The HyperTexts

The Chained Muse: David Gosselin's Not-So-Excellent Adventure

David Gosselin picked an interesting name when he called his literary blog The Chained Muse. Is his goal to imprison the fairest and most eloquent of the Muses in a narrow box—one that might prove to be her coffin, if that were possible? Hopefully not, but let's investigate ...

Periodically some new self-nominated Savior of formal/traditional/classical poetry emerges. Invariably, or so it seems to me, the message is the same: the poetry of yore is immeasurably better than—call it what you will—free verse, modern poetry, modernist poetry, etc. For my purposes here I will call the more venerable genre "formal poetry" and the newer variety "free verse." Of course this is an oversimplification because many poems incorporate elements of both. But it's not my thesis, and I require consistent terms to argue against it.

What we are told by the self-appointed Saviors is that formal poetry is the gift of the gods, by its very nature, while free verse invariably and automatically sucks. The salvation of poetry can only be accomplished if poets heed some new Messiah's message and return to the true faith in formal verse. Unconvincing proofs are offered in the form of holy writs euphemistically called "literary theories." It is my contention that such "theories" can be disproven simply by identifying free verse that doesn't suck. Which is what I intend to do.

by Michael R. Burch, editor of The HyperTexts

The would-be Saviors do not always inspire confidence with the clarity of their writing. Take, for instance, this assertion by David Gosselin:

"Despite there being thousands of years of classical poetry from culture's [sic] across the world, whether it be from China's Tang dynasty to the Caliphates of Baghdad and Cordoba to the England of Keats and Shelley or the America of Edgar Poe and Robert Frost, as in the failed and bloody French revolution, with the advent of Modernism one saw an all out assault on tradition and reason in favor of all out arbitrariness and irrationality, of starting 'from scratch'. ... Too often, discussion around modernist literary theories has taken place without being informed by a competent discussion on the history and nature of classical metaphor."

Gosselin recently published this assertion by Adam Sedia:

"The first aspect immediately noticeable about a classical poem is its clarity of expression. The language might be lofty or florid or sensuous, but the meaning—the underlying truth the poet is conveying through his art—is never lost. By contrast, a modernist poem is notable at first for its opacity. Symbolism unique to the poet or even the poem, inexplicable without footnotes, pervades the work. And the language always speaks in riddles, conjuring many possible interpretations, none of them necessarily wrong."

Over the last three decades I have heard formalists insist that formal verse is automatically better than free verse "just because" while speaking in similar absolutes and superlatives. I have heard the same general theory from Gosselin's own pen more than once, so I assume he won't disagree that this is what he actually believes. In fact, I think Gosselin would take things a step further and insist that "real" poetry must be uplifting, ennobling, soul-elevating, etc. In his opinion, as he has expressed it to me, poetry that strays too far from the Keats/Shelley mould is not "real" poetry, or at least not good poetry.

But Keats and Shelley were not always uplifting in their poetry; for example, take this chilling little poem Keats wrote shortly before his premature death at age 25:

This Living Hand
by John Keats

This living hand, now warm and capable
Of earnest grasping, would, if it were cold
And in the icy silence of the tomb,
So haunt thy days and chill thy dreaming nights
That thou would wish thine own heart dry of blood
So in my veins red life might stream again,
And thou be conscience-calm’d—see here it is—
I hold it towards you.

Another argument advanced by Gosselin is that modernist poetry lacks clarity and depends too much on communicating emotions. Gosselin railed against one such poem, saying: "It's not profound, it's just lacking in clarity or any coherent idea. It's just a feeling piece. That's not poetry, not by the standards of millenia [sic] of classical poetry whether it be Greek, Italian, Chinese, Arabic, Persian, English, Sanskrit.... All have high glorious high points in their civilizations with many shining examples of what great poetry looks like. There's no ambiguity there."

But didn't Keats and Shelley at times focus more on feeling than clarity? Take, for instance, these two short poems by Shelley:

Music When Soft Voices Die (To —)
by Percy Bysshe Shelley

Music, when soft voices die,
Vibrates in the memory—
Odours, when sweet violets sicken,
Live within the sense they quicken.

Rose leaves, when the rose is dead,
Are heaped for the belovèd's bed;
And so thy thoughts, when thou art gone,
Love itself shall slumber on.

The Fitful Alternations Of The Rain
by Percy Bysshe Shelley

The fitful alternations of the rain,
When the chill wind, languid as with pain
Of its own heavy moisture, here and there
Drives through the gray and beamless atmosphere.

I consider the first poem to be a masterpiece of English poetry. While both poems communicate feelings, they seem a bit "hazy" to me, meaning-wise. How can "love" slumber "on" thoughts? Does Shelley mean that he will sleep and love will cause him to dream about his lost lover? Does he mean that love will become comatose, no longer active, after his lover's death? Or does he means something else? The first poem seems ambiguous to me. The second seems to be more concerned with impressions and feelings than perfect clarity.

And it is simply and obviously not true that all classical poetry is uplifting, ennobling, unambiguous and invariably clear. Nor is it true that all free verse is unclear, opaque, ambiguous, "inexplicable without footnotes," etc.

Gosselin, in my experience, is prone to make dramatic statements about poetry, sometimes echoing what other poets and artists have said. For instance: Keats's "beauty is truth, truth beauty" and Poe's "beauty is the sole legitimate province of the poem." But do these grand pronouncements hold up, really? If truth is beauty, does the phrase "shit stinks" qualify as beautiful poetry? Are there no beautiful poems anywhere in the world that are less than truthful — for example religious poems and hymns that praise a loving, wise, compassionate, all-powerful Creator who seems not to exist, or not to be loving, wise and compassionate if he/she/it does? There are religious poems and hymns that I admire as works of art, but they don't strike me as truthful.

Poe claimed truth is the province of prose, while poetry is more about "an intense and pure elevation of the soul." Indeed, he said beauty is "absolutely antagonistic" to truth. That would seem to put Poe directly at odds with Keats, who obviously believed truth was the province of poetry, as did his friend Shelley. According to Keats, beauty and truth were one; according to Poe they were at opposite ends of the poetic spectrum. If Poe was correct, where does his truth leave Gosselin? Moreover, where does it leave Poe, whose most famous poem, "The Raven," is hardly soul-elevating stuff? While I like some of Poe's poems and admire his talent and creativity, he has never elevated my soul. Does that make him not a poet? 

There are good and great poems that speak to me, and some that touch and move me, but I don't have religious experiences when I read them. Ironically, the poet who has come closest to "speaking to my soul" is a free verse poet, Walt Whitman. But I think of him as a sometimes mentor, not as a spiritual guru.

To quickly summarize at this point: in my opinion the literary world abounds with would-be literary critics who quote things said by other would-be literary critics that don't make much sense if we think independently. The minute we choose to think for ourselves, the quackier theories quickly unravel.

Personally, I would throw out the stuff about poetry being the source of all beauty, truth, flight-enabling wings for the soul, etc. My favorite literary critic on the subject of "what makes poetry poetry" is Herbert Read. Read posited that poetry is three-dimensional writing, with the three dimensions being sense, sound and suggestion. By "sense" he meant what we understand. By "sound" he meant sonic effects like meter, rhyme, alliteration, assonance, etc. By "suggestion" I believe he meant a mysterious third element that can cause shivers, goosebumps, catches of the throat, winces, frowns, giggles, etc. For me, Read's definition makes perfect sense and I can experience all three dimensions in the poems I am about to share. Poems can be true or untrue—black, white or gray. They can rhyme or not rhyme; they can have regular meter or flow more freely. They can be beautiful or starkly unbeautiful. The more poems operate in all three dimensions, the more they separate themselves from flat, one-dimensional prose that operates strictly in the realm of sense (meaning). For instance, this review.

This is my preferred definition of poetry: three-dimensional writing. Sense. Sound. Suggestion.

In any case, as the old saw goes, "the proof is in the pudding." What follows is direct evidence that free verse is poetry, and can be poetry of a high order ...

