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This page presents a number of poems that
are used or referred to in one or more of my courses. The order is
alphabetical by poet's name. Read and enjoy!
For more poems please click on the poetry
links button
For images, students registered for my
poetry courses may go to the "Poets Images" file on METU Online
INDEX
A- B- C-
D- E- F- G- H-I-J-K-L-M-N-O-P-Q-R-S-T-U-V-W-X-Y-Z
back to 406 Course Page
A
W. H.
Auden "In Memory of W. B. Yeats" (1939)
He disappeared in the dead of winter:
The brooks were frozen, the airports almost deserted,
The snow disfigured the public statues;
The mercury sank in the mouth of the dying day.
What instruments we have agree
The day of his death was a dark cold day.
Far from his illness
The wolves ran on through the evergreen forests,
The peasant river was untempted by the fashionable quays;
By mourning tongues
The death of the poet was kept from his poems.
But for him it was his last afternoon as himself,
An afternoon of nurses and rumours;
The provinces of his body revolted,
The squares of his mind were empty,
Silence invaded the suburbs,
The current of his feeling failed; he became his admirers.
Now he is scattered among a hundred cities
And wholly given over to unfamiliar affections,
To find his happiness in another kind of wood
And be punished under a foreign code of conscience.
The words of a dead man
Are modified in the guts of the living.
But in the importance and noise of to-morrow
When the brokers are roaring like beasts on the floor of the Bourse,
And the poor have the sufferings to which they are fairly accustomed,
And each in the cell of himself is almost convinced of his freedom,
A few thousand will think of this day
As one thinks of a day when one did something slightly unusual.
What instruments we have agree
The day of his death was a dark cold day.
II
You were silly like us; your gift survived it all:
The parish of rich women, physical decay,
Yourself. Mad Ireland hurt you into poetry.
Now Ireland has her madness and her weather still,
For poetry makes nothing happen: it survives
In the valley of its making where executives
Would never want to tamper, flows on south
From ranches of isolation and the busy griefs,
Raw towns that we believe and die in; it survives,
A way of happening, a mouth.
III
Earth, receive an honoured guest:
William Yeats is laid to rest.
Let the Irish vessel lie
Emptied of its poetry.
In the nightmare of the dark
All the dogs of Europe bark,
And the living nations wait,
Each sequestered in its hate;
Intellectual disgrace
Stares from every human face,
And the seas of pity lie
Locked and frozen in each eye.
Follow, poet, follow right
To the bottom of the night,
With your unconstraining voice
Still persuade us to rejoice.
With the farming of a verse
Make a vineyard of the curse,
Sing of human unsuccess
In a rapture of distress.
In the deserts of the heart
Let the healing fountains start,
In the prison of his days
Teach the free man how to praise.
********************************************
W. H.
Auden "Musee des Beaux Arts" (1938)
About suffering they were never wrong,
The old masters: how well they understood
Its human position; how it takes place
While someone else is eating or opening a window or just walking dully along;
How, when the aged are reverently, passionately waiting
For the miraculous birth, there always must be
Children who did not specially want it to happen, skating
On a pond at the edge of the wood:
They never forgot
That even the dreadful martyrdom must run its course
Anyhow in a corner, some untidy spot
Where the dogs go on with their doggy life and the torturer’s horse
Scratches its innocent behind on a tree.
In Breughel’s Icarus, for instance: how everything turns away
Quite leisurely from the disaster; the ploughman may
Have heard the splash, the forsaken cry,
But for him it was not an important failure; the sun shone
As it had to on the white legs disappearing into the green
Water; and the expensive delicate ship that must have seen
Something amazing, a boy falling out of the sky,
Had somewhere to get to and sailed calmly on.
Auden "In Praise of Limestone" (1948)
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 humour, 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 back ward
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 worldy 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.
(1948)
********************************************
Lay your sleeping head, my love,
Human on my faithless arm;
Time and fevers burn away
Individual beauty from
Thoughtful children, and the grave
Proves the child ephemeral:
But in my arms till break of day
Let the living creature lie,
Mortal, guilty, but to me
The entirely beautiful.
Soul and body have no bounds:
To lovers as they lie upon
Her tolerant enchanted slope
In their ordinary swoon,
Grave the vision Venus sends
Of supernatural sympathy,
Universal love and hope;
While an abstract insight wakes
Among the glaciers and the rocks
The hermit's carnal ecstasy.
Certainty, fidelity
On the stroke of midnight pass
Like vibrations of a bell
And fashionable madmen raise
Their pedantic boring cry:
Every farthing of the cost,
All the dreaded cards foretell,
Shall be paid, but from this night
Not a whisper, not a thought,
Not a kiss nor look be lost.
Beauty, midnight, vision dies:
Let the winds of dawn that blow
Softly round your dreaming head
Such a day of welcome show
Eye and knocking heart may bless,
Find our mortal world enough;
Noons of dryness find you fed
By the involuntary powers,
Nights of insult let you pass
Watched by every human love.
********************************************
She looked over his shoulder
For vines and olive trees,
Marble well-governed cities
And ships upon untamed seas,
But there on the shining metal
His hands had put instead
An artificial wilderness
And a sky like lead.
A plain without a feature, bare and brown,
No blade of grass, no sign of neighborhood,
Nothing to eat and nowhere to sit down,
Yet, congregated on its blankness, stood
An unintelligible multitude,
A million eyes, a million boots in line,
Without expression, waiting for a sign.
Out of the air a voice without a face
Proved by statistics that some cause was just
In tones as dry and level as the place:
No one was cheered and nothing was discussed;
Column by column in a cloud of dust
They marched away enduring a belief
Whose logic brought them, somewhere else, to grief.
She looked over his shoulder
For ritual pieties,
White flower-garlanded heifers,
Libation and sacrifice,
But there on the shining metal
Where the altar should have been,
She saw by his flickering forge-light
Quite another scene.
Barbed wire enclosed an arbitrary spot
Where bored officials lounged (one cracked a joke)
And sentries sweated for the day was hot:
A crowd of ordinary decent folk
Watched from without and neither moved nor spoke
As three pale figures were led forth and bound
To three posts driven upright in the ground.
The mass and majesty of this world, all
That carries weight and always weighs the same
Lay in the hands of others; they were small
And could not hope for help and no help came:
What their foes like to do was done, their shame
Was all the worst could wish; they lost their pride
And died as men before their bodies died.
She looked over his shoulder
For athletes at their games,
Men and women in a dance
Moving their sweet limbs
Quick, quick, to music,
But there on the shining shield
His hands had set no dancing-floor
But a weed-choked field.
A ragged urchin, aimless and alone,
Loitered about that vacancy; a bird
Flew up to safety from his well-aimed stone:
That girls are raped, that two boys knife a third,
Were axioms to him, who'd never heard
Of any world where promises were kept,
Or one could weep because another wept.
The thin-lipped armorer,
Hephaestos, hobbled away,
Thetis of the shining breasts
Cried out in dismay
At what the god had wrought
To please her son, the strong
Iron-hearted man-slaying Achilles
Who would not live long.
