Written by
T S (Thomas Stearns) Eliot |
I
In my beginning is my end. In succession
Houses rise and fall, crumble, are extended,
Are removed, destroyed, restored, or in their place
Is an open field, or a factory, or a by-pass.
Old stone to new building, old timber to new fires,
Old fires to ashes, and ashes to the earth
Which is already flesh, fur and faeces,
Bone of man and beast, cornstalk and leaf.
Houses live and die: there is a time for building
And a time for living and for generation
And a time for the wind to break the loosened pane
And to shake the wainscot where the field-mouse trots
And to shake the tattered arras woven with a silent motto.
In my beginning is my end. Now the light falls
Across the open field, leaving the deep lane
Shuttered with branches, dark in the afternoon,
Where you lean against a bank while a van passes,
And the deep lane insists on the direction
Into the village, in the electric heat
Hypnotised. In a warm haze the sultry light
Is absorbed, not refracted, by grey stone.
The dahlias sleep in the empty silence.
Wait for the early owl.
In that open field
If you do not come too close, if you do not come too close,
On a summer midnight, you can hear the music
Of the weak pipe and the little drum
And see them dancing around the bonfire
The association of man and woman
In daunsinge, signifying matrimonie—
A dignified and commodiois sacrament.
Two and two, necessarye coniunction,
Holding eche other by the hand or the arm
Whiche betokeneth concorde. Round and round the fire
Leaping through the flames, or joined in circles,
Rustically solemn or in rustic laughter
Lifting heavy feet in clumsy shoes,
Earth feet, loam feet, lifted in country mirth
Mirth of those long since under earth
Nourishing the corn. Keeping time,
Keeping the rhythm in their dancing
As in their living in the living seasons
The time of the seasons and the constellations
The time of milking and the time of harvest
The time of the coupling of man and woman
And that of beasts. Feet rising and falling.
Eating and drinking. Dung and death.
Dawn points, and another day
Prepares for heat and silence. Out at sea the dawn wind
Wrinkles and slides. I am here
Or there, or elsewhere. In my beginning.
II
What is the late November doing
With the disturbance of the spring
And creatures of the summer heat,
And snowdrops writhing under feet
And hollyhocks that aim too high
Red into grey and tumble down
Late roses filled with early snow?
Thunder rolled by the rolling stars
Simulates triumphal cars
Deployed in constellated wars
Scorpion fights against the Sun
Until the Sun and Moon go down
Comets weep and Leonids fly
Hunt the heavens and the plains
Whirled in a vortex that shall bring
The world to that destructive fire
Which burns before the ice-cap reigns.
That was a way of putting it—not very satisfactory:
A periphrastic study in a worn-out poetical fashion,
Leaving one still with the intolerable wrestle
With words and meanings. The poetry does not matter.
It was not (to start again) what one had expected.
What was to be the value of the long looked forward to,
Long hoped for calm, the autumnal serenity
And the wisdom of age? Had they deceived us
Or deceived themselves, the quiet-voiced elders,
Bequeathing us merely a receipt for deceit?
The serenity only a deliberate hebetude,
The wisdom only the knowledge of dead secrets
Useless in the darkness into which they peered
Or from which they turned their eyes. There is, it seems to us,
At best, only a limited value
In the knowledge derived from experience.
The knowledge imposes a pattern, and falsifies,
For the pattern is new in every moment
And every moment is a new and shocking
Valuation of all we have been. We are only undeceived
Of that which, deceiving, could no longer harm.
In the middle, not only in the middle of the way
But all the way, in a dark wood, in a bramble,
On the edge of a grimpen, where is no secure foothold,
And menaced by monsters, fancy lights,
Risking enchantment. Do not let me hear
Of the wisdom of old men, but rather of their folly,
Their fear of fear and frenzy, their fear of possession,
Of belonging to another, or to others, or to God.
The only wisdom we can hope to acquire
Is the wisdom of humility: humility is endless.
The houses are all gone under the sea.
The dancers are all gone under the hill.
III
O dark dark dark. They all go into the dark,
The vacant interstellar spaces, the vacant into the vacant,
The captains, merchant bankers, eminent men of letters,
The generous patrons of art, the statesmen and the rulers,
Distinguished civil servants, chairmen of many committees,
Industrial lords and petty contractors, all go into the dark,
And dark the Sun and Moon, and the Almanach de Gotha
And the Stock Exchange Gazette, the Directory of Directors,
And cold the sense and lost the motive of action.
