Written by
T S (Thomas Stearns) Eliot |
Gus is the Cat at the Theatre Door.
His name, as I ought to have told you before,
Is really Asparagus. That's such a fuss
To pronounce, that we usually call him just Gus.
His coat's very shabby, he's thin as a rake,
And he suffers from palsy that makes his paw shake.
Yet he was, in his youth, quite the smartest of Cats--
But no longer a terror to mice and to rats.
For he isn't the Cat that he was in his prime;
Though his name was quite famous, he says, in its time.
And whenever he joins his friends at their club
(Which takes place at the back of the neighbouring pub)
He loves to regale them, if someone else pays,
With anecdotes drawn from his palmiest days.
For he once was a Star of the highest degree--
He has acted with Irving, he's acted with Tree.
And he likes to relate his success on the Halls,
Where the Gallery once gave him seven cat-calls.
But his grandest creation, as he loves to tell,
Was Firefrorefiddle, the Fiend of the Fell.
"I have played," so he says, "every possible part,
And I used to know seventy speeches by heart.
I'd extemporize back-chat, I knew how to gag,
And I knew how to let the cat out of the bag.
I knew how to act with my back and my tail;
With an hour of rehearsal, I never could fail.
I'd a voice that would soften the hardest of hearts,
Whether I took the lead, or in character parts.
I have sat by the bedside of poor Little Nell;
When the Curfew was rung, then I swung on the bell.
In the Pantomime season I never fell flat,
And I once understudied Dick Whittington's Cat.
But my grandest creation, as history will tell,
Was Firefrorefiddle, the Fiend of the Fell."
Then, if someone will give him a toothful of gin,
He will tell how he once played a part in East Lynne.
At a Shakespeare performance he once walked on pat,
When some actor suggested the need for a cat.
He once played a Tiger--could do it again--
Which an Indian Colonel purused down a drain.
And he thinks that he still can, much better than most,
Produce blood-curdling noises to bring on the Ghost.
And he once crossed the stage on a telegraph wire,
To rescue a child when a house was on fire.
And he says: "Now then kittens, they do not get trained
As we did in the days when Victoria reigned.
They never get drilled in a regular troupe,
And they think they are smart, just to jump through a hoop."
And he'll say, as he scratches himself with his claws,
"Well, the Theatre's certainly not what it was.
These modern productions are all very well,
But there's nothing to equal, from what I hear tell,
That moment of mystery
When I made history
As Firefrorefiddle, the Fiend of the Fell."
|
Written by
Robert William Service |
I like to think that when I fall,
A rain-drop in Death's shoreless sea,
This shelf of books along the wall,
Beside my bed, will mourn for me.
Regard it. . . . Aye, my taste is *****.
Some of my bards you may disdain.
Shakespeare and Milton are not here;
Shelly and Keats you seek in vain.
Wordsworth, Tennyson, Browning too,
Remarkably are not in view.
Who are they? Omar first you see,
With Vine and Rose and Nightingale,
Voicing my pet philosphy
Of Wine and Song. . . . Then Reading Gaol,
Where Fate a gruesome pattern makes,
And dawn-light shudders as it wakes.
The Ancient Mariner is next,
With eerie and terrific text;
The Burns, with pawky human touch -
Poor devil! I have loved him much.
And now a gay quartette behold:
Bret Harte and Eugene Field are here;
And Henly, chanting brave and bold,
And Chesteron, in praise of Beer.
Lastly come valiant Singers three;
To whom this strident Day belongs:
Kipling, to whom I bow the knee,
Masefield, with rugged sailor songs. . . .
And to my lyric troupe I add
With greatful heart - The Shropshire Lad.
Behold my minstrels, just eleven.
For half my life I've loved them well.
