Written by
Aleister Crowley |
[Dedicated to General J.
C.
F.
Fuller]
Velvet soft the night-star glowed
Over the untrodden road,
Through the giant glades of yew
Where its ray fell light as dew
Lighting up the shimmering veil
Maiden pure and aery frail
That the spiders wove to hide
Blushes of the sylvan bride
Earth, that trembled with delight
At the male caress of Night.
Velvet soft the wizard trod
To the Sabbath of his God.
With his naked feet he made
Starry blossoms in the glade,
Softly, softly, as he went
To the sombre sacrament,
Stealthy stepping to the tryst
In his gown of amethyst.
Earlier yet his soul had come
To the Hill of Martyrdom,
Where the charred and crooked stake
Like a black envenomed snake
By the hangman's hands is thrust
Through the wet and writhing dust,
Never black and never dried
Heart's blood of a suicide.
He had plucked the hazel rod
From the rude and goatish god,
Even as the curved moon's waning ray
Stolen from the King of Day.
He had learnt the elvish sign;
Given the Token of the Nine:
Once to rave, and once to revel,
Once to bow before the devil,
Once to swing the thurible,
Once to kiss the goat of hell,
Once to dance the aspen spring,
Once to croak, and once to sing,
Once to oil the savoury thighs
Of the witch with sea-green eyes
With the unguents magical.
Oh the honey and the gall
Of that black enchanter's lips
As he croons to the eclipse
Mingling that most puissant spell
Of the giant gods of hell
With the four ingredients
Of the evil elements;
Ambergris from golden spar,
Musk of ox from Mongol jar,
Civet from a box of jade,
Mixed with fat of many a maid
Slain by the inchauntments cold
Of the witches wild and old.
He had crucified a toad
In the basilisk abode,
Muttering the Runes averse
Mad with many a mocking curse.
He had traced the serpent sigil
In his ghastly virgin vigil.
Sursum cor! the elfin hill,
Where the wind blows deadly chill
From the world that wails beneath
Death's black throat and lipless teeth.
There he had stood - his bosom bare -
Tracing Life upon the Air
With the crook and with the flail
Lashing forward on the gale,
Till its blade that wavereth
Like the flickering of Death
Sank before his subtle fence
To the starless sea of sense.
Now at last the man is come
Haply to his halidom.
Surely as he waves his rod
In a circle on the sod
Springs the emerald chaste and clean
From the duller paler green.
Surely in the circle millions
Of immaculate pavilions
Flash upon the trembling turf
Like the sea-stars in the surf -
Millions of bejewelled tents
For the warrior sacraments.
Vaster, vaster, vaster, vaster,
Grows the stature of the master;
All the ringed encampment vies
With the infinite galaxies.
In the midst a cubic stone
With the Devil set thereon;
Hath a lamb's virginal throat;
Hath the body of a stoat;
Hath the buttocks of a goat;
Hath the sanguine face and rod
Of a goddess and a god!
Spell by spell and pace by pace!
Mystic flashes swing and trace
Velvet soft the sigils stepped
By the silver-starred adept.
Back and front, and to and fro,
Soul and body sway and flow
In vertiginous caresses
To imponderable recesses,
Till at last the spell is woven,
And the faery veil is cloven
That was Sequence, Space, and Stress
Of the soul-sick consciousness.
"Give thy body to the beasts!
Give thy spirit to the priests!
Break in twain the hazel rod
On the virgin lips of God!
Tear the Rosy Cross asunder!
Shatter the black bolt of thunder!
Suck the swart ensanguine kiss
Of the resolute abyss!"
Wonder-weft the wizard heard
This intolerable word.
Smote the blasting hazel rod
On the scarlet lips of God;
Trampled Cross and rosy core;
Brake the thunder-tool of Thor;
Meek and holy acolyte
Of the priestly hells of spite,
Sleek and shameless catamite
Of the beasts that prowl the night!
Like a star that streams from heaven
Through the virgin airs light-riven,
From the lift there shot and fell
An admirable miracle.