And we all go with them, into the silent funeral,
Nobody's funeral, for there is no one to bury.
I said to my soul, be still, and let the dark come upon you
Which shall be the darkness of God. As, in a theatre,
The lights are extinguished, for the scene to be changed
With a hollow rumble of wings, with a movement of darkness on darkness,
And we know that the hills and the trees, the distant panorama
And the bold imposing façade are all being rolled away—
Or as, when an underground train, in the tube, stops too long between stations
And the conversation rises and slowly fades into silence
And you see behind every face the mental emptiness deepen
Leaving only the growing terror of nothing to think about;
Or when, under ether, the mind is conscious but conscious of nothing—
I said to my soul, be still, and wait without hope
For hope would be hope for the wrong thing; wait without love,
For love would be love of the wrong thing; there is yet faith
But the faith and the love and the hope are all in the waiting.
Wait without thought, for you are not ready for thought:
So the darkness shall be the light, and the stillness the dancing.
Whisper of running streams, and winter lightning.
The wild thyme unseen and the wild strawberry,
The laughter in the garden, echoed ecstasy
Not lost, but requiring, pointing to the agony
Of death and birth.
You say I am repeating
Something I have said before. I shall say it again.
Shall I say it again? In order to arrive there,
To arrive where you are, to get from where you are not,
You must go by a way wherein there is no ecstasy.
In order to arrive at what you do not know
You must go by a way which is the way of ignorance.
In order to possess what you do not possess
You must go by the way of dispossession.
In order to arrive at what you are not
You must go through the way in which you are not.
And what you do not know is the only thing you know
And what you own is what you do not own
And where you are is where you are not.
IV
The wounded surgeon plies the steel
That questions the distempered part;
Beneath the bleeding hands we feel
The sharp compassion of the healer's art
Resolving the enigma of the fever chart.
Our only health is the disease
If we obey the dying nurse
Whose constant care is not to please
But to remind of our, and Adam's curse,
And that, to be restored, our sickness must grow worse.
The whole earth is our hospital
Endowed by the ruined millionaire,
Wherein, if we do well, we shall
Die of the absolute paternal care
That will not leave us, but prevents us everywhere.
The chill ascends from feet to knees,
The fever sings in mental wires.
If to be warmed, then I must freeze
And quake in frigid purgatorial fires
Of which the flame is roses, and the smoke is briars.
The dripping blood our only drink,
The bloody flesh our only food:
In spite of which we like to think
That we are sound, substantial flesh and blood—
Again, in spite of that, we call this Friday good.
V
So here I am, in the middle way, having had twenty years—
Twenty years largely wasted, the years of l'entre deux guerres
Trying to use words, and every attempt
Is a wholly new start, and a different kind of failure
Because one has only learnt to get the better of words
For the thing one no longer has to say, or the way in which
One is no longer disposed to say it. And so each venture
Is a new beginning, a raid on the inarticulate
With shabby equipment always deteriorating
In the general mess of imprecision of feeling,
Undisciplined squads of emotion. And what there is to conquer
By strength and submission, has already been discovered
Once or twice, or several times, by men whom one cannot hope
To emulate—but there is no competition—
There is only the fight to recover what has been lost
And found and lost again and again: and now, under conditions
That seem unpropitious. But perhaps neither gain nor loss.
For us, there is only the trying. The rest is not our business.
Home is where one starts from. As we grow older
The world becomes stranger, the pattern more complicated
Of dead and living. Not the intense moment
Isolated, with no before and after,
But a lifetime burning in every moment
And not the lifetime of one man only
But of old stones that cannot be deciphered.
There is a time for the evening under starlight,
A time for the evening under lamplight
(The evening with the photograph album).
Love is most nearly itself
When here and now cease to matter.
Old men ought to be explorers
Here or there does not matter
We must be still and still moving
Into another intensity
For a further union, a deeper communion
Through the dark cold and the empty desolation,
The wave cry, the wind cry, the vast waters
Of the petrel and the porpoise. In my end is my beginning.
|
Written by
Rafael Guillen |
Not fear. Maybe, out there somewhere,
the possibility of fear; the wall
that might tumble down, because it's for sure
that behind it is the sea.
