‘I’ll tell you how the sun rose’

I’ll tell you how the sun rose, –

A ribbon at a time.

The steeples swam in amethyst,

The news like squirrels ran.

The hills untied their bonnets,

The bobolinks begun.

Then I said softly to myself,

‘That must have been the sun!’

·    ·    ·    ·    ·    ·

But how he set, I know not.

There seemed a purple stile

Which little yellow boys and girls

Were climbing all the while

Till when they reached the other side,

A dominie in gray

Put gently up the evening bars,

And led the flock away.

Emily Dickinson

An Immorality

Sing we for love and idleness,

Naught else is worth the having.

Though I have been in many a land,

There is naught else in living.

And I would rather have my sweet,

Though rose-leaves die of grieving,

Than do high deeds in Hungary

To pass all men’s believing.

Ezra Pound

In a Parlor Containing a Table

In a parlor containing a table

And three chairs, three men confided

Their inmost thoughts to one another.

I, said the first, am miserable.

I am miserable, the second said.

I think that for me the correct word

Is miserable, asserted the third.

Well, they said at last, it’s quarter to two.

Good night. Cheer up. Sleep well.

You too. You too. You too.

Galway Kinnell

In Praise of Limestone

If it form the one landscape that we, the inconstant ones,

Are consistently homesick for, this is chiefly

Because it dissolves in water. Mark these rounded slopes

With their surface fragrance of thyme and, beneath,

A secret system of caves and conduits; hear the springs

That spurt out everywhere with a chuckle,

Each filling a private pool for its fish and carving

Its own little ravine whose cliffs entertain

The butterfly and the lizard; examine this region

Of short distances and definite places:

What could be more like Mother or a fitter background

For her son, the flirtatious male who lounges

Against a rock in the sunlight, never doubting

That for all his faults he is loved; whose works are but

Extensions of his power to charm? From weathered outcrop

To hill-top temple, from appearing waters to

Conspicuous fountains, from a wild to a formal vineyard,

Are ingenious but short steps that a child’s wish

To receive more attention than his brothers, whether

By pleasing or teasing, can easily take.

Watch, then, the band of rivals as they climb up and down

Their steep stone gennels in twos and threes, at times

Arm in arm, but never, thank God, in step; or engaged

On the shady side of a square at midday in

Voluble discourse, knowing each other too well to think

There are any important secrets, unable

To conceive a god whose temper-tantrums are moral

And not to be pacified by a clever line

Or a good lay: for, accustomed to a stone that responds,

They have never had to veil their faces in awe

Of a crater whose blazing fury could not be fixed;

Adjusted to the local needs of valleys

Where everything can be touched or reached by walking,

Their eyes have never looked into infinite space

Through the lattice-work of a nomad’s comb; born lucky,

Their legs have never encountered the fungi

And insects of the jungle, the monstrous forms and lives

With which we have nothing, we like to hope, in common.

So, when one of them goes to the bad, the way his mind works

Remains comprehensible: to become a pimp

Or deal in fake jewellery or ruin a fine tenor voice

For effects that bring down the house, could happen to all

But the best and the worst of us …

              That is why, I suppose,

The best and worst never stayed here long but sought

Immoderate soils where the beauty was not so external,

The light less public and the meaning of life

Something more than a mad camp. ‘Come!’ cried the

                  granite wastes,

‘How evasive is your humor, how accidental

Your kindest kiss, how permanent is death.’ (Saints-to-be

Slipped away sighing.) ‘Come!’ purred the clays and gravels,

‘On our plains there is room for armies to drill; rivers

Wait to be tamed and slaves to construct you a tomb

In the grand manner: soft as the earth is mankind and both

Need to be altered.’ (Intendant Caesars rose and

Left, slamming the door.) But the really reckless were fetched

By an older colder voice, the oceanic whisper:

‘I am the solitude that asks and promises nothing;

That is how I shall set you free. There is no love;

There are only the various envies, all of them sad.’

    They were right, my dear, all those voices were right

And still are; this land is not the sweet home that it looks,

    Nor its peace the historical calm of a site

Where something was settled once and for all: A backward

And dilapidated province, connected

To the big busy world by a tunnel, with a certain

Seedy appeal, is that all it is now? Not quite:

It has a worldly duty which in spite of itself

It does not neglect, but calls into question

All the Great Powers assume; it disturbs our rights. The poet,

Admired for his earnest habit of calling

The sun the sun, his mind Puzzle, is made uneasy

By these marble statues which so obviously doubt

His antimythological myth; and these gamins,

Pursuing the scientist down the tiled colonnade

With such lively offers, rebuke his concern for Nature’s

Remotest aspects: I, too, am reproached, for what

And how much you know. Not to lose time, not to get caught,

Not to be left behind, not, please! to resemble

The beasts who repeat themselves, or a thing like water

Or stone whose conduct can be predicted, these

Are our Common Prayer, whose greatest comfort is music

Which can be made anywhere, is invisible,

And does not smell. In so far as we have to look forward

To death as a fact, no doubt we are right: But if

Sins can be forgiven, if bodies rise from the dead,

These modifications of matter into

Innocent athletes and gesticulating fountains,

Made solely for pleasure, make a further point:

The blessed will not care what angle they are regarded from,

Having nothing to hide. Dear, I know nothing of

Either, but when I try to imagine a faultless love

Or the life to come, what I hear is the murmur

Of underground streams, what I see is a limestone landscape.

W. H. Auden        

In the Middle of the Road

In the middle of the road there was a stone

there was a stone in the middle of the road

there was a stone

in the middle of the road there was a stone.

I will never forget the occasion

never as long as my tired eyes stay open.

I will never forget that in the middle of the road

there was a stone

there was a stone in the middle of the road

in the middle of the road there was a stone.

Carlos Drummond de Andrade,
trans. by Virginia de Aranca

Index

Hudney, Sutej IX, X, XI, 7, 9, 25, 58, 60, 61, 64

Plates 5, 10, 15

Childhood 70, 71

Education 78, 79, 80

Early relationship with family 84

Enters academy, honors 84

Arrest and bewilderment 85

Formation of spatial theories 90

‘Romance of Ardoy, The’ 92

Second arrest 93

Early voyages, life in the Pyrenees 95

Marriage 95

Abandons landscape painting 96

Third arrest 97

Weakness of character, inconstancy 101

First signs of illness, advocation of celibacy 106, 107

Advocates abolishment of celibacy 110

Expulsion from Mazar 110

Collaborations with Fernando Gee 111

Composes lines beginning: ‘Death, wouldst that I had

    died / While thou wert still a mystery.’ 117

Consequences of fame, violent rows, professional

    disputes 118, 119

Disavows all his work 120

Bigamy, scandals, illness, admittance of being ‘easily crazed,

                like snow.’ 128

Theories of perspective published 129

Birth of children 129

Analysis of important works:

            Wine glass with fingerprints

            Nude on a blue sofa

            The drunken fox trappers

            Man wiping tongue with large towel

            Hay bales stacked in a field

            Self portrait

            Self portrait with cat

            Self portrait with frozen mop

            Self portrait with belching duck 135

Correspondence with Cecco Angolieri 136

Dispute over attribution of lines: ‘I have as large supply of

                    evils / as January has not flowerings.’ 137

Builds first greenhouse 139

Falling-out with Angolieri 139

Flees famine 144

Paints Starved cat eating snow 145

Arrested for selling sacks of wind to gullible peasants 146

Imprisonment and bewilderment 147

Disavows all his work 158

Invents the collar stay 159

Convalescence with third wife 162

Complains of ‘a dense and baleful wind blowing the words

I write off the page.’ 165

Meets with Madam T. 170

Departures, mortal premonitions, ‘I think I’m about

to snow.’ 176

Disavows all his work 181

Arrest and pardon 182

Last days 183

Last words 184, 185, 186, 187, 188, 189, 190

Paul Violi

Innocence

They laughed at one I loved –

The triangular hill that hung

Under the Big Forth. They said

That I was bounded by the whitethorn hedges

Of the little farm and did not know the world.

But I knew that love’s doorway to life

Is the same doorway everywhere.

Ashamed of what I loved

I flung her from me and called her a ditch

Although she was smiling at me with violets.

But now I am back in her briary arms;

The dew of an Indian Summer morning lies

On bleached potato-stalks –

What age am I?

I do not know what age I am,

I am no mortal age;

I know nothing of women,

Nothing of cities,

I cannot die

Unless I walk outside these whitethorn hedges.

Patrick Kavanagh

Innocent’s Song

Who’s that knocking on the window,

Who’s that standing at the door,

What are all those presents

Lying on the kitchen floor?

Who is the smiling stranger

With hair as white as gin,

What is he doing with the children

And who could have let him in?

Why has he rubies on his fingers,

A cold, cold crown on his head,

Why, when he caws his carol,

Does the salty snow run red?

Why does he ferry my fireside

As a spider on a thread,

His fingers made of fuses

And his tongue of gingerbread?

Why does the world before him

Melt in a million suns,

Why do his yellow, yearning eyes

Burn like saffron buns?

Watch where he comes walking

Out of the Christmas flame,

Dancing, double-talking:

Herod is his name.

Charles Causley

Insensibility

I

Happy are men who yet before they are killed

Can let their veins run cold.

Whom no compassion fleers

Or makes their feet

Sore on the alleys cobbled with their brothers.

The front line withers.

But they are troops who fade, not flowers,

For poets’ tearful fooling:

Men, gaps for filling:

Losses, who might have fought

Longer; but no one bothers.

II

And some cease feeling

Even themselves or for themselves.

Dullness best solves

The tease and doubt of shelling,

And Chance’s strange arithmetic

Comes simpler than the reckoning of their shilling.

They keep no check on armies’ decimation.

III

Happy are these who lose imagination:

They have enough to carry with ammunition.

Their spirit drags no pack,

Their old wounds, save with cold, can not more ache.

Having seen all things red,

Their eyes are rid

Of the hurt of the colour of blood for ever.

And terror’s first constriction over,

Their hearts remain small-drawn.

Their senses in some scorching cautery of battle

Now long since ironed,

Can laugh among the dying, unconcerned.

IV

Happy the soldier home, with not a notion

How somewhere, every dawn, some men attack,

And many sighs are drained.

Happy the lad whose mind was never trained:

His days are worth forgetting more than not.