And though I have no hope of Heaven,
And more than Highland fear of Hell,
May I be damned if on this shelf
ye find a rhyme I made myself.
|
Written by
Quincy Troupe |
in brussels, eye sat in the grand place cafe & heard
duke's place, played after salsa
between the old majestic architecture, jazz bouncing off
all that gilded gold history snoring complacently there
flowers all over the ground, up inside the sound
the old white band jammin the music
tight & heavy, like some food
pushin pedal to the metal
gettin all the way down
under the scaffolding surrounding
l'hotel de ville, chattanooga choochoo
choo choing all the way home, upside walls, under gold eagles
& a gold vaulting girl, naked on a rooftop holding a flag over
her head, like skip rope, surrounded by all manner
of saints & gold madmen, riding emblazoned stallions
snorting like crazed demons at their nostrils
the music swirling like a dancing bear
a beautiful girl, flowers in her hair
the air woven with lilting voices in this grand place of parepets
& crowns, jewels & golden torches streaming
like a horse's mane, antiquity riding through in a wheel carriage
here, through gargoyles & gothic towers rocketing swordfish lanced crosses
pointing up at a God threatening rain
& it is stunning at this moment when raised beer steins cheer
the music on, hot & heavy, still humming & cooking
basic african-american rhythms alive here
in this ancient grand place of europe
this confluence point of nations & cultures
jumping off place for beer & cuisines
fused with music, poetry & stone
here in this blinding, beautiful square
sunlit now as the golden eye of God shoots through
flowers all over the cobbled ground, up in the music
the air brightly cool as light after jeweled rain
still, there are these hats slicing foreheads off in the middle
of crowds that need explaining, the calligraphy of this penumbra
slanting ace-deuce, cocked, carrying the perforated legacy of bebop
these bold, peccadillo, pirouetting pellagras
razor-sharp clean, they cut into our rip-tiding dreams carrying
their whirlpooling imaginations, their rivers of schemes
assaulted by pellets of raindrops
these broken mirrors catching fragments
of sonorous words, entrapping us between parentheses
two bat wings curved, imprisoning the world
|
Written by
Quincy Troupe |
ice sheets sweep this slick mirrored dark place
space as keys that turn in tight, trigger
pain of situations
where we move ever so slowly
so gently into time — traced agony
the bright turning of imagination
so slowly
grooved through revolving doors, opening up to enter
mountains where spirits walk voices, ever so slowly
swept by cold, breathing fire
as these elliptical moments of illusion
link fragile loves sunk deep in snows as footprints
the voice prints cold black gesticulations
bone bare voices
chewed skeletal choices
in fangs of piranha gales
spewing out slivers of raucous laughter
glinting bright as hard polished silver nails
|
Written by
Vachel Lindsay |
I. THEIR BASIC SAVAGERY
Fat black bucks in a wine-barrel room,
Barrel-house kings, with feet unstable,
Sagged and reeled and pounded on the table,
A deep rolling bass.
Pounded on the table,
Beat an empty barrel with the handle of a broom,
Hard as they were able,
Boom, boom, BOOM,
With a silk umbrella and the handle of a broom,
Boomlay, boomlay, boomlay, BOOM.
THEN I had religion, THEN I had a vision.
I could not turn from their revel in derision.
THEN I SAW THE CONGO, CREEPING THROUGH THE BLACK,
More deliberate. Solemnly chanted.
CUTTING THROUGH THE FOREST WITH A GOLDEN TRACK.
Then along that riverbank
A thousand miles
Tattooed cannibals danced in files;
Then I heard the boom of the blood-lust song
And a thigh-bone beating on a tin-pan gong.
A rapidly piling climax of speed & racket.
And "BLOOD" screamed the whistles and the fifes of the warriors,
"BLOOD" screamed the skull-faced, lean witch-doctors,
"Whirl ye the deadly voo-doo rattle,
Harry the uplands,
Steal all the cattle,
Rattle-rattle, rattle-rattle,
Bing.
Boomlay, boomlay, boomlay, BOOM,"
A roaring, epic, rag-time tune
With a philosophic pause.
From the mouth of the Congo
To the Mountains of the Moon.
Death is an Elephant,
Torch-eyed and horrible,
Shrilly and with a heavily accented metre.
Foam-flanked and terrible.
BOOM, steal the pygmies,
BOOM, kill the Arabs,
BOOM, kill the white men,
HOO, HOO, HOO.
Listen to the yell of Leopold's ghost
Like the wind in the chimney.
Burning in Hell for his hand-maimed host.
Hear how the demons chuckle and yell
Cutting his hands off, down in Hell.