Carved minute and clean, a key
Of purest lapis-lazuli
More blue than the blind sky that aches
(Wreathed with the stars, her torturing snakes),
For the dead god's kiss that never wakes;
Shot with golden specks of fire
Like a virgin with desire.
Look, the levers! fern-frail fronds
Of fantastic diamonds,
Glimmering with ethereal azure
In each exquisite embrasure.
On the shaft the letters laced,
As if dryads lunar-chaste
With the satyrs were embraced,
Spelled the secret of the key:
Sic pervenias.
And he
Went his wizard way, inweaving
Dreams of things beyond believing.
When he will, the weary world
Of the senses closely curled
Like a serpent round his heart
Shakes herself and stands apart.
So the heart's blood flames, expanding,
Strenuous, urgent, and commanding;
And the key unlocks the door
Where his love lives evermore.
She is of the faery blood;
All smaragdine flows its flood.
Glowing in the amber sky
To ensorcelled porphyry
She hath eyes of glittering flake
Like a cold grey water-snake.
She hath naked breasts of amber
Jetting wine in her bed-chamber,
Whereof whoso stoops and drinks
Rees the riddle of the Sphinx.
She hath naked limbs of amber
Whereupon her children clamber.
She hath five navels rosy-red
From the five wounds of God that bled;
Each wound that mothered her still bleeding,
And on that blood her babes are feeding.
Oh! like a rose-winged pelican
She hath bred blessed babes to Pan!
Oh! like a lion-hued nightingale
She hath torn her breast on thorns to avail
The barren rose-tree to renew
Her life with that disastrous dew,
Building the rose o' the world alight
With music out of the pale moonlight!
O She is like the river of blood
That broke from the lips of the bastard god,
When he saw the sacred mother smile
On the ibis that flew up the foam of Nile
Bearing the limbs unblessed, unborn,
That the lurking beast of Nile had torn!
So (for the world is weary) I
These dreadful souls of sense lay by.
I sacrifice these impure shoon
To the cold ray of the waning moon.
I take the forked hazel staff,
And the rose of no terrene graff,
And the lamp of no olive oil
With heart's blood that alone may boil.
With naked breast and feet unshod
I follow the wizard way to God.
Wherever he leads my foot shall follow;
Over the height, into the hollow,
Up to the caves of pure cold breath,
Down to the deeps of foul hot death,
Across the seas, through the fires,
Past the palace of desires;
Where he will, whether he will or no,
If I go, I care not whither I go.
For in me is the taint of the faery blood.
Fast, fast its emerald flood
Leaps within me, violent rude
Like a bestial faun's beatitude.
In me the faery blood runs hard:
My sires were a druid, a devil, a bard,
A beast, a wizard, a snake and a satyr;
For - as my mother said - what does it matter?
She was a fay, pure of the faery;
Queen Morgan's daughter by an aery
Demon that came to Orkney once
To pay the Beetle his orisons.
So, it is I that writhe with the twitch
Of the faery blood, and the wizard itch
To attain a matter one may not utter
Rather than sink in the greasy splutter
Of Britons munching their bread and butter;
Ailing boys and coarse-grained girls
Grown to sloppy women and brutal churls.
So, I am off with staff in hand
To the endless light of the nameless land.
Darkness spreads its sombre streams,
Blotting out the elfin dreams.
I might haply be afraid,
Were it not the Feather-maid
Leads me softly by the hand,
Whispers me to understand.
Now (when through the world of weeping
Light at last starrily creeping
Steals upon my babe-new sight,
Light - O light that is not light!)
On my mouth the lips of her
Like a stone on my sepulchre
Seal my speech with ecstasy,
Till a babe is born of me
That is silent more than I;
For its inarticulate cry
Hushes as its mouth is pressed
To the pearl, her honey breast;
While its breath divinely ripples
The rose-petals of her nipples,
And the jetted milk he laps
From the soft delicious paps,
Sweeter than the bee-sweet showers
In the chalice of the flowers,
More intoxicating than
All the purple grapes of Pan.