********************************************
Rupert
Brooke "The Soldier" (1914)
If I should die, think only this of me:
That there's some corner of a foreign field
That is for ever England. There shall be
In that rich earth a richer dust concealed;
A dust whom England bore, shaped, made aware,
Gave, once, her flowers to love, her ways to roam,
A body of England's, breathing English air,
Washed by the rivers, blest by suns of home.
And think, this heart, all evil shed away,
A pulse in the eternal mind, no less
Gives somewhere back the thoughts by England given;
Her sights and sounds; dreams happy as her day;
And laughter, learnt of friends; and gentleness,
In hearts at peace, under an English heaven.
********************************************
C
Samuel Taylor Coleridge
"Kubla Khan" prefaced by
Coleridge's note, published with the poem
The following fragment is here published at the request of a poet of great and
deserved celebrity [Lord Byron], and, as far as the Author's own opinions are
concerned, rather as a psychological curiosity, than on the ground of any
supposed poetic merits.
In the summer of the year 1797, the Author, then in ill health, had retired
to a lonely farm-house between Porlock and Linton, on the Exmoor confines of
Somerset and Devonshire. In consequence of a slight indisposition, an anodyne
had been prescribed, from the effects of which he fell asleep in his chair at
the moment that he was reading the following sentence, or words of the same
substance, in Purchas's Pilgrimage: ``Here the Khan Kubla commanded a
palace to be built, and a stately garden thereunto. And thus ten miles of
fertile ground were inclosed with a wall.'' The Author continued for about three
hours in a profound sleep, at least of the external senses, during which time he
has the most vivid confidence, that he could not have composed less than from
two to three hundred lines; if that indeed can be called
composition in which all the images rose up before him as things, with a
parallel production of the correspondent expressions, without any sensation or
consciousness of effort. On awakening he appeared to himself to have a distinct
recollection of the whole, and taking his pen, ink, and paper, instantly and
eagerly wrote down the lines that are here preserved. At this moment he was
unfortunately called out by a person on business from Porlock, and detained by
him above an hour, and on his return to his room, found, to his no small
surprise and mortification, that though he still retained some vague and dim
recollection of the general purport of the vision, yet, with the exception of
some eight or ten scattered lines and images, all the rest had passed away like
the images on the surface of a stream into which a stone has been cast, but,
alas! without the after restoration of the latter!
![[spacer]](spacer.xbm) Then
all the charm- Is broken--all that phantom-world so fair
Vanishes, and a thousand circlets spread,
And each mis-shape the other. Stay awile,
Poor youth! who scarcely dar'st lift up thine eyes--
The stream will soon renew its smoothness, soon
The visions will return! And lo, he stays,
And soon the fragments dim of lovely forms
Come trembling back, unite, and now once more
The pool becomes a mirror.
Yet from the still surviving recollections in his mind, the Author has
frequently purposed to finish for himself what had been originally, as it were,
given to him.
![[Greek: Sameron adion aso]](Sameron_athion_aso.xbm) :
but the to-morrow is yet to come.
- In Xanadu did Kubla Khan
A stately pleasure-dome decree :
Where Alph, the sacred river, ran
Through caverns measureless to man
- Down to a sunless sea.
- So twice five miles of fertile ground
With walls and towers were girdled round :
And there were gardens bright with sinuous rills,
Where blossomed many an incense-bearing tree ;
And here were forests ancient as the hills,
Enfolding
sunny spots of greenery.
- But oh ! that deep romantic chasm which slanted
Down the green hill athwart a cedarn cover !
A savage place ! as holy and enchanted
As e'er beneath a waning moon was haunted
By woman wailing for her demon-lover !
And from this chasm, with ceaseless turmoil seething,
As if this earth in fast thick pants were breathing,
A
mighty fountain
momently was forced :
Amid whose swift half-intermitted burst
Huge fragments vaulted like rebounding hail,
Or chaffy grain beneath the thresher's flail :
And 'mid these dancing rocks at once and ever
It flung up momently the sacred river.
Five miles meandering with a mazy motion
Through wood and dale the sacred river ran,
Then reached the caverns measureless to man,
And sank in tumult to a lifeless ocean :
And 'mid this tumult Kubla heard from far
Ancestral voices prophesying war !
- The shadow of the dome of pleasure
Floated midway on the waves ;
Where was heard the mingled measure
From the fountain and the caves.
- It was a miracle of rare device,
A sunny pleasure-dome with caves of ice !
-
A damsel with a dulcimer
In a vision once I saw :
It was an Abyssinian maid,
And on her dulcimer she played,
Singing of Mount Abora.
Could I revive within me
Her symphony and song,
To such a deep delight 'twould win me,
- That with
music loud and long,
I would build that dome in air,
That sunny dome ! those caves of ice !
And all who heard should see them there,
And all should cry, Beware ! Beware !
His flashing eyes, his floating hair !
Weave a circle round him thrice,
And close your eyes with holy dread,
For he on honey-dew hath fed,
And drunk the milk of Paradise
Samuel Taylor
Coleridge
"Frost
At Midnight"
The Frost performs
its secret ministry,
Unhelped by any wind. The owlet's cry
Came loud--and hark, again ! loud as before.
The inmates of my cottage, all at rest,
Have left me to that solitude, which suits
Abstruser musings : save that at my side
My cradled infant slumbers peacefully.
'Tis calm indeed ! so calm, that it disturbs
And vexes meditation with its strange
And extreme silentness. Sea, hill, and wood,
This populous village ! Sea, and hill, and wood,
With all the numberless goings-on of life,
Inaudible as dreams ! the thin blue flame
Lies on my low-burnt fire, and quivers not ;
Only that film, which fluttered on the grate,
Still flutters there, the sole unquiet thing.
Methinks, its motion in this hush of nature
Gives it dim sympathies with me who live,
Making it a companionable form,
Whose puny flaps and freaks the idling Spirit
By its own moods interprets, every where
Echo or mirror seeking of itself,
And makes a toy of Thought.
But O ! how oft,
How oft, at school, with most believing mind,
Presageful, have I gazed upon the bars,
To watch that fluttering stranger ! and as oft
With unclosed lids, already had I dreamt
Of my sweet birth-place, and the old church-tower,
Whose bells, the poor man's only music, rang
From morn to evening, all the hot Fair-day,
So sweetly, that they stirred and haunted me
With a wild pleasure, falling on mine ear
Most like articulate sounds of things to come !
So gazed I, till the soothing things, I dreamt,
Lulled me to sleep, and sleep prolonged my dreams !
And so I brooded all the following morn,
Awed by the stern preceptor's face, mine eye
Fixed with mock study on my swimming book :
Save if the door half opened, and I snatched
A hasty glance, and still my heart leaped up,
For still I hoped to see the stranger's face,
Townsman, or aunt, or sister more beloved,
My play-mate when we both were clothed alike !
Dear Babe, that sleepest cradled by my side,
Whose gentle breathings, heard in this deep calm,
Fill up the interspersed vacancies
And momentary pauses of the thought !
My babe so beautiful ! it thrills my heart
With tender gladness, thus to look at thee,
And think that thou shalt learn far other lore,
And in far other scenes ! For I was reared
In the great city, pent 'mid cloisters dim,
And saw nought lovely but the sky and stars.