Not fear. Fear has a countenance;
It's external, concrete,
like a rifle, a shot bolt,
a suffering child,
like the darkness that's hidden
in every human mouth.
Not fear. Maybe only the brand
of the offspring of fear.
It's a narrow, interminable street
with all the windows darkened,
a thread spun out from a sticky hand,
friendly, yes, not a friend.
It's a nightmare
of polite ritual wearing a frightwig.
Not fear. Fear is a door slammed in your face.
I'm speaking here of a labyrinth
of doors already closed, with assumed
reasons for being, or not being,
for categorizing bad luck
or good, bread, or an expression
— tenderness and panic and frigidity - for the children
growing up. And the silence.
And the cities, sparkling, empty.
and the mediocrity, like a hot
lava, spewed out over
the grain, and the voice, and the idea.
It's not fear. The real fear hasn't come yet.
But it will. It's the doublethink
that believes peace is only another movement.
And I say it with suspicion, at the top of my lungs.
And it's not fear, no. It's the certainty
that I'm betting, on a single card,
the whole haystack I've piled up,
straw by straw, for my fellow man.
|
Written by
Pam Ayres |
Yes, I’ll marry you, my dear.
And here’s the reason why.
So I can push you out of bed
When the baby starts to cry.
And if we hear a knocking
And it’s creepy and it’s late,
I hand you the torch you see,
And you investigate.
Yes I’ll marry you, my dear,
You may not apprehend it,
But when the tumble-drier goes
It’s you that has to mend it.
You have to face the neighbour
Should our labrador attack him,
And if a drunkard fondles me
It’s you that has to whack him.
Yes, I’ll marry you,
You’re virile and you’re lean,
My house is like a pigsty
You can help to keep it clean.
That sexy little dinner
Which you served by candlelight,
As I do chipolatas,
You can cook it every night!!!
It’s you who has to work the drill
And put up curtain track,
And when I’ve got PMT it’s you who gets the flak,
I do see great advantages,
But none of them for you,
And so before you see the light,
I DO, I DO, I DO!!
© Pam Ayres 2012
Official Website
http://pamayres.com/
|
Written by
William Topaz McGonagall |
'Twas in the year of 1869, and on the 19th of November,
Which the people in Southern Germany will long remember,
The great rain-storm which for twenty hours did pour down,
That the rivers were overflowed and petty streams all around.
The rain fell in such torrents as had never been seen before,
That it seemed like a second deluge, the mighty torrents' roar,
At nine o'clock at night the storm did rage and moan
When Carl Springel set out on his crutches all alone --
From the handsome little hut in which he dwelt,
With some food to his father, for whom he greatly felt,
Who was watching at the railway bridge,
Which was built upon a perpendicular rocky ridge.
The bridge was composed of iron and wooden blocks,
And crossed o'er the Devil's Gulch, an immense cleft of rocks,
Two hundred feet wide and one hundred and fifty feet deep,
And enough to make one's flesh to creep.
Far beneath the bridge a mountain-stream did boil and rumble,
And on that night did madly toss and tumble;
Oh! it must have been an awful sight
To see the great cataract falling from such a height.
It was the duty of Carl's father to watch the bridge on stormy nights,
And warn the on-coming trains of danger with the red lights;
So, on this stormy night, the boy Carl hobbled along
Slowly and fearlessly upon his crutches, because he wasn't strong.
He struggled on manfully with all his might
Through the fearful darkness of the night,
And half-blinded by the heavy rain,
But still resolved the bridge to gain.
But when within one hundred yards of the bridge, it gave way with an awful crash,
And fell into the roaring flood below, and made a fearful splash,
Which rose high above the din of the storm,
The like brave Carl never heard since he was born.
Then; 'Father! father!' cried Carl in his loudest tone,
'Father! father!' he shouted again in very pitiful moans;
But no answering voice did reply,
Which caused him to heave a deep-fetched sigh.
And now to brave Carl the truth was clear
That he had lost his father dear,
And he cried, 'My poor father's lost, and cannot be found,
He's gone down with the bridge, and has been drowned.'
