
But the bushman isn't always `trapping brumbies in the night',
Nor is he for ever riding when `the morn is fresh and bright',
And he isn't always singing in the humpies on the run --
And the camp-fire's `cheery blazes' are a trifle overdone;
We have grumbled with the bushmen round the fire on rainy days,
When the smoke would blind a bullock and there wasn't any blaze,
Save the blazes of our language, for we cursed the fire in turn
Till the atmosphere was heated and the wood began to burn.
Then we had to wring our blueys which were rotting in the swags,
And we saw the sugar leaking through the bottoms of the bags,
And we couldn't raise a chorus, for the toothache and the cramp,
While we spent the hours of darkness draining puddles round the camp.
Would you like to change with Clancy -- go a-droving? tell us true,
For we rather think that Clancy would be glad to change with you,
And be something in the city; but 'twould give your muse a shock
To be losing time and money through the foot-rot in the flock,
And you wouldn't mind the beauties underneath the starry dome
If you had a wife and children and a lot of bills at home.
Did you ever guard the cattle when the night was inky-black,
And it rained, and icy water trickled gently down your back
Till your saddle-weary backbone fell a-aching to the roots
And you almost felt the croaking of the bull-frog in your boots --
Sit and shiver in the saddle, curse the restless stock and cough
Till a squatter's irate dummy cantered up to warn you off?
Did you fight the drought and pleuro when the `seasons' were asleep,
Felling sheoaks all the morning for a flock of starving sheep,
Drinking mud instead of water -- climbing trees and lopping boughs
For the broken-hearted bullocks and the dry and dusty cows?
Do you think the bush was better in the `good old droving days',
When the squatter ruled supremely as the king of western ways,
When you got a slip of paper for the little you could earn,
But were forced to take provisions from the station in return --
When you couldn't keep a chicken at your humpy on the run,
For the squatter wouldn't let you -- and your work was never done;
When you had to leave the missus in a lonely hut forlorn
While you `rose up Willy Riley' -- in the days ere you were born?
Ah! we read about the drovers and the shearers and the like
Till we wonder why such happy and romantic fellows strike.
Don't you fancy that the poets ought to give the bush a rest
Ere they raise a just rebellion in the over-written West?
Where the simple-minded bushman gets a meal and bed and rum
Just by riding round reporting phantom flocks that never come;
Where the scalper -- never troubled by the `war-whoop of the push' --
Has a quiet little billet -- breeding rabbits in the bush;
Where the idle shanty-keeper never fails to make a draw,
And the dummy gets his tucker through provisions in the law;
Where the labour-agitator -- when the shearers rise in might --
Makes his money sacrificing all his substance for The Right;
Where the squatter makes his fortune, and `the seasons rise and fall',
And the poor and honest bushman has to suffer for it all;
Where the drovers and the shearers and the bushmen and the rest
Never reach the Eldorado of the poets of the West.
And you think the bush is purer and that life is better there,
But it doesn't seem to pay you like the `squalid street and square'.
Pray inform us, City Bushman, where you read, in prose or verse,
Of the awful `city urchin who would greet you with a curse'.
There are golden hearts in gutters, though their owners lack the fat,
And we'll back a teamster's offspring to outswear a city brat.
Do you think we're never jolly where the trams and buses rage?
Did you hear the gods in chorus when `Ri-tooral' held the stage?
Did you catch a ring of sorrow in the city urchin's voice
When he yelled for Billy Elton, when he thumped the floor for Royce?
Do the bushmen, down on pleasure, miss the everlasting stars
When they drink and flirt and so on in the glow of private bars?
You've a down on `trams and buses', or the `roar' of 'em, you said,
And the `filthy, dirty attic', where you never toiled for bread.
(And about that self-same attic -- Lord! wherever have you been?
For the struggling needlewoman mostly keeps her attic clean.)
But you'll find it very jolly with the cuff-and-collar push,
And the city seems to suit you, while you rave about the bush.
. . . . .
You'll admit that Up-the Country, more especially in drought,
Isn't quite the Eldorado that the poets rave about,
Yet at times we long to gallop where the reckless bushman rides
In the wake of startled brumbies that are flying for their hides;
Long to feel the saddle tremble once again between our knees
And to hear the stockwhips rattle just like rifles in the trees!
Long to feel the bridle-leather tugging strongly in the hand
And to feel once more a little like a native of the land.
And the ring of bitter feeling in the jingling of our rhymes
Isn't suited to the country nor the spirit of the times.
Let us go together droving, and returning, if we live,
Try to understand each other while we reckon up the div.
|
Written by
James Whitcomb Riley |
THEY all climbed up on a high board-fence---
Nine little Goblins, with green-glass eyes---
Nine little Goblins that had no sense,
And couldn't tell coppers from cold mince pies;
And they all climbed up on the fence, and sat---
And I asked them what they were staring at.