But thou, my babe ! shalt wander like a breeze
By lakes and sandy shores, beneath the crags
Of ancient mountain, and beneath the clouds,
Which image in their bulk both lakes and shores
And mountain crags : so shalt thou see and hear
The lovely shapes and sounds intelligible
Of that eternal language, which thy God
Utters, who from eternity doth teach
Himself in all, and all things in himself.
Great universal Teacher ! he shall mould
Thy spirit, and by giving make it ask.
Therefore all seasons shall be sweet to thee,
Whether the summer clothe the general earth
With greenness, or the redbreast sit and sing
Betwixt the tufts of snow on the bare branch
Of mossy apple-tree, while the nigh thatch
Smokes in the sun-thaw ; whether the eave-drops fall
Heard only in the trances of the blast,
Or if the secret ministry of frost
Shall hang them up in silent icicles,
Quietly shining to the quiet Moon.
********************************************
Back to Index
e e cummings
[Unfortunately I
cannot reproduce the original layout of the words on the page yet]
Buffalo Bill's
defunct
who used to
ride a watersmooth-silver
stallion
and break
onetwothreefourfive pigeonsjustlikethat
Jesus
he was a handsome
man
and what i want to know
is
how do you like you
blueeyed boy
Mister Death
***************************************
e e cummings ( D,
SONNETS-REALITIES, XVIII)
my girl's tall with hard
long eyes
as she stands, with her
long hard hands keeping
silence on her dress,
good for sleeping
is her long hard body
filled with surprise
like a white shocking
wire, when she smiles
a hard long smile it
sometimes makes
gaily go clean through
me tickling aches,
and the weak noise of
her eyes easily files
my impatience to an
edge--my girl's tall
and taut, with thin legs
just like a vine
that's spent all of its
life on a garden-wall,
and is going to die.
When we grimly go to bed
with these legs she
begins to heave and twine
about me, and to kiss my
face and head.
***********************************
e e cummings (1X1)
pity this busy
monster,manunkind,
not. Progress is a
comfortable disease:
your victim(death and
life safely beyond)
plays with the bigness
of his littleness
--electrons deify one
razorblade
into a
mountainrange;lenses extend
unwish through curving
wherewhen till unwish
returns on its unself. A
world of made
is not a world of
born--pity poor flesh
and trees,poor stars and
stones,but never this
fine specimen of
hypermagical
ultraomnipotence. We
doctors know
a hopeless case if--listen:t
here's a hell
of a good universe next
door;l et's go
************************************
E
T.
S. Eliot: "The Love Song of J. Alfred Prufrock"
S'io credessi che mia risposta fosse
a persona che mai tomasse al mundo,
questa fiamma staria senza piu scosse.
Ma per cio che giammai di questo fondo
non torno vivo alcun, s'i'odo il vero,
senza tema d'infamia ti rispondo.
--[Epigraph]
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 care? ' 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,
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.
William Empson,
"Aubade"
Hours before dawn
we were
woken by the quake.
My house was on a cliff. The
thing could take
Bookloads off shelves, break bottles
in a row.
Then the long pause and then the
bigger shake.
It seemed the best
thing to be up and go.
And far too large
for my feet to step by.
I hoped that
various buildings were brought low.
The heart of
standing is you cannot fly.
It seemed quite
safe till she got up and dressed.
The guarded
tourist makes the guide the test.
Then I said The
Garden? Laughing she said No.
Taxi
It seemed the best
thing to be up and go.
The language
problem but you have to try.
Some solid ground
for lying could she show?
The heart of
standing is you cannot fly.
None of these
deaths were her point at all.
The thing was that
being woken he would bawl
And finding her
not in earshot he would know.
I tried saying
Half and Hour to pay this call.
It seemed the best
thing to be up and go.
I slept, and blank
as that I would yet lie.
Till you have seen
what a threat holds below,
The heart of
standing is you cannot fly.
Tell me again
about Europe and her pains,
Who's tortured by
the drought, who by the rains.
Glut me with
floods where only the swine can row
Who cuts his
throat and let him count his gains.
It seemed the best
thing to beup and go.
A bedshift flight
to a Far Eastern sky.
Only the same war
on a stronger toe.
The heart of
standing is you cannot fly.
Tell me more
quickly what I lost by this,
Or tell me with
less drama what they miss
Who call no die a
god for a good throw,
Who say after two
aliens had one kiss
It seemed the best
thing to be up and go.
But as to risings,
I can tell you why.
It is on
contradiction that they grow.
It seemed the best
thing to be up and go.
Up was the
heartening and the strong reply
The heart of
standing is we cannot fly.
[Don't worry if
you find this hard. Kenneth Allott, editor of The Penguin Book of
Contemporary Verse, (Harmondsworth: Penguin, 1962) from which this poem was
copied, says that "In his verse he seems to be almost exclusively concerned
with working out problems of his own satisfaction." (181) and admits that
"There are some [Empson] poems that I cannot understand at all" (182)]
********************************************
Back to Index
H
Thomas Hardy (1840-1928), "The
Man he Killed"
- "
 AD
he and I but met
- By some old ancient inn,
- We should have sat us down to
wet*
- Right many a nipperkin*!
-
- "But ranged as infantry,
- And staring face to face,
- I shot at him as he at me,
- And killed him in his place.
-
- "I shot him dead because --
- Because he was my foe,
- Just so: my foe of course he
was;
- That's clear enough; although
-
- "He thought he'd 'list*,
perhaps,
- Off-hand like -- just as I --
- Was out of work -- had sold his
traps* --
- No other reason why.
-
- "Yes; quaint and curious war is!
- You shoot a fellow down
- You'd treat if met where any bar
is,
- Or help to half-a-crown*."
wet = dialect usage
meaning 'drink'
nipperkin = dialect usage meaning
a half pint cup
list = enlist
traps = workman's tools
half a crown = old unit of UK
currency now worth 15p
- (poem downloaded from
http://www.poetry-archive.com/ .
Notes added.)
|
|
|
Seamus
Heaney,
"Digging"
Between my finger
and my thumb
The squat pen rests; snug as a gun.
Under my window, a
clean rasping sound
When the spade sinks into gravelly ground.
My father, digging. I look down
Till his straining
rump among the flowerbeds
Bends low, comes up twenty years away
Stooping in rhythm through potato drills*
Where he was digging.
The coarse boot
nestled on the lug*, the shaft*
Against the inside knee was levered firmly.
He rooted out tall tops, buried the bright edge deep
To scatter new potatoes that we picked
Loving their cool hardness in our hands.
By God, the old man
could handle a spade.
Just like his old man.
My grandfather cut
more turf* in a day
Than any other man on Toner's bog.
Once I carried him milk in a bottle
Corked sloppily with paper. He straightened up
To drink it, then fell to right away
Nicking and slicing
neatly, heaving sods
Over his shoulder, going down and down
For the good turf. Digging.
The cold smell of
potato mould, the squelch and slap
Of soggy peat, the curt cuts of an edge
Through living roots awaken in my head.
But I've no spade to follow men like them.
Between my finger
and my thumb
The squat pen rests.