He sings along the march

Which we march taciturn, because of dusk,

The long, forlorn, relentless trend

From larger day to huger night.

V

We wise, who with a thought besmirch

Blood over all our soul,

How should we see our task

But through his blunt and lashless eyes?

Alive, he is not vital overmuch;

Dying, not mortal overmuch;

Nor sad, nor proud,

Nor curious at all.

He cannot tell

Old men’s placidity from his.

VI

But cursed are dullards whom no cannon stuns,

That they should be as stones;

Wretched are they, and mean

With paucity that never was simplicity.

By choice they made themselves immune

To pity and whatever moans in man

Before the last sea and the hapless stars;

Whatever mourns when many leave these shores;

Whatever shares

The eternal reciprocity of tears.

Wilfred Owen

Interview

Now this here rag is the one they used to call

the lost rag.

Sort of thing everybody knew and nobody ever bothered

to write down.

It was just a few licks, something you’d sit and play

by yourself,

when there was nobody else around. Maybe it was

some old man

showed you how to play it, a long time ago. You turn off

that machine,

I’m going to play it for you now. I said

turn it off.

Jared Carter

Introduction

from Songs of Innocence and of Experience

Hear the voice of the Bard!

Who Present, Past, & Future sees

Whose ears have heard,

The Holy Word,

That walk’d among the ancient trees.

Calling the lapsed Soul

And weeping in the evening dew:

That might controll,

The starry pole;

And fallen fallen light renew!

O Earth O Earth return!

Arise from out the dewy grass;

Night is worn,

And the morn

Rises from the slumberous mass.

Turn away no more:

Why wilt thou turn away

The starry floor

The watry shore

Is giv’n thee till the break of day.

William Blake

Ironing

I used to iron everything:

my iron flying over sheets and towels

like a sledge chased by wolves over snow,

the flex twisting and crinking

until the sheath frayed, exposing

wires like nerves. I stood like a horse

with a smoking hoof

inviting anyone who dared

to lie on my silver-padded board,

to be pressed to the thinness

of dolls cut from paper.

I’d have commandeered a crane

if I could, got the welders at Jarrow

to heat me an iron the size of a tug

to flatten the house.

Then for years I ironed nothing.

I put the iron in a high cupboard.

I converted to crumpledness.

And now I iron again: shaking

dark spots of water onto wrinkled

silk, nosing into sleeves, round

buttons, breathing the sweet heated smell

hot metal draws from newly-washed

cloth, until my blouse dries

to a shining, creaseless blue,

an airy shape with room to push

my arms, breasts, lungs, heart into.

Vicki Feaver

‘It is no gift I tender’

It is no gift I tender,

A loan is all I can;

But do not scorn the lender;

Man gets no more from man.

Oh, mortal man may borrow

What mortal man can lend,

And ’twill not end tomorrow

Though sure enough ’twill end.

If death and time are stronger

A love may yet be strong;

The world will last for longer,

But this will last for long.

A. E. Housman

‘It’s no use’

It’s no use

Mother dear, I

can’t finish my

weaving

                You may

blame Aphrodite

soft as she is

she has almost

killed me with

love for that boy

Sappho, trans. by
Mary Barnard

Jasmine’s Beautiful Thoughts Underneath the Willow

My titillations have no foot-notes

And their memorials are the phrases

Of idiosyncratic music.

The love that will not be transported

In an old, frizzled, flambeaued manner,

But muses on its eccentricity,

Is like a vivid apprehension

Of bliss beyond the mutes of plaster,

Or paper souvenirs of rapture,

Of bliss submerged beneath appearance,

In an interior ocean’s rocking

Of long, capricious fugues and chorals.

Wallace Stevens

A Jelly-Fish

Visible, invisible,

a fluctuating charm

an amber-tinctured amethyst

inhabits it, your arm

approaches and it opens

and it closes; you had meant

to catch it and it quivers;

you abandon your intent.

Marianne Moore

John Anderson My Jo

John Anderson my jo, John,

When we were first acquent;

Your locks were like the raven,

Your bony brow was brent;

But now your brow is beld, John,

Your locks are like the snaw;

But blessings on your frosty pow,

John Anderson my jo.

John Anderson my jo, John,

We clamb the hill the gither;

And mony a canty day, John,

We’ve had wi’ ane anither:

Now we maun totter down, John,

And hand in hand we’ll go;

And sleep the gither at the foot,

John Anderson my jo.

Robert Burns

John Clare One Springtime

When John Clare passed my gate that April day

I saw he was weeping. Would you like a cup of tea?

but Oh the poor children he cried, rubbing his face

on a dusty sleeve. What children? The ones

that’ve dropped their coats in the field, how cold they’ll be,

their woollen jackets bleaching in the wind and rain,

and their mothers will scold them. No, John, I said,

don’t grieve for your children. They’ll be warm.

It’s the lambs you saw by the wall, the slaughtered lambs.

M. R. Peacocke

Keaton

I will be good; I will be good.

I have set my small jaw for the ages

and nothing can distract me from

solving the appointed emergencies

even with my small brain

– witness the diameter of my hatband

and the depth of the crown of my hat.

I will be correct; I know what it is to be a man.

I will be correct or bust.

I will love but not impose my feelings

I will serve and serve

with lute or I will not say anything.

If the machinery goes, I will repair it.

If it goes again I will repair it again.

My backbone

through these endless etceteras painful.

No, it is not the way to be, they say.

Go with the skid, turn always to leeward,

and see what happens, I ask you, now.

I lost a lovely smile somewhere,

and many colors dropped out.

The rigid spine will break, they say –

bend, bend.

I was made at right angles to the world

and I see it so. I can only see it so.

I do not find all this absurdity people talk about.

Perhaps a paradise, a serious paradise where lovers hold hands

and everything works.

    I am not sentimental.

Elizabeth Bishop

The Kelp Eaters

Hydrodamalis gigas

These beasts are four fathoms long, but perfectly gentle.

They roam the shallower waters like sea-cattle

and graze on the waving flags of kelp.

At the slightest wound their innards will flop

out with a great hissing sound,

but they have not yet grown to fear mankind:

no matter how many of their number might be killed,

they never try to swim away, they are so mild.

When one is speared, its neighbours will rush in

and struggle to draw out the harpoon

with the blades of their little hooves.

They almost seem to have a grasp of what it is to love.

I once watched a bull return to its butchered

mate two days in a row, butting its flensed hide

and calling out quietly across the shingle till the darkness fell.

The flesh on the small calves tastes as sweet as veal

and their fat is pleasantly coloured,

like the best Dutch butter.

The females are furnished with long, black teats.

When brushed hard with a fingertip

even on the dead

they will grow firm and the sweet milk bleed.

John Glenday

Lady ‘Rogue’ Singleton

Come, wed me, Lady Singleton,

And we will have a baby soon

And we will live in Edmonton

Where all the friendly people run.

I could never make you happy, darling,

Or give you the baby you want,

I would always very much rather, dear,

Live in a tent.

I am not a cold woman, Henry,

But I do not feel for you,

What I feel for the elephants and the miasmas

And the general view.

Stevie Smith

Laertes

When he found Laertes alone on the tidy terrace, hoeing

Around a vine, disreputable in his gardening duds,

Patched and grubby, leather gaiters protecting his shins

Against brambles, gloves as well, and, to cap it all,

Sure sign of his deep depression, a goatskin duncher,

Odysseus sobbed in the shade of a pear-tree for his father

So old and pathetic that all he wanted then and there

Was to kiss him and hug him and blurt out the whole story,

But the whole story is one catalogue and then another,

So he waited for images from that formal garden,

Evidence of a childhood spent traipsing after his father

And asking for everything he saw, the thirteen pear-trees,

Ten apple-trees, forty fig-trees, the fifty rows of vines

Ripening at different times for a continuous supply,

Until Laertes recognised his son and, weak at the knees,

Dizzy, flung his arms around the neck of great Odysseus

Who drew the old man fainting to his breast and held him there

And cradled like driftwood the bones of his dwindling father.

Michael Longley    

Lament of the Frontier Guard

By the North Gate, the wind blows full of sand,

Lonely from the beginning of time until now!

Trees fall, the grass goes yellow with autumn.

I climb the towers and towers

            to watch out the barbarous land:

Desolate castle, the sky, the wide desert.

There is no wall left to this village.

Bones white with a thousand frosts,

High heaps, covered with trees and grass;

Who brought this to pass?

Who has brought the flaming imperial anger?

Who has brought the army with drums and with kettle-drums?

Barbarous kings.

A gracious spring, turned to blood-ravenous autumn,

A turmoil of wars-men, spread over the middle kingdom,

Three hundred and sixty thousand,

And sorrow, sorrow like rain.

Sorrow to go, and sorrow, sorrow returning.

Desolate, desolate fields,

And no children of warfare upon them,

            No longer the men for offence and defence.

Ah, how shall you know the dreary sorrow at the North Gate,

With Rihoku’s name forgotten,

And we guardsmen fed to the tigers.

Ezra Pound    

Lamkin

It’s Lamkin was a mason good

As ever built wi’ stane;

He built lord Wearie’s castle,

But payment got he nane.

O pay me, lord Wearie,

Come, pay me my fee.

I canna pay you, Lamkin,

For I maun gang o’er the sea.

O pay me now, lord Wearie,

Come, pay me out o’ hand.

I canna pay you, Lamkin,

Unless I sell my land.

O gin ye winna pay me

I here sall mak a vow,

Before that ye come hame again,

Ye sall ha’e cause to rue.

Lord Wearie got a bonny ship

To sail the saut sea faem;

Bade his lady weel the castle keep

Ay till he should come hame.

But the nourice was a fause limmer

As e’er hung on a tree;

She laid a plot wi’ Lamkin

Whan her lord was o’er the sea.

She laid a plot wi’ Lamkin

When the servants were awa’,

Loot him in at a little shot window

And brought him to the ha’.

O whare’s a’ the men o’ this house

That ca’ me Lamkin?

They’re at the barnwell thrashing,

’Twill be lang ere they come in.

And whare’s the women o’ this house

That ca’ me Lamkin?

They’re at the far well washing,

’Twill be lang ere they come in.

And whare’s the bairns o’ this house

That ca’ me Lamkin?

They’re at the school reading,

’Twill be night or they come hame.

