Not One Jot Less

A Woman Waits for Me
Walt Whitman

A woman waits for me, she contains all, nothing is lacking,
Yet all were lacking if sex were lacking, or if the moisture of
the right man were lacking.

Sex contains all, bodies, souls,
Meanings, proofs, purities, delicacies, results, promulgations,
Songs, commands, health, pride, the maternal mystery, the seminal milk,
All hopes, benefactions, bestowals, all the passions, loves,
beauties, delights of the earth,
All the governments, judges, gods, follow'd persons of the earth,
These are contain'd in sex as parts of itself and justifications of itself.


Without shame the man I like knows and avows the
deliciousness of his sex,
Without shame the woman I like knows and avows hers.

Now I will dismiss myself from impassive women,
I will go stay with her who waits for me, and with those
women that are warm-blooded sufficient for me,
I see that they understand me and do not deny me,
I see that they are worthy of me, I will be the robust
husband of those women.

They are not one jot less than I am,
They are tann'd in the face by shining suns and blowing winds,
Their flesh has the old divine suppleness and strength,
They know how to swim, row, ride, wrestle, shoot, run,
strike, retreat, advance, resist, defend themselves,
They are ultimate in their own right--they are calm, clear,
well-possess'd of themselves.

I draw you close to me, you women,
I cannot let you go, I would do you good,
I am for you, and you are for me, not only for our own
sake, but for others' sakes,
Envelop'd in you sleep greater heroes and bards,
They refuse to awake at the touch of any man but me.
It is I, you women, I make my way,
I am stern, acrid, large, undissuadable, but I love you,
I do not hurt you any more than is necessary for you,
I pour the stuff to start sons and daughters fit for these
States, I press with slow rude muscle,
I brace myself effectually, I listen to no entreaties,
I dare not withdraw till I deposit what has so long
accumulated within me.

Through you I drain the pent-up rivers of myself,
In you I wrap a thousand onward years,
On you I graft the grafts of the best-beloved of me and America,
The drops I distil upon you shall grow fierce and athletic
girls, new artists, musicians, and singers,
The babes I beget upon you are to beget babes in their turn,
I shall demand perfect men and women out of my love spendings,
I shall expect them to interpenetrate with others, as I and
you interpenetrate now,
I shall count on the fruits of the gushing showers of them, as
I count on the fruits of the gushing showers I give now,
I shall look for loving crops from the birth, life, death,
immortality, I plant so lovingly now.

What Was Said, What Was Told

What Was Told, That
Jalalu'l-din Rumi
(translated by Coleman Barks)

What was said to the rose that made it open was said
to me here in my chest.

What was told the cypress that made it strong
and straight, what was

whispered the jasmine so it is what it is, whatever made
sugarcane sweet, whatever

was said to the inhabitants of the town of Chigil in
Turkestan that makes them

so handsome, whatever lets the pomegranate flower blush
like a human face, that is

being said to me now. I blush. Whatever put eloquence in
language, that's happening here.

The great warehouse doors open; I fill with gratitude,
chewing a piece of sugarcane,

in love with the one to whom every that belongs!

Touching the Sacred Fire

O Black and Unknown Bards
James Weldon Johnson

O black and unknown bards of long ago,
How came your lips to touch the sacred fire?
How, in your darkness, did you come to know
The power and beauty of the minstrel's lyre?
Who first from midst his bonds lifted his eyes?
Who first from out the still watch, lone and long,
Feeling the ancient faith of prophets rise
Within his dark-kept soul, burst into song?

Heart of what slave poured out such melody
As "Steal away to Jesus"? On its strains
His spirit must have nightly floated free,
Though still about his hands he felt his chains.
Who heard great "Jordan roll"? Whose starward eye
Saw chariot "swing low"? And who was he
That breathed that comforting, melodic sigh,
"Nobody knows de trouble I see"?

What merely living clod, what captive thing,
Could up toward God through all its darkness grope,
And find within its deadened heart to sing
These songs of sorrow, love and faith, and hope?
How did it catch that subtle undertone,
That note in music heard not with the ears?
How sound the elusive reed so seldom blown,
Which stirs the soul or melts the heart to tears.

Not that great German master in his dream
Of harmonies that thundered amongst the stars
At the creation, ever heard a theme
Nobler than "Go down, Moses." Mark its bars
How like a mighty trumpet-call they stir
The blood. Such are the notes that men have sung
Going to valorous deeds; such tones there were
That helped make history when Time was young.

There is a wide, wide wonder in it all,
That from degraded rest and servile toil
The fiery spirit of the seer should call
These simple children of the sun and soil.
O black slave singers, gone, forgot, unfamed,
You—you alone, of all the long, long line
Of those who've sung untaught, unknown, unnamed,
Have stretched out upward, seeking the divine.

You sang not deeds of heroes or of kings;
No chant of bloody war, no exulting pean
Of arms-won triumphs; but your humble strings
You touched in chord with music empyrean.
You sting far better than you knew; the songs
That for your listeners' hungry hearts sufficed
Still live,—but more than this to you belongs:
You sang a race from wood and stone to Christ.

Drawings and Small Hands

A Table in the Wilderness
Li-Young Lee

I draw a window
and a man sitting inside it.

I draw a bird in flight above the lintel.

That's my picture of thinking.

If I put a woman there instead
of the man, it's a picture of speaking.

If I draw a second bird
in the woman's lap, it’s ministering.

A third flying below her feet.
Now it's singing.

Or erase the birds
make ivy branching
around the woman's ankles, clinging
to her knees, and it becomes remembering.

You'll have to find your own
pictures, whoever you are,
whatever your need.

As for me, many small hands
issuing from a waterfall
means silence
mothered me.

The hours hung like fruit in night's tree
means when I close my eyes
and look inside me,

a thousand open eyes
span the moment of my waking.

Meanwhile, the clock
adding a grain to a grain
and not getting bigger,

subtracting a day from a day
and never having less, means the honey

lies awake all night
inside the honeycomb
wondering who its parents are.

And even my death isn't my death
unless it's the unfathomed brow
of a nameless face.

Even my name isn't my name
except the bees assemble

a table to grant a stranger
light and moment in a wilderness
of Who? Where?

Dilemma, in the Plural Violent

A Far Cry From Africa
Derek Walcott

A wind is ruffling the tawny pelt
Of Africa. Kikuyu, quick as flies,
Batten upon the bloodstreams of the veldt.
Corpses are scattered through a paradise.
Only the worm, colonel of carrion, cries:
"Waste no compassion on these separate dead!"
Statistics justify and scholars seize
The salients of colonial policy.
What is that to the white child hacked in bed?
To savages, expendable as Jews?

Threshed out by beaters, the long rushes break
In a white dust of ibises whose cries
Have wheeled since civilization's dawn
From the parched river or beast-teeming plain.
The violence of beast on beast is read
As natural law, but upright man
Seeks his divinity by inflicting pain.
Delirious as these worried beasts, his wars
Dance to the tightened carcass of a drum,
While he calls courage still that native dread
Of the white peace contracted by the dead.

Again brutish necessity wipes its hands
Upon the napkin of a dirty cause, again
A waste of our compassion, as with Spain,
The gorilla wrestles with the superman.
I who am poisoned with the blood of both,
Where shall I turn, divided to the vein?
I who have cursed
The drunken officer of British rule, how choose
Between this Africa and the English tongue I love?
Betray them both, or give back what they give?
How can I face such slaughter and be cool?
How can I turn from Africa and live?

Arrangement in Wheat and Vines

Aubade: Lake Erie
Thomas Merton

When sun, light handed, sows this Indian water
With a crop of cockles,
The vines arrange their tender shadows
In the sweet leafage of an artificial France.

Awake, in the frames of windows, innocent children,
Loving the blue, sprayed leaves of childish life,
Applaud the bearded corn, the bleeding grape,
And cry:
"Here is the hay-colored sun, our marvelous cousin,
Walking in the barley,
Turning the harrowed earth to growing bread,
And splicing the sweet, wounded vine.
Lift up your hitch-hiking heads
And no more fear the fever,
You fugitives, and sleepers in the fields,
Here is the hay-colored sun!"

And when their shining voices, clean as summer,
Play, like churchbells over the field,
A hundred dusty Luthers rise from the dead, unheeding,
Search the horizon for the gap-toothed grin of factories,
And grope, in the green wheat,
Toward the wood winds of the western freight.

