Written by
Sylvia Plath |
'Perspective betrays with its dichotomy:
train tracks always meet, not here, but only
in the impossible mind's eye;
horizons beat a retreat as we embark
on sophist seas to overtake that mark
where wave pretends to drench real sky.'
'Well then, if we agree, it is not odd
that one man's devil is another's god
or that the solar spectrum is
a multitude of shaded grays; suspense
on the quicksands of ambivalence
is our life's whole nemesis.
So we could rave on, darling, you and I,
until the stars tick out a lullaby
about each cosmic pro and con;
nothing changes, for all the blazing of
our drastic jargon, but clock hands that move
implacably from twelve to one.
We raise our arguments like sitting ducks
to knock them down with logic or with luck
and contradict ourselves for fun;
the waitress holds our coats and we put on
the raw wind like a scarf; love is a faun
who insists his playmates run.
Now you, my intellectual leprechaun,
would have me swallow the entire sun
like an enormous oyster, down
the ocean in one gulp: you say a mark
of comet hara-kiri through the dark
should inflame the sleeping town.
So kiss: the drunks upon the curb and dames
in dubious doorways forget their monday names,
caper with candles in their heads;
the leaves applaud, and santa claus flies in
scattering candy from a zeppelin,
playing his prodigal charades.
The moon leans down to took; the tilting fish
in the rare river wink and laugh; we lavish
blessings right and left and cry
hello, and then hello again in deaf
churchyard ears until the starlit stiff
graves all carol in reply.
Now kiss again: till our strict father leans
to call for curtain on our thousand scenes;
brazen actors mock at him,
multiply pink harlequins and sing
in gay ventriloquy from wing to wing
while footlights flare and houselights dim.
Tell now, we taunq where black or white begins
and separate the flutes from violins:
the algebra of absolutes
explodes in a kaleidoscope of shapes
that jar, while each polemic jackanapes
joins his enemies' recruits.
The paradox is that 'the play's the thing':
though prima donna pouts and critic stings,
there burns throughout the line of words,
the cultivated act, a fierce brief fusion
which dreamers call real, and realists, illusion:
an insight like the flight of birds:
Arrows that lacerate the sky, while knowing
the secret of their ecstasy's in going;
some day, moving, one will drop,
and, dropping, die, to trace a wound that heals
only to reopen as flesh congeals:
cycling phoenix never stops.
So we shall walk barefoot on walnut shells
of withered worlds, and stamp out puny hells
and heavens till the spirits squeak
surrender: to build our bed as high as jack's
bold beanstalk; lie and love till sharp scythe hacks
away our rationed days and weeks.
Then jet the blue tent topple, stars rain down,
and god or void appall us till we drown
in our own tears: today we start
to pay the piper with each breath, yet love
knows not of death nor calculus above
the simple sum of heart plus heart.
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Written by
Ted Hughes |
He loved her and she loved him
His kisses sucked out her whole past and future or tried to
He had no other appetite
She bit him she gnawed him she sucked
She wanted him complete inside her
Safe and Sure forever and ever
Their little cries fluttered into the curtains
Her eyes wanted nothing to get away
Her looks nailed down his hands his wrists his elbows
He gripped her hard so that life
Should not drag her from that moment
He wanted all future to cease
He wanted to topple with his arms round her
Or everlasting or whatever there was
Her embrace was an immense press
To print him into her bones
His smiles were the garrets of a fairy place
Where the real world would never come
Her smiles were spider bites
So he would lie still till she felt hungry
His word were occupying armies
Her laughs were an assasin's attempts
His looks were bullets daggers of revenge
Her glances were ghosts in the corner with horrible secrets
His whispers were whips and jackboots
Her kisses were lawyers steadily writing
His caresses were the last hooks of a castaway
Her love-tricks were the grinding of locks
And their deep cries crawled over the floors
Like an animal dragging a great trap
His promises were the surgeon's gag
Her promises took the top off his skull
She would get a brooch made of it
His vows pulled out all her sinews
He showed her how to make a love-knot
At the back of her secret drawer
Their screams stuck in the wall
Their heads fell apart into sleep like the two halves
Of a lopped melon, but love is hard to stop
In their entwined sleep they exchanged arms and legs
In their dreams their brains took each other hostage
In the morning they wore each other's face
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Written by
Mark Doty |
The intact facade's now almost black
in the rain; all day they've torn at the back
of the building, "the oldest concrete structure
in New England," the newspaper said. By afternoon,
when the backhoe claw appears above
three stories of columns and cornices,
the crowd beneath their massed umbrellas cheer.