Ezra Pound is a favorite target of many neo-formalists, so I will begin my argument with his poem "The Garden." In my opinion "The Garden" is a wonderful miniature of English society; it captures the essence of England's peculiar caste system of the early 20th century. The poem's title and the line "They shall inherit the earth" suggest a Garden of Eden in which the "fall" is due to bigotry. There is nothing unclear or inaccessible about the poem.

The Garden
by Ezra Pound

Like a skein of loose silk blown against a wall
She walks by the railing of a path in Kensington Gardens,
And she is dying piece-meal
               of a sort of emotional anemia.

And round about there is a rabble
Of the filthy, sturdy, unkillable infants of the very poor.
They shall inherit the earth.

In her is the end of breeding.
Her boredom is exquisite and excessive.

She would like some one to speak to her,
And is almost afraid that I
             will commit that indiscretion.

Walt Whitman was the father of American Modernism, as Ezra Pound admitted in his poem "A Pact." Whitman is another favorite target of anti-free-verse formalists, few if any of whom have written a poem remotely as good as this one.

A Noiseless Patient Spider
by Walt Whitman

A noiseless patient spider,
I mark'd where on a little promontory it stood isolated,
Mark'd how to explore the vacant vast surrounding,
It launch'd forth filament, filament, filament, out of itself,
Ever unreeling them, ever tirelessly speeding them.

And you O my soul where you stand,
Surrounded, detached, in measureless oceans of space,
Ceaselessly musing, venturing, throwing, seeking the spheres to connect them,
Till the bridge you will need be form'd, till the ductile anchor hold,
Till the gossamer thread you fling catch somewhere, O my soul.

Whitman's little poem about a noiseless patient spider is a study in clarity and accessibility. And Whitman wrote many other wonderfully clear, accessible poems. I had no trouble understanding Whitman when I read him as a young teen.

If Walt Whitman was the father of American Modernism, his contemporary Emily Dickinson was its mother.

Come slowly, Eden
by Emily Dickinson

Come slowly, Eden
Lips unused to thee.
Bashful, sip thy jasmines,
As the fainting bee,
Reaching late his flower,
Round her chamber hums,
Counts his nectars—alights,
And is lost in balms!

Dickinson's poem is another study in clarity and accessibility. And while it is true that some of her poems are more difficult and open to interpretation than the one above, the same can be said about the work of classical poets like Homer, Dante, Chaucer, Shakespeare and Milton. After all, experts are still debating what they meant in various passages.

One of the sea changes in poetry that began with Romanticism and continued with Modernism was the expression of outrage against social and economic injustices. One of the best poets in this regard was Langston Hughes.

Minstrel Man
by Langston Hughes

Because my mouth
Is wide with laughter
And my throat
Is deep with song,
You did not think
I suffer after
I've held my pain
So long.

Because my mouth
Is wide with laughter
You do not hear
My inner cry:
Because my feet
Are gay with dancing,
You do not know
I die.

Once again, there is nothing unclear or inaccessible to be found.

Hughes suggested, not so obliquely, that if African Americans were denied access to the American dream, they might explode into racial violence.

A Dream Deferred
by Langston Hughes

What happens to a dream deferred?

Does it dry up
like a raisin in the sun?
Or fester like a sore—
And then run?
Does it stink like rotten meat?
Or crust and sugar over—
like a syrupy sweet?

Maybe it just sags
like a heavy load.

Or does it explode?

The poem's images help us understand how Hughes saw racial discrimination. Anyone with a functional brain should be able to understand the warning he delivered in the closing line. This was another poem that I immediately understood when I read it as a teen.

Randall Jarrell was born in Nashville, Tennessee the year World War I began, 1914. He earned bachelor's and master's degrees from Vanderbilt University, where he studied under Robert Penn Warren, John Crowe Ransom and Allen Tate. In 1942 he enlisted in the Army Air Corps and worked as a control tower operator during World War II, an experience that influenced and provided material for his poetry. Jarrell’s reputation as a poet was established in 1945 with the publication of his second book, Little Friend, Little Friend, which "bitterly and dramatically documents the intense fears and moral struggles of young soldiers." 

The Death of the Ball Turret Gunner
by Randall Jarrell

From my mother's sleep I fell into the State,
And I hunched in its belly till my wet fur froze.
Six miles from earth, loosed from its dream of life,
I woke to black flak and the nightmare fighters.
When I died they washed me out of the turret with a hose.

While the poem's images are a bit surrealistic, once again it's not difficult to understand what the poet was getting at.

Feminism is another important aspect of Modernism. In "Advice to a Girl," Sara Teasdale refutes the Judeo-Christian dogma that women are meant to be possessed (i.e., owned and subjugated) by men.

Advice to a Girl
by Sara Teasdale

No one worth possessing
Can be quite possessed;
Lay that on your heart,
My young angry dear;
This truth, this hard and precious stone,
Lay it on your hot cheek,
Let it hide your tear.
Hold it like a crystal
When you are alone
And gaze in the depths of the icy stone.
Long, look long and you will be blessed:
No one worth possessing
Can be quite possessed.

"Dover Beach" may be the first great poem of English modernism. The poem abandons faith in God, church and state. It also abandons regular meter and rhyme, along with certainty. And it certainly doesn't uplift.

Dover Beach
by Matthew Arnold

The sea is calm to-night,
The tide is full, the moon lies fair
Upon the straits; on the French coast the light
Gleams and is gone; the cliffs of England stand,
Glimmering and vast, out in the tranquil bay.
Come to the window, sweet is the night-air!
Only, from the long line of spray
Where the sea meets the moon-blanched land,
Listen! you hear the grating roar
Of pebbles which the waves draw back, and fling,
At their return, up the high strand,
Begin, and cease, and then again begin,
With tremulous cadence slow, and bring
The eternal note of sadness in.

Sophocles long ago
Heard it on the Aegean, and it brought
Into his mind the turbid ebb and flow
Of human misery; we
Find also in the sound a thought,
Hearing it by this distant northern sea.

The sea of faith
Was once, too, at the full, and round earth's shore
Lay like the folds of a bright girdle furled.
But now I only hear
Its melancholy, long, withdrawing roar,
Retreating, to the breath
Of the night-wind, down the vast edges drear
And naked shingles of the world.

Ah, love, let us be true
To one another! for the world which seems
To lie before us like a land of dreams,
So various, so beautiful, so new,
Hath really neither joy, nor love, nor light,
Nor certitude, nor peace, nor help for pain;
And we are here as on a darkling plain
Swept with confused alarms of struggle and flight,
Where ignorant armies clash by night.

Some early modernists like A. E. Housman were atheists, agnostics, or at least very skeptical about the dubious claims of Christianity.

Excerpts from "More Poems"
by A. E. Housman

XLVII - For My Funeral

O thou that from thy mansion
Through time and place to roam,
Dost send abroad thy children,
And then dost call them home,

That men and tribes and nations
And all thy hand hath made
May shelter them from sunshine
In thine eternal shade:

We now to peace and darkness
And earth and thee restore
Thy creature that thou madest
And wilt cast forth no more.

William Blake was one of the first English language poets to write protest poems against what Dwight D. Eisenhower would later call the "military-industrial complex." Blake employed the more poetic term "Satanic mills."

Jerusalem
by William Blake

And did those feet in ancient time
Walk upon England's mountains green?
And was the holy Lamb of God
On England's pleasant pastures seen?

And did the Countenance Divine
Shine forth upon our clouded hills?
And was Jerusalem builded here
Among these dark Satanic mills?

Bring me my bow of burning gold:
Bring me my arrows of desire:
Bring me my spear: O clouds unfold!
Bring me my chariot of fire.

I will not cease from mental fight,
Nor shall my sword sleep in my hand
Till we have built Jerusalem
In England's green and pleasant land.

Blake, the mentor of pro-equality, anti-war singer-songwriters like Bob Dylan, Joan Baez and John Lennon, called for his readers to join the "mental fight" against the forces of darkness and social injustice. There is nothing ennobling or uplifting about the following poem: it is more of a dark warning.