But he resolves to save the on-coming train,
So every nerve and muscle he does strain,
And he trudges along dauntlessly on his crutches,
And tenaciously to them he clutches.
And just in time he reaches his father's car
To save the on-coming train from afar,
So he seizes the red light, and swings it round,
And cried with all his might, 'The bridge is down! The bridge is down!'
So forward his father's car he drives,
Determined to save the passengers' lives,
Struggling hard with might and main,
Hoping his struggle won't prove in vain.
So on comes the iron-horse snorting and rumbling,
And the mountain-torrent at the bridge kept roaring and tumbling;
While brave Carl keeps shouting, 'The bridge is down! The bridge is down!'
He cried with a pitiful wail and sound.
But, thank heaven, the engine-driver sees the red light
That Carl keeps swinging round his head with all his might;
But bang! bang! goes the engine with a terrible crash,
And the car is dashed all to smash.
But the breaking of the car stops the train,
And poor Carl's struggle is not in vain;
But, poor soul, he was found stark dead,
Crushed and mangled from foot to head!
And the passengers were all loud in Carl's praise,
And from the cold wet ground they did him raise,
And tears for brave Carl fell silently around,
Because he had saved two hundred passengers from being drowned.
In a quiet village cemetery he now sleeps among the silent dead,
In the south of Germany, with a tombstone at his head,
Erected by the passengers he saved in the train,
And which to his memory will long remain.
|
Written by
Nikki Giovanni |
Sky DivingI hang on the edge of this universe singing off-key talking too loud embracing myself to cushion the fall I shall tumble into deep space never in this form or with this feeling to return to earth It is not tragic I will spiral through that Black hole losing skin limbs internal organs searing my naked soul Landing in the next galaxy with only my essence embracing myself as I dream of you
|
Written by
Lewis Carroll |
There are certain things--as, a spider, a ghost,
The income-tax, gout, an umbrella for three--
That I hate, but the thing that I hate the most
Is a thing they call the Sea.
Pour some salt water over the floor--
Ugly I'm sure you'll allow it to be:
Suppose it extended a mile or more,
That's very like the Sea.
Beat a dog till it howls outright--
Cruel, but all very well for a spree:
Suppose that he did so day and night,
That would be like the Sea.
I had a vision of nursery-maids;
Tens of thousands passed by me--
All leading children with wooden spades,
And this was by the Sea.
Who invented those spades of wood?
Who was it cut them out of the tree?
None, I think, but an idiot could--
Or one that loved the Sea.
It is pleasant and dreamy, no doubt, to float
With "thoughts as boundless, and souls as free":
But, suppose you are very unwell in the boat,
How do you like the Sea?
There is an insect that people avoid
(Whence is derived the verb "to flee").
Where have you been by it most annoyed?
In lodgings by the Sea.
If you like your coffee with sand for dregs,
A decided hint of salt in your tea,
And a fishy taste in the very eggs--
By all means choose the Sea.
And if, with these dainties to drink and eat,
You prefer not a vestige of grass or tree,
And a chronic state of wet in your feet,
Then--I recommend the Sea.
For I have friends who dwell by the coast--
Pleasant friends they are to me!
It is when I am with them I wonder most
That anyone likes the Sea.
They take me a walk: though tired and stiff,
To climb the heights I madly agree;
And, after a tumble or so from the cliff,
They kindly suggest the Sea.
I try the rocks, and I think it cool
That they laugh with such an excess of glee,
As I heavily slip into every pool
That skirts the cold cold Sea.
|
Written by
Delmore Schwartz |
"little soul, little flirting,
little perverse one
where are you off to now?
little wan one, firm one
little exposed one...
and never make fun of me again."
Now I must betray myself.
The feast of bondage and unity is near,
And none engaged in that great piety
When each bows to the other, kneels, and takes
Hand in hand, glance and glance, care and care,
None may wear masks or enigmatic clothes,
For weakness blinds the wounded face enough.
In sense, see my shocking nakedness.
I gave a girl an apple when five years old,
Saying, Will you be sorry when I am gone?
Ravenous for such courtesies, my name
Is fed like a raving fire, insatiate still.
But do not be afraid.
For I forget myself. I do indeed
Before each genuine beauty, and I will
Forget myself before your unknown heart.