A Little Bit of Zen for a Monday Evening

The mind of the past is ungraspable;
the mind of the future is ungraspable;
the mind of the present is ungraspable.
The Diamond Sutra

Nothing in the cry
of cicadas
suggest they
are about to die.
Basho

At dusk
I often climb
To the peak of Kugami.
Deer bellow,
Their voices
Soaked up by
Piles of maple leaves
Lying undisturbed at
The foot of the mountain.
Ryokan

No Writer is Ever Satisfied

It's not a modern phenomenon, unless you count the 17th century as modernity.

The Author to Her Book
Anne Bradstreet

Thou ill-formed offspring of my feeble brain,
Who after birth didst by my side remain,
Till snatched from thence by friends, less wise than true,
Who thee abroad, exposed to public view,
Made thee in rags, halting to th' press to trudge,
Where errors were not lessened (all may judge).
At thy return my blushing was not small,
My rambling brat (in print) should mother call,
I cast thee by as one unfit for light,
The visage was so irksome in my sight;
Yet being mine own, at length affection would
Thy blemishes amend, if so I could.
I washed thy face, but more defects I saw,
And rubbing off a spot still made a flaw.
I stretched thy joints to make thee even feet,
Yet still thou run'st more hobbling than is meet;
In better dress to trim thee was my mind,
But nought save homespun cloth i' th' house I find.
In this array 'mongst vulgars may'st thou roam.
In critic's hands beware thou dost not come,
And take thy way where yet thou art not known;
If for thy father asked, say thou hadst none;
And for thy mother, she alas is poor,
Which caused her thus to send thee out of door.

The Poet

Astigmatism
Amy Lowell

To Ezra Pound: with Much Friendship and Admiration and Some Differences of Opinion

The Poet took his walking-stick
Of fine and polished ebony.
Set in the close-grained wood
Were quaint devices;
Patterns in ambers,
And in the clouded green of jades.
The top was smooth, yellow ivory,
And a tassel of tarnished gold
Hung by a faded cord from a hole
Pierced in the hard wood,
Circled with silver.
For years the Poet had wrought upon this cane.
His wealth had gone to enrich it,
His experiences to pattern it,
His labour to fashion and burnish it.
To him it was perfect,
A work of art and a weapon,
A delight and a defence.
The Poet took his walking-stick
And walked abroad.

Peace be with you, Brother.

The Poet came to a meadow.
Sifted through the grass were daisies,
Open-mouthed, wondering, they gazed at the sun.
The Poet struck them with his cane.
The little heads flew off, and they lay
Dying, open-mouthed and wondering,
On the hard ground.
"They are useless. They are not roses," said the Poet.

Peace be with you, Brother. Go your ways.

The Poet came to a stream.
Purple and blue flags waded in the water;
In among them hopped the speckled frogs;
The wind slid through them, rustling.
The Poet lifted his cane,
And the iris heads fell into the water.
They floated away, torn and drowning.
"Wretched flowers," said the Poet,
"They are not roses."

Peace be with you, Brother. It is your affair.

The Poet came to a garden.
Dahlias ripened against a wall,
Gillyflowers stood up bravely for all their short stature,
And a trumpet-vine covered an arbour
With the red and gold of its blossoms.
Red and gold like the brass notes of trumpets.
The Poet knocked off the stiff heads of the dahlias,
And his cane lopped the gillyflowers at the ground.
Then he severed the trumpet-blossoms from their stems.
Red and gold they lay scattered,
Red and gold, as on a battle field;
Red and gold, prone and dying.
"They were not roses," said the Poet.

Peace be with you, Brother.
But behind you is destruction, and waste places.

The Poet came home at evening,
And in the candle-light
He wiped and polished his cane.
The orange candle flame leaped in the yellow ambers,
And made the jades undulate like green pools.
It played along the bright ebony,
And glowed in the top of cream-coloured ivory.
But these things were dead,
Only the candle-light made them seem to move.
"It is a pity there were no roses," said the Poet.

Peace be with you, Brother. You have chosen your part.

Severance

Eloisa to Abelard
Alexander Pope

In these deep solitudes and awful cells,
Where heav'nly-pensive contemplation dwells,
And ever-musing melancholy reigns;
What means this tumult in a vestal's veins?
Why rove my thoughts beyond this last retreat?
Why feels my heart its long-forgotten heat?
Yet, yet I love! — From Abelard it came,
And Eloisa yet must kiss the name.

Dear fatal name! rest ever unreveal'd,
Nor pass these lips in holy silence seal'd.
Hide it, my heart, within that close disguise,
Where mix'd with God's, his lov'd idea lies:
O write it not, my hand — the name appears
Already written — wash it out, my tears!
In vain lost Eloisa weeps and prays,
Her heart still dictates, and her hand obeys.

Relentless walls! whose darksome round contains
Repentant sighs, and voluntary pains:
Ye rugged rocks! which holy knees have worn;
Ye grots and caverns shagg'd with horrid thorn!
Shrines! where their vigils pale-ey'd virgins keep,
And pitying saints, whose statues learn to weep!
Though cold like you, unmov'd, and silent grown,
I have not yet forgot myself to stone.
All is not Heav'n's while Abelard has part,
Still rebel nature holds out half my heart;
Nor pray'rs nor fasts its stubborn pulse restrain,
Nor tears, for ages, taught to flow in vain.

Soon as thy letters trembling I unclose,
That well-known name awakens all my woes.
Oh name for ever sad! for ever dear!
Still breath'd in sighs, still usher'd with a tear.
I tremble too, where'er my own I find,
Some dire misfortune follows close behind.
Line after line my gushing eyes o'erflow,
Led through a sad variety of woe:
Now warm in love, now with'ring in thy bloom,
Lost in a convent's solitary gloom!
There stern religion quench'd th' unwilling flame,
There died the best of passions, love and fame.

Yet write, oh write me all, that I may join
Griefs to thy griefs, and echo sighs to thine.
Nor foes nor fortune take this pow'r away;
And is my Abelard less kind than they?
Tears still are mine, and those I need not spare,
Love but demands what else were shed in pray'r;
No happier task these faded eyes pursue;
To read and weep is all they now can do.

Then share thy pain, allow that sad relief;
Ah, more than share it! give me all thy grief.
Heav'n first taught letters for some wretch's aid,
Some banish'd lover, or some captive maid;
They live, they speak, they breathe what love inspires,
Warm from the soul, and faithful to its fires,
The virgin's wish without her fears impart,
Excuse the blush, and pour out all the heart,
Speed the soft intercourse from soul to soul,
And waft a sigh from Indus to the Pole.

Thou know'st how guiltless first I met thy flame,
When Love approach'd me under Friendship's name;
My fancy form'd thee of angelic kind,
Some emanation of th' all-beauteous Mind.
Those smiling eyes, attemp'ring ev'ry day,
Shone sweetly lambent with celestial day.
Guiltless I gaz'd; heav'n listen'd while you sung;
And truths divine came mended from that tongue.
From lips like those what precept fail'd to move?
Too soon they taught me 'twas no sin to love.
Back through the paths of pleasing sense I ran,
Nor wish'd an Angel whom I lov'd a Man.
Dim and remote the joys of saints I see;
Nor envy them, that heav'n I lose for thee.

How oft, when press'd to marriage, have I said,
Curse on all laws but those which love has made!
Love, free as air, at sight of human ties,
Spreads his light wings, and in a moment flies,
Let wealth, let honour, wait the wedded dame,
August her deed, and sacred be her fame;
Before true passion all those views remove,
Fame, wealth, and honour! what are you to Love?
The jealous God, when we profane his fires,
Those restless passions in revenge inspires;
And bids them make mistaken mortals groan,
Who seek in love for aught but love alone.
Should at my feet the world's great master fall,
Himself, his throne, his world, I'd scorn 'em all:
Not Caesar's empress would I deign to prove;
No, make me mistress to the man I love;
If there be yet another name more free,
More fond than mistress, make me that to thee!
Oh happy state! when souls each other draw,
When love is liberty, and nature, law:
All then is full, possessing, and possess'd,
No craving void left aching in the breast:
Ev'n thought meets thought, ere from the lips it part,
And each warm wish springs mutual from the heart.
This sure is bliss (if bliss on earth there be)
And once the lot of Abelard and me.