Ah! my proper lips are stilled.
Only, all the world is filled
With the Echo, that drips over
Like the honey from the clover.
Passion, penitence, and pain
Seek their mother's womb again,
And are born the triple treasure,
Peace and purity and pleasure.
- Hush, my child, and come aloft
Where the stars are velvet soft!
|
Written by
Oliver Wendell Holmes |
YES, write, if you want to, there's nothing like trying;
Who knows what a treasure your casket may hold?
I'll show you that rhyming's as easy as lying,
If you'll listen to me while the art I unfold.
Here's a book full of words; one can choose as he fancies,
As a painter his tint, as a workman his tool;
Just think! all the poems and plays and romances
Were drawn out of this, like the fish from a pool!
You can wander at will through its syllabled mazes,
And take all you want, not a copper they cost,--
What is there to hinder your picking out phrases
For an epic as clever as "Paradise Lost"?
Don't mind if the index of sense is at zero,
Use words that run smoothly, whatever they mean;
Leander and Lilian and Lillibullero
Are much the same thing in the rhyming machine.
There are words so delicious their sweetness will smother
That boarding-school flavor of which we're afraid,
There is "lush"is a good one, and "swirl" is another,--
Put both in one stanza, its fortune is made.
With musical murmurs and rhythmical closes
You can cheat us of smiles when you've nothing to tell
You hand us a nosegay of milliner's roses,
And we cry with delight, "Oh, how sweet they do smell!"
Perhaps you will answer all needful conditions
For winning the laurels to which you aspire,
By docking the tails of the two prepositions
I' the style o' the bards you so greatly admire.
As for subjects of verse, they are only too plenty
For ringing the changes on metrical chimes;
A maiden, a moonbeam, a lover of twenty
Have filled that great basket with bushels of rhymes.
Let me show you a picture--'t is far from irrelevant--
By a famous old hand in the arts of design;
'T is only a photographed sketch of an elephant,--
The name of the draughtsman was Rembrandt of Rhine.
How easy! no troublesome colors to lay on,
It can't have fatigued him,-- no, not in the least,--
A dash here and there with a haphazard crayon,
And there stands the wrinkled-skinned, baggy-limbed beast.
Just so with your verse,-- 't is as easy as sketching,--
You can reel off a song without knitting your brow,
As lightly as Rembrandt a drawing or etching;
It is nothing at all, if you only know how.
Well; imagine you've printed your volume of verses:
Your forehead is wreathed with the garland of fame,
Your poems the eloquent school-boy rehearses,
Her album the school-girl presents for your name;
Each morning the post brings you autograph letters;
You'll answer them promptly,-- an hour isn't much
For the honor of sharing a page with your betters,
With magistrates, members of Congress, and such.
Of course you're delighted to serve the committees
That come with requests from the country all round,
You would grace the occasion with poems and ditties
When they've got a new schoolhouse, or poorhouse, or pound.
With a hymn for the saints and a song for the sinners,
You go and are welcome wherever you please;
You're a privileged guest at all manner of dinners,
You've a seat on the platform among the grandees.
At length your mere presence becomes a sensation,
Your cup of enjoyment is filled to its brim
With the pleasure Horatian of digitmonstration,
As the whisper runs round of "That's he!" or "That's him!"
But remember, O dealer in phrases sonorous,
So daintily chosen, so tunefully matched,
Though you soar with the wings of the cherubim o'er us,
The ovum was human from which you were hatched.
No will of your own with its puny compulsion
Can summon the spirit that quickens the lyre;
It comes, if at all, like the Sibyl's convulsion
And touches the brain with a finger of fire.
So perhaps, after all, it's as well to he quiet
If you've nothing you think is worth saying in prose,
As to furnish a meal of their cannibal diet
To the critics, by publishing, as you propose.