O whare’s the lady o’ this house

That ca’s me Lamkin?

She’s up in her bower sewing,

But we soon can bring her down.

Then Lamkin’s tane a sharp knife

That hang down by his gaire,

And he has gi’en the bonny babe

A deep wound and a sair.

Then Lamkin he rocked

And the fause nourice sang,

Till frae ilkae bore o’ the cradle

The red blood out sprang.

Then out it spak the lady

As she stood on the stair:

What ails my bairn, nourice,

That he’s greeting sae sair?

O still my bairn, nourice,

O still him wi’ the pap.

He winna still, lady,

For this, nor for that.

O still my bairn, nourice,

O still him wi’ the wand.

He winna still, lady,

For a’ his father’s land.

O still my bairn, nourice,

O still him wi’ the bell.

He winna still, lady,

Till ye come down yoursel.

O the firsten step she steppit,

She steppit on a stane;

But the neisten step she steppit,

She met him, Lamkin.

O mercy, mercy, Lamkin,

Ha’e mercy upon me!

Though you’ve ta’en my young son’s life

Ye may let mysel be.

O sall I kill her, nourice?

Or sall I let her be?

O kill her, kill her, Lamkin,

For she ne’er was good to me.

O scour the bason, nourice,

And mak it fair and clean,

For to keep this lady’s heart’s blood;

For she’s come o’ noble kin.

There need nae bason, Lamkin,

Lat it run through the floor;

What better is the heart’s blood

O’ the rich than o’ the poor?

But ere three months were at an end

Lord Wearie came again;

But dowie, dowie was his heart

When first he came hame.

O wha’s blood is this, he says,

That lies in the châmer?

It is your lady’s heart’s blood,

’Tis as clear as the lamer.

And wha’s blood is this, he says,

That lies in my ha’?

It is your young son’s heart’s blood,

’Tis the clearest ava.

O sweetly sang the black-bird

That sat upon the tree;

But sairer grat Lamkin

When he was condemn’d to die.

And bonny sang the mavis

Out o’ the thorny brake;

But sairer grat the nourice

When she was tied to the stake.

Anon.

Large Bad Picture

Remembering the Strait of Belle Isle or

some northerly harbor of Labrador,

before he became a schoolteacher

a great-uncle painted a big picture.

Receding for miles on either side

into a flushed, still sky

are overhanging pale blue cliffs

hundreds of feet high,

their bases fretted by little arches,

the entrances to caves

running in along the level of a bay

masked by perfect waves.

On the middle of that quiet floor

sits a fleet of small black ships,

square-rigged, sails furled, motionless,

their spars like burnt match-sticks.

And high above them, over the tall cliffs’

semi-translucent ranks,

are scribbled hundreds of fine black birds

hanging in n’s in banks.

One can hear their crying, crying,

the only sound there is

except for occasional sighing

as a large aquatic animal breathes.

In the pink light

the small red sun goes rolling, rolling,

round and round and round at the same height

in perpetual sunset, comprehensive, consoling,

while the ships consider it.

Apparently they have reached their destination.

It would be hard to say what brought them there,

commerce or contemplation.

Elizabeth Bishop

Last Haiku

No, wait a minute,

I can’t be old already:

I’m just about to

Connie Bensley

Last Poem

Before I began life this time

I took a crash course in Counter-Intelligence

Once here I signed in, see name below, and added

Some words remembered from an earlier time,

‘The intention of the organism is to survive.’

My earliest, & happiest, memories pre-date WWII,

They involve a glass slipper & a helpless blue rose

In a slender blue single-rose vase: Mine

Was a story without a plot. The days of my years

Folded into one another, an easy fit, in which

I made money & spent it, learned to dance & forgot, gave

Blood, regained my poise, & verbalized myself a place

In Society. 101 St. Mark’s Place, apt. 12A, NYC 10009

New York. Friends appeared & disappeared, or wigged out,

Or stayed; inspiring strangers sadly died; everyone

I ever knew aged tremendously, except me. I remained

Somewhere between 2 and 9 years old. But frequent

Reification of my own experiences delivered to me

Several new vocabularies, I loved that almost most of all.

I once had the honor of meeting Beckett & I dug him.

The pills kept me going, until now. Love, & work,

Were my great happinesses, that other people die the source

Of my great, terrible, & inarticulate one grief. In my time

I grew tall & huge of frame, obviously possessed

Of a disconnected head, I had a perfect heart. The end

Came quickly & completely without pain, one quiet night as I

Was sitting, writing, next to you in bed, words chosen randomly

From a tired brain, it, like them, suitable, & fitting.

Let none regret my end who called me friend.

Ted Berrigan    

‘The laws of God, the laws of man’

The laws of God, the laws of man,

He may keep that will and can;

Not I: let God and man decree

Laws for themselves and not for me;

And if my ways are not as theirs

Let them mind their own affairs.

Their deeds I judge and much condemn,

Yet when did I make laws for them?

Please yourselves, say I, and they

Need only look the other way.

But no, they will not; they must still

Wrest their neighbour to their will,

And make me dance as they desire

With jail and gallows and hell-fire.

And how am I to face the odds

Of man’s bedevilment and God’s?

I, a stranger and afraid

In a world I never made.

They will be master, right or wrong;

Though both are foolish, both are strong.

And since, my soul, we cannot fly

To Saturn nor to Mercury,

Keep we must, if keep we can,

These foreign laws of God and man.

A. E. Housman

Leaves

The prisoners of infinite choice

Have built their house

In a field below the wood

And are at peace.

It is autumn, and dead leaves

On their way to the river

Scratch like birds at the windows

Or tick on the road.

Somewhere there is an afterlife

Of dead leaves,

A stadium filled with an infinite

Rustling and sighing.

Somewhere in the heaven

Of lost futures

The lives we might have lived

Have found their own fulfilment.

Derek Mahon

Let It Go

It is this deep blankness is the real thing strange.

The more things happen to you the more you can’t

    Tell or remember even what they were.

The contradictions cover such a range.

The talk would talk and go so far aslant.

    You don’t want madhouse and the whole thing there.

William Empson        

‘Let the world’s sharpness, like a clasping knife’

Let the world’s sharpness, like a clasping knife,

Shut in upon itself and do no harm

In this close hand of Love, now soft and warm,

And let us hear no sound of human strife

After the click of the shutting. Life to life –

I lean upon thee, Dear, without alarm,

And feel as safe as guarded by a charm

Against the stab of worldlings, who if rife

Are weak to injure. Very whitely still

The lilies of our lives may reassure

Their blossoms from their roots, accessible

Alone to heavenly dews that drop not fewer,

Growing straight, out of man’s reach, on the hill.

God only, who made us rich, can make us poor.

Elizabeth Barrett Browning

The Lie

Goe soule the bodies guest

upon a thankelesse arrant,

Feare not to touch the best

the truth shall be thy warrant.

Goe since I needs must die

and give the world the lie.

Say to the Court it glowes

and shines like rotten wood,

Say to the Church it showes

what’s good, and doth noe good.

If Church and Court reply

then give them both the lie.

Tell potentates they live

acting by others action,

Not loved unlesse they give,

not strong but by affection:

If potentates reply

give potentates the lie.

Tell men of high condition,

that manage the Estate,

Their purpose is ambition,

their practise only hate,

And if they once reply

then give them all the lie.

Tell them that brave it most,

they beg for more by spending

Who in their greatest cost

seek nothing, but commending.

And if they make reply,

then give them all the lie.

Tell zeale it wants devotion

tell love it is but lust,

Tell time it meets but motion

tell flesh it is but dust.

And wish them not reply

for thou must give the lie.

Tell age it daily wasteth,

tell honor how it alters.

Tel beauty how she blasteth

tell favour how it falters

And as they shall reply,

give every one the lie.

Tell wit how much it wrangles

in tickle points of nycenesse,

Tell wisedome she entangles

her selfe in over-wisenesse.

And when they do reply

straight give them both the lie.

Tell Phisick of her boldnes,

tel skill it is prevention

Tel charity of coldnes,

tell Law it is contention,

And as they doe reply

so give them still the lie.

Tell Fortune of her blindnesse,

tel nature of decay,

Tel friendship of unkindnesse,

tel Justice of delay.

And if they wil reply,

then give them all the lie.

Tell Arts they have no soundnes,

but vary by esteeming,

Tel schooles they want profoundnes

and stand to much on seeming.

If Arts and Schooles reply,

give arts and schooles the lie.

Tell faith it’s fled the Citie,

tell how the country erreth

Tel manhood shakes of pitty

tel vertue least preferreth,

And if they doe reply,

spare not to give the lie.

So when thou hast as I,

commanded thee, done blabbing,

Because to give the lie,

deserves no lesse then stabbing,

Stab at thee, he that will,

no stab thy soule can kill.

Sir Walter Raleigh

Lights Out

I have come to the borders of sleep,

The unfathomable deep

Forest, where all must lose

Their way, however straight

Or winding, soon or late;

They can not choose.

Many a road and track

That since the dawn’s first crack

Up to the forest brink

Deceived the travellers,

Suddenly now blurs,

And in they sink.

Here love ends,

Despair, ambition ends;

All pleasure and all trouble,

Although most sweet or bitter,

Here ends, in sleep that is sweeter

Than tasks most noble.

There is not any book

Or face of dearest look

That I would not turn from now

To go into the unknown

I must enter, and leave, alone,

I know not how.

The tall forest towers:

Its cloudy foliage lowers

Ahead, shelf above shelf:

Its silence I hear and obey

That I may lose my way

And myself.

Edward Thomas

‘Like as the waves make towards the pebbled shore’

Like as the waves make towards the pebbled shore,

So do our minutes hasten to their end;

Each changing place with that which goes before,

In sequent toil all forwards do contend.

Nativity, once in the main of light,

Crawls to maturity, wherewith being crowned,

Crookèd eclipses ’gainst his glory fight,

And Time that gave doth now his gift confound.

Time doth transfix the flourish set on youth,

And delves the parallels in beauty’s brow,

Feeds on the rarities of nature’s truth,

And nothing stands but for his scythe to mow.

And yet to times in hope my verse shall stand,

Praising thy worth, despite his cruel hand.

William Shakespeare

‘A limerick fan from Australia’

A limerick fan from Australia

Regarded his work as a failure.