London
by William Blake

I wander thro' each charter'd street,
Near where the charter'd Thames does flow,
And mark in every face I meet
Marks of weakness, marks of woe.
In every cry of every Man,
In every Infant's cry of fear,
In every voice, in every ban,
The mind-forg'd manacles I hear.
How the Chimney-sweeper's cry
Every blackning Church appalls,
And the hapless Soldier's sigh
Runs in blood down Palace walls.
But most thro' midnight streets I hear
How the youthful Harlot's curse
Blasts the new-born Infant's tear
And blights with plagues the Marriage hearse.

Housman even dared to question the dubious "accomplishments" of Christ, something for which he would undoubtedly have been burned at the stake just a few years earlier.

Excerpts from "More Poems"
by A. E. Housman

I - Easter Hymn

If in that Syrian garden, ages slain,
You sleep, and know not you are dead in vain,
Nor even in dreams behold how dark and bright
Ascends in smoke and fire by day and night
The hate you died to quench and could but fan,
Sleep well and see no morning, son of man.

But if, the grave rent and the stone rolled by,
At the right hand of majesty on high
You sit, and sitting so remember yet
Your tears, your agony and bloody sweat,
Your cross and passion and the life you gave,
Bow hither out of heaven and see and save.

Another aspect of Romanticism and Modernism is the poet's increasing sense of alienation from and dissatisfaction with life. Whereas in previous generations the mystics tended to praise God, some of the more mystical modern poets seemed to feel alienated from both God and Creation.

Alone
by Edgar Alan Poe

From childhood's hour I have not been
As others were; I have not seen
As others saw; I could not bring
My passions from a common spring.
From the same source I have not taken
My sorrow; I could not awaken
My heart to joy at the same tone;
And all I loved, I loved alone.
Then—in my childhood, in the dawn
Of a most stormy life—was drawn
From every depth of good and ill
The mystery which binds me still:
From the torrent, or the fountain,
From the red cliff of the mountain,
From the sun that round me rolled
In its autumn tint of gold,
From the lightning in the sky
As it passed me flying by,
From the thunder and the storm,
And the cloud that took the form
(When the rest of Heaven was blue)
Of a demon in my view.

Another aspect of Modernism was the refinement of poetic meter to such an extent that it became virtually invisible, in the work of poets like W. H. Auden, Louise Bogan, Hart Crane and Wallace Stevens.

The Man Whose Pharynx Was Bad
by Wallace Stevens

The time of year has grown indifferent.
Mildew of summer and the deepening snow
Are both alike in the routine I know:
I am too dumbly in my being pent.

The wind attendant on the solstices
Blows on the shutters of the metropoles,
Stirring no poet in his sleep, and tolls
The grand ideas of the villages.

The malady of the quotidian . . .
Perhaps if summer ever came to rest
And lengthened, deepened, comforted, caressed
Through days like oceans in obsidian

Horizons, full of night's midsummer blaze;
Perhaps, if winter once could penetrate
Through all its purples to the final slate,
Persisting bleakly in an icy haze;

One might in turn become less diffident,
Out of such mildew plucking neater mould
And spouting new orations of the cold.
One might. One might. But time will not relent.

Auden was another poet who, in his best poems, took English poetic meter to new heights. And he did so in one of the most touching love poems ever written.

Lullaby
by W. H. Auden

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 ecstacy.

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.

Another interesting (and titillating) element of Romanticism and Modernism is a much freer approach to the naughtier aspects of sex.

may i feel said he
by e. e. cummings

may i feel said he
(i'll squeal said she
just once said he)
it's fun said she

(may i touch said he
how much said she
a lot said he)
why not said she

(let's go said he
not too far said she
what's too far said he
where you are said she)

may i stay said he
(which way said she
like this said he
if you kiss said she

may i move said he
is it love said she)
if you're willing said he
(but you're killing said she

but it's life said he
but your wife said she
now said he)
ow said she

(tiptop said he
don't stop said she
oh no said he)
go slow said she

(cccome?said he
ummm said she)
you're divine!said he
(you are Mine said she)

The Romantics and Modernists were more likely to damn church, state and society, than to praise them. Robinson Jeffers had no interest in uplifting; he was more likely to utter dire warnings.

Shine, Perishing Republic
by Robinson Jeffers

While this America settles in the mould of its vulgarity, heavily thickening to empire,
And protest, only a bubble in the molten mass, pops and sighs out, and the mass hardens,

I sadly smiling remember that the flower fades to make fruit, the fruit rots to make earth.
Out of the mother; and through the spring exultances, ripeness and decadence; and home to the mother.

You making haste haste on decay: not blameworthy; life is good, be it stubbornly long or suddenly
A mortal splendor: meteors are not needed less than mountains: shine, perishing republic.

But for my children, I would have them keep their distance from the thickening center; corruption
Never has been compulsory, when the cities lie at the monster’s feet there are left the mountains.

And boys, be in nothing so moderate as in love of man, a clever servant, insufferable master.
There is the trap that catches noblest spirits, that caught—they say—God, when he walked on earth.

Wilfred Owen was the first great anti-war poet, and remains one of the very best. If the human race ever manages to end the barbarity of war, it may be largely or at least in part because Owen created the original song and his heirs (Bob Dylan, John Lennon, et al) took up the chorus.

Dulce Et Decorum Est
by Wilfred Owen

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 tired, outstripped Five-Nines 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 flound'ring 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.

Note: "Dulce et decorum est pro patria mori" is from Horace's Odes and means: "It is sweet and fitting to die for one's country."

Ernest Dowson was a vastly underrated poet whose verse influenced T. S. Eliot.

Vitae summa brevis spem nos vetat inchohare longam
by Ernest Dowson

"The brevity of life forbids us to entertain hopes of long duration" —Horace

They are not long, the weeping and the laughter,
Love and desire and hate:
I think they have no portion in us after
We pass the gate.

They are not long, the days of wine and roses:
Out of a misty dream
Our path emerges for a while, then closes
Within a dream.

A Last Word
by Ernest Dowson

Let us go hence: the night is now at hand;
The day is overworn, the birds all flown;
And we have reaped the crops the gods have sown;
Despair and death; deep darkness o'er the land,
Broods like an owl; we cannot understand
Laughter or tears, for we have only known
Surpassing vanity: vain things alone
Have driven our perverse and aimless band.
Let us go hence, somewhither strange and cold,
To Hollow Lands where just men and unjust
Find end of labour, where's rest for the old,
Freedom to all from love and fear and lust.
Twine our torn hands! O pray the earth enfold
Our life-sick hearts and turn them into dust.

Non sum qualis eram bonae sub regno Cynarae
by Ernest Dowson

"I am not as I was under the reign of the good Cynara"—Horace

Last night, ah, yesternight, betwixt her lips and mine
There fell thy shadow, Cynara! thy breath was shed
Upon my soul between the kisses and the wine;
And I was desolate and sick of an old passion,
Yea, I was desolate and bowed my head:
I have been faithful to thee, Cynara! in my fashion.

All night upon mine heart I felt her warm heart beat,
Night-long within mine arms in love and sleep she lay;
Surely the kisses of her bought red mouth were sweet;
But I was desolate and sick of an old passion,
When I awoke and found the dawn was gray:
I have been faithful to you, Cynara! in my fashion.

I have forgot much, Cynara! gone with the wind,
Flung roses, roses riotously with the throng,
Dancing, to put thy pale, lost lilies out of mind;
But I was desolate and sick of an old passion,
Yea, all the time, because the dance was long;
I have been faithful to thee, Cynara! in my fashion.

I cried for madder music and for stronger wine,
But when the feast is finished and the lamps expire,
Then falls thy shadow, Cynara! the night is thine;
And I am desolate and sick of an old passion,
Yea, hungry for the lips of my desire:
I have been faithful to thee, Cynara! in my fashion.

Poets like John Clare introduced the grotesque to poetry; thus poems could speak truthfully about the uglier aspects of life.

Mouse's Nest
by John Clare

I found a ball of grass among the hay
And progged it as I passed and went away;
And when I looked I fancied something stirred,
And turned again and hoped to catch the bird —
When out an old mouse bolted in the wheats
With all her young ones hanging at her teats;
She looked so odd and so grotesque to me,
I ran and wondered what the thing could be,
And pushed the knapweed bunches where I stood;
Then the mouse hurried from the craking brood.
The young ones squeaked, and as I went away
She found her nest again among the hay.
The water o'er the pebbles scarce could run
And broad old cesspools glittered in the sun.