I'll dig with it.
shaft = stick onto which the blade of a spade is attached
lug = horizontal bar just above the blade of a spade
drills = rows where seeds have been planted
turf = grassy layer of soil (in many parts of Ireland
this layer is peat soil, which is used as fuel when dry)
********************************************
Seamus
Heaney, "Personal Helicon"
for
Michael Longley
As a child, they could not keep me from wells
And old pumps with buckets and windlasses.
I loved the dark drop, the trapped sky, the smells
Of waterweed, fungus and dank moss.
One, in a brickyard, with a rotted board top.
I savoured the rich crash when a bucket
Plummeted down at the end of a rope.
So deep you saw no reflection in it.
A shallow one under a dry stone ditch
Fructified like any aquarium.
When you dragged out long roots from the soft mulch
A white face hovered over the bottom.
Others had echoes, gave back your own call
With a clean new music in it. And one
Was scaresome, for there, out of ferns and tall
Foxgloves, a rat slapped across my reflection.
Now, to pry into roots, to finger slime,
To stare, big-eyed Narcissus, into some spring
Is beneath all adult dignity. I rhyme
To see myself, to set the darkness echoing.
********************************************
Seamus
Heaney, "Clearances"
In Memoriam M.K.H.,
1911-1984
She taught me
what her uncle once taught her:
How easily the biggest coal block split
If you got the grain and the hammer angled right.
The sound of
that relaxed alluring blow
Its co-opted and obliterated echo,
Taught me to hit, taught me to loosen,
Taught me
between the hammer and the block
To face the music. Teach me now to listen,
To strike it rich behind the linear black.
1
A cobble thrown a hundred years ago
Keeps coming at me, the first stone
Aimed at a great-grandmother's turncoat brow.
The pony jerks and the riot's on.
She's couched low in the trap
Running the gauntlet that first Sunday
Down the brae to Mass at a panicked gallop.
He whips on through the town to cries of 'Lundy!'
Call her 'The
Convert.' 'The Exogamous Bride.'
Anyhow, it is a genre piece
Inherited on my mother's side
And mine to dispose with now she's gone.
Instead of silver and Victorian lace
the exonerating, exonerated stone.
2
Polished linoleum shone there. Brass taps shone.
The china cups were very white and big --
An unchipped set with sugar bowl and jug.
The kettle whistled. Sandwich and tea scone
Were present and correct. In case it run,
The butter must be kept out of the sun.
And don't be dropping crumbs. Don't tilt your chair.
Don't reach. Don't point. Don't make noise when you stir.
It is Number 5, New
Row, Land of the Dead,
Where grandfather is rising from his place
With spectacles pushed back on a clean bald head
To welcome a bewildered homing daughter
Before she even knocks. 'What's this? What's this?'
And they sit down in the shining room together.
3
When all the others were away at Mass
I was all hers as we peeled potatoes.
They broke the silence, let fall one by one
Like solder weeping off the soldering iron:
Cold comforts set between us, things to share
Gleaming in a bucket of clean water.
And again let fall. Little pleasant splashes
From each other's work would bring us to our senses.
So while the parish
priest at her bedside
Went hammer and tongs at prayers for the dying
And some were responding and some crying
I remembered her head bent towards my head,
Her breath in mine, our fluent dipping knives --
Never closer the whole rest of our lives.
4
Fear of affectation made her affect
Inadequacy whenever it came to
Pronouncing words 'beyond her'. Bertold Brek.
She'd manage something hampered and askew
Every time, as if she might betray
The hampered and inadequate by too
Well-adjusted a vocabulary.
With more challenge than pride, she'd tell me, 'You
Know all them things.' So I governed my tongue
In front of her, a genuinely well-
Adjusted adequate betrayal
Of what I knew better. I'd naw and aye
And decently relapse into the wrong
Grammar which kept us allied and at bay.
5
The cool that came off sheets just off the line
Made me think the damp must still be in them
But when I took my corners of the linen
And pulled against her, first straight down the hem
And then diagonally, then flapped and shook
The fabric like a sail in a cross-wind,
They'd make a dried-out undulating thwack.
So we'd stretch and fold and end up hand to hand
For a split second as if nothing had happened
For nothing had that had not always happened
Beforehand, day by day, just touch and go,
Coming close again by holding back
In moves where I was x and she was o
Inscribed in sheets she'd sewn from ripped-out flour sacks.
6
In the first flush of the Easter holidays
The ceremonies during Holy Week
Were highpoints of our Sons and Lovers phase.
The midnight fire. The paschal candlestick.
Elbow to elbow, glad to be kneeling next
To each other up there near the front
Of the packed church, we would follow the text
And rubrics for the blessing of the font.
As the hind longs for the streams, so my soul . . .
Dippings. Towellings. The water breathed on.
The water mixed with chrism and oil.
Cruet tinkle. Formal incensation
And the psalmist's outcry taken up with pride:
Day and night my tears have been my bread.
7
In the last minutes he said more to her
Almost than in their whole life together.
'You'll be in New Row on Monday night
And I'll come up for you and you'll be glad
When I walk in the door . . . Isn't that right?'
His head was bent down to her propped-up head.
She could not hear but we were overjoyed.
He called her good and girl. Then she was dead,
The searching for a pulsebeat was abandoned
And we all knew one thing by being there.
The space we stood around had been emptied
Into us to keep, it penetrated
Clearances that suddenly stood open.
High cries were felled and a pure change happened.
8
I thought of walking round and round a space
Utterly empty, utterly a source
Where the decked chestnut tree had lost its place
In our front hedge above the wallflowers.
The white chips jumped and jumped and skited high.
I heard the hatchet's differentiated
Accurate cut, the crack, the sigh
And collapse of what luxuriated
Through the shocked tips and wreckage of it all.
Deep-planted and long gone, my coeval
Chestnut from a jam jar in a hole,
Its heft and hush became a bright nowhere,
A soul ramifying and forever
Silent, beyond silence listened for.
********************************************
Gerard
Manly Hopkins: "Pied Beauty"
Glory be to God for dappled things--
For skies of couple-colour as a brinded cow;
For rose-moles all in stipple upon trout that swim;
Fresh-firecoal chestnut-falls; finches' wings;
Landscape plotted and pieced--fold, fallow, and plough;
And all trades, their gear and tackle and trim.
All things counter, original, spare, strange;
Whatever is fickle, freckled (who knows how?)
With swift, slow; sweet, sour; adazzle, dim;
He fathers-forth whose beauty is past change:
Praise Him.
********************************************
Gerard Manly Hopkins,
"The Windhover"
- I CAUGHT this morning morning's
minion, king-
- dom of daylight's dauphin, dapple-dawn-drawn Falcon, in his
riding
- Of the rolling level underneath him steady air, and striding
- High there, how he rung upon the rein of a wimpling wing
- In his ecstasy! then off, off forth on swing,
- As a skate's heel sweeps smooth on a bow-bend: the hurl and
gliding
- Rebuffed the big wind. My heart in hiding
- Stirred for a bird,--the achieve of, the mastery of the
thing!