And the first one said, as he scratched his head
With a ***** little arm that reached out of his ear
And rasped its claws in his hair so red---
"This is what this little arm is fer!"
And he scratched and stared, and the next one said,
"How on earth do you scratch your head ?"
Nine Little Gobblins
And he laughed like the screech of a rusty hinge---
Laughed and laughed till his face grew black;
And when he clicked, with a final twinge
Of his stifling laughter, he thumped his back
With a fist that grew on the end of his tail
Till the breath came back to his lips so pale.
And the third little Goblin leered round at me---
And there were no lids on his eyes at all---
And he clucked one eye, and he says, says he,
"What is the style of your socks this fall ?"
And he clapped his heels---and I sighed to see
That he had hands where his feet should be.
Then a bald-faced Goblin, gray and grim,
Bowed his head, and I saw him slip
His eyebrows off, as I looked at him,
And paste them over his upper lip;
And then he moaned in remorseful pain---
"Would---Ah, would I'd me brows again!"
And then the whole of the Goblin band
Rocked on the fence-top to and fro,
And clung, in a long row, hand in hand,
Singing the songs that they used to know---
Singing the songs that their grandsires sung
In the goo-goo days of the Goblin-tongue.
And ever they kept their green-glass eyes
Fixed on me with a stony stare---
Till my own grew glazed with a dread surmise,
And my hat whooped up on my lifted hair,
And I felt the heart in my breast snap to
As you've heard the lid of a snuff-box do.
And they sang "You're asleep! There is no board-fence,
And never a Goblin with green-glass eyes!---
"Tis only a vision the mind invents
After a supper of cold mince-pies,---
And you're doomed to dream this way," they said,---
"And you sha'n't wake up till you're clean plum dead!"
|
Written by
Wilfred Owen |
It seemed that out of the battle I escaped
Down some profound dull tunnel, long since scooped
Through granites which Titanic wars had groined.
Yet also there encumbered sleepers groaned,
Too fast in thought or death to be bestirred.
Then, as I probed them, one sprang up, and stared
With piteous recognition in fixed eyes,
Lifting distressful hands as if to bless.
And by his smile, I knew that sullen hall;
With a thousand fears that vision's face was grained;
Yet no blood reached there from the upper ground,
And no guns thumped, or down the flues made moan.
"Strange, friend," I said, "Here is no cause to mourn."
"None," said the other, "Save the undone years,
The hopelessness. Whatever hope is yours,
Was my life also; I went hunting wild
After the wildest beauty in the world,
Which lies not calm in eyes, or braided hair,
But mocks the steady running of the hour,
And if it grieves, grieves richlier than here.
For by my glee might many men have laughed,
And of my weeping something has been left,
Which must die now. I mean the truth untold,
The pity of war, the pity war distilled.
Now men will go content with what we spoiled.
Or, discontent, boil bloody, and be spilled.
They will be swift with swiftness of the tigress,
None will break ranks, though nations trek from progress.
Courage was mine, and I had mystery;
Wisdom was mine, and I had mastery;
To miss the march of this retreating world
Into vain citadels that are not walled.
Then, when much blood had clogged their chariot-wheels
I would go up and wash them from sweet wells,
Even with truths that lie too deep for taint.
I would have poured my spirit without stint
But not through wounds; not on the cess of war.
Foreheads of men have bled where no wounds were.
I am the enemy you killed, my friend.
I knew you in this dark; for so you frowned
Yesterday through me as you jabbed and killed.
I parried; but my hands were loath and cold.
Let us sleep now . . ."
(This poem was found among the author's papers.
It ends on this strange note.)
*Another Version*
Earth's wheels run oiled with blood. Forget we that.
Let us lie down and dig ourselves in thought.
Beauty is yours and you have mastery,
Wisdom is mine, and I have mystery.
We two will stay behind and keep our troth.
Let us forego men's minds that are brute's natures,
Let us not sup the blood which some say nurtures,
Be we not swift with swiftness of the tigress.
Let us break ranks from those who trek from progress.
Miss we the march of this retreating world
Into old citadels that are not walled.
Let us lie out and hold the open truth.
Then when their blood hath clogged the chariot wheels
We will go up and wash them from deep wells.
What though we sink from men as pitchers falling
Many shall raise us up to be their filling
Even from wells we sunk too deep for war
And filled by brows that bled where no wounds were.
*Alternative line --*
Even as One who bled where no wounds were.
|
Written by
Lewis Carroll |
'Haddock's Eyes' or 'The Aged Aged Man' or
'Ways and Means' or 'A-Sitting On A Gate'
I'll tell thee everything I can;
There's little to relate.
I saw an aged, aged man,
A-sitting on a gate.
'Who are you, aged man?' I said.
'And how is it you live?'