I will forget the speech my mother made
In a restaurant, trapping my father there
At dinner with his whore. Her spoken rage
Struck down the child of seven years
With shame for all three, with pity for
The helpless harried waiter, with anger for
The diners gazing, avid, and contempt
And great disgust for every human being.
I will remember this. My mother's rhetoric
Has charmed my various tongue, but now I know
Love's metric seeks a rhyme more pure and sure.
For thus it is that I betray myself,
Passing the terror of childhood at second hand
Through nervous, learned fingertips.
At thirteen when a little girl died,
I walked for three weeks neither alive nor dead,
And could not understand and still cannot
The adult blind to the nearness of the dead,
Or carefully ignorant of their own death.
--This sense could shadow all the time's curving fruits,
But we will taste of them the whole night long,
Forgetting no twelfth night, no fete of June,
But in the daylight knowing our nothingness.
Let Freud and Marx be wedding guests indeed!
Let them mark out masks that face us there,
For of all anguish, weakness, loss and failure,
No form is cruel as self-deception, none
Shows day-by-day a bad dream long lived
And unbroken like the lies
We tell each other because we are rich or poor.
Though from the general guilt not free
We can keep honor by being poor.
The waste, the evil, the abomination
Is interrupted. the perfect stars persist
Small in the guilty night,
and Mozart shows
The irreducible incorruptible good
Risen past birth and death, though he is dead.
Hope, like a face reflected on the windowpane,
Remote and dim, fosters a myth or dream,
And in that dream, I speak, I summon all
Who are our friends somehow and thus I say:
"Bid the jewellers come with monocles,
Exclaiming, Pure! Intrinsic! Final!
Summon the children eating ice cream
To speak the chill thrill of immediacy.
Call for the acrobats who tumble
The ecstasy of the somersault.
Bid the self-sufficient stars be piercing
In the sublime and inexhaustible blue.
"Bring a mathematician, there is much to count,
The unending continuum of my attention:
Infinity will hurry his multiplied voice!
Bring the poised impeccable diver,
Summon the skater, precise in figure,
He knows the peril of circumstance,
The risk of movement and the hard ground.
Summon the florist! And the tobacconist!
All who have known a plant-like beauty:
Summon the charming bird for ignorant song.
"You, Athena, with your tired beauty,
Will you give me away? For you must come
In a bathing suit with that white owl
Whom, as I walk, I will hold in my hand.
You too, Crusoe, to utter the emotion
Of finding Friday, no longer alone;
You too, Chaplin, muse of the curbstone,
Mummer of hope, you understand!"
But this is fantastic and pitiful,
And no one comes, none will, we are alone,
And what is possible is my own voice,
Speaking its wish, despite its lasting fear;
Speaking of its hope, its promise and its fear,
The voice drunk with itself and rapt in fear,
Exaggeration, braggadocio,
Rhetoric and hope, and always fear:
"For fifty-six or for a thousand years,
I will live with you and be your friend,
And what your body and what your spirit bears
I will like my own body cure and tend.
But you are heavy and my body's weight
Is great and heavy: when I carry you
I lift upon my back time like a fate
Near as my heart, dark when I marry you.
"The voice's promise is easy, and hope
Is drunk, and wanton, and unwilled;
In time's quicksilver, where our desires grope,
The dream is warped or monstrously fulfilled,
In this sense, listen, listen, and draw near:
Love is inexhaustible and full of fear."
This life is endless and my eyes are tired,
So that, again and again, I touch a chair,
Or go to the window, press my face
Against it, hoping with substantial touch,
Colorful sight, or turning things to gain once more
The look of actuality, the certainty
Of those who run down stairs and drive a car.
Then let us be each other's truth, let us
Affirm the other's self, and be
The other's audience, the other's state,
Each to the other his sonorous fame.
Now you will be afraid, when, waking up,
Before familiar morning, by my mute side
Wan and abandoned then, when, waking up,
You see the lion or lamb upon my face
Or see the daemon breathing heavily
His sense of ignorance, his wish to die,
For I am nothing because my circus self
Divides its love a million times.