Listen to the creepy proclamation,
Blown through the lairs of the forest-nation,
Blown past the white-ants' hill of clay,
Blown past the marsh where the butterflies play: --
"Be careful what you do,
Or Mumbo-Jumbo, God of the Congo,
All the "O" sounds very golden. Heavy accents very heavy. Light accents very light. Last line whispered.
And all of the other
Gods of the Congo,
Mumbo-Jumbo will hoo-doo you,
Mumbo-Jumbo will hoo-doo you,
Mumbo-Jumbo will hoo-doo you."
II. THEIR IRREPRESSIBLE HIGH SPIRITS
Wild crap-shooters with a whoop and a call
Rather shrill and high.
Danced the juba in their gambling-hall
And laughed fit to kill, and shook the town,
And guyed the policemen and laughed them down
With a boomlay, boomlay, boomlay, BOOM.
THEN I SAW THE CONGO, CREEPING THROUGH THE BLACK,
Read exactly as in first section.
CUTTING THROUGH THE FOREST WITH A GOLDEN TRACK.
A ***** fairyland swung into view,
Lay emphasis on the delicate ideas. Keep as light-footed as possible.
A minstrel river
Where dreams come true.
The ebony palace soared on high
Through the blossoming trees to the evening sky.
The inlaid porches and casements shone
With gold and ivory and elephant-bone.
And the black crowd laughed till their sides were sore
At the baboon butler in the agate door,
And the well-known tunes of the parrot band
That trilled on the bushes of that magic land.
A troupe of skull-faced witch-men came
With pomposity.
Through the agate doorway in suits of flame,
Yea, long-tailed coats with a gold-leaf crust
And hats that were covered with diamond-dust.
And the crowd in the court gave a whoop and a call
And danced the juba from wall to wall.
But the witch-men suddenly stilled the throng
With a great deliberation & ghostliness.
With a stern cold glare, and a stern old song: --
"Mumbo-Jumbo will hoo-doo you." ...
Just then from the doorway, as fat as shotes,
With overwhelming assurance, good cheer, and pomp.
Came the cake-walk princes in their long red coats,
Canes with a brilliant lacquer shine,
And tall silk hats that were red as wine.
And they pranced with their butterfly partners there,
With growing speed and sharply marked dance-rhythm
Coal-black maidens with pearls in their hair,
Knee-skirts trimmed with the jassamine sweet,
And bells on their ankles and little black-feet.
And the couples railed at the chant and the frown
Of the witch-men lean, and laughed them down.
(O rare was the revel, and well worth while
That made those glowering witch-men smile.)
The cake-walk royalty then began
To walk for a cake that was tall as a man
To the tune of "Boomlay, boomlay, BOOM,"
While the witch-men laughed, with a sinister air,
With a touch of ***** dialect, and as rapidly as possible toward the end.
And sang with the scalawags prancing there: --
"Walk with care, walk with care,
Or Mumbo-Jumbo, God of the Congo,
And all the other
Gods of the Congo,
Mumbo-Jumbo will hoo-doo you.
Beware, beware, walk with care,
Boomlay, boomlay, boomlay, boom.
Boomlay, boomlay, boomlay, boom.
Boomlay, boomlay, boomlay, boom.
Boomlay, boomlay, boomlay,
BOOM."
Oh rare was the revel, and well worth while
Slow philosophic calm.
That made those glowering witch-men smile.
III. THE HOPE OF THEIR RELIGION
A good old ***** in the slums of the town
Heavy bass. With a literal imitation of camp-meeting racket, and trance.
Preached at a sister for her velvet gown.
Howled at a brother for his low-down ways,
His prowling, guzzling, sneak-thief days.
Beat on the Bible till he wore it out
Starting the jubilee revival shout.
And some had visions, as they stood on chairs,
And sang of Jacob, and the golden stairs,
And they all repented, a thousand strong
From their stupor and savagery and sin and wrong
And slammed with their hymn books till they shook the room
With "glory, glory, glory,"
And "Boom, boom, BOOM."
THEN I SAW THE CONGO, CREEPING THROUGH THE BLACK,
Exactly as in the first section. Begin with terror and power, end with joy.