-
- Brute beauty and valour and act, oh, air, pride, plume, here
- Buckle! AND the fire that breaks from thee then, a billion
- Times told lovelier, more dangerous, O my chevalier!
-
- No wonder of it: shéer plód makes plough down sillion
- Shine, and blue-bleak embers, ah my dear,
- Fall, gall themselves, and gash gold-vermilion.
********************************************
Gerard
Manly Hopkins "Carrion Comfort"
Not, I'll not, carrion comfort, Despair, not feast on thee;
Not untwist--slack they may be--these last strands of man
In me ór, most weary, cry I can no more. I can;
Can something, hope, wish day come, not choose not to be.
But ah, but O thou terrible, why wouldst thou rude on me
Thy wring-world right foot rock? lay a lionlimb against me? scan
With darksome devouring eyes my bruisèd bones? and fan,
O in turns of tempest, me heaped there; me frantic to avoid thee
and flee?
Why? That my chaff might fly; my grain lie, sheer and clear.
Nay in all that toil, that coil, since (seems) I kissed the rod,
Hand rather, my heart lo! lapped strength, stole joy, would laugh, chéer.
Cheer whom though? The hero whose heaven-handling flung me,
fóot tród
Me? or me that fought him? O which one? is it each one? That night,
that year
Of now done darkness I wretch lay wrestling with (my God!) my God.
********************************************
"Will you walk into my parlor?" said the spider to the fly;
"'Tis the prettiest little parlor that ever you may spy.
The way into my parlor is up a winding stair,
And I have many curious things to show when you are there."
"Oh no, no," said the little fly; "to ask me is in vain,
For who goes up your winding stair can ne'er come down again."
"I'm sure you must be weary, dear, with soaring up so high.
Well you rest upon my little bed?" said the spider to the fly.
"There are pretty curtains drawn around; the sheets are fine and thin,
And if you like to rest a while, I'll snugly tuck you in!"
"Oh no, no," said the little fly, "for I've often heard it said,
They never, never wake again who sleep upon your bed!"
Said the cunning spider to the fly: "Dear friend, what can I do
To prove the warm affection I've always felt for you?
I have within my pantry good store of all that's nice;
I'm sure you're very welcome - will you please to take a slice?
"Oh no, no," said the little fly; "kind sir, that cannot be:
I've heard what's in your pantry, and I do not wish to see!"
"Sweet creature!" said the spider, "you're witty and you're wise;
How handsome are your gauzy wings; how brilliant are your eyes!
I have a little looking-glass upon my parlor shelf;
If you'd step in one moment, dear, you shall behold yourself."
"I thank you, gentle sir," she said, "for what you're pleased to say,
And, bidding you good morning now, I'll call another day."
"The spider turned him round about, and went into his den,
For well he knew the silly fly would soon come back again:
So he wove a subtle web in a little corner sly,
And set his table ready to dine upon the fly;
Then came out to his door again and merrily did sing:
"Come hither, hither, pretty fly, with pearl and silver wing;
Your robes are green and purple; there's a crest upon your head;
Your eyes are like diamond bright, but mine are dull as lead!"
Alas, alas! how very soon this silly little fly,
Hearing his wily, flattering words, came slowly flitting by;
With buzzing wings she hung aloft, then near and nearer grew,
Thinking only of her brilliant eyes and green and purple hue,
Thinking only of her crested head. Poor, foolish thing! at last
Up jumped the cunning spider, and fiercely held her fast;
He dragged her up his winding stair, into the dismal den -
Within his little parlor - but she ne'er came out again! And now, dear little children, who may this story read,
To idle, silly flattering words I pray you ne'er give heed;
Unto an evil counselor close heart and ear and eye,
And take a lesson from this tale of the spider and the fly
This
house has been far out at sea all night,
The woods crashing through darkness, the booming hills,
Winds stampeding the fields under the window
Floundering black astride and blinding wet
Till day rose; then under an orange sky
The hills had new places, and wind wielded
Blade-light, luminous black and emerald,
Flexing like the lens of a mad eye.
At noon I scaled along the house-side as far as
The coal-house door. Once I looked up -
Through the brunt wind that dented the balls of my eyes
The tent of the hills drummed and strained its guyrope,
The fields quivering, the skyline a grimace,
At any second to bang and vanish with a flap;
The wind flung a magpie away and a black-
Back gull bent like an iron bar slowly. The house
Rang like some fine green goblet in the note
That any second would shatter it. Now deep
In chairs, in front of the great fire, we grip
Our hearts and cannot entertain book, thought,
Or each other. We watch the fire blazing,
And feel the roots of the house move, but sit on,
Seeing the window tremble to come in,
Hearing the stones cry out under the horizons
********************************************
Ted
Hughes, “Pike”
(1959)
Pike,
three inches long, perfect
Pike
in all parts, green tigering the gold.
Killers
from the egg: the malevolent grin,
They
dance on the surface among the flies.
Or
move, stunned by their own grandeur,
Over
a bed of emerald, silhouette
Of
submarine delicacy and horror.
A
hundred feet long in their world.
In
ponds, under the heat-struck lily pads –
Gloom
of their stillness:
Logged
on last year’s black leaves, watching upwards.
Or
hung in an amber cavern of weeds.
The
jaws hooked clamp and fangs
Not
to be changed at this date;
A
life subdued to its instrument;
The
gills kneading quietly, and the pectorals.
Three
we kept behind glass,
Jungled
in weed: three inches, four,
And
four and a half: fed fry to them –
Suddenly
there were two. Finally one
With
a sag belly and the grin it was born with.
And
indeed they spare nobody.
Two,
six pounds each, over two feet long,
High
and dry and dead in the willow-herb –
One
jammed past its gills down the other’s gullet:
The
outside eye stared: as a vice locks –
The
same iron in this eye
Though
its film shrank in death.
A
pond I fished, fifty yards across,
Whose
lilies and muscular tench
Had
outlasted every visible stone
Of
the monastery that planted them –
Stilled
legendary depth:
It
was as deep as England. It held
Pike
too immense to stir, so immense and old
That
past nightfall I dared not cast
But
silently cast and fished
With
the hair frozen on my head
For
what might move, for what eye might move.
The
still splashes on the dark pond,
Owls
hushing the floating woods
Frail
on my ear against the dream
Darkness
beneath night’s darkness had freed,
That
rose slowly towards me, watching.
********************************************
Closed like confessionals, they thread
Loud noons of cities, giving back
None of the glances they absorb.
Light glossy grey, arms on a plaque,
They come to rest at any kerb:
All streets in time are visited.
Then children strewn on steps or road,
Or women coming from the shops
Past smells of different dinners, see
A wild white face that overtops
Red stretcher-blankets momently
As it is carried in and stowed,
And sense the solving emptiness
That lies just under all we do,
And for a second get it whole,
So permanent and blank and true.
The fastened doors recede. Poor soul,
They whisper at their own distress;
For borne away in deadened air
May go the sudden shut of loss
Round something nearly at an end,
And what cohered in it across
The years, the unique random blend
Of families and fashions, there
At last begin to loosen. Far
From the exchange of love to lie
Unreachable insided a room
The trafic parts to let go by
Brings closer what is left to come,
And dulls to distance all we are.