I am the octopus in love with God,
For thus is my desire inconclusible,
Until my mind, deranged in swimming tubes,
Issues its own darkness, clutching seas
---O God of my perfect ignorance,
Bring the New Year to my only sister soon,
Take from me strength and power to bless her head,
Give her the magnitude of secular trust,
Until she turns to me in her troubled sleep,
Seeing me in my wish, free from self-wrongs.
|
Written by
Emanuel Xavier |
“Ye shall hear of wars and rumors of wars;
see that ye not be troubles;
all these things must come to pass, but the end is not yet”
-Matthew 24:6
1.
I escape the horrors of war
with a towel and a room
Offering myself
to Palestinian and Jewish boys
as a ‘piece’ to the Middle East
when I should be concerned with the untimely deaths
of dark-skinned babies
and the brutal murders
of light-skinned fathers
2.
I’ve been more consumed with how to make
the cover of local *** rags
than how to open the minds
of angry little boys
trotting loaded guns
Helpless in finding words
that will stop the blood
from spilling like secrets into soil
where great prophets are buried
3.
I return to the same spaces
where I once dealt drugs
a celebrated author gliding past velvet ropes
while my club kid friends are mostly dead
from an overdose or HIV-related symptoms
Marilyn wears the crown of thorns
while 4 out of the 5 weapons used to kill Columbine students
had been sold by the same police force
that came to their rescue
Not all terrorists have features too foreign
to be recognized in the mirror
Our mistakes are our responsibility
4.
The skyline outside my window
is the only thing that has changed
Men still rape women
and blame them for their weaknesses
Children are still molested
by the perversion of Catholic guilt
My ex-boyfriend still takes comfort
in the other white powder-
the one used solely to destroy himself
and those around him
Not the one used to ignite and create carnage
or mailbox fear
5.
It is said when skin is cut,
and then pressed together, it seals
but what about acid-burned skulls
engraved with the word ‘******’,
a foot bone with flesh
and other crushed body parts
6.
It was a gay priest that read last rites
to firefighters as towers collapsed
It was a gay pilot that crashed a plane
into Pennsylvania fields
It was a gay couple that was responsible
for the tribute of light
in memory of the fallen
Taliban leaders would bury them
to their necks
and tumble walls to crush their heads
Catholic leaders simply condemn them
as perverts
having offered nothing but sin
***** blood is just rosaries scattered on tile
7.
Heroes do not always get heaven
8.
We all have wings …
some of us just don’t know why
|
Written by
Kenneth Slessor |
Time that is moved by little fidget wheels
Is not my time, the flood that does not flow.
Between the double and the single bell
Of a ship's hour, between a round of bells
From the dark warship riding there below,
I have lived many lives, and this one life
Of Joe, long dead, who lives between five bells.
Deep and dissolving verticals of light
Ferry the falls of moonshine down. Five bells
Coldly rung out in a machine's voice. Night and water
Pour to one rip of darkness, the Harbour floats
In the air, the Cross hangs upside-down in water.
Why do I think of you, dead man, why thieve
These profitless lodgings from the flukes of thought
Anchored in Time? You have gone from earth,
Gone even from the meaning of a name;
Yet something's there, yet something forms its lips
And hits and cries against the ports of space,
Beating their sides to make its fury heard.
Are you shouting at me, dead man, squeezing your face
In agonies of speech on speechless panes?
Cry louder, beat the windows, bawl your name!
But I hear nothing, nothing...only bells,
Five bells, the bumpkin calculus of Time.
Your echoes die, your voice is dowsed by Life,
There's not a mouth can fly the pygmy strait -
Nothing except the memory of some bones
Long shoved away, and sucked away, in mud;
And unimportant things you might have done,
Or once I thought you did; but you forgot,
And all have now forgotten - looks and words
And slops of beer; your coat with buttons off,
Your gaunt chin and pricked eye, and raging tales
Of Irish kings and English perfidy,
And dirtier perfidy of publicans
Groaning to God from Darlinghurst.
Five bells.
Then I saw the road, I heard the thunder
Tumble, and felt the talons of the rain
The night we came to Moorebank in slab-dark,
So dark you bore no body, had no face,
But a sheer voice that rattled out of air
(As now you'd cry if I could break the glass),
A voice that spoke beside me in the bush,
Loud for a breath or bitten off by wind,
Of Milton, melons, and the Rights of Man,
And blowing flutes, and how Tahitian girls
Are brown and angry-tongued, and Sydney girls
Are white and angry-tongued, or so you'd found.