CUTTING THROUGH THE FOREST WITH A GOLDEN TRACK.
And the gray sky opened like a new-rent veil
And showed the Apostles with their coats of mail.
In bright white steel they were seated round
And their fire-eyes watched where the Congo wound.
And the twelve Apostles, from their thrones on high
Thrilled all the forest with their heavenly cry: --
"Mumbo-Jumbo will die in the jungle;
Sung to the tune of "Hark, ten thousand harps and voices."
Never again will he hoo-doo you,
Never again will he hoo-doo you."
Then along that river, a thousand miles
With growing deliberation and joy.
The vine-snared trees fell down in files.
Pioneer angels cleared the way
For a Congo paradise, for babes at play,
For sacred capitals, for temples clean.
Gone were the skull-faced witch-men lean.
There, where the wild ghost-gods had wailed
In a rather high key -- as delicately as possible.
A million boats of the angels sailed
With oars of silver, and prows of blue
And silken pennants that the sun shone through.
'Twas a land transfigured, 'twas a new creation.
Oh, a singing wind swept the ***** nation
And on through the backwoods clearing flew: --
"Mumbo-Jumbo is dead in the jungle.
To the tune of "Hark, ten thousand harps and voices."
Never again will he hoo-doo you.
Never again will he hoo-doo you.
Redeemed were the forests, the beasts and the men,
And only the vulture dared again
By the far, lone mountains of the moon
To cry, in the silence, the Congo tune: --
"Mumbo-Jumbo will hoo-doo you,
Dying down into a penetrating, terrified whisper.
"Mumbo-Jumbo will hoo-doo you.
Mumbo ... Jumbo ... will ... hoo-doo ... you."
|
Written by
Emily Dickinson |
I cannot dance upon my Toes --
No Man instructed me --
But oftentimes, among my mind,
A Glee possesseth me,
That had I Ballet knowledge --
Would put itself abroad
In Pirouette to blanch a Troupe --
Or lay a Prima, mad,
And though I had no Gown of Gauze --
No Ringlet, to my Hair,
Nor hopped to Audiences -- like Birds,
One Claw upon the Air,
Nor tossed my shape in Eider Balls,
Nor rolled on wheels of snow
Till I was out of sight, in sound,
The House encore me so --
Nor any know I know the Art
I mention -- easy -- Here --
Nor any Placard boast me --
It's full as Opera --
|
Written by
Vachel Lindsay |
[Concerning O. Henry (Sidney Porter)]
"He could not forget that he was a Sidney."
Is this Sir Philip Sidney, this loud clown,
The darling of the glad and gaping town?
This is that dubious hero of the press
Whose slangy tongue and insolent address
Were spiced to rouse on Sunday afternoon
The man with yellow journals round him strewn.
We laughed and dozed, then roused and read again,
And vowed O. Henry funniest of men.
He always worked a triple-hinged surprise
To end the scene and make one rub his eyes.
He comes with vaudeville, with stare and leer.
He comes with megaphone and specious cheer.
His troupe, too fat or short or long or lean,
Step from the pages of the magazine
With slapstick or sombrero or with cane:
The rube, the cowboy or the masher vain.
They over-act each part. But at the height
Of banter and of canter and delight
The masks fall off for one ***** instant there
And show real faces: faces full of care
And desperate longing: love that's hot or cold;
And subtle thoughts, and countenances bold.
The masks go back. 'Tis one more joke. Laugh on!
The goodly grown-up company is gone.
No doubt had he occasion to address
The brilliant court of purple-clad Queen Bess,
He would have wrought for them the best he knew
And led more loftily his actor-crew.
How coolly he misquoted. 'Twas his art —
Slave-scholar, who misquoted — from the heart.
So when we slapped his back with friendly roar
Æsop awaited him without the door, —
Æsop the Greek, who made dull masters laugh
With little tales of fox and dog and calf .
And be it said, mid these his pranks so odd
With something nigh to chivalry he trod
And oft the drear and driven would defend —
The little shopgirls' knight unto the end.
Yea, he had passed, ere we could understand
The blade of Sidney glimmered in his hand.