But it's all of no use, and I'm sorry I've written,--
I shall see your thin volume some day on my shelf;
For the rhyming tarantula surely has bitten,
And music must cure you, so pipe it yourself.
|
Written by
Billy Collins |
Now it is time to say what you have to say.
The room is quiet.
The whirring fan has been unplugged,
and the girl who was tapping
a pencil on her desktop has been removed.
So tell us what is on your mind.
We want to hear the sound of your foliage,
the unraveling of your tool kit,
your songs of loneliness,
your songs of hurt.
The trains are motionless on the tracks,
the ships are at restn the harbor.
The dogs are cocking their heads
and the gods are peering down from their balloons.
The town is hushed,
and everyone here has a copy.
So tell us about your parents—
your father behind the steering wheel,
your cruel mother at the sink.
Let's hear about all the clouds you saw, all the trees.
Read the poem you brought with you tonight.
The ocean has stopped sloshing around,
and even Beethoven
is sitting up in his deathbed,
his cold hearing horn inserted in one ear.
|
Written by
Rg Gregory |
(a)
they seek to celebrate the word
not to bring their knives out on a poem
dissecting it to find a heart
whose beat lies naked on a table
not to score in triumph on a line
no sensitive would put a nostril to
but simply to receive it as an
offering glimpsing the sacred there
poem probes the poet's once-intention
but each time said budges its truth
afresh (leaving the poet's self
estranged from the once-intending man)
and six ears in the room have tuned
objectives sifting the coloured strands
the words have hidden from the poet
asking what world has come to light
people measured by their heartbeats
language can't flout that come-and-go
to touch the heartbeat in a poem
calls for the brain's surrender
a warm diffusion of the mind
a listening to an eery silence
the words both mimic and destroy
(no excuses slipping off the tongue)
and when a poem works the unknown
opens a timid shutter on a world
so familiar it's not been seen
before - and then it's gone bringing
a frisson to an altered room
and in a stuttering frenzy dusty
attributes are tried to resurrect
a glimpse of what it's like inside
a truth (the glow a glow-worm makes)
this is not (not much) what happens
there's serious concern and banter
there's opacity there's chit-chat
diversions and derailings from
a line some avalanche has blocked
(what a fine pass through the mountains)
poetry and fidgets are blood-brothers
it's within all these the cosmos calls
that makes these afternoons a rich
adventure through a common field
when three men moving towards death
(without alacrity but conscious of it)
find youth again and bubble with
its springs - opening worn valves
to give such flow their own direction
there's no need of competition
no wish to prove that one of us
holds keys the others don't to the
sacral chambers - no want to find
consensus in technique or drench
the rites of words in orthodox
belief - difference is essential
and delightful (integrity's all)
quality's a private quarrel
between the poem and the poet - taste
the private hang-up of receivers
mostly migrained by exposure
to opinions not their own - fed
from a culture no one bleeds in
sustained by reputations manured
by a few and spread by hearsay
(b)
these meetings are a modest vow
to let each poet speak uncluttered
from establishment's traditions
and conditions where passions rippling
from the marrow can choose a space
to innocent themselves and long-held
tastes for carlos williams gurney
poems to siva (to name a few)
can surface in a side-attempt
to show unexpected lineage from
the source to present patterns
of the poet - but at the core
of every poem read and comment made
it's not the poem or the poet
being sifted to the seed but
poetry itself given the works
the most despised belittled
enervated creative cowcake
of them all in the public eye
prestigious when it doesn't matter
to the clapped-out powers and turned
away from when too awkward and
impolitic to confront - ball
to be bounced from high art to low
when fights break out amongst the teachers
and shakespeare's wielded as a cane
as the rich old crusty clan reverts
to the days it hated him at school
but loved the beatings - loudhailer
broken-down old-banger any ram-it-
up-your-**** and suck-my-prick to those
who want to tear chintz curtains down
and shock the cosy populace to taste
life at its rawest (most obscene)
courtesan to fashion and today's
ploy - advertisement's gold gimmick
slave of beat and rhythm - dead but
much loved donkey in the hearts of all
who learned di-dah di-dah at school
and have been stuck in the custard since
plaything political-tool pop-
star's goo - poetry's been made to garb
itself in all these rags and riches
this age applauds the eye - is one
of outward exploration - the earth
(in life) and universe (in fiction)
are there for scurrying over - haste
is everything and the beat is all
fireworks feed the fancy - a great ah
rewards the enterprise that fills
night skies with flashing bountifuls
of way-out stars - poetry has to be
in service to this want (is fed
into the system gracelessly)
there can be no standing-still or
stopping-by no take a little time
and see what blossoms here - we're into