        His verses were fine

Until the fourth line …

Anon.

Lineage

In the beginning was Scream

Who begat Blood

Who begat Eye

Who begat Fear

Who begat Wing

Who begat Bone

Who begat Granite

Who begat Violet

Who begat Guitar

Who begat Sweat

Who begat Adam

Who begat Mary

Who begat God

Who begat Nothing

Who begat Never

Never Never Never

Who begat Crow

Screaming for Blood

Grubs, crusts

Anything

Trembling featherless elbows in the nest’s filth

Ted Hughes

The List of Famous Hats

Napoleon’s hat is an obvious choice I guess to list as a famous hat, but that’s not the hat I have in mind. That was his hat for show. I am thinking of his private bathing cap, which in all honesty wasn’t much different than the one any jerk might buy at a corner drugstore now, except for two minor eccentricities. The first one isn’t even funny: Simply it was a white rubber bathing cap, but too small. Napoleon led such a hectic life ever since his childhood, even farther back than that, that he never had a chance to buy a new bathing cap and still as a grown-up – well, he didn’t really grow that much, but his head did: He was a pin-head at birth, and he used, until his death really, the same little tiny bathing cap that he was born in, and this meant that later it was very painful to him and gave him many headaches, as if he needed more. So, he had to vaseline his skull like crazy to even get the thing on. The second eccentricity was that it was a tricorn bathing cap. Scholars like to make a lot out of this, and it would be easy to do. My theory is simple-minded to be sure: that beneath his public head there was another head and it was a pyramid or something.

James Tate

A Lobster Quadrille

‘Will you walk a little faster?’ said a whiting to a snail,

‘There’s a porpoise close behind us, and he’s treading on my tail.

See how eagerly the lobsters and the turtles all advance!

They are waiting on the shingle – will you come and join the dance?

Will you, won’t you, will you, won’t you, will you join the dance?

Will you, won’t you, will you, won’t you, won’t you join the dance?

‘You can really have no notion how delightful it will be

When they take us up and throw us, with the lobsters, out to sea!’

But the snail replied ‘Too far, too far!’, and gave a look askance –

Said he thanked the whiting kindly, but he would not join the dance.

Would not, could not, would not, could not, would not join

        the dance.

Would not, could not, would not, could not, could not join

        the dance.

‘What matters it how far we go?’ his scaly friend replied.

‘There is another shore, you know, upon the other side.

The further off from England the nearer is to France –

Then turn not pale, beloved snail, but come and join the dance.

Will you, won’t you, will you, won’t you, will you join the dance?

Will you, won’t you, will you, won’t you, won’t you join the dance?’

Lewis Carroll    

A Long Dress

What is the current that makes machinery, that makes it crackle, what is the current that presents a long line and a necessary waist. What is this current.

What is the wind, what is it.

Where is the serene length, it is there and a dark place is not a dark place, only a white and red are black, only a yellow and green are blue, a pink is scarlet, a bow is every color. A line distinguishes it. A line just distinguishes it.

Gertrude Stein

Love Epigram

The son of the King of the River Muad,

in midsummer,

found a maiden in a greenwood:

she gave him blackberries

from the bushes,

and as love-token,

strawberries on a rush-tip.

Anon., trans. by Seán Ó Faoláin

The Love Song of J. Alfred Prufrock

S’io credessi che mia risposta fosse

a persona che mai tornasse al mondo,

questa fiamma staria senza più scosse.

Ma per ciò che giammai di questo fondo

non tornò vivo alcun, si’i’odo il vero,

senza tema d’infamia ti rispondo.

Let us go then, you and I,

When the evening is spread out against the sky

Like a patient etherised upon a table;

Let us go, through certain half-deserted streets,

The muttering retreats

Of restless nights in one-night cheap hotels

And sawdust restaurants with oyster-shells:

Streets that follow like a tedious argument

Of insidious intent

To lead you to an overwhelming question …

Oh, do not ask, ‘What is it?’

Let us go and make our visit.

    In the room the women come and go

Talking of Michelangelo.

    The yellow fog that rubs its back upon the window-panes,

The yellow smoke that rubs its muzzle on the window-panes,

Licked its tongue into the corners of the evening,

Lingered upon the pools that stand in drains,

Let fall upon its back the soot that falls from chimneys,

Slipped by the terrace, made a sudden leap,

And seeing that it was a soft October night,

Curled once about the house, and fell asleep.

    And indeed there will be time

For the yellow smoke that slides along the street

Rubbing its back upon the window-panes;

There will be time, there will be time

To prepare a face to meet the faces that you meet;

There will be time to murder and create,

And time for all the works and days of hands

That lift and drop a question on your plate;

Time for you and time for me,

And time yet for a hundred indecisions,

And for a hundred visions and revisions,

Before the taking of a toast and tea.

    In the room the women come and go

Talking of Michelangelo.

    And indeed there will be time

To wonder, ‘Do I dare?’ and, ‘Do I dare?’

Time to turn back and descend the stair,

With a bald spot in the middle of my hair –

(They will say: ‘How his hair is growing thin!’)

My morning coat, my collar mounting firmly to the chin,

My necktie rich and modest, but asserted by a simple pin –

(They will say: ‘But how his arms and legs are thin!’)

Do I dare

Disturb the universe?

In a minute there is time

For decisions and revisions which a minute will reverse.

    For I have known them all already, known them all –

Have known the evenings, mornings, afternoons,

I have measured out my life with coffee spoons;

I know the voices dying with a dying fall

Beneath the music from a farther room.

So how should I presume?

    And I have known the eyes already, known them all –

The eyes that fix you in a formulated phrase,

And when I am formulated, sprawling on a pin,

When I am pinned and wriggling on the wall,

Then how should I begin

To spit out all the butt-ends of my days and ways?

And how should I presume?

    And I have known the arms already, known them all –

Arms that are braceleted and white and bare

(But in the lamplight, downed with light brown hair!)

Is it perfume from a dress

That makes me so digress?

Arms that lie along a table, or wrap about a shawl.

And should I then presume?

And how should I begin?

·    ·    ·    ·    ·    ·

    Shall I say, I have gone at dusk through narrow streets

And watched the smoke that rises from the pipes

Of lonely men in shirt-sleeves, leaning out of windows? …

    I should have been a pair of ragged claws

Scuttling across the floors of silent seas.

·    ·    ·    ·    ·    ·

    And the afternoon, the evening, sleeps so peacefully!

Smoothed by long fingers,

Asleep … tired … or it malingers,

Stretched on the floor, here beside you and me.

Should I, after tea and cakes and ices,

Have the strength to force the moment to its crisis?

But though I have wept and fasted, wept and prayed,

Though I have seen my head (grown slightly bald) brought in

    upon a platter,

I am no prophet – and here’s no great matter;

I have seen the moment of my greatness flicker,

And I have seen the eternal Footman hold my coat, and snicker,

And in short, I was afraid.

    And would it have been worth it, after all,

After the cups, the marmalade, the tea,

Among the porcelain, among some talk of you and me,

Would it have been worth while,

To have bitten off the matter with a smile,

To have squeezed the universe into a ball

To roll it towards some overwhelming question,

To say: ‘I am Lazarus, come from the dead,

Come back to tell you all, I shall tell you all’ –

If one, settling a pillow by her head,

Should say: ‘That is not what I meant at all.

That is not it, at all.’

    And would it have been worth it, after all,

Would it have been worth while,

After the sunsets and the dooryards and the sprinkled streets,

After the novels, after the teacups, after the skirts that trail

        along the floor –

And this, and so much more? –

It is impossible to say just what I mean!

But as if a magic lantern threw the nerves in patterns on a screen:

Would it have been worth while

If one, settling a pillow or throwing off a shawl,

And turning toward the window, should say:

‘That is not it at all,

That is not what I meant, at all.’

·    ·    ·    ·    ·    ·

    No! I am not Prince Hamlet, nor was meant to be;

Am an attendant lord, one that will do

To swell a progress, start a scene or two,

Advise the prince; no doubt, an easy tool,

Deferential, glad to be of use,

Politic, cautious, and meticulous;

Full of high sentence, but a bit obtuse;

At times, indeed, almost ridiculous –

Almost, at times, the Fool.

    I grow old … I grow old …

I shall wear the bottoms of my trousers rolled.

    Shall I part my hair behind? Do I dare to eat a peach?

I shall wear white flannel trousers, and walk upon the beach.

I have heard the mermaids singing, each to each.

I do not think that they will sing to me.

I have seen them riding seaward on the waves

Combing the white hair of the waves blown back

When the wind blows the water white and black.

We have lingered in the chambers of the sea

By sea-girls wreathed with seaweed red and brown

Till human voices wake us, and we drown.

T. S. Eliot        

‘Loveliest of trees, the cherry now’

Loveliest of trees, the cherry now

Is hung with bloom along the bough,

And stands about the woodland ride

Wearing white for Eastertide.

Now, of my threescore years and ten,

Twenty will not come again,

And take from seventy springs a score,

It only leaves me fifty more.

And since to look at things in bloom

Fifty springs are little room,

About the woodlands I will go

To see the cherry hung with snow.

A. E. Housman

Lucifer in Starlight

On a starred night Prince Lucifer uprose.

Tired of his dark dominion swung the fiend

Above the rolling ball in cloud part screened,

Where sinners hugged their spectre of repose.

Poor prey to his hot fit of pride were those.

And now upon his western wing he leaned,

Now his huge bulk o’er Afric’s sands careened,

Now the black planet shadowed Arctic snows.

Soaring through wider zones that pricked his scars

With memory of the old revolt from Awe,

He reached a middle height, and at the stars,

Which are the brain of heaven, he looked, and sank.

Around the ancient track marched, rank on rank,

The army of unalterable law.

George Meredith

Lychees

You wonder at that Georgian terrace

miles out of town where the motorway begins.

My great-grandfather was a coachman

and knew how far away he was in the dark

by mysteries of the Rosary. My grandmother said

you could tell a good husband

by the thumbed leaves of his prayer-book.

A dead loss, my mother counts you,

setting my teeth on edge at all hours,

getting me to break the lychee’s skin.

She underestimates the taste of sacrifice,

the irrelevance of distances,

cat’s-eyes, the cleanness of hands.