Now here, without further ado, are more of the best poems of Modernism, in one person's opinion ...

A charm invests a face
by Emily Dickinson

A charm invests a face
Imperfectly beheld.
The lady dare not lift her veil
For fear it be dispelled.

But peers beyond her mesh,
And wishes, and denies,
Lest interview annul a want
That image satisfies.

Spring
by Edna St. Vincent Millay

To what purpose, April, do you return again?
Beauty is not enough.
You can no longer quiet me with the redness
Of little leaves opening stickily.
I know what I know.
The sun is hot on my neck as I observe
The spikes of the crocus.
The smell of the earth is good.
It is apparent that there is no death.
But what does that signify?
Not only under ground are the brains of men
Eaten by maggots.
Life in itself
Is nothing,
An empty cup, a flight of uncarpeted stairs.
It is not enough that yearly, down this hill,
April
Comes like an idiot, babbling and strewing flowers.

Memorial Rain
by Archibald MacLeish

for Kenneth MacLeish, 1894-1918

Ambassador Puser the ambassador
Reminds himself in French, felicitous tongue,
What these (young men no longer) lie here for
In rows that once, and somewhere else, were young…

All night in Brussels the wind had tugged at my door:
I had heard the wind at my door and the trees strung
Taut, and to me who had never been before
In that country it was a strange wind, blowing
Steadily, stiffening the walls, the floor,
The roof of my room. I had not slept for knowing
He too, dead, was a stranger in that land
And felt beneath the earth in the wind’s flowing
A tightening of roots and would not understand,
Remembering lake winds in Illinois,
That strange wind. I had felt his bones in the sand
Listening.

…Reflects that these enjoy
Their country’s gratitude, that deep repose,
That peace no pain can break, no hurt destroy,
That rest, that sleep…

At Ghent the wind rose.
There was a smell of rain and a heavy drag
Of wind in the hedges but not as the wind blows
Over fresh water when the waves lag
Foaming and the willows huddle and it will rain:
I felt him waiting.

…Indicates the flag
Which (may he say) enisles in Flanders plain
This little field these happy, happy dead
Have made America…

In the ripe grain
The wind coiled glistening, darted, fled,
Dragging its heavy body: at Waereghem
The wind coiled in the grass above his head:
Waiting—listening…

…Dedicates to them
This earth their bones have hallowed, this last gift
A Grateful country…

Under the dry grass stem
The words are blurred, are thickened, the words sift
Confused by the rasp of the wind, by the thin grating
Of ants under the grass, the minute shift
And tumble of dusty sand separating
From dusty sand. The roots of the grass strain,
Tighten, the earth is rigid, waits—he is waiting—

And suddenly, and all at once, the rain!

The living scatter, they run into houses, the wind
Is trampled under the rain, shakes free, is again
Trampled. The rain gathers, running in thinned
Spurts of water that ravel in the dry sand,
Seeping in the sand under the grass roots, seeping
Between cracked boards to the bones of a clenched hand:
The earth relaxes, loosens; he is sleeping,
He rests, he is quiet, he sleeps in a strange land.

La Figlia Che Piange (The Weeping Girl)
by T. S. Eliot

Stand on the highest pavement of the stair —
Lean on a garden urn —
Weave, weave the sunlight in your hair —
Clasp your flowers to you with a pained surprise —
Fling them to the ground and turn
With a fugitive resentment in your eyes:
But weave, weave the sunlight in your hair.

So I would have had him leave,
So I would have had her stand and grieve,
So he would have left
As the soul leaves the body torn and bruised,
As the mind deserts the body it has used.
I should find
Some way incomparably light and deft,
Some way we both should understand,
Simple and faithless as a smile and a shake of the hand.

She turned away, but with the autumn weather
Compelled my imagination many days,
Many days and many hours:
Her hair over her arms and her arms full of flowers.
And I wonder how they should have been together!
I should have lost a gesture and a pose.
Sometimes these cogitations still amaze
The troubled midnight, and the noon's repose.

Requiescat
By Oscar Wilde

Tread lightly, she is near
Under the snow,
Speak gently, she can hear
The daisies grow.

All her bright golden hair
Tarnished with rust,
She that was young and fair
Fallen to dust.

Lily-like, white as snow,
She hardly knew
She was a woman, so
Sweetly she grew.

Coffin-board, heavy stone,
Lie on her breast,
I vex my heart alone,
She is at rest.

Peace, Peace, she cannot hear
Lyre or sonnet,
All my life's buried here,
Heap earth upon it.

Bread and Music
by Conrad Aiken

Music I heard with you was more than music,
And bread I broke with you was more than bread;
Now that I am without you, all is desolate;
All that was once so beautiful is dead.

Your hands once touched this table and this silver,
And I have seen your fingers hold this glass.
These things do not remember you, belovèd,
And yet your touch upon them will not pass.

For it was in my heart you moved among them,
And blessed them with your hands and with your eyes;
And in my heart they will remember always,—
They knew you once, O beautiful and wise.

The Snow Man
by Wallace Stevens

One must have a mind of winter
To regard the frost and the boughs
Of the pine-trees crusted with snow;

And have been cold a long time
To behold the junipers shagged with ice,
The spruces rough in the distant glitter

Of the January sun; and not to think
Of any misery in the sound of the wind,
In the sound of a few leaves,

Which is the sound of the land
Full of the same wind
That is blowing in the same bare place

For the listener, who listens in the snow,
And, nothing himself, beholds
Nothing that is not there and the nothing that is.

Piano
by D. H. Lawrence

Softly, in the dusk, a woman is singing to me;
Taking me back down the vista of years, till I see
A child sitting under the piano, in the boom of the tingling strings
And pressing the small, poised feet of a mother who smiles as she sings.
In spite of myself, the insidious mastery of song
Betrays me back, till the heart of me weeps to belong
To the old Sunday evenings at home, with winter outside
And hymns in the cozy parlor, the tinkling piano our guide.
So now it is vain for the singer to burst into clamor
With the great black piano appassionato. The glamour
Of childish days is upon me, my manhood is cast
Down in the flood of remembrance, I weep like a child for the past.

Song For The Last Act
by Louise Bogan

Now that I have your face by heart, I look
Less at its features than its darkening frame
Where quince and melon, yellow as young flame,
Lie with quilled dahlias and the shepherd's crook.
Beyond, a garden. There, in insolent ease
The lead and marble figures watch the show
Of yet another summer loath to go
Although the scythes hang in the apple trees.

Now that I have your face by heart, I look.

Now that I have your voice by heart, I read
In the black chords upon a dulling page
Music that is not meant for music's cage,
Whose emblems mix with words that shake and bleed.
The staves are shuttled over with a stark
Unprinted silence. In a double dream
I must spell out the storm, the running stream.
The beat's too swift. The notes shift in the dark.

Now that I have your voice by heart, I read.

Now that I have your heart by heart, I see
The wharves with their great ships and architraves;
The rigging and the cargo and the slaves
On a strange beach under a broken sky.
O not departure, but a voyage done!
The bales stand on the stone; the anchor weeps
Its red rust downward, and the long vine creeps
Beside the salt herb, in the lengthening sun.

Now that I have your heart by heart, I see.

The Death of a Toad
by Richard Wilbur

       A toad the power mower caught,
Chewed and clipped of a leg, with a hobbling hop has got
   To the garden verge, and sanctuaried him
   Under the cineraria leaves, in the shade
      Of the ashen and heartshaped leaves, in a dim,
          Low, and a final glade.

       The rare original heartsblood goes,
Spends in the earthen hide, in the folds and wizenings, flows
    In the gutters of the banked and staring eyes. He lies
    As still as if he would return to stone,
        And soundlessly attending, dies
           Toward some deep monotone,

       Toward misted and ebullient seas
And cooling shores, toward lost Amphibia's emperies.
    Day dwindles, drowning and at length is gone
    In the wide and antique eyes, which still appear
        To watch, across the castrate lawn,
            The haggard daylight steer.