poetry in motion and all that ****
and i can accept it all - what stirs
the surface of the ocean ignores
the depths - what talks the hindlegs off
the day can't murder dreams - that's not
to say the depths and dreams aren't there
for those who need them - it's commonplace
they hold the keystones of our lives
i fear something else much deeper
the diabolical self-deceiving
(wilful destruction of the spirit)
by those loudspeaking themselves
as poetry's protectors - publishers
editors literature officers
poetry societies and centres
all all jumping on the flagship
competition's crock of gold
find the winners pick the famous
all the hopefuls cry please name us
aspiring poets search their wardrobes
for the wordy swimsuit likely
to catch the eyeful of the judges
(winners too in previous contests
inured to the needle of success
but this time though now they are tops
totally pissed-off with the process
only here because the money's good)
winners' middle name is wordsworth
losers swallow a dose of shame
organisers rub their golden hands
pride themselves on their discernment
these jacks have found the beanstalk
castle harp and the golden egg
the stupid giant and his frightened wife
who let them steal their best possessions
whose ear for poetry's so poor
they think fum rhymes with englishman
and so of course they get no prizes
thief and trickster now come rich
poetry's purpose is to hit the jackpot
so great the lust for poetic fame
thousands without a ghost of winning
find poems like mothballs in their drawers
sprinkle them with twinkling stardust
post them off with copperplate cheques
the judges wipe their arses on them
the money's gone to a super cause
everyone knows it's just a joke
who gets taken - the foolish and vain
if they're daft enough and such bad poets
more money than sense the best advice
is - keep it up grannies the cause
is noble and we'll take your cheque
again and again and again
it's the winners who fall in the bog
to win is to be preened - conceit
finds a little fluffy nest dear
to the feted heart and swells there
fed (for a foetal space) on all
the praisiest worms but in the nest
is a bloated thing that sucks (and chokes)
on hurt that has the knack of pecking
where there's malice - it grows two heads
winners by their nature soon become
winged and weighted - icarus begins
to prey upon their waking dreams
prometheus gnawed by eagles
the tight-shut box epimetheus
gave pandora about to burst
apart - yeats's centre cannot hold
being poets they know the references
and they learn the lesson quickly
climb upon others as they would
climb on you - in short be ruthless
or be dead they mostly fade away
being too intact or too weak-willed
to go the shining way with light-
ning bolts at every second bend
agents breathing fire up their pants
those who withstand the course become
the poets of their day (and every one
naturally good as gold - exceptions
to the rule - out of the hearing
and the judgment of their rivals)
the media covet the heartache
and the bile - love the new meteor
can't wait to blast it from the heavens
universities will start the cult
with-it secondary teachers catch
the name on fast - magazines begin
to taste the honey on the plate
and soon another name is buzzing
round the bars where literary pass-
ons meet to dole out bits of hem
i accept it all - it's not for me
above it all the literary lions
(jackals to each other) stand posed
upon their polystyrene mountains
constructed by their fans and foes
alike (they have such need of them)
disdaining what they see but terror-
stricken when newcomers climb up
waving their thin bright books
for so long they've dubbed themselves
the intellectual cream - deigning
to hand out poems when they're asked
(for proper recompense in cash
or fawning) - but well beyond the risk
of letting others turn the bleeders
down so sure they are they're halfway
to the gods (yet still need preening)
a poem from one of them is like
the loaves and fishes jesus touched
and rendered food for the five thousand
they too can walk on water in
their home - or so the reviewers say
poetry from their mouths is such a gift
if you don't read or understand it
you'll be damned - i accept all that
but what i can't accept is (all
this while) the source and bed of what
is poetry to me as cracked and parched -
condemned ignored made mock of
shoved in wilderness by those
who've gone the gilded route (mapped out
by ego and a driving need to claim
best prick with a capital pee)
it's being roomed with the said poem
coming back and back to the same
felt heartbeat having its way with words
absorbing the strains and promises
that make the language opt for paths
no other voice would go - shifting
a dull stone and knowing what bright
creature this instinct has bred there
it's trusting the poet with his own map
not wanting to tear it up before
the ink is dry because the symbols
he's been using don't suit your own
conception of terrain you've not
been born to - it's being pleased
to have connections made in ways
you couldn't dream of (wouldn't want to)
|
Written by
Mark Doty |
Because the road to our house
is a back road, meadowlands punctuated
by gravel quarry and lumberyard,
there are unexpected travelers
some nights on our way home from work.