Alas, how chang'd! what sudden horrors rise!
A naked lover bound and bleeding lies!
Where, where was Eloise? her voice, her hand,
Her poniard, had oppos'd the dire command.
Barbarian, stay! that bloody stroke restrain;
The crime was common, common be the pain.
I can no more; by shame, by rage suppress'd,
Let tears, and burning blushes speak the rest.

Canst thou forget that sad, that solemn day,
When victims at yon altar's foot we lay?
Canst thou forget what tears that moment fell,
When, warm in youth, I bade the world farewell?
As with cold lips I kiss'd the sacred veil,
The shrines all trembl'd, and the lamps grew pale:
Heav'n scarce believ'd the conquest it survey'd,
And saints with wonder heard the vows I made.
Yet then, to those dread altars as I drew,
Not on the Cross my eyes were fix'd, but you:
Not grace, or zeal, love only was my call,
And if I lose thy love, I lose my all.
Come! with thy looks, thy words, relieve my woe;
Those still at least are left thee to bestow.
Still on that breast enamour'd let me lie,
Still drink delicious poison from thy eye,
Pant on thy lip, and to thy heart be press'd;
Give all thou canst — and let me dream the rest.
Ah no! instruct me other joys to prize,
With other beauties charm my partial eyes,
Full in my view set all the bright abode,
And make my soul quit Abelard for God.

Ah, think at least thy flock deserves thy care,
Plants of thy hand, and children of thy pray'r.
From the false world in early youth they fled,
By thee to mountains, wilds, and deserts led.
You rais'd these hallow'd walls; the desert smil'd,
And Paradise was open'd in the wild.
No weeping orphan saw his father's stores
Our shrines irradiate, or emblaze the floors;
No silver saints, by dying misers giv'n,
Here brib'd the rage of ill-requited heav'n:
But such plain roofs as piety could raise,
And only vocal with the Maker's praise.
In these lone walls (their days eternal bound)
These moss-grown domes with spiry turrets crown'd,
Where awful arches make a noonday night,
And the dim windows shed a solemn light;
Thy eyes diffus'd a reconciling ray,
And gleams of glory brighten'd all the day.
But now no face divine contentment wears,
'Tis all blank sadness, or continual tears.
See how the force of others' pray'rs I try,
(O pious fraud of am'rous charity!)
But why should I on others' pray'rs depend?
Come thou, my father, brother, husband, friend!
Ah let thy handmaid, sister, daughter move,
And all those tender names in one, thy love!
The darksome pines that o'er yon rocks reclin'd
Wave high, and murmur to the hollow wind,
The wand'ring streams that shine between the hills,
The grots that echo to the tinkling rills,
The dying gales that pant upon the trees,
The lakes that quiver to the curling breeze;
No more these scenes my meditation aid,
Or lull to rest the visionary maid.
But o'er the twilight groves and dusky caves,
Long-sounding aisles, and intermingled graves,
Black Melancholy sits, and round her throws
A death-like silence, and a dread repose:
Her gloomy presence saddens all the scene,
Shades ev'ry flow'r, and darkens ev'ry green,
Deepens the murmur of the falling floods,
And breathes a browner horror on the woods.

Yet here for ever, ever must I stay;
Sad proof how well a lover can obey!
Death, only death, can break the lasting chain;
And here, ev'n then, shall my cold dust remain,
Here all its frailties, all its flames resign,
And wait till 'tis no sin to mix with thine.

Ah wretch! believ'd the spouse of God in vain,
Confess'd within the slave of love and man.
Assist me, Heav'n! but whence arose that pray'r?
Sprung it from piety, or from despair?
Ev'n here, where frozen chastity retires,
Love finds an altar for forbidden fires.
I ought to grieve, but cannot what I ought;
I mourn the lover, not lament the fault;
I view my crime, but kindle at the view,
Repent old pleasures, and solicit new;
Now turn'd to Heav'n, I weep my past offence,
Now think of thee, and curse my innocence.
Of all affliction taught a lover yet,
'Tis sure the hardest science to forget!
How shall I lose the sin, yet keep the sense,
And love th' offender, yet detest th' offence?
How the dear object from the crime remove,
Or how distinguish penitence from love?
Unequal task! a passion to resign,
For hearts so touch'd, so pierc'd, so lost as mine.
Ere such a soul regains its peaceful state,
How often must it love, how often hate!
How often hope, despair, resent, regret,
Conceal, disdain — do all things but forget.
But let Heav'n seize it, all at once 'tis fir'd;
Not touch'd, but rapt; not waken'd, but inspir'd!
Oh come! oh teach me nature to subdue,
Renounce my love, my life, myself — and you.
Fill my fond heart with God alone, for he
Alone can rival, can succeed to thee.

How happy is the blameless vestal's lot!
The world forgetting, by the world forgot.
Eternal sunshine of the spotless mind!
Each pray'r accepted, and each wish resign'd;
Labour and rest, that equal periods keep;
"Obedient slumbers that can wake and weep;"
Desires compos'd, affections ever ev'n,
Tears that delight, and sighs that waft to Heav'n.
Grace shines around her with serenest beams,
And whisp'ring angels prompt her golden dreams.
For her th' unfading rose of Eden blooms,
And wings of seraphs shed divine perfumes,
For her the Spouse prepares the bridal ring,
For her white virgins hymeneals sing,
To sounds of heav'nly harps she dies away,
And melts in visions of eternal day.

Far other dreams my erring soul employ,
Far other raptures, of unholy joy:
When at the close of each sad, sorrowing day,
Fancy restores what vengeance snatch'd away,
Then conscience sleeps, and leaving nature free,
All my loose soul unbounded springs to thee.
Oh curs'd, dear horrors of all-conscious night!
How glowing guilt exalts the keen delight!
Provoking Daemons all restraint remove,
And stir within me every source of love.
I hear thee, view thee, gaze o'er all thy charms,
And round thy phantom glue my clasping arms.
I wake — no more I hear, no more I view,
The phantom flies me, as unkind as you.
I call aloud; it hears not what I say;
I stretch my empty arms; it glides away.
To dream once more I close my willing eyes;
Ye soft illusions, dear deceits, arise!
Alas, no more — methinks we wand'ring go
Through dreary wastes, and weep each other's woe,
Where round some mould'ring tower pale ivy creeps,
And low-brow'd rocks hang nodding o'er the deeps.
Sudden you mount, you beckon from the skies;
Clouds interpose, waves roar, and winds arise.
I shriek, start up, the same sad prospect find,
And wake to all the griefs I left behind.

For thee the fates, severely kind, ordain
A cool suspense from pleasure and from pain;
Thy life a long, dead calm of fix'd repose;
No pulse that riots, and no blood that glows.
Still as the sea, ere winds were taught to blow,
Or moving spirit bade the waters flow;
Soft as the slumbers of a saint forgiv'n,
And mild as opening gleams of promis'd heav'n.

Come, Abelard! for what hast thou to dread?
The torch of Venus burns not for the dead.
Nature stands check'd; Religion disapproves;
Ev'n thou art cold — yet Eloisa loves.
Ah hopeless, lasting flames! like those that burn
To light the dead, and warm th' unfruitful urn.

What scenes appear where'er I turn my view?
The dear ideas, where I fly, pursue,
Rise in the grove, before the altar rise,
Stain all my soul, and wanton in my eyes.
I waste the matin lamp in sighs for thee,
Thy image steals between my God and me,
Thy voice I seem in ev'ry hymn to hear,
With ev'ry bead I drop too soft a tear.
When from the censer clouds of fragrance roll,
And swelling organs lift the rising soul,
One thought of thee puts all the pomp to flight,
Priests, tapers, temples, swim before my sight:
In seas of flame my plunging soul is drown'd,
While altars blaze, and angels tremble round.

While prostrate here in humble grief I lie,
Kind, virtuous drops just gath'ring in my eye,
While praying, trembling, in the dust I roll,
And dawning grace is op'ning on my soul:
Come, if thou dar'st, all charming as thou art!
Oppose thyself to Heav'n; dispute my heart;
Come, with one glance of those deluding eyes
Blot out each bright idea of the skies;
Take back that grace, those sorrows, and those tears;
Take back my fruitless penitence and pray'rs;
Snatch me, just mounting, from the blest abode;
Assist the fiends, and tear me from my God!