*******************************************
Philip
Larkin MCMXIV (1964)
Those
long uneven lines
Standing as patiently
As if they were stretched outside
The Oval or Villa Park,
The crowns of hats, the sun
On moustached archaic faces
Grinning as if it were all
An August Bank Holiday lark;
And
the shut shops, the bleached
Established names on the sunblinds,
The farthings and sovereigns,
And dark-clothed children at play
Called after kings and queens,
The tin advertisements
For cocoa and twist, and the pubs
Wide open all day;
And
the countryside not caring:
The place-names all hazed over
With flowering grasses, and fields
Shadowing Domesday lines
Under wheat's restless silence;
The differently-dresses servants
With tiny rooms in huge houses,
The dust behind limousines;
Never
such innocence,
Never before or since,
As changed itself to past
Without a word - the men
Leaving the gardens tidy,
The thousands of marriages
Lasting a little while longer:
Never such innocence again.
********************************************
Philip Larkin "Church
Going"
Once I am sure there's nothing going on
I step inside, letting the door thud shut.
Another church: matting, seats, and stone,
And little books; sprawlings of flowers, cut
For Sunday, brownish now; some brass and stuff
Up at the holy end; the small neat organ;
And a tense, musty, unignorable silence,
Brewed God knows how long. Hatless, I take off
My cycle-clips in awkward reverence,
Move forward, run my hand around the font.
From where I stand, the roof looks almost new-
Cleaned or restored? Someone would know: I don't.
Mounting the lectern, I peruse a few
Hectoring large-scale verses, and pronounce
"Here endeth" much more loudly than I'd meant.
The echoes snigger briefly. Back at the door
I sign the book, donate an Irish sixpence,
Reflect the place was not worth stopping for.
Yet stop I did: in fact I often do,
And always end much at a loss like this,
Wondering what to look for; wondering, too,
When churches fall completely out of use
What we shall turn them into, if we shall keep
A few cathedrals chronically on show,
Their parchment, plate, and pyx in locked cases,
And let the rest rent-free to rain and sheep.
Shall we avoid them as unlucky places?
Or, after dark, will dubious women come
To make their children touch a particular stone;
Pick simples for a cancer; or on some
Advised night see walking a dead one?
Power of some sort or other will go on
In games, in riddles, seemingly at random;
But superstition, like belief, must die,
And what remains when disbelief has gone?
Grass, weedy pavement, brambles, buttress, sky,
A shape less recognizable each week,
A purpose more obscure. I wonder who
Will be the last, the very last, to seek
This place for what it was; one of the crew
That tap and jot and know what rood-lofts were?
Some ruin-bibber, randy for antique,
Or Christmas-addict, counting on a whiff
Of gown-and-bands and organ-pipes and myrrh?
Or will he be my representative,
Bored, uninformed, knowing the ghostly silt
Dispersed, yet tending to this cross of ground
Through suburb scrub because it held unspilt
So long and equably what since is found
Only in separation - marriage, and birth,
And death, and thoughts of these - for whom was built
This special shell? For, though I've no idea
What this accoutred frowsty barn is worth,
It pleases me to stand in silence here;
A serious house on serious earth it is,
In whose blent air all our compulsions meet,
Are recognised, and robed as destinies.
And that much never can be obsolete,
Since someone will forever be surprising
A hunger in himself to be more serious,
And gravitating with it to this ground,
Which, he once heard, was proper to grow wise in,
If only that so many dead lie round
********************************************
When I see a couple of kids
And guess he's fucking her and she's
Taking pills or wearing a diaphragm,
I know this is paradise
Everyone old has dreamed of all their lives--
Bonds and gestures pushed to one side
Like an outdated combine harvester,
And everyone young going down the long slide
To happiness, endlessly. I wonder if
Anyone looked at me, forty years back,
And thought, That'll be the life;
No God any more, or sweating in the dark
About hell and that, or having to hide
What you think of the priest. He
And his lot will all go down the long slide
Like free bloody birds. And immediately
Rather than words comes the thought of high windows:
The sun-comprehending glass,
And beyond it, the deep blue air, that shows
Nothing, and is nowhere, and is endless.
********************************************
O
Wilfred Owen "Dulce et Decorum Est" (1918)
Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares we turned our backs
And towards our distant rest began to trudge.
Men marched asleep. Many had lost their boots
But limped on, blood-shod. All went lame; all blind;
Drunk with fatigue; deaf even to the hoots
Of disappointed shells that dropped behind.
GAS! Gas! Quick, boys!-- An ecstasy of fumbling,
Fitting the clumsy helmets just in time;
But someone still was yelling out and stumbling
And floundering like a man in fire or lime.--
Dim, through the misty panes and thick green light
As under a green sea, I saw him drowning.
In all my dreams, before my helpless sight,
He plunges at me, guttering, choking, drowning.
If in some smothering dreams you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil's sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,--
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori.
********************************************
Sylvia Plath "Channel Crossing"
On storm-struck deck,
wind sirens caterwaul;
With each tilt, shock and shudder, our blunt ship
Cleaves forward into fury; dark as anger,
Waves wallop, assaulting the stubborn hull.
Flayed by spray, we take the challenge up,
Grip the rail, squint ahead, and wonder how much longer
Such force can last;
but beyond, the neutral view
Shows, rank on rank, the hungry seas advancing.
Below, rocked havoc-sick, voyagers lie
Retching in bright orange basins; a refugee
Sprawls, hunched in black, among baggage, wincing
Under the strict mask of his agony.
Far from the sweet
stench of that perilous air
In which our comrades are betrayed, we freeze
And marvel at the smashing nonchalance
Of nature : what better way to test taut fiber
Than against this onslaught, these casual blasts of ice
That wrestle with us like angels; the mere chance
Of making harbor
through this racketing flux
Taunts us to valor. Blue sailors sang that our journey
Would be full of sun, white gulls, and water drenched
With radiance, peacock-colored; instead, bleak rocks
Jutted early to mark our going, while sky
Curded over with clouds and chalk cliffs blanched
In sullen light of the
inauspicious day.
Now, free, by hazard's quirk, from the common ill
Knocking our brothers down, we strike a stance
Most mock-heroic, to cloak our waking awe
At this rare rumpus which no man can control :
Meek and proud both fall; stark violence
Lays all walls waste;
private estates are torn,
Ransacked in the public eye. We forsake
Our lone luck now, compelled by bond, by blood,
To keep some unsaid pact; perhaps concern
Is helpless here, quite extra, yet we must make
The gesture, bend and hold the prone man's head.
And
so we sail toward cities, streets and homes
Of other men, where statues celebrate
Brave acts played out in peace, in war; all dangers
End : green shores appear; we assume our names,
Our luggage, as docks halt our brief epic; no debt
Survives arrival; we walk the plank with strangers.
R
Isaac Rosenberg "The Immortals"
I killed them, but they would not die.
Yea! all the day and all the night,
For them I could not rest or sleep,
Nor guard from them nor hide in flight.
Then in my agony I turned,
And made my hands red in their gore.
In vain - for faster than I slew,
They rose more cruel than before.
I killed and killed with slaughter mad,
I killed till all my strength was gone.