Acquainted With The Night
by Robert Frost

I have been one acquainted with the night.
I have walked out in rain—and back in rain.
I have outwalked the furthest city light.
I have looked down the saddest city lane.
I have passed by the watchman on his beat
And dropped my eyes, unwilling to explain.
I have stood still and stopped the sound of feet
When far away an interrupted cry
Came over houses from another street,
But not to call me back or say good-by;
And further still at an unearthly height,
One luminary clock against the sky
Proclaimed the time was neither wrong nor right.
I have been one acquainted with the night.

In A Station Of The Metro
by Ezra Pound

The apparition of these faces in the crowd:
Petals on a wet, black bough.

Those Winter Sundays
by Robert Hayden

Sundays too my father got up early
and put his clothes on in the blueblack cold,
then with cracked hands that ached
from labor in the weekday weather made
banked fires blaze. No one ever thanked him.
I'd wake and hear the cold splintering, breaking.
When the rooms were warm, he'd call,
and slowly I would rise and dress,
fearing the chronic angers of that house,
Speaking indifferently to him,
who had driven out the cold
and polished my good shoes as well.
What did I know, what did I know
of love's austere and lonely offices?

Do Not Go Gentle Into That Good Night
by Dylan Thomas

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.

In My Craft Or Sullen Art
by Dylan Thomas

In my craft or sullen art
Exercised in the still night
When only the moon rages
And the lovers lie abed
With all their griefs in their arms,
I labour by singing light
Not for ambition or bread
Or the strut and trade of charms
On the ivory stages
But for the common wages
Of their most secret heart.
Not for the proud man apart
From the raging moon I write
On these spindrift pages
Nor for the towering dead
With their nightingales and psalms
But for the lovers, their arms
Round the griefs of the ages,
Who pay no praise or wages
Nor heed my craft or art.

The Most of It
by Robert Frost

He thought he kept the universe alone;
For all the voice in answer he could wake
Was but the mocking echo of his own
From some tree—hidden cliff across the lake.
Some morning from the boulder—broken beach
He would cry out on life, that what it wants
Is not its own love back in copy speech,
But counter—love, original response.
And nothing ever came of what he cried
Unless it was the embodiment that crashed
In the cliff's talus on the other side,
And then in the far distant water splashed,
But after a time allowed for it to swim,
Instead of proving human when it neared
And someone else additional to him,
As a great buck it powerfully appeared,
Pushing the crumpled water up ahead,
And landed pouring like a waterfall,
And stumbled through the rocks with horny tread,
And forced the underbrush—and that was all.

In Memory of W. B. Yeats
by W. H. Auden

I

He disappeared in the dead of winter:
The brooks were frozen, the airports almost deserted,
And 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 fountain start,
In the prison of his days
Teach the free man how to praise.

When You Are Old
by William Butler Yeats

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.

An Irish Airman Foresees His Death
by William Butler Yeats

I know that I shall meet my fate
Somewhere among the clouds above;
Those that I fight I do not hate,
Those that I guard I do not love;
My country is Kiltartan Cross,
My countrymen Kiltartan's poor,
No likely end could bring them loss
Or leave them happier than before.
Nor law, nor duty bade me fight,
Nor public men, nor cheering crowds,
A lonely impulse of delight
Drove to this tumult in the clouds;
I balanced all, brought all to mind,
The years to come seemed waste of breath,
A waste of breath the years behind
In balance with this life, this death.

To Brooklyn Bridge
by Hart Crane

How many dawns, chill from his rippling rest
The seagull's wings shall dip and pivot him,
Shedding white rings of tumult, building high
Over the chained bay waters Liberty—

Then, with inviolate curve, forsake our eyes
As apparitional as sails that cross
Some page of figures to be filed away;
—Till elevators drop us from our day ...

I think of cinemas, panoramic sleights
With multitudes bent toward some flashing scene
Never disclosed, but hastened to again,
Foretold to other eyes on the same screen;

And Thee, across the harbor, silver-paced
As though the sun took step of thee, yet left
Some motion ever unspent in thy stride,—
Implicitly thy freedom staying thee!

Out of some subway scuttle, cell or loft
A bedlamite speeds to thy parapets,
Tilting there momently, shrill shirt ballooning,
A jest falls from the speechless caravan.

Down Wall, from girder into street noon leaks,
A rip-tooth of the sky's acetylene;
All afternoon the cloud-flown derricks turn ...
Thy cables breathe the North Atlantic still.

And obscure as that heaven of the Jews,
Thy guerdon ... Accolade thou dost bestow
Of anonymity time cannot raise:
Vibrant reprieve and pardon thou dost show.

O harp and altar, of the fury fused,
(How could mere toil align thy choiring strings!)
Terrific threshold of the prophet's pledge,
Prayer of pariah, and the lover's cry,—

Again the traffic lights that skim thy swift
Unfractioned idiom, immaculate sigh of stars,
Beading thy path—condense eternity:
And we have seen night lifted in thine arms.

Under thy shadow by the piers I waited;
Only in darkness is thy shadow clear.
The City's fiery parcels all undone,
Already snow submerges an iron year ...

O Sleepless as the river under thee,
Vaulting the sea, the prairies' dreaming sod,
Unto us lowliest sometime sweep, descend
And of the curveship lend a myth to God.

Forgive, O Lord
by Robert Frost

Forgive, O Lord, my little jokes on Thee
And I'll forgive the great big one on me.

Directive
by Robert Frost

Back out of all this now too much for us,
Back in a time made simple by the loss
Of detail, burned, dissolved, and broken off
Like graveyard marble sculpture in the weather,
There is a house that is no more a house
Upon a farm that is no more a farm
And in a town that is no more a town.
The road there, if you'll let a guide direct you
Who only has at heart your getting lost,
May seem as if it should have been a quarry —
Great monolithic knees the former town
Long since gave up pretense of keeping covered.
And there's a story in a book about it:
Besides the wear of iron wagon wheels
The ledges show lines ruled southeast-northwest,
The chisel work of an enormous Glacier
That braced his feet against the Arctic Pole.
You must not mind a certain coolness from him
Still said to haunt this side of Panther Mountain.
Nor need you mind the serial ordeal
Of being watched from forty cellar holes
As if by eye pairs out of forty firkins.
As for the woods' excitement over you
That sends light rustle rushes to their leaves,
Charge that to upstart inexperience.
Where were they all not twenty years ago?
They think too much of having shaded out
A few old pecker-fretted apple trees.
Make yourself up a cheering song of how
Someone's road home from work this once was,
Who may be just ahead of you on foot
Or creaking with a buggy load of grain.
The height of the adventure is the height
Of country where two village cultures faded
Into each other. Both of them are lost.
And if you're lost enough to find yourself
By now, pull in your ladder road behind you
And put a sign up CLOSED to all but me.
Then make yourself at home. The only field
Now left's no bigger than a harness gall.
First there's the children's house of make-believe,
Some shattered dishes underneath a pine,
The playthings in the playhouse of the children.
Weep for what little things could make them glad.
Then for the house that is no more a house,
But only a belilaced cellar hole,
Now slowly closing like a dent in dough.
This was no playhouse but a house in earnest.
Your destination and your destiny's
A brook that was the water of the house,
Cold as a spring as yet so near its source,
Too lofty and original to rage.
(We know the valley streams that when aroused
Will leave their tatters hung on barb and thorn.)
I have kept hidden in the instep arch
Of an old cedar at the waterside
A broken drinking goblet like the Grail
Under a spell so the wrong ones can't find it,
So can't get saved, as Saint Mark says they mustn't.
(I stole the goblet from the children's playhouse.)
Here are your waters and your watering place.
Drink and be whole again beyond confusion.

Luke Havergal
by Edward Arlington Robinson

Go to the western gate, Luke Havergal,
There where the vines cling crimson on the wall,
And in the twilight wait for what will come.
The leaves will whisper there of her, and some,
Like flying words, will strike you as they fall;
But go, and if you listen, she will call.
Go to the western gate, Luke Havergal—
Luke Havergal.

No, there is not a dawn in eastern skies
To rift the fiery night that's in your eyes;
But there, where western glooms are gathering
The dark will end the dark, if anything:
God slays Himself with every leaf that flies,
And hell is more than half of paradise.
No, there is not a dawn in eastern skies—
In eastern skies.