No, fly me, fly me, far as pole from pole;
Rise Alps between us! and whole oceans roll!
Ah, come not, write not, think not once of me,
Nor share one pang of all I felt for thee.
Thy oaths I quit, thy memory resign;
Forget, renounce me, hate whate'er was mine.
Fair eyes, and tempting looks (which yet I view!)
Long lov'd, ador'd ideas, all adieu!
Oh Grace serene! oh virtue heav'nly fair!
Divine oblivion of low-thoughted care!
Fresh blooming hope, gay daughter of the sky!
And faith, our early immortality!
Enter, each mild, each amicable guest;
Receive, and wrap me in eternal rest!

See in her cell sad Eloisa spread,
Propp'd on some tomb, a neighbour of the dead.
In each low wind methinks a spirit calls,
And more than echoes talk along the walls.
Here, as I watch'd the dying lamps around,
From yonder shrine I heard a hollow sound.
"Come, sister, come!" (it said, or seem'd to say)
"Thy place is here, sad sister, come away!
Once like thyself, I trembled, wept, and pray'd,
Love's victim then, though now a sainted maid:
But all is calm in this eternal sleep;
Here grief forgets to groan, and love to weep,
Ev'n superstition loses ev'ry fear:
For God, not man, absolves our frailties here."

I come, I come! prepare your roseate bow'rs,
Celestial palms, and ever-blooming flow'rs.
Thither, where sinners may have rest, I go,
Where flames refin'd in breasts seraphic glow:
Thou, Abelard! the last sad office pay,
And smooth my passage to the realms of day;
See my lips tremble, and my eye-balls roll,
Suck my last breath, and catch my flying soul!
Ah no — in sacred vestments may'st thou stand,
The hallow'd taper trembling in thy hand,
Present the cross before my lifted eye,
Teach me at once, and learn of me to die.
Ah then, thy once-lov'd Eloisa see!
It will be then no crime to gaze on me.
See from my cheek the transient roses fly!
See the last sparkle languish in my eye!
Till ev'ry motion, pulse, and breath be o'er;
And ev'n my Abelard be lov'd no more.
O Death all-eloquent! you only prove
What dust we dote on, when 'tis man we love.

Then too, when fate shall thy fair frame destroy,
(That cause of all my guilt, and all my joy)
In trance ecstatic may thy pangs be drown'd,
Bright clouds descend, and angels watch thee round,
From op'ning skies may streaming glories shine,
And saints embrace thee with a love like mine.

May one kind grave unite each hapless name,
And graft my love immortal on thy fame!
Then, ages hence, when all my woes are o'er,
When this rebellious heart shall beat no more;
If ever chance two wand'ring lovers brings
To Paraclete's white walls and silver springs,
O'er the pale marble shall they join their heads,
And drink the falling tears each other sheds;
Then sadly say, with mutual pity mov'd,
"Oh may we never love as these have lov'd!"

From the full choir when loud Hosannas rise,
And swell the pomp of dreadful sacrifice,
Amid that scene if some relenting eye
Glance on the stone where our cold relics lie,
Devotion's self shall steal a thought from Heav'n,
One human tear shall drop and be forgiv'n.
And sure, if fate some future bard shall join
In sad similitude of griefs to mine,
Condemn'd whole years in absence to deplore,
And image charms he must behold no more;
Such if there be, who loves so long, so well;
Let him our sad, our tender story tell;
The well-sung woes will soothe my pensive ghost;
He best can paint 'em, who shall feel 'em most.

If you are interested . . .

Poetry
Marianne Moore

I, too, dislike it: there are things that are important beyond
all this fiddle.
Reading it, however, with a perfect contempt for it, one
discovers in
it after all, a place for the genuine.
Hands that can grasp, eyes
that can dilate, hair that can rise
if it must, these things are important not because a

high-sounding interpretation can be put upon them but because
they are
useful. When they become so derivative as to become
unintelligible,
the same thing may be said for all of us, that we
do not admire what
we cannot understand: the bat
holding on upside down or in quest of something to

eat, elephants pushing, a wild horse taking a roll, a tireless
wolf under
a tree, the immovable critic twitching his skin like a horse
that feels a flea, the base-
ball fan, the statistician--
nor is it valid
to discriminate against "business documents and

school-books"; all these phenomena are important. One must make
a distinction
however: when dragged into prominence by half poets, the
result is not poetry,
nor till the poets among us can be
"literalists of
the imagination"--above
insolence and triviality and can present

for inspection, "imaginary gardens with real toads in them,"
shall we have
it. In the meantime, if you demand on the one hand,
the raw material of poetry in
all its rawness and
that which is on the other hand
genuine, you are interested in poetry.

Speaking the Body

An exact comprehension of the composer’s intent
Noah Eli Gordon

Cloudless sky, a tendril root, a chord begun
as unfolding duration & one’s lost words,
a red lexicon, an empty definition

gathering its discourse—the flow from content
to perception: language is a translation of grace.
Say the body, say the heart, a composition in blue,

the passing energy, cell, motion, inevitability;
an impact until meaning wears through
the mind’s opulence, its spindle—a white thread.

Tethered to conviction, one says moon, one, emotion
—the recurrence of night: a door will open,
shifting from anonymity to intellection—a translation

of sight with speech, awoken not by voice
but what precedes it: the worldliness, wordless;
a measure of sound or movement to song.

Unhinged

Heart
Gregory Orr

Its hinges rustless,
restless; opening
and shutting on trust.

~

We guard it;
it guides us.
Gods lack it.
Vacant their gaze.

~

Doctors listen
to its cryptic
lisp.
From sacred
to scared — a few
beats skipped,
a letter slipped.

~

Cavity and spasm;
a spark can start
it; parting stop it.

Such a radiant husk
to hive our dust!

Another Translation of

No. 101
Gaius Valerius Catullus
(translated by Charles Martin)

Driven across many nations, across many oceans,
I am here, my brother, for this final parting,
to offer at last those gifts which the dead are given
and to speak in vain to your unspeaking ashes,
since bitter fortune forbids you to hear me or answer,
O my wretched brother, so abruptly taken!
But now I must celebrate grief with funeral tributes
offered the dead in the ancient way of the fathers;
accept these presents, wet with my brotherly tears, and
now & forever, my brother, hail & farewell.

Past Life

A Psalm of Life
Henry Wadsworth Longfellow

What the Heart of the Young Man Said to the Psalmist

Tell me not, in mournful numbers,
"Life is but an empty dream!"
For the soul is dead that slumbers,
And things are not what they seem.

Life is real! Life is earnest!
And the grave is not its goal;
"Dust thou art, to dust returnest,"
Was not spoken of the soul.

Not enjoyment, and not sorrow,
Is our destined end or way;
But to act to each to-morrow
Finds us farther than to-day.

Art is long, and Time is fleeting,
And our hearts, though stout and brave,
Still, like muffled drums, are beating
Funeral marches to the grave.

In the world's broad field of battle,
In the bivouac of Life,
Be not like dumb, driven cattle!
Be a hero in the strife!

Trust no Future, howe'er pleasant!
Let the dead Past bury its dead!
Act -- act in the living Present!
Heart within, and God o'erhead!

Lives of great men all remind us
We can make our lives sublime,
And, departing, leave behind us
Footprints on the sands of time;

Footprints, that perhaps another,
Sailing o'er life's solemn main,
A forlorn and shipwrecked brother,
Seeing, shall take heart again.

Let us, then, be up and doing,
With a heart for any fate;
Still achieving, still pursuing
Learn to labor and to wait.

Nothing Personal

Earth Tremors Felt in Missouri
Mona Van Duyn

The quake last night was nothing personal,
you told me this morning. I think one always wonders,
unless, of course, something is visible: tremors
that take us, private and willy-nilly, are usual.

But the earth said last night that what I feel,
you feel; what secretly moves you, moves me.
One small, sensuous catastrophe
makes inklings letters, spelled in a worldly tremble.

The earth, with others on it, turns in its course
as we turn toward each other, less than ourselves, gross,
mindless, more than we were. Pebbles, we swell
to planets, nearing the universal roll,
in our conceit even comprehending the sun,
whose bright ordeal leaves cool men woebegone.

Listening to the Trees

The White Room
Charles Simic

The obvious is difficult
To prove. Many prefer
The hidden. I did, too.
I listened to the trees.

They had a secret
Which they were about to
Make known to me--
And then didn't.

