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.
|
Written by
Hart Crane |
Yes, I being
the terrible puppet of my dreams, shall
lavish this on you—
the dense mine of the orchid, split in two.
And the fingernails that cinch such
environs?
And what about the staunch neighbor tabulations,
with all their zest for doom?
I'm wearing badges
that cancel all your kindness. Forthright
I watch the silver Zeppelin
destroy the sky. To
stir your confidence?
To rouse what sanctions—?
The silver strophe... the canto
bright with myth ... Such
distances leap landward without
evil smile. And, as for me....
The window weight throbs in its blind
partition. To extinguish what I have of faith.
Yes, light. And it is always
always, always the eternal rainbow
And it is always the day, the farewell day unkind.
|
Written by
William Butler Yeats |
(For Harry Clifton)
I HAVE heard that hysterical women say
They are sick of the palette and fiddle-bow.
Of poets that are always gay,
For everybody knows or else should know
That if nothing drastic is done
Aeroplane and Zeppelin will come out.
Pitch like King Billy bomb-balls in
Until the town lie beaten flat.
All perform their tragic play,
There struts Hamlet, there is Lear,
That's Ophelia, that Cordelia;
Yet they, should the last scene be there,
The great stage curtain about to drop,
If worthy their prominent part in the play,
Do not break up their lines to weep.
They know that Hamlet and Lear are gay;
Gaiety transfiguring all that dread.
All men have aimed at, found and lost;
Black out; Heaven blazing into the head:
Tragedy wrought to its uttermost.
Though Hamlet rambles and Lear rages,
And all the drop-scenes drop at once
Upon a hundred thousand stages,
It cannot grow by an inch or an ounce.
On their own feet they came, or On shipboard,'
Camel-back; horse-back, ass-back, mule-back,
Old civilisations put to the sword.
Then they and their wisdom went to rack:
No handiwork of Callimachus,
Who handled marble as if it were bronze,
Made draperies that seemed to rise
When sea-wind swept the corner, stands;
His long lamp-chimney shaped like the stem
Of a slender palm, stood but a day;
All things fall and are built again,
And those that build them again are gay.
Two Chinamen, behind them a third,
Are carved in lapis lazuli,
Over them flies a long-legged bird,
A symbol of longevity;
The third, doubtless a serving-man,
Carries a musical instmment.
Every discoloration of the stone,
Every accidental crack or dent,
Seems a water-course or an avalanche,
Or lofty slope where it still snows
Though doubtless plum or cherry-branch
Sweetens the little half-way house
Those Chinamen climb towards, and I
Delight to imagine them seated there;
There, on the mountain and the sky,
On all the tragic scene they stare.
One asks for mournful melodies;
Accomplished fingers begin to play.
Their eyes mid many wrinkles, their eyes,
Their ancient, glittering eyes, are gay.
|
Written by
Rudyard Kipling |
1914-18
Farewell and adieu to you, Harwich Ladies,
Farewell and adieu to you, ladies ashore!
For we've received orders to work to the eastward
Where we hope in a short time to strafe 'em some more.
We'll duck and we'll dive like little tin turtles,
We'll duck and we'll dive underneath the North Seas,
Until we strike something that doesn't expect us.
From here to Cuxhaven it's go as you please!
The first thing we did was to dock in a minefield,
Which isn't a place where repairs should be done;
And there we lay doggo in twelve-fathom water
With tri-nitro-toluol hogging our run.
The next thing we did, we rose under a Zeppelin,
With his shiny big belly half blocking the sky.
But what in the--Heavens can you do with six-pounders?
So we fired what we had and we bade him good-bye.
Farewell and adieu, etc.
The Fringes of the Fleet.
|
Written by
Rudyard Kipling |
They bear, in place of classic names,
Letters and numbers on their skin.
They play their grisly blindfold games
In little boxes made of tin.
Sometimes they stalk the Zeppelin,
Sometimes they learn where mines are laid,
Or where the Baltic ice is thin.
That is the custom of "The Trade."
Few prize-courts sit upon their claims.
They seldom tow their targets in.
They follow certain secret aims
Down under, Far from strife or din.
When they are ready to begin
No flag is flown, no fuss is made
More than the shearing of a pin.
That is the custom of "The Trade."
The Scout's quadruple funnel flames
A mark from Sweden to the Swin,
The Cruiser's thund'rous screw proclaims
Her comings out and goings in:
But only whiffs of paraffin
Or creamy rings that fizz and fade
Show where the one-eyed Death has been
That is the custom of "The Trade."
Their feats, their fortunes and their fames
Are hidden from their nearest kin;
No eager public backs or blames,
No journal prints the yarn they spin
(The Censor would not let it in! )
When they return from run or raid.
Unheard they work, unseen they win.
That is the custom of "The Trade."
|
Written by
Anne Sexton |
When I was a child
there was an old woman in our neighborhood whom we called The Witch.
All day she peered from her second story
window
from behind the wrinkled curtains
and sometimes she would open the window
and yell: Get out of my life!
She had hair like kelp
and a voice like a boulder.
I think of her sometimes now
and wonder if I am becoming her.
My shoes turn up like a jester's.
Clumps of my hair, as I write this,
curl up individually like toes.
I am shoveling the children out,
scoop after scoop.
Only my books anoint me,
and a few friends,
those who reach into my veins.
Maybe I am becoming a hermit,
opening the door for only
a few special animals?
Maybe my skull is too crowded
and it has no opening through which
to feed it soup?
Maybe I have plugged up my sockets
to keep the gods in?
Maybe, although my heart
is a kitten of butter,
I am blowing it up like a zeppelin.
Yes. It is the witch's life,
climbing the primordial climb,
a dream within a dream,
then sitting here
holding a basket of fire.
|
Written by
Laurence Binyon |
Guns! far and near
Quick, sudden, angry,
They startle the still street,
Upturned faces appear,
Doors open on darkness,
There is a hurrying of feet,
And whirled athwart gloom
White fingers of alarm
Point at last there
Where illumined and dumb
A shape suspended
Hovers, a demon of the starry air!
Strange and cold as a dream
Of sinister fancy,
It charms like a snake,
Poised deadly in the gleam,
While bright explosions
Leap up to it and break.
Is it terror you seek
To exult in? Know then
Hearts are here
That the plunging beak
Of night-winged murder
Strikes not with fear
So much as it strings
To a deep elation
And a quivering pride
That at last the hour brings
For them too the danger
Of those who died,
Of those who yet fight
Spending for each of us
Their glorious blood
In the foreign night. —
That now we are neared to them
Thank we God.
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