Suddenly the stairs seem to climb down themselves,
atomized plaster billowing: dust of 1907's
rooming house, this year's bake shop and florist's,
the ghosts of their signs faint above the windows
lined, last week, with loaves and blooms.
We love disasters that have nothing to do
with us: the metal scoop seems shy, tentative,
a Japanese monster tilting its yellow head
and considering what to topple next. It's a weekday,
and those of us with the leisure to watch
are out of work, unemployable or academics,
joined by a thirst for watching something fall.
All summer, at loose ends, I've read biographies,
Wilde and Robert Lowell, and fallen asleep
over a fallen hero lurching down a Paris boulevard,
talking his way to dinner or a drink,
unable to forget the vain and stupid boy
he allowed to ruin him. And I dreamed
I was Lowell, in a manic flight of failing
and ruthless energy, and understood
how wrong I was with a passionate exactitude
which had to be like his. A month ago,
at Saint-Gauden's house, we ran from a startling downpour
into coincidence: under a loggia built
for performances on the lawn
hulked Shaw's monument, splendid
in its plaster maquette, the ramrod-straight colonel
high above his black troops. We crouched on wet gravel
and waited out the squall; the hieratic woman
-- a wingless angel? -- floating horizontally
above the soldiers, her robe billowing like plaster dust,
seemed so far above us, another century's
allegorical decor, an afterthought
who'd never descend to the purely physical
soldiers, the nearly breathing bronze ranks crushed
into a terrible compression of perspective,
as if the world hurried them into the ditch.
"The unreadable," Wilde said, "is what occurs."
And when the brutish metal rears
above the wall of unglazed windows --
where, in a week, the kids will skateboard
in their lovely loops and spray
their indecipherable ideograms
across the parking lot -- the single standing wall
seems Roman, momentarily, an aqueduct,
all that's left of something difficult
to understand now, something Oscar
and Bosie might have posed before, for a photograph.
Aqueducts and angels, here on Main,
seem merely souvenirs; the gaps
where the windows opened once
into transients' rooms are pure sky.
It's strange how much more beautiful
the sky is to us when it's framed
by these columned openings someone meant us
to take for stone. The enormous, articulate shovel
nudges the highest row of moldings
and the whole thing wavers as though we'd dreamed it,
our black classic, and it topples all at once.
|
Written by
Barry Tebb |
Rivers, tow paths, caravan parks
From Kirkstall to Keighley
The track’s ribbon flaps
Like Margaret’s whirling and twirling
At ten with her pink-tied hair
And blue-check patterned frock
O my lost beloved
Mills fall like doomed fortresses
Their domes topple, stopped clocks
Chime midnight forever and ever
Amen to the lost hegemony of mill girls
Flocking through dawn fog, their clogs clacking,
Their beauty, only Vermeer could capture
O my lost beloved
In a field one foal tries to mount another,
The mare nibbling April grass;
The train dawdles on this country track
As an old man settles to his paperback.
The chatter of market stalls soothes me
More than the armoury of medication
I keep with me. Woodyards, scrapyards,
The stone glories of Yorkshire spring-
How many more winters must I endure
O my lost beloved?
|
Written by
Andrew Barton Paterson |
It was while we held our races --
Hurdles, sprints and steplechases --
Up in Dandaloo,
That a crowd of Sydney stealers,
Jockeys, pugilists and spielers
Brought some horses, real heelers,
Came and put us through.
Beat our nags and won our money,
Made the game by np means funny,
Made us rather blue;
When the racing was concluded,
Of our hard-earned coin denuded
Dandaloonies sat and brooded
There in Dandaloo.
* * * * *
Night came down on Johnson's shanty
Where the grog was no way scanty,
And a tumult grew
Till some wild, excited person
Galloped down the township cursing,
"Sydney push have mobbed Macpherson,
Roll up, Dandaloo!"
Great St Denis! what commotion!
Like the rush of stormy ocean
Fiery horsemen flew.