Summer came. Each tree
On my street had its own
Scheherazade. My nights
Were a part of their wild

Storytelling. We were
Entering dark houses,
Always more dark houses,
Hushed and abandoned.

There was someone with eyes closed
On the upper floors.
The fear of it, and the wonder,
Kept me sleepless.

The truth is bald and cold,
Said the woman
Who always wore white.
She didn't leave her room.

The sun pointed to one or two
Things that had survived
The long night intact.
The simplest things,

Difficult in their obviousness.
They made no noise.
It was the kind of day
People described as "perfect."

Gods disguising themselves
As black hairpins, a hand-mirror,
A comb with a tooth missing?
No! That wasn't it.

Just things as they are,
Unblinking, lying mute
In that bright light--
And the trees waiting for the night.

Concerto for Piano and Two Lizards

Channel 2: Horowitz Playing Mozart
Sarah Getty

sits with a small smile, watching
two speckled frogs or lizards run right
and left, apart, together

on long legs bendable as rubber.
He doesn't bend down, looking,
or sway to keep up with their scuffles,

but sits immobile, his eyes
icon-sized but lidded, following
those mottled creatures. Bow-tied,

sweater-vested, he could be a clerk
at a counter, there to wrap
things up for us the old-fashioned way,

with brown paper and a string.
He is old, no doubting it; his lean
head states the skull's theme clearly.

Strict time has taught him patience, practice
this perfect stillness, amused,
a little, like Buddha, watching two

lithe, spotted beasts (allegro)
in their hopscotch hurry. Now stealthy
(lento), now frantic, they ramble

and attack and he observes, as if
to learn their motives--hunger?
fear? territorial contention?

They could be hoarding, like ants,
against the future, or this display
might be, in fact, a mating

dance (as we, the viewers, are hoping
in our hearts). They are not tame,
exactly, or exactly trapped--that

man is kindly, it strikes us,
and would release them. He is admiring,
it seems, the precision, worked

out in all this time--the way they fit
their niche. Just the parts they need
they have evolved: the long and recurved

reachers, the last joints padded
hammer heads. He glances now and then
at Previn, the beat-keeper.

"They will go on forever,"
he might be saying, "unless your stick
can make an end of it." There--

the cut-off falls, the last chord
lingers in the strings. The old man flings
them--winged?--up into the air,

a referee (that bow tie)
declaring both the winner, sending
them heavenward, letting go.

From Elsewhere

Not in the poet
George Barker

Not in the poet is the poem or
even the poetry. It is hiding behind
a broken wall or a geranium
or walking around pretending to be blind
seeking a home that it cannot find.

Into the ego that has emptied out
everything except its abstract being
and left only a shell, the poem then
moves silently, forseeing
its purpose is to haunt the shell like singing.

Raising a Glass

Alpha Zulu
Gary Lilley

I know more people dead than people alive,
my insomniac answer to self-addressed prayers

is that in the small hours even God drinks alone.
My self-portrait; gray locks in the beard, red eyes

burning back in the mirror, the truths of grooves
and nicks on my face, one missing tooth.

I'm a man who's gathered too many addresses,
too many goodbyes. There's not much money

or time left to keep on subtracting from my life.
Except for needs I can pack everything I have

into my old black sea-bag. To all the bloods
I'll raise a bourbon, plant my elbow on the bar

and drink to the odds that one more shot
won't have me wearing a suit of blues.

I'm so exposed, with you all of me is at risk,
and if that's only one side of being in love

that's the one deep down that proves it.
Here you are sleeping with me, narcotic as night,

naked as an open hand, and the skinny of it is,
what makes you think I am afraid of this

when I once lived in a cave, moss on the cold wall,
all my bones scattered across the floor.

Things Not Written Of

79
Joachim du Bellay

I do not write of love: I am no lover.
I do not write of beauty: I have no woman.
I do not write of gentleness but the human
rudeness I see. And my pleasures are all over,
so I do not try to write of pleasure, but only
misery. Favors? No, I am on my own.
I do not write of riches: I have none.
Or of life at court, when I'm far from it and lonely.

I do not write of health, for I'm often ill.
I cannot write of France from a Roman hill.
Or honor? I see so little of that about.
I cannot write of friendship but only pretence.
I will not write of virtue, here in its absence.
Or knowledge or faith, in ignorance and doubt.

The Knell of the Parting Day

Elegy
(Written in a Country Churchyard)
Thomas Gray

The curfew tolls the knell of parting day,
The lowing herd winds slowly o'er the lea,
The ploughman homeward plods his weary way,
And leaves the world to darkness and to me.

Now fades the glimmering landscape on the sight,
And all the air a solemn stillness holds,
Save where the beetle wheels his droning flight,
And drowsy tinklings lull the distant folds:

Save that from yonder ivy-mantled tower
The moping owl does to the moon complain
Of such as, wandering near her secret bower,
Molest her ancient solitary reign.

Beneath those rugged elms, that yew-tree's shade
Where heaves the turf in many a mouldering heap,
Each in his narrow cell for ever laid,
The rude Forefathers of the hamlet sleep.

The breezy call of incense-breathing morn,
The swallow twittering from the straw-built shed,
The cock's shrill clarion, or the echoing horn,
No more shall rouse them from their lowly bed.

For them no more the blazing hearth shall burn
Or busy housewife ply her evening care:
No children run to lisp their sire's return,
Or climb his knees the envied kiss to share.

Oft did the harvest to their sickle yield,
Their furrow oft the stubborn glebe has broke;
How jocund did they drive their team afield!
How bow'd the woods beneath their sturdy stroke!

Let not Ambition mock their useful toil,
Their homely joys, and destiny obscure;
Nor Grandeur hear with a disdainful smile
The short and simple annals of the Poor.

The boast of heraldry, the pomp of power,
And all that beauty, all that wealth e'er gave
Awaits alike th' inevitable hour:—
The paths of glory lead but to the grave.

Nor you, ye Proud, impute to these the fault
If Memory o'er their tomb no trophies raise,
Where through the long-drawn aisle and fretted vault
The pealing anthem swells the note of praise.

Can storied urn or animated bust
Back to its mansion call the fleeting breath,
Can Honour's voice provoke the silent dust,
Or Flattery soothe the dull cold ear of Death?

Perhaps in this neglected spot is laid
Some heart once pregnant with celestial fire;
Hands, that the rod of empire might have sway'd,
Or waked to ecstasy the living lyre:

But Knowledge to their eyes her ample page,
Rich with the spoils of time, did ne'er unroll;
Chill Penury repress'd their noble rage,
And froze the genial current of the soul.

Full many a gem of purest ray serene
The dark unfathom'd caves of ocean bear:
Full many a flower is born to blush unseen,
And waste its sweetness on the desert air.

Some village-Hampden, that with dauntless breast
The little tyrant of his fields withstood,
Some mute inglorious Milton here may rest,
Some Cromwell, guiltless of his country's blood.

Th' applause of listening senates to command,
The threats of pain and ruin to despise,
To scatter plenty o'er a smiling land,
And read their history in a nation's eyes

Their lot forbad: nor circumscribed alone
Their growing virtues, but their crimes confined;
Forbad to wade through slaughter to a throne,
And shut the gates of mercy on mankind;

The struggling pangs of conscious truth to hide,
To quench the blushes of ingenuous shame,
Or heap the shrine of Luxury and Pride
With incense kindled at the Muse's flame.

Far from the madding crowd's ignoble strife
Their sober wishes never learn'd to stray;
Along the cool sequester'd vale of life
They kept the noiseless tenour of their way.

Yet e'en these bones from insult to protect
Some frail memorial still erected nigh,
With uncouth rhymes and shapeless sculpture deck'd,
Implores the passing tribute of a sigh.

Their name, their years, spelt by th' unletter'd Muse,
The place of fame and elegy supply:
And many a holy text around she strews,
That teach the rustic moralist to die.

For who, to dumb forgetfulness a prey,
This pleasing anxious being e'er resign'd,
Left the warm precincts of the cheerful day,
Nor cast one longing lingering look behind?

On some fond breast the parting soul relies,
Some pious drops the closing eye requires;
E'en from the tomb the voice of Nature cries,
E'en in our ashes live their wonted fires.