Once, on the lawn of the Tool
and Die Company, a swan;
the word doesn't convey the shock
of the thing, white architecture
rippling like a pond's rain-pocked skin,
beak lifting to hiss at my approach.
Magisterial, set down in elegant authority,
he let us know exactly how close we might come.
After a week of long rains
that filled the marsh until it poured
across the road to make in low woods
a new heaven for toads,
a snapping turtle lumbered down the center
of the asphalt like an ambulatory helmet.
His long tail dragged, blunt head jutting out
of the lapidary prehistoric sleep of shell.
We'd have lifted him from the road
but thought he might bend his long neck back
to snap.
I tried herding him; he rushed,
though we didn't think those blocky legs
could hurry-- then ambled back
to the center of the road, a target
for kids who'd delight in the crush
of something slow with the look
of primeval invulnerability.
He turned
the blunt spear point of his jaws,
puffing his undermouth like a bullfrog,
and snapped at your shoe,
vising a beakful of-- thank God--
leather.
You had to shake him loose.
We left him
to his own devices, talked on the way home
of what must lead him to new marsh
or old home ground.
The next day you saw,
one town over, remains of shell
in front of the little liquor store.
I argued
it was too far from where we'd seen him,
too small to be his.
.
.
though who could tell
what the day's heat might have taken
from his body.
For days he became a stain,
a blotch that could have been merely
oil.
I did not want to believe that
was what we saw alive in the firm center
of his authority and right
to walk the center of the road,
head up like a missionary moving certainly
into the country of his hopes.
In the movies in this small town
I stopped for popcorn while you went ahead
to claim seats.
When I entered the cool dark
I saw straight couples everywhere,
no single silhouette who might be you.
I walked those two aisles too small
to lose anyone and thought of a book
I read in seventh grade, "Stranger Than Science,"
in which a man simply walked away,
at a picnic, and was,
in the act of striding forward
to examine a flower, gone.
By the time the previews ended
I was nearly in tears-- then realized
the head of one-half the couple in the first row
was only your leather jacket propped in the seat
that would be mine.
I don't think I remember
anything of the first half of the movie.
I don't know what happened to the swan.
I read
every week of some man's lover showing
the first symptoms, the night sweat
or casual flu, and then the wasting begins
and the disappearance a day at a time.
I don't know what happened to the swan;
I don't know if the stain on the street
was our turtle or some other.
I don't know
where these things we meet and know briefly,
as well as we can or they will let us,
go.
I only know that I do not want you
--you with your white and muscular wings
that rise and ripple beneath or above me,
your magnificent neck, eyes the deep mottled autumnal colors
of polished tortoise-- I do not want you ever to die.
|
Written by
Billy Collins |
It could be the name of a prehistoric beast
that roamed the Paleozoic earth, rising up
on its hind legs to show off its large vocabulary,
or some lover in a myth who is metamorphosed into a book.