Medbh McGuckian

A Lyke-Wake Dirge

This ae nighte, this ae nighte,

Every nighte and alle,

Fire and fleet and candle-lighte,

And Christe receive thy saule.

When thou from hence away art past,

Every nighte and alle,

To Whinny-muir thou com’st at last;

And Christe receive thy saule.

If ever thou gavest hosen and shoon,

Every nighte and alle,

Sit thee down and put them on;

And Christe receive thy saule.

If hosen and shoon thou ne’er gav’st nane

Every nighte and alle,

The whinnes sall prick thee to the bare bane;

And Christe receive thy saule.

From Whinny-muir when thou may’st pass,

Every nighte and alle,

To Brig o’ Dread thou com’st at last;

And Christe receive thy saule.

From Brig o’ Dread when thou may’st pass,

Every nighte and alle,

To Purgatory fire thou com’st at last;

And Christe receive thy saule.

If ever thou gavest meat or drink,

Every nighte and alle,

The fire sall never make thee shrink;

And Christe receive thy saule.

If meat or drink thou ne’er gav’st nane,

Every nighte and alle,

The fire will burn theee to the bare bane;

And Christe receive thy saule.

This ae nighte, this ae nighte,

Every nighte and alle,

Fire and fleet and candle-lighte,

And Christe receive thy saule.

Anon.

Making Love to Concrete

An upright abutment in the mouth

of the Willis Avenue bridge

a beige Honda leaps the divider

like a steel gazelle inescapable

sleek leather boots on the pavement

rat-a-tat-tat best intentions

going down for the third time

stuck in the particular

You cannot make love to concrete

if you care about being

non-essential wrong or worn thin

if you fear ever becoming

diamonds or lard

you cannot make love to concrete

if you cannot pretend

concrete needs your loving

To make love to concrete

you need an indelible feather

white dresses before you are ten

a confirmation lace veil milk-large bones

and air raid drills in your nightmares

no stars till you go to the country

and one summer when you are twelve

Con Edison pulls the plug

on the street-corner moons Walpurgisnacht

and there are sudden new lights in the sky

stone chips that forget you need

to become a light rope a hammer

a repeatable bridge

garden-fresh broccoli two dozen dropped eggs

and a hint of you

caught up between my fingers

the lesson of a wooden beam

propped up on barrels

across a mined terrain

between forgiving too easily

and never giving at all.

Audre Lorde

Making the Move

When Ulysses braved the wine-dark sea

He left his bow with Penelope,

Who would bend for no one but himself.

I edge along the book-shelf,

Past bad Lord Byron, Raymond Chandler,

Howard Hughes; The Hidden Years,

Past Blaise Pascal, who, bound in hide,

Divined the void to his left side:

Such books as one may think one owns

Unloose themselves like stones

And clatter down into this wider gulf

Between myself and my good wife;

A primus stove, a sleeping-bag,

The bow I bought through a catalogue

When I was thirteen or fourteen

That would bend, and break, for anyone,

Its boyish length of maple upon maple

Unseasoned and unsupple.

Were I embarking on that wine-dark sea

I would bring my bow along with me.

Paul Muldoon

The Maldive Shark

About the Shark, phlegmatical one,

Pale sot of the Maldive sea,

The sleek little pilot-fish, azure and slim,

How alert in attendance be.

From his saw-pit of mouth, from his charnel of maw

They have nothing of harm to dread,

But liquidly glide on his ghastly flank

Or before his Gorgonian head;

Or lurk in the port of serrated teeth

In white triple tiers of glittering gates,

And there find a haven when peril’s abroad,

An asylum in jaws of the Fates!

They are friends; and friendly they guide him to prey

Yet never partake of the treat –

Eyes and brains to the dotard lethargic and dull,

Pale ravener of horrible meat.

Herman Melville

Man and Wife

Tamed by Miltown, we lie on Mother’s bed;

the rising sun in war paint dyes us red;

in broad daylight her gilded bed-posts shine,

abandoned, almost Dionysian.

At last the trees are green on Marlborough Street,

blossoms on our magnolia ignite

the morning with their murderous five days’ white.

All night I’ve held your hand,

as if you had

a fourth time faced the kingdom of the mad –

its hackneyed speech, its homicidal eye –

and dragged me home alive … Oh my Petite,

clearest of all God’s creatures, still all air and nerve:

you were in your twenties, and I,

once hand on glass

and heart in mouth,

outdrank the Rahvs in the heat

of Greenwich Village, fainting at your feet –

too boiled and shy

and poker-faced to make a pass,

while the shrill verve

of your invective scorched the traditional South.

Now twelve years later, you turn your back.

Sleepless, you hold

your pillow to your hollows like a child;

your old-fashioned tirade –

loving, rapid, merciless –

breaks like the Atlantic Ocean on my head.

Robert Lowell

The Man with Night Sweats

I wake up cold, I who

Prospered through dreams of heat

Wake to their residue,

Sweat, and a clinging sheet.

My flesh was its own shield:

Where it was gashed, it healed.

I grew as I explored

The body I could trust

Even while I adored

The risk that made robust,

A world of wonders in

Each challenge to the skin.

I cannot but be sorry

The given shield was cracked

My mind reduced to hurry,

My flesh reduced and wrecked.

I have to change the bed,

But catch myself instead

Stopped upright where I am

Hugging my body to me

As if to shield it from

The pains that will go through me,

As if hands were enough

To hold an avalanche off.

Thom Gunn

Maundy Thursday

Between the brown hands of a server-lad

The silver cross was offered to be kissed.

The men came up, lugubrious, but not sad,

And knelt reluctantly, half-prejudiced.

(And kissing, kissed the emblem of a creed.)

Then mourning women knelt; meek mouths they had,

(And kissed the Body of the Christ indeed.)

Young children came, with eager lips and glad.

(These kissed a silver doll, immensely bright.)

Then I, too, knelt before that acolyte.

Above the crucifix I bent my head:

The Christ was thin, and cold, and very dead:

And yet I bowed, yea, kissed – my lips did cling.

(I kissed the warm live hand that held the thing.)

Wilfred Owen

Meditation at Lagunitas

All the new thinking is about loss.

In this it resembles all the old thinking.

The idea, for example, that each particular erases

the luminous clarity of a general idea. That the clown-faced

woodpecker probing the dead sculpted trunk

of that black birch is, by his presence,

some tragic falling off from a first world

of undivided light. Or the other notion that,

because there is in this world no one thing

to which the bramble of blackberry corresponds,

a word is elegy to what it signifies.

We talked about it late last night and in the voice

of my friend, there was a thin wire of grief, a tone

almost querulous. After a while I understood that,

talking this way, everything dissolves: justice,

pine, hair, woman, you and I. There was a woman

I made love to and I remember how, holding

her small shoulders in my hands sometimes,

I felt a violent wonder at her presence

like a thirst for salt, for my childhood river

with its island willows, silly music from the pleasure boat,

muddy places where we caught the little orange-silver fish

called pumpkinseed. It hardly had to do with her.

Longing, we say, because desire is full

of endless distances. I must have been the same to her.

But I remember so much, the way her hands dismantled bread,

the thing her father said that hurt her, what

she dreamed. There are moments when the body is as numinous

as words, days that are the good flesh continuing.

Such tenderness, those afternoons and evenings,

saying blackberry, blackberry, blackberry.

Robert Hass

Meeting Point

Time was away and somewhere else,

There were two glasses and two chairs

And two people with the one pulse

(Somebody stopped the moving stairs):

Time was away and somewhere else.

And they were neither up nor down:

The stream’s music did not stop

Flowing through heather, limpid brown,

Although they sat in a coffee shop

And they were neither up nor down.

The bell was silent in the air

Holding its inverted poise –

Between the clang and clang a flower,

A brazen calyx of no noise:

The bell was silent in the air.

The camels crossed the miles of sand

That stretched around the cups and plates;

The desert was their own, they planned

To portion out the stars and dates:

The camels crossed the miles of sand.

Time was away and somewhere else.

The waiter did not come, the clock

Forgot them and the radio waltz

Came out like water from a rock:

Time was away and somewhere else.

Her fingers flicked away the ash

That bloomed again in tropic trees:

Not caring if the markets crash

When they had forests such as these,

Her fingers flicked away the ash.

God or whatever means the Good

Be praised that time can stop like this,

That what the heart has understood

God verify in the body’s peace

God or whatever means the Good.

Time was away and she was here

And life no longer what it was,

The bell was silent in the air

And all the room one glow because

Time was away and she was here.

Louis MacNeice

Michiko Dead

He manages like somebody carrying a box

that is too heavy, first with his arms

underneath. When their strength gives out,

he moves the hands forward, hooking them

on the corners, pulling the weight against

his chest. He moves his thumbs slightly

when the fingers begin to tire, and it makes

different muscles take over. Afterward,

he carries it on his shoulder, until the blood

drains out of the arm that is stretched up

to steady the box and the arm goes numb. But now

the man can hold underneath again, so that

he can go on without ever putting the box down.

Jack Gilbert

Migratory

I am the nest that comes and goes,

I am the egg that isn’t now,

I am the beach, the food in sand,

the shade with shells and the shade with sticks.

I am the right feeling on washed shine,

in wing-lifting surf, in running about

beak-focused: the feeling of here, that stays

and stays, then lengthens out over

the hill of hills and the feedy sea.

I am the wrongness of here, when it

is true to fly along the feeling

the length of its great rightness, while days

burn from vast to a gold gill in the dark

to vast again, for many feeds

and floating rests, till the sun ahead

becomes the sun behind, and half

the little far days of the night are different.

Right feelings of here arrive with me:

I am the nests danced for and now,

I am the crying heads to fill,

I am the beach, the sand in food,

the shade with sticks and the double kelp shade.

Les Murray

The Mind-Reader

for Charles and Eula

Lui parla

Some things are truly lost. Think of a sun-hat

Laid for the moment on a parapet

While three young women – one, perhaps, in mourning –

Talk in the crenellate shade. A slight wind plucks

And budges it; it scuffs to the edge and cartwheels

Into a giant view of some description:

Haggard escarpments, if you like, plunge down

Through mica shimmer to a moss of pines

Amidst which, here or there, a half-seen river

Lobs up a blink of light. The sun-hat falls,

With what free flirts and stoops you can imagine,

Down through that reeling vista or another,

Unseen by any, even by you or me.