For thee, who, mindful of th' unhonour'd dead,
Dost in these lines their artless tale relate;
If chance, by lonely Contemplation led,
Some kindred spirit shall enquire thy fate,—

Haply some hoary-headed swain may say,
'Oft have we seen him at the peep of dawn
Brushing with hasty steps the dews away,
To meet the sun upon the upland lawn;

'There at the foot of yonder nodding beech
That wreathes its old fantastic roots so high,
His listless length at noon-tide would he stretch,
And pore upon the brook that babbles by.

'Hard by yon wood, now smiling as in scorn,
Muttering his wayward fancies he would rove;
Now drooping, woeful-wan, like one forlorn,
Or crazed with care, or cross'd in hopeless love.

'One morn I miss'd him on the custom'd hill,
Along the heath, and near his favourite tree;
Another came; nor yet beside the rill,
Nor up the lawn, nor at the wood was he;

'The next with dirges due in sad array
Slow through the church-way path we saw him borne,—
Approach and read (for thou canst read) the lay
Graved on the stone beneath yon agèd thorn:'

The Epitaph

Here rests his head upon the lap of Earth
A youth, to Fortune and to Fame unknown;
Fair Science frown'd not on his humble birth
And Melancholy mark'd him for her own.

Large was his bounty, and his soul sincere;
Heaven did a recompense as largely send:
He gave to Mis'ry all he had, a tear,
He gain'd from Heaven, 'twas all he wish'd, a friend.

No farther seek his merits to disclose,
Or draw his frailties from their dread abode,
(There they alike in trembling hope repose,)
The bosom of his Father and his God.

Unscripted

Piazza Gimma
Fabio Mórabito
translated by Geoff Hargreaves

I spy on the building
closest to hand
a movement that begins
out on its balconies
as the day's routine,
the early tasks of morning
with their stock and styleless gestures,
flowers again.
I fall in love at this one hour
when people most repeat themselves,
least connected to their inner lives
and packed with habits laid down long ago.
There's a woman I observe who
constantly appears in bathrobe,
on floor eight, with coffee cup,
matronly blonde, in love with life
casting glances at her wider world while taking
two quick sips or three,
and then with an erotic shake
loosens up the sugared lees, to reach
the best of sips, the last, the sweetest. . .
all before quite waking up.
Before you quite wake up,
blonde of the morning, hold fast
to ritual tasting, self-communion.
Off from your balcony,
at last emerged from sleep,
slip inside your home, by now yourself,
make gestures of your own,
not those somebody has bequeathed to you.

Fading

Losing Track
Denise Levertov

Long after you have swung back
away from me
I think you are still with me:

you come in close to the shore
on the tide
and nudge me awake the way

a boat adrift nudges the pier:
am I a pier
half-in half-out of the water?

and in the pleasure of that communion
I lose track,
the moon I watch goes down, the

tide swings you away before
I know I'm
alone again long since,

mud sucking at gray and black
timbers of me,
a light growth of green dreams drying.

As I Walk These Broad Majestic Days
Walt Whitman

As I walk these broad majestic days of peace,
(For the war, the struggle of blood finish'd, wherein, O terrific Ideal,
Against vast odds erewhile having gloriously won,
Now thou stridest on, yet perhaps in time toward denser wars,
Perhaps to engage in time in still more dreadful contests, dangers,
Longer campaigns and crises, labors beyond all others,)
Around me I hear that eclat of the world, politics, produce,
The announcements of recognized things, science,
The approved growth of cities and the spread of inventions.

I see the ships, (they will last a few years,)
The vast factories with their foremen and workmen,
And hear the indorsement of all, and do not object to it.

But I too announce solid things,
Science, ships, politics, cities, factories, are not nothing,
Like a grand procession to music of distant bugles pouring,
triumphantly moving, and grander heaving in sight,
They stand for realities—all is as it should be.

Then my realities;
What else is so real as mine?
Libertad and the divine average, freedom to every slave on the face of the earth,
The rapt promises and luminé of seers, the spiritual world, these centuries-lasting songs,
And our visions, the visions of poets, the most solid announcements of any.

A classic translated by a classic:

The Iliad
Book XVIII
(The Shield of Achilles)
Homer
translated by Alexander Pope

Thetis goes to the palace of Vulcan to obtain new arms for her son.


"Thee, welcome, goddess! what occasion calls
(So long a stranger) to these honour'd walls?
'Tis thine, fair Thetis, the command to lay,
And Vulcan's joy and duty to obey."

To whom the mournful mother thus replies:
(The crystal drops stood trembling in her eyes:)
"O Vulcan! say, was ever breast divine
So pierced with sorrows, so o'erwhelm'd as mine?
Of all the goddesses, did Jove prepare
For Thetis only such a weight of care?
I, only I, of all the watery race
By force subjected to a man's embrace,
Who, sinking now with age and sorrow, pays
The mighty fine imposed on length of days.
Sprung from my bed, a godlike hero came,
The bravest sure that ever bore the name;
Like some fair plant beneath my careful hand
He grew, he flourish'd, and he graced the land:
To Troy I sent him! but his native shore
Never, ah never, shall receive him more;
(Even while he lives, he wastes with secret woe;)
Nor I, a goddess, can retard the blow!
Robb'd of the prize the Grecian suffrage gave,
The king of nations forced his royal slave:
For this he grieved; and, till the Greeks oppress'd
Required his arm, he sorrow'd unredress'd.
Large gifts they promise, and their elders send;
In vain--he arms not, but permits his friend
His arms, his steeds, his forces to employ:
He marches, combats, almost conquers Troy:
Then slain by Phoebus (Hector had the name)
At once resigns his armour, life, and fame.
But thou, in pity, by my prayer be won:
Grace with immortal arms this short-lived son,
And to the field in martial pomp restore,
To shine with glory, till he shines no more!"

To her the artist-god: "Thy griefs resign,
Secure, what Vulcan can, is ever thine.
O could I hide him from the Fates, as well,
Or with these hands the cruel stroke repel,
As I shall forge most envied arms, the gaze
Of wondering ages, and the world's amaze!"

Thus having said, the father of the fires
To the black labours of his forge retires.
Soon as he bade them blow, the bellows turn'd
Their iron mouths; and where the furnace burn'd,
Resounding breathed: at once the blast expires,
And twenty forges catch at once the fires;
Just as the god directs, now loud, now low,
They raise a tempest, or they gently blow;
In hissing flames huge silver bars are roll'd,
And stubborn brass, and tin, and solid gold;
Before, deep fix'd, the eternal anvils stand;
The ponderous hammer loads his better hand,
His left with tongs turns the vex'd metal round,
And thick, strong strokes, the doubling vaults rebound.

Then first he form'd the immense and solid shield;
Rich various artifice emblazed the field;
Its utmost verge a threefold circle bound;
A silver chain suspends the massy round;
Five ample plates the broad expanse compose,
And godlike labours on the surface rose.
There shone the image of the master-mind:
There earth, there heaven, there ocean he design'd;
The unwearied sun, the moon completely round;
The starry lights that heaven's high convex crown'd;
The Pleiads, Hyads, with the northern team;
And great Orion's more refulgent beam;
To which, around the axle of the sky,
The Bear, revolving, points his golden eye,
Still shines exalted on the ethereal plain,
Nor bathes his blazing forehead in the main.

Two cities radiant on the shield appear,
The image one of peace, and one of war.
Here sacred pomp and genial feast delight,
And solemn dance, and hymeneal rite;
Along the street the new-made brides are led,
With torches flaming, to the nuptial bed:
The youthful dancers in a circle bound
To the soft flute, and cithern's silver sound:
Through the fair streets the matrons in a row
Stand in their porches, and enjoy the show.

There in the forum swarm a numerous train;
The subject of debate, a townsman slain:
One pleads the fine discharged, which one denied,
And bade the public and the laws decide:
The witness is produced on either hand:
For this, or that, the partial people stand:
The appointed heralds still the noisy bands,
And form a ring, with sceptres in their hands:
On seats of stone, within the sacred place,
The reverend elders nodded o'er the case;
Alternate, each the attesting sceptre took,
And rising solemn, each his sentence spoke
Two golden talents lay amidst, in sight,
The prize of him who best adjudged the right.