And his answer trickled through my head
Like water through a sieve.
He said 'I look for butterflies
That sleep among the wheat;
I make them into mutton-pies,
And sell them in the street.
I sell them unto men,' he said,
'Who sail on stormy seas;
And that's the way I get my bread--
A trifle, if you please.'
But I was thinking of a plan
To dye one's whiskers green,
And always use so large a fan
That it could not be seen.
So, having no reply to give
To what the old man said,
I cried, 'Come, tell me how you live!'
And thumped him on the head.
His accents mild took up the tale;
He said, 'I go my ways,
And when I find a mountain-rill,
I set it in a blaze.
And thence they make a stuff they call
Rowland's Macassar Oil--
Yet twopence-halfpenny is all
They give me for my toil.'
But I was thinking of a way
To feed oneself on batter,
And so go on from day to day
Getting a little fatter.
I shook him well from side to side,
Until his face was blue;
'Come, tell me how you live,' I cried
'And what it is you do!'
He said, 'I hunt for haddocks' eyes
Among the heather bright,
And work them into waistcoat-buttons
In the silent night.
And these I do not sell for gold
Or coin of silvery shine,
But for a copper halfpenny,
And that will purchase nine.
'I sometimes dig for buttered rolls,
Or set limed twigs for crabs;
I sometimes search the grassy knolls
For wheels of hansom-cabs.
And that's the way' (he gave a wink)
'By which I get my wealth--
And very gladly will I drink
Your Honor's noble health.'
I heard him then, for I had just
Completed my design
To keep the Menai bridge from rust
By boiling it in wine.
I thanked him much for telling me
The way he got his wealth,
But chiefly for his wish that he
Might drink my noble health.
And now, if e'er by chance I put
My fingers into glue,
Or madly squeeze a right-hand foot
Into a left-hand shoe,
Or if I drop upon my toe
A very heavy weight,
I weep, for it reminds me so
Of that old man I used to know--
Whose look was mild, whose speech was slow,
Whose hair was whiter than the snow,
Whose face was very like a crow
With eyes, like cinders, all aglow,
Who seemed distracted with his woe,
Who rocked his body to and fro,
And muttered mumblingly and low,
As if his mouth were full of dough,
Who snorted like a buffalo--
That summer evening long ago
A-sitting on a gate.
|
Written by
Lewis Carroll |
I'll tell thee everything I can:
There's little to relate.
I saw an aged aged man,
A-sitting on a gate.
'Who are you, aged man?' I said.
'And how is it you live?'
And his answer trickled through my head,
Like water through a sieve.
He said, 'I look for butterflies
That sleep among the wheat:
I make them into mutton-pies,
And sell them in the street.
I sell them unto men,' he said,
'Who sail on stormy seas;
And that's the way I get my bread --
A trifle, if you please.'
But I was thinking of a plan
To dye one's whiskers green,
And always use so large a fan
That they could not be seen.
So having no reply to give
To what the old man said, I cried
'Come, tell me how you live!'
And thumped him on the head.
His accents mild took up the tale:
He said 'I go my ways,
And when I find a mountain-rill,
I set it in a blaze;
And thence they make a stuff they call
Rowland's Macassar-Oil --
Yet twopence-halfpenny is all
They give me for my toil.'
But I was thinking of a way
To feed oneself on batter,
And so go on from day to day '
Getting a little fatter.
I shook him well from side to side,
Until his face was blue:
'Come, tell me how you live,' I cried,
'And what it is you do!'
He said, 'I hunt for haddocks' eyes
Among the heather bright,
And work them into waistcoat-buttons
In the silent night.
And these I do not sell for gold
Or coin of silvery shine,
But for a copper halfpenny,
And that will purchase nine.
'I sometimes dig for buttered rolls,
Or set limed twigs for crabs:
I sometimes search the grassy knolls
For wheels of Hansom-cabs.
And that's the way' (he gave a wink)
'By which I get my wealth --
And very gladly will I drink
Your Honour's noble health.'
I heard him then, for I had just
Completed my design
To keep the Menai bridge from rust
By boiling it in wine.
I thanked him much for telling me
The way he got his wealth,
But chiefly for his wish that he
Might drink my noble health.
And now, if e'er by chance I put
My fingers into glue,
Or madly squeeze a right-hand foot
Into a left-hand shoe,
Or if I drop upon my toe
A very heavy weight,
I weep, for it reminds me so
Of that old man I used to know --
Whose look was mild, whose speech was slow
Whose hair was whiter than the snow,
Whose face was very like a crow,
With eyes, like cinders, all aglow,
Who seemed distracted with his woe,
Who rocked his body to and fro,
And muttered mumblingly and low,
As if his mouth were full of dough,
Who snorted like a buffalo-
That summer evening long ago,
A-sitting on a gate.
|