Dust and smoke and din and rattle,
Down the street they spurred their cattle
To the war-cry of the battle,
"Wade in, Dandaloo!"
So the boys might have their fight out,
Johnson blew the bar-room light out,
Then, in haste, withdrew.
And in darkness and in doubting
Raged the conflict and the shouting,
"Give the Sydney push a clouting,
Go it, Dandaloo!"
Jack Macpherson seized a bucket,
Every head he saw he struck it --
Struck in earnest, too;
And a man from Lower Wattle,
Whom a shearer tried to throttle,
Hit out freely with a bottle
There in Dandaloo.
Skin and hair were flying thickly,
When a light was fetched, and quickly
Brought a fact to view --
On the scene of the diversion
Every single, solid person
Come along to help Macpherson --
All were Dandaloo!
When the list of slain was tabled --
Some were drunk and some disabled --
Still we found it true.
In the darkness and the smother
We'd been belting one another;
Jack Macpherson bashed his brother
There in Dandaloo.
So we drank, and all departed --
How the "mobbing" yarn was started
No one ever knew --
And the stockmen tell the story
Of that conflict fierce and gory,
How he fought for love and glory
Up in Dandaloo.
It's a proverb now, or near it --
At the races you can hear it,
At the dog-fights, too!
Every shrieking, dancing drover
As the canines topple over
Yells applause to Grip or Rover,
"Give him 'Dandaloo'!"
And the teamster slowly toiling
Through the deep black country, soiling
Wheels and axles, too,
Lays the whip on Spot and Banker,
Rouses Tarboy with a flanker --
"Redman! Ginger! Heave there! Yank her
Wade in, Dandaloo!"
|
Written by
Edwin Muir |
Our fathers all were poor,
Poorer our fathers' fathers;
Beyond, we dare not look.
We, the sons, keep store
Of tarnished gold that gathers
Around us from the night,
Record it in this book
That, when the line is drawn,
Credit and creditor gone,
Column and figure flown,
Will open into light.
Archaic fevers shake
Our healthy flesh and blood
Plumped in the passing day
And fed with pleasant food.
The fathers' anger and ache
Will not, will not away
And leave the living alone,
But on our careless brows
Faintly their furrows engrave
Like veinings in a stone,
Breathe in the sunny house
Nightmare of blackened bone,
Cellar and choking cave.
Panics and furies fly
Through our unhurried veins,
Heavenly lights and rains
Purify heart and eye,
Past agonies purify
And lay the sullen dust.
The angers will not away.
We hold our fathers' trust,
Wrong, riches, sorrow and all
Until they topple and fall,
And fallen let in the day.
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Written by
Siegfried Sassoon |
AT dawn the ridge emerges massed and dun
In the wild purple of the glow'ring sun,
Smouldering through spouts of drifting smoke that shroud
The menacing scarred slope; and, one by one,
Tanks creep and topple forward to the wire.
The barrage roars and lifts. Then, clumsily bowed
With bombs and guns and shovels and battle-gear,
Men jostle and climb to meet the bristling fire.
Lines of grey, muttering faces, masked with fear,
They leave their trenches, going over the top,
While time ticks blank and busy on their wrists,
And hope, with furtive eyes and grappling fists,
Flounders in mud. O Jesus, make it stop!
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Written by
William Topaz McGonagall |
Greenland's icy mountains are fascinating and grand,
And wondrously created by the Almighty's command;
And the works of the Almighty there's few can understand:
Who knows but it might be a part of Fairyland?
Because there are churches of ice, and houses glittering like glass,
And for scenic grandeur there's nothing can it surpass,
Besides there's monuments and spires, also ruins,
Which serve for a safe retreat from the wild bruins.
And there's icy crags and precipices, also beautiful waterfalls,
And as the stranger gazes thereon, his heart it appals
With a mixture of wonder, fear, and delight,
Till at last he exclaims, Oh! what a wonderful sight!
The icy mountains they're higher than a brig's topmast,
And the stranger in amazement stands aghast
As he beholds the water flowing off the melted ice
Adown the mountain sides, that he cries out, Oh! how nice!
Such sights as these are truly magnificent to be seen,
Only that the mountain tops are white instead of green,
And rents and caverns in them, the same as on a rugged mountain side,
And suitable places, in my opinion, for mermaids to reside.