Another part (a prospect differing far)(255)
Glow'd with refulgent arms, and horrid war.
Two mighty hosts a leaguer'd town embrace,
And one would pillage, one would burn the place.
Meantime the townsmen, arm'd with silent care,
A secret ambush on the foe prepare:
Their wives, their children, and the watchful band
Of trembling parents, on the turrets stand.
They march; by Pallas and by Mars made bold:
Gold were the gods, their radiant garments gold,
And gold their armour: these the squadron led,
August, divine, superior by the head!
A place for ambush fit they found, and stood,
Cover'd with shields, beside a silver flood.
Two spies at distance lurk, and watchful seem
If sheep or oxen seek the winding stream.
Soon the white flocks proceeded o'er the plains,
And steers slow-moving, and two shepherd swains;
Behind them piping on their reeds they go,
Nor fear an ambush, nor suspect a foe.
In arms the glittering squadron rising round
Rush sudden; hills of slaughter heap the ground;
Whole flocks and herds lie bleeding on the plains,
And, all amidst them, dead, the shepherd swains!
The bellowing oxen the besiegers hear;
They rise, take horse, approach, and meet the war,
They fight, they fall, beside the silver flood;
The waving silver seem'd to blush with blood.
There Tumult, there Contention stood confess'd;
One rear'd a dagger at a captive's breast;
One held a living foe, that freshly bled
With new-made wounds; another dragg'd a dead;
Now here, now there, the carcases they tore:
Fate stalk'd amidst them, grim with human gore.
And the whole war came out, and met the eye;
And each bold figure seem'd to live or die.

A field deep furrow'd next the god design'd,
The third time labour'd by the sweating hind;
The shining shares full many ploughmen guide,
And turn their crooked yokes on every side.
Still as at either end they wheel around,
The master meets them with his goblet crown'd;
The hearty draught rewards, renews their toil,
Then back the turning ploughshares cleave the soil:
Behind, the rising earth in ridges roll'd;
And sable look'd, though form'd of molten gold.

Another field rose high with waving grain;
With bended sickles stand the reaper train:
Here stretched in ranks the levell'd swarths are found,
Sheaves heap'd on sheaves here thicken up the ground.
With sweeping stroke the mowers strow the lands;
The gatherers follow, and collect in bands;
And last the children, in whose arms are borne
(Too short to gripe them) the brown sheaves of corn.
The rustic monarch of the field descries,
With silent glee, the heaps around him rise.
A ready banquet on the turf is laid,
Beneath an ample oak's expanded shade.
The victim ox the sturdy youth prepare;
The reaper's due repast, the woman's care.

Next, ripe in yellow gold, a vineyard shines,
Bent with the ponderous harvest of its vines;
A deeper dye the dangling clusters show,
And curl'd on silver props, in order glow:
A darker metal mix'd intrench'd the place;
And pales of glittering tin the inclosure grace.
To this, one pathway gently winding leads,
Where march a train with baskets on their heads,
(Fair maids and blooming youths,) that smiling bear
The purple product of the autumnal year.
To these a youth awakes the warbling strings,
Whose tender lay the fate of Linus sings;
In measured dance behind him move the train,
Tune soft the voice, and answer to the strain.

Here herds of oxen march, erect and bold,
Rear high their horns, and seem to low in gold,
And speed to meadows on whose sounding shores
A rapid torrent through the rushes roars:
Four golden herdsmen as their guardians stand,
And nine sour dogs complete the rustic band.
Two lions rushing from the wood appear'd;
And seized a bull, the master of the herd:
He roar'd: in vain the dogs, the men withstood;
They tore his flesh, and drank his sable blood.
The dogs (oft cheer'd in vain) desert the prey,
Dread the grim terrors, and at distance bay.

Next this, the eye the art of Vulcan leads
Deep through fair forests, and a length of meads,
And stalls, and folds, and scatter'd cots between;
And fleecy flocks, that whiten all the scene.

A figured dance succeeds; such once was seen
In lofty Gnossus for the Cretan queen,
Form'd by Daedalean art; a comely band
Of youths and maidens, bounding hand in hand.
The maids in soft simars of linen dress'd;
The youths all graceful in the glossy vest:
Of those the locks with flowery wreath inroll'd;
Of these the sides adorn'd with swords of gold,
That glittering gay, from silver belts depend.
Now all at once they rise, at once descend,
With well-taught feet: now shape in oblique ways,
Confusedly regular, the moving maze:
Now forth at once, too swift for sight, they spring,
And undistinguish'd blend the flying ring:
So whirls a wheel, in giddy circle toss'd,
And, rapid as it runs, the single spokes are lost.
The gazing multitudes admire around:
Two active tumblers in the centre bound;
Now high, now low, their pliant limbs they bend:
And general songs the sprightly revel end.

Thus the broad shield complete the artist crown'd
With his last hand, and pour'd the ocean round:
In living silver seem'd the waves to roll,
And beat the buckler's verge, and bound the whole.

This done, whate'er a warrior's use requires
He forged; the cuirass that outshone the fires,
The greaves of ductile tin, the helm impress'd
With various sculpture, and the golden crest.
At Thetis' feet the finished labour lay:
She, as a falcon cuts the aerial way,
Swift from Olympus' snowy summit flies,
And bears the blazing present through the skies.

Double-Play

About Face
Alice Fulton

Because life's too short to blush,
I keep my blood tucked in.
I won't be mortified
by what I drive or the flaccid
vivacity of my last dinner party.
I take my cue from statues posing only
in their shoulder pads of snow: all January
you can see them working on their granite tans.

That I woke at an ungainly hour,
stripped of the merchandise that clothed me,
distilled to pure suchness,
means not enough to anyone for me
to confess. I do not suffer
from the excess of taste
that spells embarrassment:
mothers who find their kids unseemly
in their condom earrings,
girls cringing to think
they could be frumpish as their mothers.
Though the late nonerotic Elvis
in his studded gut of jumpsuit
made everybody squeamish, I admit.
Rule one: the King must not elicit pity.

Was the audience afraid of being tainted
--this might rub off on me--
or were they--surrendering--
what a femme word--feeling
solicitous--glimpsing their fragility
in his reversible purples
and unwholesome goldish chains?

At least embarrassment is not an imitation.
It's intimacy for beginners,
the orgasm no one cares to fake.
I almost admire it. I almost wrote despise.

A Little Midnight Dowland

If you haven't heard this played or sung, then you should.

Flow my tears
John Dowland

Flow, my tears, fall from your springs!

Exiled for ever, let me mourn;

Where night's black bird her sad infamy sings,

There let me live forlorn.

Down vain lights, shine you no more!

No nights are dark enough for those

That in despair their lost fortunes deplore.

Light doth but shame disclose.

Never may my woes be relieved,

Since pity is fled;

And tears and sighs and groans my weary days

Of all joys have deprived.

From the highest spire of contentment

My fortune is thrown;

And fear and grief and pain for my deserts

Are my hopes, since hope is gone.

Hark! you shadows that in darkness dwell,

Learn to contemn light

Happy, happy they that in hell

Feel not the world's despite.

Another Thing Unseen

Landscape With the Fall of Icarus
William Carlos Williams

According to Brueghel
when Icarus fell
it was spring

a farmer was ploughing
his field
the whole pageantry

of the year was
awake tingling
near

the edge of the sea
concerned
with itself

sweating in the sun
that melted
the wings' wax

unsignificantly
off the coast
there was

a splash quite unnoticed
this was
Icarus drowning

Lessons Beneath the Skin

Alice at Seventeen: Like a Blind Child
Darcy Cummings

One summer afternoon, I learned my body
like a blind child leaving a walled
school for the first time, stumbling
from cool hallways to a world
dense with scent and sound,
pines roaring in the sudden wind
like a huge chorus of insects.
I felt the damp socket of flowers,
touched weeds riding the crest
of a stony ridge, and the scrubby
ground cover on low hills.
Haystacks began to burn,
smoke rose like sheets of
translucent mica. The thick air
hummed over the stretched wires
of wheat as I lay in the overgrown field
listening to the shrieks of small rabbits
bounding beneath my skin.

A Romance Before Bedtime

The Lady of Shallott
Alfred, Lord Tennyson

On either side the river lie
Long fields of barley and of rye,
That clothe the wold and meet the sky;
And through the field the road run by
To many-tower'd Camelot;
And up and down the people go,
Gazing where the lilies blow
Round an island there below,
The island of Shalott.

Willows whiten, aspens quiver,
Little breezes dusk and shiver
Through the wave that runs for ever
By the island in the river
Flowing down to Camelot.
Four grey walls, and four grey towers,
Overlook a space of flowers,
And the silent isle imbowers
The Lady of Shalott.