Out of a grave I come to tell you this,
Out of a grave I come to quench the kiss
That flames upon your forehead with a glow
That blinds you to the way that you must go.
Yes, there is yet one way to where she is,
Bitter, but one that faith may never miss.
Out of a grave I come to tell you this—
To tell you this.

There is the western gate, Luke Havergal,
There are the crimson leaves upon the wall,
Go, for the winds are tearing them away,—
Nor think to riddle the dead words they say,
Nor any more to feel them as they fall;
But go, and if you trust her she will call.
There is the western gate, Luke Havergal—
Luke Havergal.

I Knew A Woman
by Theodore Roethke

I knew a woman, lovely in her bones,
When small birds sighed, she would sigh back at them;
Ah, when she moved, she moved more ways than one:
The shapes a bright container can contain!
Of her choice virtues only gods should speak,
Or English poets who grew up on Greek
(I'd have them sing in chorus, cheek to cheek.)

How well her wishes went! She stroked my chin,
She taught me Turn, and Counter-turn, and stand;
She taught me Touch, that undulant white skin:
I nibbled meekly from her proffered hand;
She was the sickle; I, poor I, the rake,
Coming behind her for her pretty sake
(But what prodigious mowing did we make.)

Love likes a gander, and adores a goose:
Her full lips pursed, the errant note to seize;
She played it quick, she played it light and loose;
My eyes, they dazzled at her flowing knees;
Her several parts could keep a pure repose,
Or one hip quiver with a mobile nose
(She moved in circles, and those circles moved.)

Let seed be grass, and grass turn into hay:
I'm martyr to a motion not my own;
What's freedom for? To know eternity.
I swear she cast a shadow white as stone.
But who would count eternity in days?
These old bones live to learn her wanton ways:
(I measure time by how a body sways.)

The Broken Tower
by Hart Crane

The bell-rope that gathers God at dawn
Dispatches me as though I dropped down the knell
Of a spent day — to wander the cathedral lawn
From pit to crucifix, feet chill on steps from hell.

Have you not heard, have you not seen that corps
Of shadows in the tower, whose shoulders sway
Antiphonal carillons launched before
The stars are caught and hived in the sun's ray?

The bells, I say, the bells break down their tower;
And swing I know not where. Their tongues engrave
Membrane through marrow, my long-scattered score
Of broken intervals ... And I, their sexton slave!

Oval encyclicals in canyons heaping
The impasse high with choir. Banked voices slain!
Pagodas campaniles with reveilles out leaping —
O terraced echoes prostrate on the plain! ...

And so it was I entered the broken world
To trace the visionary company of love, its voice
An instant in the wind (I know not whither hurled)
But not for long to hold each desperate choice.

My word I poured. But was it cognate, scored
Of that tribunal monarch of the air
Whose thighs embronzes earth, strikes crystal Word
In wounds pledged once to hope — cleft to despair?

The steep encroachments of my blood left me
No answer (could blood hold such a lofty tower
As flings the question true?) — or is it she
Whose sweet mortality stirs latent power? —

And through whose pulse I hear, counting the strokes
My veins recall and add, revived and sure
The angelus of wars my chest evokes:
What I hold healed, original now, and pure ...

And builds, within, a tower that is not stone
(Not stone can jacket heaven) — but slip
Of pebbles, — visible wings of silence sown
In azure circles, widening as they dip

The matrix of the heart, lift down the eyes
That shrines the quiet lake and swells a tower ...
The commodious, tall decorum of that sky
Unseals her earth, and lifts love in its shower.

Naming of Parts
by Henry Reed

"Vixi duellis nuper idoneus
Et militavi non sine glori"

Today we have naming of parts. Yesterday,
We had daily cleaning. And tomorrow morning,
We shall have what to do after firing. But today,
Today we have naming of parts. Japonica
Glistens like coral in all of the neighboring gardens,
   And today we have naming of parts.

This is the lower sling swivel. And this
Is the upper sling swivel, whose use you will see
When you are given your slings. And this is the piling swivel,
Which in your case you have not got. The branches
Hold in the gardens their silent, eloquent gestures,
   Which in our case we have not got.

This is the safety-catch, which is always released
With an easy flick of the thumb. And please do not let me
See anyone using his finger. You can do it quite easily
If you have any strength in your thumb. The blossoms
Are fragile and motionless, never letting anyone see
   Any of them using their finger.

And this you can see is the bolt. The purpose of this
Is to open the breech, as you see. We can slide it
Rapidly backwards and forwards: we call this
Easing the spring. And rapidly backwards and forwards
The early bees are assaulting and fumbling the flowers:
   They call it easing the Spring.

They call it easing the Spring: it is perfectly easy
If you have any strength in your thumb: like the bolt,
And the breech, and the cocking-piece, and the point of balance,
Which in our case we have not got; and the almond-blossom
Silent in all of the gardens and the bees going backwards and forwards,
   For today we have naming of parts.

The Windhover
by Gerard Manley Hopkins

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-vermillion.

The Garden Of Love
by William Blake

I laid me down upon a bank,
Where Love lay sleeping;
I heard among the rushes dank
Weeping, weeping.

Then I went to the heath and the wild,
To the thistles and thorns of the waste;
And they told me how they were beguiled,
Driven out, and compelled to the chaste.

I went to the Garden of Love,
And saw what I never had seen;
A Chapel was built in the midst,
Where I used to play on the green.

And the gates of this Chapel were shut
And "Thou shalt not," writ over the door;
So I turned to the Garden of Love
That so many sweet flowers bore.

And I saw it was filled with graves,
And tombstones where flowers should be;
And priests in black gowns were walking their rounds,
And binding with briars my joys and desires.

The Solitary
by Sara Teasdale

My heart has grown rich with the passing of years,
   I have less need now than when I was young
To share myself with every comer
   Or shape my thoughts into words with my tongue.
It is one to me that they come or go
   If I have myself and the drive of my will,
And strength to climb on a summer night
   And watch the stars swarm over the hill.
Let them think I love them more than I do,
   Let them think I care, though I go alone;
If it lifts their pride, what is it to me
   Who am self-complete as a flower or a stone.

Cold-Blooded Creatures
by Elinor Morton Wylie

Man, the egregious egoist
(In mystery the twig is bent)
Imagines, by some mental twist,
That he alone is sentient

Of the intolerable load
That on all living creatures lies,
Nor stoops to pity in the toad
The speechless sorrow of his eyes.

He asks no questions of the snake,
Nor plumbs the phosphorescent gloom
Where lidless fishes, broad awake,
Swim staring at a nightmare doom.

The Unreturning
by Wilfred Owen

Suddenly night crushed out the day and hurled
Her remnants over cloud-peaks, thunder-walled.
Then fell a stillness such as harks appalled
When far-gone dead return upon the world.

There watched I for the Dead; but no ghost woke.
Each one whom Life exiled I named and called.
But they were all too far, or dumbed, or thralled,
And never one fared back to me or spoke.

Then peered the indefinite unshapen dawn
With vacant gloaming, sad as half-lit minds,
The weak-limned hour when sick men's sighs are drained.
And while I wondered on their being withdrawn,
Gagged by the smothering Wing which none unbinds,
I dreaded even a heaven with doors so chained.

On His Seventy-Fifth Birthday
by Walter Savage Landor

I strove with none, for none was worth my strife;
Nature I loved, and next to Nature, Art;
I warmed both hands before the fire of Life;
It sinks, and I am ready to depart.

First Fig
by Edna St. Vincent Millay

My candle burns at both ends;
It will not last the night;
But ah, my foes, and oh, my friends—
It gives a lovely light!

The Sick Rose
by William Blake

O Rose, thou art sick.
The invisible worm
That flies in the night
In the howling storm
Has found out thy bed
Of crimson joy,
And his dark secret love
Does thy life destroy.

