Written by
David Lehman |
The woman said yes she would go to Australia with him
Unless he heard wrong and she said Argentina
Where they could learn the tango and pursue the widows
Of Nazi war criminals unrepentant to the end.
But no, she said Australia. She'd been born in New Zealand.
The difference between the two places was the difference
Between a hamburger and a chocolate malted, she said.
In the candy store across from the elementary school,
They planned their tryst. She said Australia, which meant
She was willing to go to bed with him, and this
Was before her husband's coronary
At a time when a woman didn't take off her underpants
If she didn't like you. She said Australia,
And he saw last summer's seashell collection
In a plastic bag on a shelf in the mud room
With last summer's sand. The cycle of sexual captivity
Beginning in romance and ending in adultery
Was now in the late middle phases, the way America
Had gone from barbarism to amnesia without
A period of high decadence, which meant something,
But what? A raft on the rapids? The violinist
At the gate? Oh, absolute is the law of biology.
For the *********** seminar, what should she wear?
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Written by
Ellis Parker Butler |
To be a great musician you must be a man of moods,
You have to be, to understand sonatas and etudes.
To execute pianos and to fiddle with success,
With sympathy and feeling you must fairly effervesce;
It was so with Paganini, Remenzi and Cho-pang,
And so it was with Peterkin Von Gabriel O’Lang.
Monsieur O’Lang had sympathy to such a great degree.
No virtuoso ever lived was quite so great as he;
He was either very happy or very, very sad;
He was always feeling heavenly or oppositely bad;
In fact, so sympathetic that he either must enthuse
Or have the dumps; feel ecstacy or flounder in the blues.
So all agreed that Peterkin Von Gabriel O’Lang
Was the greatest violinist in the virtuoso gang.
The ladies bought his photographs and put them on the shelves
In the place of greatest honor, right beside those of themselves;
They gladly gave ten dollars for a stiff backed parquette chair.
And sat in mouth-wide happiness a-looking at his hair.
I say “a looking at his hair,” I mean just what I say,
For no one ever had a chance to hear P. O’Lang play;
So subtle was his sympathy, so highly strung was he,
His moods were barometric to the very last degree;
The slightest change of weather would react upon his brain,
And fill his soul with joyousness or murder it with pain.
And when his soul was troubled he had not the heart to play.
But let his head droop sadly down in such a soulful way,
That every one that saw him declared it was worth twice
(And some there were said three times) the large admission price;
And all were quite unanimous and said it would be crude
For such a man to fiddle when he wasn’t in the mood.
But when his soul was filled with joy he tossed his flowing hair
And waved his violin-bow in great circles in the air;
Ecstaticly he flourished it, for so his spirit thrilled,
Thus only could he show the joy with which his heart was filled;
And so he waved it up and down and ’round and out and in,—
But he never, never, NEVER touched it to his violin!
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Written by
Conrad Aiken |
The cigarette-smoke loops and slides above us,
Dipping and swirling as the waiter passes;
You strike a match and stare upon the flame.
The tiny fire leaps in your eyes a moment,
And dwindles away as silently as it came.
This melody, you say, has certain voices—
They rise like nereids from a river, singing,
Lift white faces, and dive to darkness again.
Wherever you go you bear this river with you:
A leaf falls,—and it flows, and you have pain.
So says the tune to you—but what to me?
What to the waiter, as he pours your coffee,
The violinist who suavely draws his bow?
That man, who folds his paper, overhears it.
A thousand dreams revolve and fall and flow.
Some one there is who sees a virgin stepping
Down marble stairs to a deep tomb of roses:
At the last moment she lifts remembering eyes.
Green leaves blow down. The place is checked with shadows.
A long-drawn murmur of rain goes down the skies.
And oaks are stripped and bare, and smoke with lightning:
And clouds are blown and torn upon high forests,
And the great sea shakes its walls.
And then falls silence . . . And through long silence falls
This melody once more:
'Down endless stairs she goes, as once before.'
So says the tune to him—but what to me?
What are the worlds I see?
What shapes fantastic, terrible dreams? . . .
I go my secret way, down secret alleys;
My errand is not so simple as it seems.
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