It is as when a pipe-wrench, catapulted

From the jounced back of a pick-up truck, dives headlong

Into a bushy culvert; or a book

Whose reader is asleep, garbling the story,

Glides from beneath a steamer chair and yields

Its flurried pages to the printless sea.

It is one thing to escape from consciousness

As such things do, another to be pent

In the dream-cache or stony oubliette

Of someone’s head.

They found, when I was little,

That I could tell the place of missing objects.

I stood by the bed of a girl, or the frayed knee

Of an old man whose face was lost in shadow.

When did you miss it?, people would be saying,

Where did you see it last? And then those voices,

Querying or replying, came to sound

Like cries of birds when the leaves race and whiten

And a black overcast is shelving over.

The mind is not a landscape, but if it were

There would in such case be a tilted moon

Wheeling beyond the wood through which you groped,

Its fine spokes breaking in the tangled thickets.

There would be obfuscations, paths which turned

To dried-up stream-beds, hemlocks which invited

Through shiny clearings to a groundless shade;

And yet in a sure stupor you would come

At once upon dilapidated cairns,

Abraded moss, and half-healed blazes leading

To where, around the turning of a fear,

The lost thing shone.

Imagine a railway platform –

The long cars come to a cloudy halt beside it,

And the fogged windows offering a view

Neither to those within nor those without.

Now, in the crowd – forgive my predilection –

Is a young woman standing amidst her luggage,

Expecting to be met by you, a stranger.

See how she turns her head, the eyes engaging

And disengaging, pausing and shying away.

It is like that with things put out of mind,

As the queer saying goes: a lost key hangs

Trammeled by threads in what you come to see

As the webbed darkness of a sewing-basket,

Flashing a little; or a photograph,

Misplaced in an old ledger, turns its bled

Oblivious profile to rebuff your vision,

Yet glistens with the fixative of thought.

What can be wiped from memory? Not the least

Meanness, obscenity, humiliation,

Terror which made you clench your eyes, or pulse

Of happiness which quickened your despair.

Nothing can be forgotten, as I am not

Permitted to forget.

It was not far

From that to this – this corner café table

Where, with my lank grey hair and vatic gaze,

I sit and drink at the receipt of custom.

They come here, day and night, so many people:

Sad women of the quarter, dressed in black,

As to a black confession; blinking clerks

Who half-suppose that Taurus ruminates

Upon their destinies; men of affairs

Down from Milan to clear it with the magus

Before they buy or sell some stock or other;

My fellow-drunkards; fashionable folk,

Mocking and ravenously credulous,

And skeptics bent on proving me a fraud

For fear that some small wonder, unexplained,

Should leave a fissure in the world, and all

Saint Michael’s host come flapping back.

    I give them

Paper and pencil, turn away and light

A cigarette, as you have seen me do;

They write their questions; fold them up; I lay

My hand on theirs and go into my frenzy,

Raising my eyes to heaven, snorting smoke,

Lolling my head as in the fumes of Delphi,

And then, with shaken, spirit-guided fingers,

Set down the oracle. All that, of course,

Is trumpery, since nine times out of ten

What words float up within another’s thought

Surface as soon in mine, unfolding there

Like paper flowers in a water-glass.

In the tenth case, I sometimes cheat a little.

That shocks you? But consider: what I do

Cannot, so most conceive, be done at all,

And when I fail, I am a charlatan

Even to such as I have once astounded –

Whereas a tailor can mis-cut my coat

And be a tailor still. I tell you this

Because you know that I have the gift, the burden.

Whether or not I put my mind to it,

The world usurps me ceaselessly; my sixth

And never-resting sense is a cheap room

Black with the anger of insomnia,

Whose wall-boards vibrate with the mutters, plaints,

And flushings of the race.

    What should I tell them?

I have no answers. Set your fears at rest,

I scribble when I must. Your paramour

Is faithful, and your spouse is unsuspecting.

You were not seen, that day, beneath the fig-tree.

Still, be more cautious. When the time is ripe,

Expect promotion. I foresee a message

From a far person who is rich and dying.

You are admired in secret. If, in your judgment,

Profit is in it, you should take the gamble.

As for these fits of weeping, they will pass.

It makes no difference that my lies are bald

And my evasions casual. It contents them

Not to have spoken, yet to have been heard.

What more do they deserve, if I could give it,

Mute breathers as they are of selfish hopes

And small anxieties? Faith, justice, valor,

All those reputed rarities of soul

Confirmed in marble by our public statues –

You may be sure that they are rare indeed

Where the soul mopes in private, and I listen.

Sometimes I wonder if the blame is mine,

If through a sullen fault of the mind’s ear

I miss a resonance in all their fretting.

Is there some huge attention, do you think,

Which suffers us and is inviolate,

To which all hearts are open, which remarks

The sparrow’s weighty fall, and overhears

In the worst rancor a deflected sweetness?

I should be glad to know it.

                                                 Meanwhile, saved

By the shrewd habit of concupiscence,

Which, like a visor, narrows my regard,

And drinking studiously until my thought

Is a blind lowered almost to the sill,

I hanker for that place beyond the sparrow

Where the wrench beds in mud, the sun-hat hangs

In densest branches, and the book is drowned.

Ah, you have read my mind. One more, perhaps …

A mezzo-litro. Grazie, professore.

Richard Wilbur

Mirage

The hope I dreamed of was a dream,

Was but a dream; and now I wake,

Exceeding comfortless, and worn, and old,

For a dream’s sake.

I hang my harp upon a tree,

A weeping willow in a lake;

I hang my silenced harp there, wrung and snapt

For a dream’s sake.

Lie still, lie still, my breaking heart;

My silent heart, lie still and break:

Life, and the world, and mine own self are changed

For a dream’s sake.

Christina Rossetti

The Mitchells

I am seeing this: two men are sitting on a pole

they have dug a hole for and will, after dinner, raise

I think for wires. Water boils in a prune tin.

Bees hum their shift in unthinning mists of white

bursaria blossom, under the noon of wattles.

The men eat big meat sandwiches out of a styrofoam

box with a handle. One is overheard saying:

drought that year. Yes. Like trying to farm the road.

The first man, if asked, would say I’m one of the Mitchells.

The other would gaze for a while, dried leaves in his palm.

and looking up, with pain and subtle amusement,

say I’m one of the Mitchells. Of the pair, one has been rich

but never stopped wearing his oil-stained felt hat. Nearly everything

they say is ritual. Sometimes the scene is an avenue.

Les Murray

The Moose

for Grace Bulmer Bowers

From narrow provinces

of fish and bread and tea,

home of the long tides

where the bay leaves the sea

twice a day and takes

the herrings long rides,

where if the river

enters or retreats

in a wall of brown foam

depends on if it meets

the bay coming in,

the bay not at home;

where, silted red,

sometimes the sun sets

facing a red sea,

and others, veins the flats’

lavender, rich mud

in burning rivulets;

on red, gravelly roads,

down rows of sugar maples,

past clapboard farmhouses

and neat, clapboard churches,

bleached, ridged as clamshells,

past twin silver birches,

through late afternoon

a bus journeys west,

the windshield flashing pink,

pink glancing off of metal,

brushing the dented flank

of blue, beat-up enamel;

down hollows, up rises,

and waits, patient, while

a lone traveller gives

kisses and embraces

to seven relatives

and a collie supervises.

Goodbye to the elms,

to the farm, to the dog.

The bus starts. The light

grows richer; the fog,

shifting, salty, thin,

comes closing in.

Its cold, round crystals

form and slide and settle

in the white hens’ feathers,

in gray glazed cabbages,

on the cabbage roses

and lupins like apostles;

the sweet peas cling

to their wet white string

on the whitewashed fences;

bumblebees creep

inside the foxgloves,

and evening commences.

One stop at Bass River.

Then the Economies –

Lower, Middle, Upper;

Five Islands, Five Houses,

where a woman shakes a tablecloth

out after supper.

A pale flickering. Gone.

The Tantramar marshes

and the smell of salt hay.

An iron bridge trembles

and a loose plank rattles

but doesn’t give way.

On the left, a red light

swims through the dark:

a ship’s port lantern.

Two rubber boots show,

illuminated, solemn.

A dog gives one bark.

A woman climbs in

with two market bags,

brisk, freckled, elderly.

‘A grand night. Yes, sir,

all the way to Boston.’

She regards us amicably.

Moonlight as we enter

the New Brunswick woods,

hairy, scratchy, splintery;

moonlight and mist

caught in them like lamb’s wool

on bushes in a pasture.

The passengers lie back.

Snores. Some long sighs.

A dreamy divagation

begins in the night,

a gentle, auditory,

slow hallucination …

In the creakings and noises,

an old conversation

– not concerning us,

but recognizable, somewhere,

back in the bus:

Grandparents’ voices

uninterruptedly

talking, in Eternity:

names being mentioned,

things cleared up finally;

what he said, what she said,

who got pensioned;

deaths, deaths and sicknesses;

the year he remarried;

the year (something) happened.

She died in childbirth.

That was the son lost

when the schooner foundered.

He took to drink. Yes.

She went to the bad.

When Amos began to pray

even in the store and

finally the family had

to put him away.

‘Yes …’ that peculiar

affirmative. ‘Yes …’

A sharp, indrawn breath,

half groan, half acceptance,

that means ‘Life’s like that.

We know it (also death).’

Talking the way they talked

in the old featherbed,

peacefully, on and on,

dim lamplight in the hall,

down in the kitchen, the dog

tucked in her shawl.

Now, it’s all right now

even to fall asleep

just as on all those nights.

– Suddenly the bus driver

stops with a jolt,

turns off his lights.

A moose has come out of

the impenetrable wood

and stands there, looms, rather,

in the middle of the road.

It approaches; it sniffs at

the bus’s hot hood.

Towering, antlerless,

high as a church,

homely as a house

(or, safe as houses).

A man’s voice assures us

‘Perfectly harmless …’

Some of the passengers

exclaim in whispers,

childishly, softly,

‘Sure are big creatures.’

‘It’s awful plain.’

‘Look! It’s a she!’

Taking her time,

she looks the bus over,

grand, otherworldly.

Why, why do we feel

(we all feel) this sweet

sensation of joy?

‘Curious creatures,’

says our quiet driver,

rolling his r’s.

‘Look at that, would you.’

Then he shifts gears.