To Emily Dickinson
by Hart Crane

You who desired so much—in vain to ask—
Yet fed your hunger like an endless task,
Dared dignify the labor, bless the quest—
Achieved that stillness ultimately best,

Being, of all, least sought for: Emily, hear!
O sweet, dead Silencer, most suddenly clear
When singing that Eternity possessed
And plundered momently in every breast;

—Truly no flower yet withers in your hand,
The harvest you descried and understand
Needs more than wit to gather, love to bind.
Some reconcilement of remotest mind—

Leaves Ormus rubyless, and Ophir chill.
Else tears heap all within one clay-cold hill.

One Art
by Elizabeth Bishop

The art of losing isn't hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.

Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn't hard to master.

Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.

I lost my mother's watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn't hard to master.

I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn't a disaster.

—Even losing you (the joking voice, a gesture
I love) I shan't have lied. It's evident
the art of losing's not too hard to master
though it may look like (Write it!) like disaster.

The Fish
by Elizabeth Bishop

I caught a tremendous fish
and held him beside the boat
half out of water, with my hook
fast in a corner of his mouth.
He didn't fight.
He hadn't fought at all.
He hung a grunting weight,
battered and venerable
and homely. Here and there
his brown skin hung in strips
like ancient wallpaper,
and its pattern of darker brown
was like wallpaper:
shapes like full-blown roses
stained and lost through age.
He was speckled with barnacles,
fine rosettes of lime,
and infested
with tiny white sea-lice,
and underneath two or three
rags of green weed hung down.
While his gills were breathing in
the terrible oxygen
—the frightening gills,
fresh and crisp with blood,
that can cut so badly—
I thought of the coarse white flesh
packed in like feathers,
the big bones and the little bones,
the dramatic reds and blacks
of his shiny entrails,
and the pink swim-bladder
like a big peony.
I looked into his eyes
which were far larger than mine
but shallower, and yellowed,
the irises backed and packed
with tarnished tinfoil
seen through the lenses
of old scratched isinglass.
They shifted a little, but not
to return my stare.
—It was more like the tipping
of an object toward the light.
I admired his sullen face,
the mechanism of his jaw,
and then I saw
that from his lower lip
—if you could call it a lip
grim, wet, and weaponlike,
hung five old pieces of fish-line,
or four and a wire leader
with the swivel still attached,
with all their five big hooks
grown firmly in his mouth.
A green line, frayed at the end
where he broke it, two heavier lines,
and a fine black thread
still crimped from the strain and snap
when it broke and he got away.
Like medals with their ribbons
frayed and wavering,
a five-haired beard of wisdom
trailing from his aching jaw.
I stared and stared
and victory filled up
the little rented boat,
from the pool of bilge
where oil had spread a rainbow
around the rusted engine
to the bailer rusted orange,
the sun-cracked thwarts,
the oarlocks on their strings,
the gunnels—until everything
was rainbow, rainbow, rainbow!
And I let the fish go.

The Armadillo
by Elizabeth Bishop

for Robert Lowell

This is the time of year
when almost every night
the frail, illegal fire balloons appear.
Climbing the mountain height,

rising toward a saint
still honored in these parts,
the paper chambers flush and fill with light
that comes and goes, like hearts.

Once up against the sky it's hard
to tell them from the stars —
planets, that is — the tinted ones:
Venus going down, or Mars,

or the pale green one. With a wind,
they flare and falter, wobble and toss;
but if it's still they steer between
the kite sticks of the Southern Cross,

receding, dwindling, solemnly
and steadily forsaking us,
or, in the downdraft from a peak,
suddenly turning dangerous.

Last night another big one fell.
It splattered like an egg of fire
against the cliff behind the house.
The flame ran down. We saw the pair

of owls who nest there flying up
and up, their whirling black-and-white
stained bright pink underneath, until
they shrieked up out of sight.

The ancient owls' nest must have burned.
Hastily, all alone,
a glistening armadillo left the scene,
rose-flecked, head down, tail down,

and then a baby rabbit jumped out,
short-eared, to our surprise.
So soft! — a handful of intangible ash
with fixed, ignited eyes.

Too pretty, dreamlike mimicry!
O falling fire and piercing cry
and panic, and a weak mailed fist
clenched ignorant against the sky!

in Just-
by E. E. Cummings

in Just-
spring when the world is mud-
luscious the little
lame baloonman

whistles      far      and wee

and eddieandbill come
running from marbles and
piracies and it's
spring

when the world is puddle-wonderful

the queer
old baloonman whistles
far      and      wee
and bettyandisbel come dancing

from hop-scotch and jump-rope and
it's
spring
and

      the
               goat-footed

 baloonMan      whistles
far
and
wee

the Cambridge ladies who live in furnished souls
by E. E. Cummings

the Cambridge ladies who live in furnished souls
are unbeautiful and have comfortable minds
(also, with the church's protestant blessings
daughters, unscented shapeless spirited)
they believe in Christ and Longfellow, both dead,
are invariably interested in so many things—
at the present writing one still finds
delighted fingers knitting for the is it Poles?
perhaps. While permanent faces coyly bandy
scandal of Mrs. N and Professor D
.... the Cambridge ladies do not care, above
Cambridge if sometimes in its box of
sky lavender and cornerless, the
moon rattles like a fragment of angry candy

The Darkling Thrush
by Thomas Hardy

I leant upon a coppice gate
     When Frost was spectre-gray,
And Winter's dregs made desolate
     The weakening eye of day.
The tangled bine-stems scored the sky
     Like strings of broken lyres,
And all mankind that haunted nigh
     Had sought their household fires.
The land's sharp features seemed to be
     The Century's corpse outleant,
His crypt the cloudy canopy,
     The wind his death-lament.
The ancient pulse of germ and birth
     Was shrunken hard and dry,
And every spirit upon earth
     Seemed fervourless as I.
At once a voice arose among
     The bleak twigs overhead
In a full-hearted evensong
     Of joy illimited;
An aged thrush, frail, gaunt, and small,
     In blast-beruffled plume,
Had chosen thus to fling his soul
     Upon the growing gloom.
So little cause for carolings
     Of such ecstatic sound
Was written on terrestrial things
     Afar or nigh around,
That I could think there trembled through
     His happy good-night air
Some blessed Hope, whereof he knew
     And I was unaware.

In Time of "The Breaking of Nations"
by Thomas Hardy

Only a man harrowing clods
  In a slow silent walk,
With an old horse that stumbles and nods
  Half asleep as they stalk.

Only thin smoke without flame
  From the heaps of couch grass:
Yet this will go onward the same
  Though Dynasties pass.

Yonder a maid and her wight
  Come whispering by;
War's annals will fade into night
  Ere their story die.

The Convergence Of The Twain
by Thomas Hardy

Lines on the loss of the "Titanic"

           In a solitude of the sea
           Deep from human vanity,
And the Pride of Life that planned her, stilly couches she.
           Steel chambers, late the pyres
           Of her salamandrine fires,
Cold currents thrid, and turn to rhythmic tidal lyres.
           Over the mirrors meant
           To glass the opulent
The sea-worm crawls—grotesque, slimed, dumb, indifferent.
           Jewels in joy designed
           To ravish the sensuous mind
Lie lightless, all their sparkles bleared and black and blind.
           Dim moon-eyed fishes near
           Gaze at the gilded gear
And query: "What does this vaingloriousness down here?"...
           Well: while was fashioning
           This creature of cleaving wing,
The Immanent Will that stirs and urges everything
           Prepared a sinister mate
           For her—so gaily great—
A Shape of Ice, for the time far and dissociate.
           And as the smart ship grew
           In stature, grace, and hue,
In shadowy silent distance grew the Iceberg too.
           Alien they seemed to be;
           No mortal eye could see
The intimate welding of their later history,
           Or sign that they were bent
           By paths coincident
On being anon twin halves of one august event,
            Till the Spinner of the Years
           Said "Now!" And each one hears,
And consummation comes, and jars two hemispheres.

Beginning My Studies
by Walt Whitman

Beginning my studies the first step pleas'd me so much,
The mere fact consciousness, these forms, the power of motion,
The least insect or animal, the senses, eyesight, love,
The first step I say awed me and pleas'd me so much,
I have hardly gone and hardly wish'd to go any farther,
But stop and loiter all the time to sing it in ecstatic songs.