By the margin, willow veil'd,
Slide the heavy barges trail'd
By slow horses; and unhail'd
The shallop flitteth silken-sail'd
Skimming down to Camelot:
But who hath seen her wave her hand?
Or at the casement seen her stand?
Or is she known in all the land,
The Lady of Shalott?

Only reapers, reaping early,
In among the bearded barley
Hear a song that echoes cheerly
From the river winding clearly;
Down to tower'd Camelot;
And by the moon the reaper weary,
Piling sheaves in uplands airy,
Listening, whispers, " 'Tis the fairy
The Lady of Shalott."

There she weaves by night and day
A magic web with colours gay.
She has heard a whisper say,
A curse is on her if she stay
To look down to Camelot.
She knows not what the curse may be,
And so she weaveth steadily,
And little other care hath she,
The Lady of Shalott.

And moving through a mirror clear
That hangs before her all the year,
Shadows of the world appear.
There she sees the highway near
Winding down to Camelot;
There the river eddy whirls,
And there the surly village churls,
And the red cloaks of market girls
Pass onward from Shalott.

Sometimes a troop of damsels glad,
An abbot on an ambling pad,
Sometimes a curly shepherd lad,
Or long-hair'd page in crimson clad
Goes by to tower'd Camelot;
And sometimes through the mirror blue
The knights come riding two and two.
She hath no loyal Knight and true,
The Lady of Shalott.

But in her web she still delights
To weave the mirror's magic sights,
For often through the silent nights
A funeral, with plumes and lights
And music, went to Camelot;
Or when the Moon was overhead,
Came two young lovers lately wed.
"I am half sick of shadows," said
The Lady of Shalott.

A bow-shot from her bower-eaves,
He rode between the barley sheaves,
The sun came dazzling thro' the leaves,
And flamed upon the brazen greaves
Of bold Sir Lancelot.
A red-cross knight for ever kneel'd
To a lady in his shield,
That sparkled on the yellow field,
Beside remote Shalott.

The gemmy bridle glitter'd free,
Like to some branch of stars we see
Hung in the golden Galaxy.
The bridle bells rang merrily
As he rode down to Camelot:
And from his blazon'd baldric slung
A mighty silver bugle hung,
And as he rode his armor rung
Beside remote Shalott.

All in the blue unclouded weather
Thick-jewell'd shone the saddle-leather,
The helmet and the helmet-feather
Burn'd like one burning flame together,
As he rode down to Camelot.
As often thro' the purple night,
Below the starry clusters bright,
Some bearded meteor, burning bright,
Moves over still Shalott.

His broad clear brow in sunlight glow'd;
On burnish'd hooves his war-horse trode;
From underneath his helmet flow'd
His coal-black curls as on he rode,
As he rode down to Camelot.
From the bank and from the river
He flashed into the crystal mirror,
"Tirra lirra," by the river
Sang Sir Lancelot.

She left the web, she left the loom,
She made three paces through the room,
She saw the water-lily bloom,
She saw the helmet and the plume,
She look'd down to Camelot.
Out flew the web and floated wide;
The mirror crack'd from side to side;
"The curse is come upon me," cried
The Lady of Shalott.

In the stormy east-wind straining,
The pale yellow woods were waning,
The broad stream in his banks complaining.
Heavily the low sky raining
Over tower'd Camelot;
Down she came and found a boat
Beneath a willow left afloat,
And around about the prow she wrote
The Lady of Shalott.

And down the river's dim expanse
Like some bold seer in a trance,
Seeing all his own mischance --
With a glassy countenance
Did she look to Camelot.
And at the closing of the day
She loosed the chain, and down she lay;
The broad stream bore her far away,
The Lady of Shalott.

Lying, robed in snowy white
That loosely flew to left and right --
The leaves upon her falling light --
Thro' the noises of the night,
She floated down to Camelot:
And as the boat-head wound along
The willowy hills and fields among,
They heard her singing her last song,
The Lady of Shalott.

Heard a carol, mournful, holy,
Chanted loudly, chanted lowly,
Till her blood was frozen slowly,
And her eyes were darkened wholly,
Turn'd to tower'd Camelot.
For ere she reach'd upon the tide
The first house by the water-side,
Singing in her song she died,
The Lady of Shalott.

Under tower and balcony,
By garden-wall and gallery,
A gleaming shape she floated by,
Dead-pale between the houses high,
Silent into Camelot.
Out upon the wharfs they came,
Knight and Burgher, Lord and Dame,
And around the prow they read her name,
The Lady of Shalott.

Who is this? And what is here?
And in the lighted palace near
Died the sound of royal cheer;
And they crossed themselves for fear,
All the Knights at Camelot;
But Lancelot mused a little space
He said, "She has a lovely face;
God in his mercy lend her grace,
The Lady of Shalott."

Three Burns

Here are three by Robert Burns.

Afton Water

Flow gently, sweet Afton, among thy green braes,
Flow gently, I'll sing thee a song in thy praise;
My Mary's asleep by thy murmuring stream,
Flow gently, sweet Afton, disturb not her dream.

Thou stock-dove whose echo resounds through the glen,
Ye wild whistling blackbirds in yon thorny den,
Thou green-crested lapwing, thy screaming forbear,
I charge you disturb not my slumbering fair.

How lofty, sweet Afton, thy neighboring hills,
Far marked with the courses of clear winding rills;
There daily I wander as noon rises high,
My flocks and my Mary's sweet cot in my eye.

How pleasant thy banks and green valleys below,
Where wild in the woodlands the primroses blow;
There oft as mild evening weeps over the lea,
The sweet-scented birk shades my Mary and me.

Thy crystal stream, Afton, how lovely it glides,
And winds by the cot where my Mary resides;
How wanton thy waters her snowy feet lave,
As gathering sweet flowerets she stems thy clear wave.

Flow gently, sweet Afton, among thy green braes,
Flow gently, sweet river, the theme of my lays;
My Mary's asleep by thy murmuring stream,
Flow gently, sweet Afton, disturb not her dreams.

§

A Rose-bud by my early walk

A Rose-bud by my early walk,
Adown a corn-enclosed bawk,
Sae gently bent its thorny stalk,
All on a dewy morning.
Ere twice the shades o' dawn are fled,
In a' its crimson glory spread,
And drooping rich the dewy head,
It scents the early morning.

Within the bush her covert nest
A little linnet fondly prest;
The dew sat chilly on her breast,
Sae early in the morning.
She soon shall see her tender brood,
The pride, the pleasure o' the wood,
Amang the fresh green leaves bedew'd,
Awake the early morning.

So thou, dear bird, young Jeany fair,
On trembling string or vocal air,
Shall sweetly pay the tender care
That tents thy early morning.
So thou, sweet Rose-bud, young and gay,
Shalt beauteous blaze upon the day,
And bless the parent's evening ray
That watch'd thy early morning.

§

On the Seas and Far Away

How can my poor heart be glad,
When absent from my sailor lad;
How can I the thought forego-
He's on the seas to meet the foe?
Let me wander, let me rove,
Still my heart is with my love;
Nightly dreams, and thoughts by day,
Are with him that's far away.

Chorus.-On the seas and far away,
On stormy seas and far away;
Nightly dreams and thoughts by day,
Are aye with him that's far away.

When in summer noon I faint,
As weary flocks around me pant,
Haply in this scorching sun,
My sailor's thund'ring at his gun;
Bullets, spare my only joy!
Bullets, spare my darling boy!
Fate, do with me what you may,
Spare but him that's far away,
On the seas and far away,
On stormy seas and far away;
Fate, do with me what you may,
Spare but him that's far away.

At the starless, midnight hour
When Winter rules with boundless power,
As the storms the forests tear,
And thunders rend the howling air,
Listening to the doubling roar,
Surging on the rocky shore,
All I can-I weep and pray
For his weal that's far away,
On the seas and far away,
On stormy seas and far away;
All I can-I weep and pray,
For his weal that's far away.

Peace, thy olive wand extend,
And bid wild War his ravage end,
Man with brother Man to meet,
And as a brother kindly greet;
Then may heav'n with prosperous gales,
Fill my sailor's welcome sails;
To my arms their charge convey,
My dear lad that's far away.
On the seas and far away,
On stormy seas and far away;
To my arms their charge convey,
My dear lad that's far away.