For a moment longer,

by craning backward,

the moose can be seen

on the moonlit macadam;

then there’s a dim

smell of moose, an acrid

smell of gasoline.

Elizabeth Bishop

A Modest Love

The lowest trees have tops, the ant her gall,

The fly her spleen, the little sparks their heat;

The slender hairs cast shadows, though but small,

And bees have stings, although they be not great;

Seas have their source, and so have shallow springs;

And love is love, in beggars as in kings.

Where rivers smoothest run, deep are the fords;

The dial stirs, yet none perceives it move;

The firmest faith is in the fewest words;

The turtles cannot sing, and yet they love:

True hearts have eyes and ears, no tongues to speak;

They hear and see, and sigh, and then they break.

Sir Edward Dyer

Morning Song

Love set you going like a fat gold watch.

The midwife slapped your footsoles, and your bald cry

Took its place among the elements.

Our voices echo, magnifying your arrival. New statue.

In a drafty museum, your nakedness

Shadows our safety. We stand round blankly as walls.

I’m no more your mother

Than the cloud that distills a mirror to reflect its own slow

Effacement at the wind’s hand.

All night your moth-breath

Flickers among the flat pink roses. I wake to listen:

A far sea moves in my ear.

One cry, and I stumble from bed, cow-heavy and floral

In my Victorian nightgown.

Your mouth opens clean as a cat’s. The window square

Whitens and swallows its dull stars. And now you try

Your handful of notes;

The clear vowels rise like balloons.

Sylvia Plath

from Mossbawn

For Mary Heaney

1 Sunlight

There was a sunlit absence.

The helmeted pump in the yard

heated its iron,

water honeyed

in the slung bucket

and the sun stood

like a griddle cooling

against the wall

of each long afternoon.

So, her hands scuffled

over the bakeboard,

the reddening stove

sent its plaque of heat

against her where she stood

in a floury apron

by the window.

Now she dusts the board

with a goose’s wing,

now sits, broad-lapped,

with whitened nails

and measling shins:

here is a space

again, the scone rising

to the tick of two clocks.

And here is love

like a tinsmith’s scoop

sunk past its gleam

in the meal-bin.

Seamus Heaney   

The Mower to the Glowworms

Ye living lamps, by whose dear light

The nightingale does sit so late,

And studying all the summer night,

Her matchless songs does meditate;

Ye country comets, that portend

No war, nor prince’s funeral,

Shining unto no higher end

Than to presage the grass’s fall;

Ye glowworms, whose officious flame

To wandering mowers shows the way,

That in the night have lost their aim,

And after foolish fires do stray;

Your courteous lights in vain you waste,

Since Juliana here is come,

For she my mind hath so displaced

That I shall never find my home.

Andrew Marvell

Mr Bleaney

‘This was Mr Bleaney’s room. He stayed

The whole time he was at the Bodies, till

They moved him.’ Flowered curtains, thin and frayed,

Fall to within five inches of the sill,

Whose window shows a strip of building land,

Tussocky, littered. ‘Mr Bleaney took

My bit of garden properly in hand.’

Bed, upright chair, sixty-watt bulb, no hook

Behind the door, no room for books or bags –

‘I’ll take it.’ So it happens that I lie

Where Mr Bleaney lay, and stub my fags

On the same saucer-souvenir, and try

Stuffing my ears with cotton-wool, to drown

The jabbering set he egged her on to buy.

I know his habits – what time he came down,

His preference for sauce to gravy, why

He kept on plugging at the four aways –

Likewise their yearly frame: the Frinton folk

Who put him up for summer holidays,

And Christmas at his sister’s house in Stoke.

But if he stood and watched the frigid wind

Tousling the clouds, lay on the fusty bed

Telling himself that this was home, and grinned,

And shivered, without shaking off the dread

That how we live measures our own nature,

And at his age having no more to show

Than one hired box should make him pretty sure

He warranted no better, I don’t know.

Philip Larkin

Mules

Should they not have the best of both worlds?

Her feet of clay gave the lie

To the star burned in our mare’s brow.

Would Parsons’ jackass not rest more assured

That cross wrenched from his shoulders?

We had loosed them into one field.

I watched Sam Parsons and my quick father

Tense for the punch below their belts,

For what was neither one thing or the other.

It was as though they had shuddered

To think, of their gaunt, sexless foal

Dropped tonight in the cowshed.

We might yet claim that it sprang from earth

Were it not for the afterbirth

Trailed like some fine, silk parachute,

That we would know from what heights it fell.

Paul Muldoon

A Musical Instrument

What was he doing, the great god Pan,

Down in the reeds by the river?

Spreading ruin and scattering ban,

Splashing and paddling with hoofs of a goat,

And breaking the golden lilies afloat

With the dragon-fly on the river.

He tore out a reed, the great god Pan,

From the deep cool bed of the river:

The limpid water turbidly ran,

And the broken lilies a-dying lay,

And the dragon-fly had fled away,

Ere he brought it out of the river.

High on the shore sat the great god Pan

While turbidly flowed the river;

And hacked and hewed as a great god can,

With his hard bleak steel at the patient reed,

Till there was not a sign of the leaf indeed

To prove it fresh from the river.

He cut it short, did the great god Pan,

(How tall it stood in the river!)

Then drew the pith, like the heart of a man,

Steadily from the outside ring,

And notched the poor dry empty thing

In holes, as he sat by the river.

‘This is the way,’ laughed the great god Pan

(Laughed while he sat by the river),

‘The only way, since gods began

To make sweet music, they could succeed.’

Then, dropping his mouth to a hole in the reed,

He blew in power by the river.

Sweet, sweet, sweet, O Pan!

Piercing sweet by the river!

Blinding sweet, O great god Pan!

The sun on the hill forgot to die,

And the lilies revived, and the dragon-fly

Came back to dream on the river.

Elizabeth Barrett Browning

my dreams, my works, must wait till after hell

I hold my honey and I store my bread

In little jars and cabinets of my will.

I label clearly, and each latch and lid

I bid, Be firm till I return from hell.

I am very hungry. I am incomplete.

And none can tell when I may dine again.

No man can give me any word but Wait,

The puny light. I keep eyes pointed in;

Hoping that, when the devil days of my hurt

Drag out to their last dregs and I resume

On such legs as are left me, in such heart

As I can manage, remember to go home,

My taste will not have turned insensitive

To honey and bread old purity could love.

Gwendolyn Brooks

‘My galley charged with forgetfulness’

My galley charged with forgetfulness

Thorough sharp seas in winter nights doth pass

’Tween rock and rock; and eke mine enemy, alas,

That is my lord, steereth with cruelness;

And every oar a thought in readiness

As though that death were light in such a case.

An endless wind doth tear the sail apace

Of forced sighs and trusty fearfulness.

A rain of tears, a cloud of dark disdain

Hath done the wearied cords great hindrance,

Wreathed with error and eke with ignorance.

The stars be hid that led me to this pain.

Drowned is the reason that should be comfort

And I remain despairing of the port.

Sir Thomas Wyatt

‘My lute, be as thou wast when thou didst grow’

My lute, be as thou wast when thou didst grow

With thy green mother in some shady grove,

When immelodious winds but made thee move,

And birds on thee their ramage did bestow.

Sith that dear voice which did thy sounds approve,

Which used in such harmonious strains to flow,

Is reft from Earth to tune those spheres above,

What art thou but a harbinger of woe?

Thy pleasing notes be pleasing notes no more,

But orphan wailings to the fainting ear.

Each stop a sigh, each sound draws forth a tear:

Be therefore silent as in woods before;

Or if that any hand to touch thee deign,

Like widowed turtle, still her loss complain.

William Drummond

My Mother’s Lips

Until I asked her to please stop doing it and was astonished to find

that she not only could

but from the moment I asked her in fact would stop doing it, my

mother, all through my childhood,

When I was saying something to her, something important, would

move her lips as I was speaking

so that she seemed to be saying under her breath the very words I

was saying as I was saying them.

Or, even more disconcertingly – wildly so now that my puberty

had erupted – before I said them.

When I was smaller, I must just have assumed that she was

omniscient. Why not?

She knew everything else – when I was tired, or lying; she’d know

I was ill before I did.

I may even have thought – how could it not have come into my

mind? – that she caused what I said.

All she was really doing of course was mouthing my words a split

second after I said them myself,

but it wasn’t until my own children were learning to talk that

I really understood how,

and understood, too, the edge of anxiety in it, the wanting to bring

you along out of the silence,

the compulsion to lift you again from those blank caverns of

namelessness we encase.

That was long afterward, though: where I was now was just

wanting to get her to stop,

and, considering how I brooded and raged in those days, how

quickly my teeth went on edge,

the restraint I approached her with seems remarkable, although

her so unprotestingly,

readily taming a habit by then three children and a dozen years

old was as much so.

It’s endearing to watch us again in that long-ago dusk, facing each

other, my mother and me.

I’ve just grown to her height, or just past it: there are our lips

moving together,

now the unison suddenly breaks, I have to go on by myself, no

maestro, no score to follow.

I wonder what finally made me take umbrage enough, or heart

enough, to confront her?

It’s not important. My cocoon at that age was already unwinding:

the threads ravel and snarl.

When I find one again, it’s that two o’clock in the morning, a grim

hotel on a square,

the impenetrable maze of an endless city, when, really alone for the

first time in my life,

I found myself leaning from the window, incanting in a tearing

whisper what I thought were poems.

I’d love to know what I raved that night to the night, what those

innocent dithyrambs were,

or to feel what so ecstatically drew me out of myself and beyond

… Nothing is there, though,

only the solemn piazza beneath me, the riot of dim, tiled roofs

and impassable alleys,

my desolate bed behind me, and my voice, hoarse, and the sweet,

alien air against me like a kiss.

C. K. Williams

My Sad Captains

One by one they appear in

the darkness: a few friends, and

a few with historical

names. How late they start to shine!

but before they fade they stand

perfectly embodied, all

the past lapping them like a

cloak of chaos. They were men

who, I thought, lived only to

renew the wasteful force they

spent with each hot convulsion.

They remind me, distant now.

True, they are not at rest yet,

but now that they are indeed

apart, winnowed from failures,

they withdraw to an orbit

and turn with disinterested

hard energy, like the stars.