And still they rose to torture me,
For Devils only die in fun.
I used to think the Devil hid,
In women's smiles and wine's carouse.
I called him Satan, Balzebub.
But now I call him, dirty louse.
********************************************
S
Siegfried Sassoon, "They" (1916)
The Bishop
tells us: “When the boys come back
They will not be the same; for they’ll have fought
In a just cause; they lead the last attack
On Anti-Christ; their comrades’ blood has bought
New right to breed an honourable race,
They have challenged Death and dared him face to face.”
“We’re none of us the same!” the boys reply,
“For George lost both his legs; and Bill’s stone blind;
Poor Jim’s shot through the lungs and like to die;
And Bert’s gone syphilitic: you’ll not find
A chap who’s served that hasn’t found some change.!
And the Bishop said: “The ways of God are strange!”
Siegfried
Sassoon: "On Passing the new Menin Gate" (1927-28)
Who will
remember, passing through this Gate1,
The unheroic Dead who fed the guns?
Who shall absolve the foulness of their fate,—
Those doomed, conscripted, unvictorious ones?
Crudely
renewed, the Salient holds its own.
Paid are its dim defenders by this pomp;
Paid, with a pile of peace-complacent stone,
The armies who endured that sullen swamp.
Here was
the world’s worst wound. And here with pride
‘Their name liveth for ever,’ the Gateway claims.
Was ever an immolation so belied
As these intolerably nameless names?
Well might the Dead who struggled in the slime
Rise and deride this sepulchre of crime.
********************************************
Edith
Sitwell "Bells of Grey Crystal"
Bells
of grey crystal
Break on each bough--
The swans' breath will mist all
The cold airs now.
Like tall pagodas
Two people go,
Trail their long codas
Of talk through the snow.
Lonely are these
And lonely and I ....
The clouds, grey Chinese geese
Sleek through the sky.
T
The force that through the green fuse drives the flower
Drives my green age; that blasts the roots of trees
Is my destroyer.
And I am dumb to tell the crooked rose
My youth is bent by the same wintry fever.
The force that drives the water through the rocks
Drives my red blood; that dries the mouthing streams
Turns mine to wax.
And I am dumb to mouth unto my veins
How at the mountain spring the same mouth sucks.
The hand that whirls the water in the pool
Stirs the quicksand; that ropes the blowing wind
Hauls my shroud sail.
And I am dumb to tell the hanging man
How of my clay is made the hangman's lime.
The lips of time leech to the fountain head;
Love drips and gathers, but the fallen blood
Shall calm her sores.
And I am dumb to tell a weather's wind
How time has ticked a heaven round the stars.
And I am dumb to tell the lover's tomb
How at my sheet goes the same crooked worm.
********************************************
Dylan Thomas
"Do not go
gentle into that good night"
Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.
Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.
Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.
Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.
Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.
And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.
********************************************
Now as I was young and easy under the apple boughs
About the lilting house and happy as the grass was green,
The night above the dingle starry,
Time let me hail and climb
Golden in the heydays of his eyes,
And honoured among wagons I was prince of the apple towns
And once below a time I lordly had the trees and leaves
Trail with daisies and barley
Down the rivers of the windfall light.
And as I was green and carefree, famous among the barns
About the happy yard and singing as the farm was home,
In the sun that is young once only,
Time let me play and be
Golden in the mercy of his means,
And green and golden I was huntsman and herdsman, the calves
Sang to my horn, the foxes on the hills barked clear and cold,
And the sabbath rang slowly
In the pebbles of the holy streams.
All the sun long it was running, it was lovely, the hay
Fields high as the house, the tunes from the chimneys, it was air
And playing, lovely and watery
And fire green as grass.
And nightly under the simple stars
As I rode to sleep the owls were bearing the farm away,
All the moon long I heard, blessed among stables, the nightjars
Flying with the ricks, and the horses
Flashing into the dark.
And then to awake, and the farm, like a wanderer white
With the dew, come back, the cock on his shoulder: it was all
Shining, it was Adam and maiden,
The sky gathered again
And the sun grew round that very day.
So it must have been after the birth of the simple light
In the first, spinning place, the spellbound horses walking warm
Out of the whinnying green stable
On to the fields of praise.
And honoured among foxes and pheasants by the gay house
Under the new made clouds and happy as the heart was long,
In the sun born over and over,
I ran my heedless ways,
My wishes raced through the house high hay
And nothing I cared, at my sky blue trades, that time allows
In all his tuneful turning so few and such morning songs
Before the children green and golden
Follow him out of grace,
Nothing I cared, in the lamb white days, that time would take me
Up to the swallow thronged loft by the shadow of my hand,
In the moon that is always rising,
Nor that riding to sleep
I should hear him fly with the high fields
And wake to the farm forever fled from the childless land.
Oh as I was young and easy in the mercy of his means,
Time held me green and dying
Though I sang in my chains like the sea.
*****************************************************
Edward
Thomas, "Ambition"
Unless it was that
day I never knew
Ambition. After a night of frost, before
The March sun brightened and the South-west blew,
Jackdaws began to shout and float and soar
Already, and one was racing straight and high
Alone, shouting like a black warrior
Challenges and menaces to the wide sky.
With loud long laughter then a woodpecker
Ridiculed the sadness of the owl's last cry.
And through the valley where all the folk astir
Made only plumes of pearly smoke to tower
Over dark trees and white meadows happier
Than was Elysium in that happy hour,
A train that roared along raised after it
And carried with it a motionless white bower
Of purest cloud, from end to end close-knit,
So fair it touched the roar with silence. Time
Was powerless while that lasted. I could sit
And think I had made the loveliness of prime,
Breathed its life into it and were its lord,
And no mind lived save this 'twixt clouds and rime.
Omnipotent was I, nor even deplored
That I did nothing. But the end fell like a bell:
The bower was scattered; far off the train roared.
But if this was ambition I cannot tell.
What 'twas ambition for I know not well.
********************************************
Back to Index
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Y
W B Yeats: "The Lake Isle of Innisfree"
I will arise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made:
Nine bean-rows will I have there, a hive for the honey-bee,
And live alone in the bee-loud glade.
And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings;
There midnight's all a glimmer, and noon a purple glow,
And evening full of the linnet's wings.
I will arise and go now, for always night and day
I hear lake water lapping with low sounds by the shore;
While I stand on the roadway, or on the pavements grey,
I hear it in the deep heart's core.
- ********************************************
I made my song a coat
Covered with embroideries
Out of old mythologies
From heel to throat;
But he fools caught it,
Wore it in the world's eyes
As though they'd wrought it.
Song, let them take it,
For there's more enterprise
In walking naked.
******************************************** W.B. Yeats: September 1913 What need you, being come to sense,
But fumble in a greasy till
And add the halfpence to the pence
And prayer to shivering prayer, until
You have dried the marrow from the bone;
For men were born to pray and save;
Romantic Ireland's dead and gone,
It's with O'Leary in the grave.
Yet they were of a different kind,
The names that stilled your childish play,
They have gone about the world like wind,
But little time had they to pray
For whom the hangman's rope was spun,
And what, God help us, could they save?