Sometimes these icy mountains suddenly topple o'er
With a wild and rumbling hollow-starting roar;
And new peaks and cliffs rise up out of the sea,
While great cataracts of uplifted brine pour down furiously.
And those that can witness such an awful sight
Can only gaze thereon in solemn silence and delight,
And the most Godfearless man that hath this region trod
Would be forced to recognise the power and majesty of God.
Oh! how awful and grand it must be on a sunshiny day
To see one of these icy mountains in pieces give way!
While, crack after crack, it falls with a mighty crash
Flat upon the sea with a fearful splash.
And in the breaking up of these mountains they roar like thunder,
Which causes the stranger no doubt to wonder;
Also the Esquimaux of Greenland betimes will stand
And gaze on the wondrous work of the Almighty so grand.
When these icy mountains are falling, the report is like big guns,
And the glittering brilliancy of them causes mock-suns,
And around them there's connected a beautiful ring of light,
And as the stranger looks thereon, it fills his heart with delight.
Oh! think on the danger of seafaring men
If any of these mighty mountains where falling on them;
Alas! they would be killed ere the hand of man could them save
And, poor creatures, very likely find a watery grave!
'Tis most beautiful to see and hear the whales whistling and blowing,
And the sailors in their small boats quickly after them rowing,
While the whales keep lashing the water all their might
With their mighty tails, left and right.
In winter there's no sunlight there night or day,
Which, no doubt, will cause the time to pass tediously away,
And cause the Esquimaux to long for the light of day,
So as they will get basking themselves in the sun's bright array.
In summer there is perpetual sunlight,
Which fill the Esquimaux's hearts with delight;
And is seen every day and night in the blue sky,
Which makes the scenery appear most beautiful to the eye.
During summer and winter there the land is covered with snow,
Which sometimes must fill the Esquimaux' hearts with woe
As they traverse fields of ice, ten or fifteen feet thick,
And with cold, no doubt, their hearts will be touched to the quick.
And let those that read or hear this feel thankful to God
That the icy fields of Greenland they have never trod;
Especially while seated around the fireside on a cold winter night,
Let them think of the cold and hardships Greenland sailors have to fight.
|
Written by
Du Fu |
Cane tin how come here Autumn wind already sough Rain waste large court chrysanthemum Frost topple half pool lotus Banish rather against nature Void not leave Chan Mutual meet all night stay Gansu moon toward man round How did your tin-edged cane get here? The autumn wind's already sighing. The rain's laid waste the great court's chrysanthemums, And frost has felled half the pond's lotuses. Banished, you don't renounce your nature, In limbo, you don't depart from Chan. Now we've met, we can spend all night together, The Gansu moon shines round upon us.
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Written by
Edward Thomas |
As the team's head-brass flashed out on the turn
The lovers disappeared into the wood.
I sat among the boughs of the fallen elm
That strewed the angle of the fallow, and
Watched the plough narrowing a yellow square
Of charlock. Every time the horses turned
Instead of treading me down, the ploughman leaned
Upon the handles to say or ask a word,
About the weather, next about the war.
Scraping the share he faced towards the wood,
And screwed along the furrow till the brass flashed
Once more.
The blizzard felled the elm whose crest
I sat in, by a woodpecker's round hole,
The ploughman said. 'When will they take it away? '
'When the war's over.' So the talk began –
One minute and an interval of ten,
A minute more and the same interval.
'Have you been out? ' 'No.' 'And don't want to, perhaps? '
'If I could only come back again, I should.
I could spare an arm, I shouldn't want to lose
A leg. If I should lose my head, why, so,
I should want nothing more...Have many gone
From here? ' 'Yes.' 'Many lost? ' 'Yes, a good few.
Only two teams work on the farm this year.
One of my mates is dead. The second day
In France they killed him. It was back in March,
The very night of the blizzard, too. Now if
He had stayed here we should have moved the tree.'
'And I should not have sat here. Everything
Would have been different. For it would have been
Another world.' 'Ay, and a better, though
If we could see all all might seem good.' Then
The lovers came out of the wood again:
The horses started and for the last time
I watched the clods crumble and topple over
After the ploughshare and the stumbling team.
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