Thom Gunn    

‘My true love hath my hart, and I have his’

My true love hath my hart, and I have his,

By just exchange, one for the other giv’ne.

I holde his deare, and myne he cannot misse:

There never was a better bargaine driv’ne.

My true love hath my hart and I have his.

His hart in me, keepes me and him in one,

My hart in him, his thoughtes and senses guides:

He loves my hart, for once it was his owne:

I cherish his, because in me it bides.

My true love hath my hart and I have his.

Sir Philip Sidney

‘Nature that washt her hands in milke’

Nature that washt her hands in milke

And had forgott to dry them,

In stead of earth tooke snow and silke

At Loves request to trye them,

If she a mistresse could compose

To please Loves fancy out of those.

Her eyes he would should be of light,

A Violett breath, and Lipps of Jelly,

Her haire not blacke, nor over bright,

And of the softest downe her Belly,

As for her inside hee’ld have it

Only of wantonnesse and witt.

At Loves entreaty, such a one

Nature made, but with her beauty

She hath framed a heart of stone,

So as Love by ill destinie

Must dye for her whom nature gave him

Because her darling would not save him.

But Time which nature doth despise,

And rudely gives her love the lye,

Makes hope a foole, and sorrow wise,

His hands doth neither wash, nor dry,

But being made of steele and rust,

Turnes snow, and silke, and milke to dust.

The Light, the Belly, lipps and breath,

He dimms, discolours, and destroyes,

With those he feedes, but fills not death,

Which sometimes were the foode of Joyes;

Yea Time doth dull each lively witt,

And dryes all wantonnes with it.

Oh cruell Time which takes in trust

Our youth, our Joyes and all we have,

And payes us but with age and dust,

Who in the darke and silent grave

When we have wandred all our wayes

Shutts up the story of our dayes.

Sir Walter Raleigh

Nearing Forty

for John Figueroa

The irregular combination of fanciful invention may delight awhile by that novelty of which the common satiety of life sends us all in quest. But the pleasures of sudden wonder are soon exhausted and the mind can only repose on the stability of truth

Samuel Johnson

Insomniac since four, hearing this narrow,

rigidly metred, early-rising rain

recounting, as its coolness numbs the marrow,

that I am nearing forty, nearer the weak

vision thickening to a frosted pane,

nearer the day when I may judge my work

by the bleak modesty of middle age

as a false dawn, fireless and average,

which would be just, because your life bled for

the household truth, the style past metaphor

that finds its parallel however wretched

in simple, shining lines, in pages stretched

plain as a bleaching bedsheet under a guttering

rainspout, glad for the sputter

of occasional insight; you who foresaw

ambition as a searing meteor

will fumble a damp match and, smiling, settle

for the dry wheezing of a dented kettle,

for vision narrower than a louvre’s gap,

then, watching your leaves thin, recall how deep

prodigious cynicism plants its seed,

gauges our seasons by this year’s end rain

which, as greenhorns at school, we’d

call conventional for convectional;

or you will rise and set your lines to work

with sadder joy but steadier elation,

until the night when you can really sleep,

measuring how imagination

ebbs, conventional as any water clerk

who weighs the force of lightly falling rain,

which, as the new moon moves it, does its work

even when it seems to weep.

Derek Walcott

The Niagara River

As though

the river were

a floor, we position

our table and chairs

upon it, eat, and

have conversation.

As it moves along,

we notice – as

calmly as though

dining room paintings

were being replaced –

the changing scenes

along the shore. We

do know, we do

know this is the

Niagara River, but

it is hard to remember

what that means.

Kay Ryan

The Night Before Larry Was Stretched

The night before Larry was stretched,

The boys they all paid him a visit;

A bait in their sacks, too, they fetched;

They sweated their duds till they riz it:

For Larry was ever the lad,

When a boy was condemned to the squeezer,

Would fence all the duds that he had

To help a poor friend to a sneezer,

And warm his gob ’fore he died.

The boys they came crowding in fast,

They drew all their stools round about him,

Six glims round his trap-case were placed,

He couldn’t be well waked without ’em.

When one of us asked could he die

Without having truly repented,

Says Larry, ‘That’s all in my eye;

And first by the clargy invented,

To get a fat bit for themselves.’

‘I’m sorry, dear Larry,’ says I,

‘To see you in this situation;

And blister my limbs if I lie,

I’d as lieve it had been my own station.’

‘Ochone! it’s all over,’ says he,

‘For the neck-cloth I’ll be forced to put on,

And by this time tomorrow you’ll see

Your poor Larry as dead as a mutton,

Because, why, his courage was good.

‘And I’ll be cut up like a pie,

And my nob from my body be parted.’

‘You’re in the wrong box, then,’ says I,

‘For blast me if they’re so hard-hearted;

A chalk on the back of your neck

Is all that Jack Ketch dares to give you;

Then mind not such trifles a feck,

For why should the likes of them grieve you?

And now, boys, come tip us the deck.’

The cards being called for, they played,

Till Larry found one of them cheated;

A dart at his napper he made

(The boy being easily heated);

‘Oh, by the hokey, you thief,

I’ll scuttle your nob with my daddle!

You cheat me because I’m in grief,

But soon I’ll demolish your noddle,

And leave you your claret to drink.’

Then the clergy came in with his book,

He spoke him so smooth and so civil;

Larry tipped him a Kilmainham look,

And pitched his big wig to the devil;

Then sighing, he threw back his head,

To get a sweet drop of the bottle,

And pitiful sighing, he said:

‘Oh, the hemp will be soon round my throttle,

And choke my poor windpipe to death.

‘Though sure it’s the best way to die,

Oh, the devil a better a-living!

For, sure when the gallows is high

Your journey is shorter to heaven:

But what harasses Larry the most,

And makes his poor soul melancholy,

Is to think on the time when his ghost

Will come in a sheet to sweet Molly –

Oh, sure it will kill her alive!’

So moving these last words he spoke,

We all vented our tears in a shower;

For my part, I thought my heart broke,

To see him cut down like a flower.

On his travels we watched him next day,

Oh, the throttler! I thought I could kill him;

But Larry not one word did say,

Nor changed till he came to ‘King William’ –

Then, musha! his colour grew white.

When he came to the nubbling chit,

He was tucked up so neat and so pretty,

The rumbler jogged off from his feet,

And he died with his face to the city;

He kicked, too – but that was all pride,

But soon you might see ’twas all over;

Soon after the noose was untied.

And at darky we waked him in clover,

And sent him to take a ground sweat.

Anon.

‘Nights like these, all the cities are the same’

Nights like these, all the cities are the same,

all decked with flags.

And by the flags seized by the storm

and as if by hair torn away

into some country with uncertain

contours and rivers.

In all gardens then there’s a pond,

by every pond the same house,

inside every house the same light;

and all the people look alike

and hold their hands in front of their faces.

Rainer Maria Rilke, trans. by Edward Snow

The Noble Nature

It is not growing like a tree

In bulk, doth make Man better be;

Or standing long an oak, three hundred year,

To fall a log at last, dry, bald, and sere:

            A lily of a day

            Is fairer far in May,

Although it fall and die that night –

        It was the plant and flower of Light.

In small proportions we just beauties see;

And in short measures life may perfect be.

Ben Jonson

Nostos

There was an apple tree in the yard –

this would have been

forty years ago – behind,

only meadow. Drifts

of crocus in the damp grass.

I stood at that window:

late April. Spring

flowers in the neighbor’s yard.

How many times, really, did the tree

flower on my birthday,

the exact day, not

before, not after? Substitution

of the immutable

for the shifting, the evolving.

Substitution of the image

for relentless earth. What

do I know of this place,

the role of the tree for decades

taken by a bonsai, voices

rising from the tennis courts –

Fields. Smell of the tall grass, new cut.

As one expects of a lyric poet.

We look at the world once, in childhood.

The rest is memory.

Louise Glück

‘Now I will do nothing but listen’

from Song of Myself

Now I will do nothing but listen,

To accrue what I hear into this song, to let sounds contribute

toward it.

I hear bravuras of birds, bustle of growing wheat, gossip of flames,

clack of sticks cooking my meals,

I hear the sound I love, the sound of the human voice,

I hear all sounds running together, combined, fused or following,

Sounds of the city and sounds out of the city, sounds of the day

and night,

Talkative young ones to those that like them, the loud laugh of

work-people at their meals,

The angry base of disjointed friendship, the faint tones of the sick,

The judge with hands tight to the desk, his pallid lips pronouncing

a death-sentence,

The heave’e’yo of stevedores unlading ships by the wharves, the

refrain of the anchor-lifters,

The ring of alarm-bells, the cry of fire, the whirr of swift-streaking

engines and hose-carts with premonitory tinkles and color’d lights,

The steam-whistle, the solid roll of the train of approaching cars,

The slow march play’d at the head of the association marching

two and two,

(They go to guard some corpse, the flag-tops are draped with

black muslin.)

I hear the violoncello, (’tis the young man’s heart’s complaint,)

I hear the key’d cornet, it glides quickly in through my ears,

It shakes mad-sweet pangs through my belly and breast.

I hear the chorus, it is a grand opera,

Ah this indeed is music — this suits me.

A tenor large and fresh as the creation fills me,

The orbic flex of his mouth is pouring and filling me full.

I hear the train’d soprano (what work with hers is this?)

The orchestra whirls me wider than Uranus flies,

It wrenches such ardors from me I did not know I possess’d them.

It sails me, I dab with bare feet, they are lick’d by the indolent waves,

I am cut by bitter and angry hail, I lose my breath,

Steep’d amid honey’d morphine, my windpipe throttled in fakes

of death,

At length let up again to feel the puzzle of puzzles,

And that we call Being.

Walt Whitman

‘Not the round natural world, not the deep mind’

Not the round natural world, not the deep mind,

The reconcilement holds: the blue abyss

Collects it not; our arrows sink amiss

And but in Him may we our import find.

The agony to know, the grief, the bliss

Of toil, is vain and vain: clots of the sod

Gathered in heat and haste and flung behind

To blind ourselves and others, what but this

Still grasping dust and sowing toward the wind?

No more thy meaning seek, thine anguish plead,

But leaving straining thought and stammering word,

Across the barren azure pass to God:

Shooting the void in silence like a bird,

A bird that shuts his wings for better speed.

Frederick Goddard Tuckerman