Romantic Ireland's dead and gone,
It's with O'Leary in the grave.
Was it for this the wild geese spread
The grey wing upon every tide;
For this that all that blood was shed,
For this Edward Fitzgerald died,
And Robert Emmet and Wolfe Tone,
All that delirium of the brave?
Romantic Ireland's dead and gone,
It's with O'Leary in the grave.
Yet could we turn the years again,
And call those exiles as they were
In all their loneliness and pain,
You'd cry `Some woman's yellow hair
Has maddened every mother's son':
They weighed so lightly what they gave.
But let them be, they're dead and gone,
They're with O'Leary in the grave.
********************************************
W B
Yeats "Easter 1916" (1916)
I have met them at close of day
Coming with vivid faces
From counter or desk among grey
Eighteenth-century houses.
I have passed with a nod of the head
Or polite meaningless words,
Or have lingered awhile and said
Polite meaningless words,
And thought before I had done
Of a mocking tale or a gibe
To please a companion
Around the fire at the club,
Being certain that they and I
But lived where motley is worn:
All changed, changed utterly:
A terrible beauty is born.
That woman's days were spent
In ignorant good-will,
Her nights is argument
Until her voice grew shrill.
What voice more sweet than hers
When, young and beautiful,
She rode to harriers?
This man had kept a school
And rode our wingèd horse;
This other his helper and friend
Was coming into his force;
He might have won fame in the end,
So sensitive his nature seemed,
So daring and sweet his thought.
This other man I had dreamed
A drunken, vainglorious lout.
He had done most bitter wrong
To some who are near my heart,
Yet I number him in the song;
He, too, has resigned his part
In the casual comedy;
He, too, has been changed in his turn,
Transformed utterly:
A terrible beauty is born.
Hearts with one purpose alone
Through summer and winter seem
Enchanted to a stone
To trouble the living stream.
The horse that comes from the road,
The rider, the birds that range
From cloud to tumbling cloud,
Minute by minute they change;
A shadow of cloud on the stream
Changes minute by minute;
A horse-hoof slides on the brim,
And a horse plashes within it;
The long-legged moor-hens dive,
And hens to moor-cocks call;
Minute to minute they live;
The stone's in the midst of all.
Too long a sacrifice
Can make a stone of the heart.
O when may it suffice?
That is Heaven's part, our part
To murmur name upon name,
As a mother names her child
When sleep at last has come
On limbs that had run wild.
What is it but nightfall?
No, no, not night but death;
Was it needless death after all?
For England may keep faith
For all that is done and said.
We know their dream; enough
To know they dreamed and are dead;
And what if excess of love
Bewildered them till they died?
I write it out in a verse --
MacDonagh and MacBride
And Connolly and Pearse
Now and in time to be,
Wherever green is worn,
Are changed, changed utterly:
A terrible beauty is born.
********************************************
I sought a theme and sought for it in vain,
I sought it daily for six weeks or so.
Maybe at last, being but a broken man,
I must be satisfied with my heart, although
Winter and summer till old age began
My circus animals were all on show,
Those stilted boys, that burnished chariot,
Lion and woman and the Lord knows what.
II
What can I but enumerate old themes?
First that sea-rider Oisin led by the nose
Through three enchanted islands, allegorical dreams,
Vain gaiety, vain battle, vain repose,
Themes of the embittered heart, or so it seems,
That might adorn old songs or courtly shows;
But what cared I that set him on to ride,
I, starved for the bosom of his faery bride?
And then a counter-truth filled out its play,
'The Countess Cathleen' was the name I gave it;
She, pity-crazed, had given her soul away,
But masterful Heaven had intetvened to save it.
I thought my dear must her own soul destroy,
So did fanaticism and hate enslave it,
And this brought forth a dream and soon enough
This dream itself had all my thought and love.
And when the Fool and Blind Man stole the bread
Cuchulain fought the ungovernable sea;
Heart-mysteries there, and yet when all is said
It was the dream itself enchanted me:
Character isolated by a deed
To engross the present and dominate memory.
players and painted stage took all my love,
And not those things that they were emblems of.
III
Those masterful images because complete
Grew in pure mind, but out of what began?
A mound of refuse or the sweepings of a street,
Old kettles, old bottles, and a broken can,
Old iron, old bones, old rags, that raving slut
Who keeps the till. Now that my ladder's gone,
I must lie down where all the ladders start
In the foul rag-and-bone shop of the heart.
********************************************
Why should I blame her that she filled my days
With misery, or that she would of late
Have taught to ignorant men most violent ways,
Or hurled the little streets upon the great,
Had they but courage equal to desire?
What could have made her peaceful with a mind
That nobleness made simple as a fire,
With beauty like a tightened bow, a kind
That is not natural in an age like this,
Being high and solitary and most stern?
Why, what could she have done, being as she is?
Was there another Troy for her to burn?
********************************************
W B
Yeats: "Leda and the Swan" (1924)
A sudden blow: the great wings beating still
Above the staggering girl, her thighs caressed
By the dark webs, her nape caught in his bill,
He holds her helpless breast upon his breast.
How can those terrified vague fingers push
The feathered glory from her loosening thighs?
And how can body, laid in that white rush,
But feel the strange heart beating where it lies?
A shudder in the loins engenders there
The broken wall, the burning roof and tower
And Agamemnon dead.
Being so caught up,
So mastered by the brute blood of the air,
Did she put on his knowledge with his power
Before the indifferent beak could let her drop?
********************************************
When you are old and grey and full of sleep,
And nodding by the fire, take down this book,
And slowly read, and dream of the soft look
Your eyes had once, and of their shadows deep;
How many loved your moments of glad grace,
And loved your beauty with love false or true,
But one man loved the pilgrim soul in you,
And loved the sorrows of your changing face;
And bending down beside the glowing bars,
Murmur, a little sadly, how Love fled
And paced upon the mountains overhead
And hid his face amid a crowd of stars.
********************************************
W B
Yeats: "Sailing to Byzantium" (1927)
I
That is no country for old men. The young
In one another's arms, birds in the trees
--- Those dying generations --- at their song,
The salmon-falls, the mackerel-crowded seas,
Fish, flesh, or fowl, commend all summer long
Whatever is begotten, born, and dies.
Caught in that sensual music all neglect
Monuments of unageing intellect.
II
An aged man is but a paltry thing,
A tattered coat upon a stick, unless
Soul clap its hands and sing, and louder sing
For every tatter in its mortal dress,
Nor is there singing school but studying
Monuments of its own magnificence;
And therefore I have sailed the seas and come
To the holy city of Byzantium.
III
O sages standing in God's holy fire
As in the gold mosaic of a wall
Come from the holy fire, perne in a gyre,
And be the singing-masters of my soul.
Consume my heart away; sick with desire
And fastened to a dying animal
It knows not what it is; and gather me
Into the artifice of eternity.
IV
Once out of nature I shall never take
My bodily form from any natural thing,
But such a form as Grecian goldsmiths make
Of hammered gold and gold enamelling
To keep a drowsy Emperor awake;
Or set upon a golden bough to sing
To lords and ladies of Byzantium
Of what is past, or passing, or to come.
********************************************
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