It means treasury, but it is just a place
where words congregate with their relatives,
a big park where hundreds of family reunions
are always being held,
house, home, abode, dwelling, lodgings, and digs,
all sharing the same picnic basket and thermos;
hairy, hirsute, woolly, furry, fleecy, and shaggy
all running a sack race or throwing horseshoes,
inert, static, motionless, fixed and immobile
standing and kneeling in rows for a group photograph.
Here father is next to sire and brother close
to sibling, separated only by fine shades of meaning.
And every group has its odd cousin, the one
who traveled the farthest to be here:
astereognosis, polydipsia, or some eleven
syllable, unpronounceable substitute for the word tool.
Even their own relatives have to squint at their name tags.
I can see my own copy up on a high shelf.
I rarely open it, because I know there is no
such thing as a synonym and because I get nervous
around people who always assemble with their own kind,
forming clubs and nailing signs to closed front doors
while others huddle alone in the dark streets.
I would rather see words out on their own, away
from their families and the warehouse of Roget,
wandering the world where they sometimes fall
in love with a completely different word.
Surely, you have seen pairs of them standing forever
next to each other on the same line inside a poem,
a small chapel where weddings like these,
between perfect strangers, can take place.
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Written by
T S (Thomas Stearns) Eliot |
S’io credesse che mia risposta fosse
A persona che mai tornasse al mondo,
Questa fiamma staria senza piu scosse.
Ma perciocche giammai di questo fondo
Non torno vivo alcun, s’i’odo il vero,
Senza tema d’infamia ti rispondo.
Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherised upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question.
.
.
Oh, do not ask, "What is it?"
Let us go and make our visit.
In the room the women come and go
Talking of Michelangelo.
The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes,
Licked its tongue into the corners of the evening
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.
And indeed there will be time
For the yellow smoke that slides along the street
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate,
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.
In the room the women come and go
Talking of Michelangelo.
And indeed there will be time
To wonder, "Do I dare?" and, "Do I dare?"
Time to turn back and descend the stair,
With a bald spot in the middle of my hair—
(They will say: "How his hair is growing thin!")
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin—
(They will say: "But how his arms and legs are thin!")
Do I dare
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute win reverse.
For I have known them all already, known them all—
Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall
Beneath the music from a farther room.
So how should I presume?
And I have known the eyes already, known them all—
The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
Then how should I begin
To spit out all the butt-ends of my days and ways?
And how should I presume?
And I have known the arms already, known them all—
Arms that are braceleted and white and bare
(But in the lamplight, downed with light brown hair!)
Is it perfume from a dress
That makes me so digress?
Arms that lie along a table, or wrap about a shawl.
And should I then presume?
And how should I begin?
Shall I say, I have gone at dusk through narrow streets
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows?
I should have been a pair of ragged claws
Scuttling across the floors of silent seas.
.
.
.
.
.
And the afternoon, the evening, sleeps so peacefully!
Smoothed by long fingers,
Asleep .
.
.
tired .
.
.
or it malingers,
Stretched on the floor, here beside you and me.
Should I, after tea and cakes and ices,
Have the strength to force the moment to its crisis?
But though I have wept and fasted, wept and prayed,
Though I have seen my head (grown slightly bald) brought in
upon a platter,
I am no prophet-and here's no great matter;
I have seen the moment of my greatness flicker,
And I have seen the eternal Footman hold my coat, and snicker,
And in short, I was afraid.
And would it have been worth it, after all,
After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
Would it have been worth while,
To have bitten off the matter with a smile,
To have squeezed the universe into a ball
To roll it towards some overwhelming question,
To say: "I am Lazarus, come from the dead,
Come back to tell you all, I shall tell you all"—
If one, settling a pillow by her head,
Should say: "That is not what I meant at all.
That is not it, at all.
"
And would it have been worth it, after all,
Would it have been worth while,
After the sunsets and the dooryards and the sprinkled streets,
After the novels, after the teacups, after the skirts that trail along
the floor—
And this, and so much more?—
It is impossible to say just what I mean!