But all I heard was words that didn't join
So Milton became melons, melons girls,
And fifty mouths, it seemed, were out that night,
And in each tree an Ear was bending down,
Or something that had just run, gone behind the grass,
When blank and bone-white, like a maniac's thought,
The naphtha-flash of lightning slit the sky,
Knifing the dark with deathly photographs.
There's not so many with so poor a purse
Or fierce a need, must fare by night like that,
Five miles in darkness on a country track,
But when you do, that's what you think.
Five bells.
In Melbourne, your appetite had gone,
Your angers too; they had been leeched away
By the soft archery of summer rains
And the sponge-paws of wetness, the slow damp
That stuck the leaves of living, snailed the mind,
And showed your bones, that had been sharp with rage,
The sodden ectasies of rectitude.
I thought of what you'd written in faint ink,
Your journal with the sawn-off lock, that stayed behind
With other things you left, all without use,
All without meaning now, except a sign
That someone had been living who now was dead:
"At Labassa. Room 6 x 8
On top of the tower; because of this, very dark
And cold in winter. Everything has been stowed
Into this room - 500 books all shapes
And colours, dealt across the floor
And over sills and on the laps of chairs;
Guns, photoes of many differant things
And differant curioes that I obtained..."
In Sydney, by the spent aquarium-flare
Of penny gaslight on pink wallpaper,
We argued about blowing up the world,
But you were living backward, so each night
You crept a moment closer to the breast,
And they were living, all of them, those frames
And shapes of flesh that had perplexed your youth,
And most your father, the old man gone blind,
With fingers always round a fiddle's neck,
That graveyard mason whose fair monuments
And tablets cut with dreams of piety
Rest on the bosoms of a thousand men
Staked bone by bone, in quiet astonishment
At cargoes they had never thought to bear,
These funeral-cakes of sweet and sculptured stone.
Where have you gone? The tide is over you,
The turn of midnight water's over you,
As Time is over you, and mystery,
And memory, the flood that does not flow.
You have no suburb, like those easier dead
In private berths of dissolution laid -
The tide goes over, the waves ride over you
And let their shadows down like shining hair,
But they are Water; and the sea-pinks bend
Like lilies in your teeth, but they are Weed;
And you are only part of an Idea.
I felt the wet push its black thumb-balls in,
The night you died, I felt your eardrums crack,
And the short agony, the longer dream,
The Nothing that was neither long nor short;
But I was bound, and could not go that way,
But I was blind, and could not feel your hand.
If I could find an answer, could only find
Your meaning, or could say why you were here
Who now are gone, what purpose gave you breath
Or seized it back, might I not hear your voice?
I looked out my window in the dark
At waves with diamond quills and combs of light
That arched their mackerel-backs and smacked the sand
In the moon's drench, that straight enormous glaze,
And ships far off asleep, and Harbour-buoys
Tossing their fireballs wearily each to each,
And tried to hear your voice, but all I heard
Was a boat's whistle, and the scraping squeal
Of seabirds' voices far away, and bells,
Five bells. Five bells coldly ringing out.
Five bells.
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Written by
Robert Frost |
Old Davis owned a solid mica mountain
In Dalton that would someday make his fortune.
There'd been some Boston people out to see it:
And experts said that deep down in the mountain
The mica sheets were big as plate-glass windows.
He'd like to take me there and show it to me.
"I'll tell you what you show me. You remember
You said you knew the place where once, on Kinsman,
The early Mormons made a settlement
And built a stone baptismal font outdoors—
But Smith, or someone, called them off the mountain
To go West to a worse fight with the desert.
You said you'd seen the stone baptismal font.
Well, take me there."
Someday I will."
"Today."
"Huh, that old bathtub, what is that to see?
Let's talk about it."
"Let's go see the place."
'To shut you up I'll tell you what I'll do:
I'll find that fountain if it takes all summer,
And both of our united strengths, to do it."
"You've lost it, then?"
"Not so but I can find it.
No doubt it's grown up some to woods around it.
The mountain may have shifted since I saw it
In eighty-five."
"As long ago as that?"
"If I remember rightly, it had sprung
A leak and emptied then. And forty years
Can do a good deal to bad masonry.