Yea, ere we knew, Sir Philip's sword was drawn
With valiant cut and thrust, and he was gone.
|
Written by
Quincy Troupe |
we walk through a calligraphy of hats slicing off foreheads
ace-deuce cocked, they slant, razor sharp, clean through imagination, our
spirits knee-deep in what we have forgotten entrancing our bodies now to
dance, like enraptured water lilies
the rhythm in liquid strides of certain looks
eyeballs rippling through breezes
riffing choirs of trees, where a trillion slivers of sunlight prance across
filigreeing leaves, a zillion voices of bamboo reeds, green with summer
saxophone bursts, wrap themselves, like transparent prisms of dew drops
around images, laced with pearls & rhinestones, dreams
& perhaps it is through this decoding of syllables that we learn speech
that sonorous river of broken mirrors carrying our dreams
assaulted by pellets of raindrops, prisons of words entrapping us
between parentheses — two bat wings curving cynical smiles
still, there is something here, that, perhaps, needs explaining
beyond the hopelessness of miles, the light at the end of a midnight tunnel —
where some say a speeding train is bulleting right at us ——
so where do the tumbling words spend themselves after they have spent
all meaning residing in the warehouse of language, after they have slipped
from our lips, like skiers on ice slopes, strung together words linking
themselves through smoke, where do the symbols they carry
stop everything, put down roots, cleanse themselves of everything
but clarity —— though here eye might be asking a little too much of any
poet's head, full as it were with double-entendres
|
Written by
Edmund Spenser |
OCTOBER: Ægloga DecimaPIERCE & CUDDIE
Cuddie, for shame hold up thy heavye head,
And let us cast with what delight to chace,
And weary thys long lingring Phoebus race.
Whilome thou wont the shepheards laddes to leade,
In rymes, in ridles, and in bydding base:
Now they in thee, and thou in sleepe art dead.
CUDDY
Piers, I have pyped erst so long with payne,
That all mine Oten reedes bene rent and wore:
And my poore Muse hath spent her spared store,
Yet little good hath got, and much lesse gayne,
Such pleasaunce makes the Grashopper so poore,
And ligge so layd, when Winter doth her straine.
The dapper ditties, that I wont devise,
To feede youthes fancie, and the flocking fry,
Delighten much: what I the bett for thy?
They han the pleasure, I a sclender prise.
I beate the bush, the byrds to them doe flye:
What good thereof to Cuddie can arise?
PIERS
Cuddie, the prayse is better, then the price,
The glory eke much greater then the gayne:
O what an honor is it, to restraine
The lust of lawlesse youth with good advice:
Or pricke them forth with pleasaunce of thy vaine,
Whereto thou list their trayned willes entice.
Soone as thou gynst to sette thy notes in frame,
O how the rurall routes to thee doe cleave:
Seemeth thou dost their soule of sence bereave,
All as the shepheard, that did fetch his dame
From Plutoes balefull bowre withouten leave:
His musicks might the hellish hound did tame.
CUDDIE
So praysen babes the Peacoks spotted traine,
And wondren at bright Argus blazing eye:
But who rewards him ere the more for thy?
Or feedes him once the fuller by a graine?
Sike prayse is smoke, that sheddeth in the skye,
Sike words bene wynd, and wasten soone in vayne.
PIERS
Abandon then the base and viler clowne,
Lyft up thy selfe out of the lowly dust:
And sing of bloody Mars, of wars, of giusts.
Turne thee to those, that weld the awful crowne,
To doubted Knights, whose woundlesse armour rusts,
And helmes unbruzed wexen dayly browne.
There may thy Muse display her fluttryng wing,
And stretch her selfe at large from East to West:
Whither thou list in fayre Elisa rest,
Or if thee please in bigger notes to sing,
Advaunce the worthy whome shee loveth best,
That first the white beare to the stake did bring.
And when the stubborne stroke of stronger stounds,
Has somewhat slackt the tenor of thy string:
Of love and lustihed tho mayst thou sing,
And carrol lowde, and leade the Myllers rownde,
All were Elisa one of thilke same ring.
So mought our Cuddies name to Heaven sownde.