But as if a magic lantern threw the nerves in patterns on a
screen:
Would it have been worth while
If one, settling a pillow or throwing off a shawl,
And turning toward the window, should say:
"That is not it at all,
That is not what I meant, at all.
"
No! I am not Prince Hamlet, nor was meant to be;
Am an attendant lord, one that will do
To swell a progress, start a scene or two,
Advise the prince; no doubt, an easy tool
Deferential, glad to be of use,
Politic, cautious, and meticulous;
Full of high sentence, but a bit obtuse;
At times, indeed, almost ridiculous—
Almost, at times, the Fool.
I grow old .
.
.
I grow old .
.
.
I shall wear the bottoms of my trousers rolled.
Shall I part my hair behind? Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach.
I have heard the mermaids singing, each to each.
I do not think that they will sing to me.
I have seen them riding seaward on the waves
Combing the white hair of the waves blown back
When the wind blows the water white and black.
We have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown
Till human voices wake us, and we drown.
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Written by
Joyce Kilmer |
(For Shaemas O Sheel)
One winter night a Devil came and sat upon my bed,
His eyes were full of laughter for his heart was full of crime.
"Why don't you take up fancy work, or embroidery?" he said,
"For a needle is as manly a tool as a pen that makes a rhyme!"
"You little ugly Devil," said I, "go back to Hell
For the idea you express I will not listen to:
I have trouble enough with poetry and poverty as well,
Without having to pay attention to orators like you.
"When you say of the making of ballads and songs
that it is woman's work
You forget all the fighting poets that have been in every land.
There was Byron who left all his lady-loves to fight against the
Turk,
And David, the Singing King of the Jews,
who was born with a sword in his hand.
It was yesterday that Rupert Brooke went out to the Wars and died,
And Sir Philip Sidney's lyric voice was as sweet as his arm was
strong;
And Sir Walter Raleigh met the axe as a lover meets his bride,
Because he carried in his soul the courage of his song.
"And there is no consolation so quickening to the
heart
As the warmth and whiteness that come from the lines of noble poetry.
It is strong joy to read it when the wounds of the spirit smart,
It puts the flame in a lonely breast where only ashes be.
It is strong joy to read it, and to make it is a thing
That exalts a man with a sacreder pride than any pride on earth.
For it makes him kneel to a broken slave and set his foot on a king,
And it shakes the walls of his little soul with the echo of God's
mirth.
"There was the poet Homer had the sorrow to be
blind,
Yet a hundred people with good eyes would listen to him all night;
For they took great enjoyment in the heaven of his mind,
And were glad when the old blind poet let them share his powers
of sight.
And there was Heine lying on his mattress all day long,
He had no wealth, he had no friends, he had no joy at all,
Except to pour his sorrow into little cups of song,
And the world finds in them the magic wine that his broken heart
let fall.
"And these are only a couple of names from a list
of a thousand score
Who have put their glory on the world in poverty and pain.
And the title of poet's a noble thing, worth living and dying for,
Though all the devils on earth and in Hell spit at me their disdain.
It is stern work, it is perilous work, to thrust your hand in the
sun
And pull out a spark of immortal flame to warm the hearts of men:
But Prometheus, torn by the claws and beaks whose task is never
done,
Would be tortured another eternity to go stealing fire again.
"
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Written by
Thomas Hardy |
WHEN you shall see me lined by tool of Time,
My lauded beauties carried off from me,
My eyes no longer stars as in their prime,
My name forgot of Maiden Fair and Free;
When in your being heart concedes to mind,
And judgment, though you scarce its process know,
Recalls the excellencies I once enshrined,
And you are irked that they have withered so:
Remembering that with me lies not the blame,
That Sportsman Time but rears his brood to kill,
Knowing me in my soul the very same--
One who would die to spare you touch of ill!--
Will you not grant to old affection's claim
The hand of friendship down Life's sunless hill?
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Written 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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