You won't see any Mormon swimming in it.
But you have said it, and we're off to find it.
Old as I am, I'm going to let myself
Be dragged by you all over everywhere——"
"I thought you were a guide.”
"I am a guide,
And that's why I can't decently refuse you."
We made a day of it out of the world,
Ascending to descend to reascend.
The old man seriously took his bearings,
And spoke his doubts in every open place.
We came out on a look-off where we faced
A cliff, and on the cliff a bottle painted,
Or stained by vegetation from above,
A likeness to surprise the thrilly tourist.
"Well, if I haven't brought you to the fountain,
At least I've brought you to the famous Bottle."
"I won't accept the substitute. It's empty.”
"So's everything."
"I want my fountain."
"I guess you'd find the fountain just as empty.
And anyway this tells me where I am.”
"Hadn't you long suspected where you were?"
"You mean miles from that Mormon settlement?
Look here, you treat your guide with due respect
If you don't want to spend the night outdoors.
I vow we must be near the place from where
The two converging slides, the avalanches,
On Marshall, look like donkey's ears.
We may as well see that and save the day."
"Don't donkey's ears suggest we shake our own?"
"For God's sake, aren't you fond of viewing nature?
You don't like nature. All you like is books.
What signify a donkey's cars and bottle,
However natural? Give you your books!
Well then, right here is where I show you books.
Come straight down off this mountain just as fast
As we can fall and keep a-bouncing on our feet.
It's hell for knees unless done hell-for-leather."
Be ready, I thought, for almost anything.
We struck a road I didn't recognize,
But welcomed for the chance to lave my shoes
In dust once more. We followed this a mile,
Perhaps, to where it ended at a house
I didn't know was there. It was the kind
To bring me to for broad-board paneling.
I never saw so good a house deserted.
"Excuse me if I ask you in a window
That happens to be broken, Davis said.
"The outside doors as yet have held against us.
I want to introduce you to the people
Who used to live here. They were Robinsons.
You must have heard of Clara Robinson,
The poetess who wrote the book of verses
And had it published. It was all about
The posies on her inner windowsill,
And the birds on her outer windowsill,
And how she tended both, or had them tended:
She never tended anything herself.
She was 'shut in' for life. She lived her whole
Life long in bed, and wrote her things in bed.
I'll show You how she had her sills extended
To entertain the birds and hold the flowers.
Our business first's up attic with her books."
We trod uncomfortably on crunching glass
Through a house stripped of everything
Except, it seemed, the poetess's poems.
Books, I should say!—-if books are what is needed.
A whole edition in a packing case
That, overflowing like a horn of plenty,
Or like the poetess's heart of love,
Had spilled them near the window, toward the light
Where driven rain had wet and swollen them.
Enough to stock a village library—
Unfortunately all of one kind, though.
They bad been brought home from some publisher
And taken thus into the family.
Boys and bad hunters had known what to do
With stone and lead to unprotected glass:
Shatter it inward on the unswept floors.
How had the tender verse escaped their outrage?
By being invisible for what it was,
Or else by some remoteness that defied them
To find out what to do to hurt a poem.
Yet oh! the tempting flatness of a book,
To send it sailing out the attic window
Till it caught wind and, opening out its covers,
Tried to improve on sailing like a tile
By flying like a bird (silent in flight,
But all the burden of its body song),
Only to tumble like a stricken bird,
And lie in stones and bushes unretrieved.
Books were not thrown irreverently about.
They simply lay where someone now and then,
Having tried one, had dropped it at his feet
And left it lying where it fell rejected.
Here were all those the poetess's life
Had been too short to sell or give away.
"Take one," Old Davis bade me graciously.
"Why not take two or three?"
"Take all you want."
Good-looking books like that." He picked one fresh
In virgin wrapper from deep in the box,
And stroked it with a horny-handed kindness.
He read in one and I read in another,
Both either looking for or finding something.
The attic wasps went missing by like bullets.
I was soon satisfied for the time being.
All the way home I kept remembering
The small book in my pocket. It was there.
The poetess had sighed, I knew, in heaven
At having eased her heart of one more copy—
Legitimately. My demand upon her,
Though slight, was a demand. She felt the tug.
In time she would be rid of all her books.
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