CUDDYE
Indeed the Romish Tityrus, I heare,
Through his Mec{oe}nas left his Oaten reede,
Whereon he earst had taught his flocks to feede,
And laboured lands to yield the timely eare,
And eft did sing of warres and deadly drede,
So as the Heavens did quake his verse to here.
But ah Mec{oe}nas is yclad in claye,
And great Augustus long ygoe is dead:
And all the worthies liggen wrapt in leade,
That matter made for Poets on to play:
For ever, who in derring doe were dreade,
The loftie verse of hem was loved aye.
But after vertue gan for age to stoupe,
And mighty manhode brought a bedde of ease:
The vaunting Poets found nought worth a pease,
To put in preace emong the learned troupe.
Tho gan the streames of flowing wittes to cease,
And sonnebright honour pend in shamefull coupe.
And if that any buddes of Poesie,
Yet of the old stocke gan to shoote agayne:
Or it mens follies mote be forst to fayne,
And rolle with rest in rymes of rybaudrye:
Or as it sprong, it wither must agayne:
Tom Piper makes us better melodie.
PIERS
O pierlesse Poesye, where is then thy place?
If nor in Princes pallace thou doe sitt:
(And yet is Princes pallace the most fitt)
Ne brest of baser birth doth thee embrace.
Then make thee winges of thine aspyring wit,
And, whence thou camst, flye backe to heaven apace.
CUDDIE
Ah Percy it is all to weake and wanne,
So high to sore, and make so large a flight:
Her peeced pyneons bene not so in plight,
For Colin fittes such famous flight to scanne:
He, were he not with love so ill bedight,
Would mount as high, and sing as soote as Swanne.
PIERS
Ah fon, for love does teach him climbe so hie,
And lyftes him up out of the loathsome myre:
Such immortall mirrhor, as he doth admire,
Would rayse ones mynd above the starry skie.
And cause a caytive corage to aspire,
For lofty love doth loath a lowly eye.
CUDDIE
All otherwise the state of Poet stands,
For lordly love is such a Tyranne fell:
That where he rules, all power he doth expell.
The vaunted verse a vacant head demaundes,
Ne wont with crabbed care the Muses dwell.
Unwisely weaves, that takes two webbes in hand.
Who ever casts to compasse weightye prise,
And thinks to throwe out thondring words of threate:
Let powre in lavish cups and thriftie bitts of meate,
For Bacchus fruite is frend to Phoebus wise.
And when with Wine the braine begins to sweate,
The nombers flowe as fast as spring doth ryse.
Thou kenst not Percie howe the ryme should rage.
O if my temples were distaind with wine,
And girt in girlonds of wild Yvie twine,
How I could reare the Muse on stately stage,
And teache her tread aloft in buskin fine,
With queint Bellona in her equipage.
But ah my corage cooles ere it be warme,
For thy, content us in thys humble shade:
Where no such troublous tydes han us assayde,
Here we our slender pipes may safely charme.
PIERS
And when my Gates shall han their bellies layd:
Cuddie shall have a Kidde to store his farme.CUDDIES EMBLEME
Agitante calescimus illo
|&c|.
|
Written by
Victor Hugo |
("Toutes les passions s'éloignent avec l'âge.")
{XXXIV. ii., October, 183-.}
As life wanes on, the passions slow depart,
One with his grinning mask, one with his steel;
Like to a strolling troupe of Thespian art,
Whose pace decreases, winding past the hill.
But naught can Love's all charming power efface,
That light, our misty tracks suspended o'er,
In joy thou'rt ours, more dear thy tearful grace,
The young may curse thee, but the old adore.
But when the weight of years bow down the head,
And man feels all his energies decline,
His projects gone, himself tomb'd with the dead,
Where virtues lie, nor more illusions shine,
When all our lofty thoughts dispersed and o'er,
We count within our hearts so near congealed,
Each grief that's past, each dream, exhausted ore!
As counting dead upon the battle-field.
As one who walks by the lamp's flickering blaze,
Far from the hum of men, the joys of earth—
Our mind arrives at last by tortuous ways,
At that drear gulf where but despair has birth.
E'en there, amid the darkness of that night,
When all seems closing round in empty air,
Is seen through thickening gloom one trembling light!
'Tis Love's sweet memory that lingers there!
Author of "Critical Essays."
|