Is there any reward?
by Hillaire Belloc

Is there any reward?
I'm beginning to doubt it.
I am broken and bored,
Is there any reward
Reassure me, Good Lord,
And inform me about it.
Is there any reward?
I'm beginning to doubt it.

Resume
by Dorothy Parker

Razors pain you;
Rivers are damp;
Acids stain you;
And drugs cause cramp.
Guns aren't lawful;
Nooses give;
Gas smells awful;
You might as well live.
 
The Eagle and the Mole
by Elinor Wylie

Avoid the reeking herd,
Shun the polluted flock,
Live like that stoic bird,
The eagle of the rock.

The huddled warmth of crowds
Begets and fosters hate;
He keeps above the clouds
His cliff inviolate.

When flocks are folded warm,
And herds to shelter run,
He sails above the storm,
He stares into the sun.

If in the eagle's track
Your sinews cannot leap,
Avoid the lathered pack,
Turn from the steaming sheep.

If you would keep your soul
From spotted sight or sound,
Live like the velvet mole:
Go burrow underground.

And there hold intercourse
With roots of trees and stones,
With rivers at their source,
And disembodied bones.

Leda and the Swan
by William Butler Yeats

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?

Bagpipe Music
by Louis MacNeice

It's no go the merrygoround, it's no go the rickshaw,
All we want is a limousine and a ticket for the peepshow.
Their knickers are made of crepe-de-chine, their shoes are made of python,
Their halls are lined with tiger rugs and their walls with head of bison.

John MacDonald found a corpse, put it under the sofa,
Waited till it came to life and hit it with a poker,
Sold its eyes for souvenirs, sold its blood for whiskey,
Kept its bones for dumbbells to use when he was fifty.

It's no go the Yogi-man, it's no go Blavatsky,
All we want is a bank balance and a bit of skirt in a taxi.

Annie MacDougall went to milk, caught her foot in the heather,
Woke to hear a dance record playing of Old Vienna.
It's no go your maidenheads, it's no go your culture,
All we want is a Dunlop tire and the devil mend the puncture.

The Laird o' Phelps spent Hogmanay declaring he was sober,
Counted his feet to prove the fact and found he had one foot over.
Mrs. Carmichael had her fifth, looked at the job with repulsion,
Said to the midwife "Take it away; I'm through with overproduction."

It's no go the gossip column, it's no go the Ceilidh,
All we want is a mother's help and a sugar-stick for the baby.

Willie Murray cut his thumb, couldn't count the damage,
Took the hide of an Ayrshire cow and used it for a bandage.
His brother caught three hundred cran when the seas were lavish,
Threw the bleeders back in the sea and went upon the parish.

It's no go the Herring Board, it's no go the Bible,
All we want is a packet of fags when our hands are idle.

It's no go the picture palace, it's no go the stadium,
It's no go the country cot with a pot of pink geraniums,
It's no go the Government grants, it's no go the elections,
Sit on your arse for fifty years and hang your hat on a pension.

It's no go my honey love, it's no go my poppet;
Work your hands from day to day, the winds will blow the profit.
The glass is falling hour by hour, the glass will fall forever,
But if you break the bloody glass you won't hold up the weather.

Buffalo Bill's defunct
by E. E. Cummings

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 your blueeyed boy
        Mister Death

A Supermarket in California
by Allen Ginsberg

    What thoughts I have of you tonight, Walt Whitman, for I walked down the streets under the trees with a headache self-conscious looking at the full moon.
    In my hungry fatigue, and shopping for images, I went into the neon fruit supermarket, dreaming of your enumerations!
    What peaches and what penumbras! Whole families shopping at night! Aisles full of husbands! Wives in the avocados, babies in the tomatoes! — and you, Garcia Lorca, what were you doing down by the watermelons?
    I saw you, Walt Whitman, childless, lonely old grubber, poking among the meats in the refrigerator and eyeing the grocery boys.
    I heard you asking questions of each: Who killed the pork chops? What price bananas? Are you my Angel?
    I wandered in and out of the brilliant stacks of cans following you, and followed in my imagination by the store detective.
    We strode down the open corridors together in our solitary fancy tasting artichokes, possessing every frozen delicacy, and never passing the cashier.
    Where are we going, Walt Whitman? The doors close in an hour. Which way does your beard point tonight?
    (I touch your book and dream of our odyssey in the supermarket and feel absurd.)
    Will we walk all night through solitary streets? The trees add shade to shade, lights out in the houses, we'll both be lonely.
    Will we stroll dreaming of the lost America of love past blue automobiles in driveways, home to our silent cottage?
    Ah, dear father, graybeard, lonely old courage-teacher, what America did you have when Charon quit poling his ferry and you got out on a smoking bank and stood watching the boat disappear on the black waters of Lethe?

Helen
by H. D.

All Greece hates
the still eyes in the white face,
the lustre as of olives
where she stands,
and the white hands.

All Greece reviles
the wan face when she smiles,
hating it deeper still
when it grows wan and white,
remembering past enchantments
and past ills.

Greece sees unmoved,
God's daughter, born of love,
the beauty of cool feet
and slenderest knees,
could love indeed the maid,
only if she were laid,
white ash amid funereal cypresses.

Tea at the Palaz of Hoon
by Wallace Stevens

Not less because in purple I descended
The western day through what you called
The loneliest air, not less was I myself.

What was the ointment sprinkled on my beard?
What were the hymns that buzzed beside my ears?
What was the sea whose tide swept through me there?

Out of my mind the golden ointment rained,
And my ears made the blowing hymns they heard.
I was myself the compass of that sea:

I was the world in which I walked, and what I saw
Or heard or felt came not but from myself;
And there I found myself more truly and more strange.

Skunk Hour
by Robert Lowell

for Elizabeth Bishop

Nautilus Island's hermit
heiress still lives through winter in her Spartan cottage;
her sheep still graze above the sea.
Her son's a bishop. Her farmer
is first selectman in our village;
she's in her dotage.

Thirsting for
the hierarchic privacy
of Queen Victoria's century,
she buys up all
the eyesores facing her shore,
and lets them fall.

The season's ill—
we've lost our summer millionaire,
who seemed to leap from an L. L. Bean
catalogue. His nine-knot yawl
was auctioned off to lobstermen.
A red fox stain covers Blue Hill.

And now our fairy
decorator brightens his shop for fall;
his fishnet's filled with orange cork,
orange, his cobbler's bench and awl;
there is no money in his work,
he'd rather marry.

One dark night,
my Tudor Ford climbed the hill's skull;
I watched for love-cars. Lights turned down,
they lay together, hull to hull,
where the graveyard shelves on the town. . . .
My mind's not right.

A car radio bleats,
"Love, O careless Love. . . ." I hear
my ill-spirit sob in each blood cell,
as if my hand were at its throat. . . .
I myself am hell;
nobody's here—

only skunks, that search
in the moonlight for a bite to eat.
They march on their soles up Main Street:
white stripes, moonstruck eyes' red fire
under the chalk-dry and spar spire
of the Trinitarian Church.

I stand on top
of our back steps and breathe the rich air—
a mother skunk with her column of kittens swills the garbage pail.
She jabs her wedge-head in a cup
of sour cream, drops her ostrich tail,
and will not scare.

You, Andrew Marvell
by Archibald MacLeish

And here face down beneath the sun
And here upon earth's noonward height
To feel the always coming on
The always rising of the night:

To feel creep up the curving east
The earthy chill of dusk and slow
Upon those under lands the vast
And ever climbing shadow grow

And strange at Ecbatan the trees
Take leaf by leaf the evening strange
The flooding dark about their knees
The mountains over Persia change

And now at Kermanshah the gate
Dark empty and the withered grass
And through the twilight now the late
Few travelers in the westward pass

And Baghdad darken and the bridge
Across the silent river gone
And through Arabia the edge
Of evening widen and steal on

And deepen on Palmyra's street
The wheel rut in the ruined stone
And Lebanon fade out and Crete
high through the clouds and overblown

And over Sicily the air
Still flashing with the landward gulls
And loom and slowly disappear
The sails above the shadowy hulls

And Spain go under and the shore
Of Africa the gilded sand
And evening vanish and no more
The low pale light across that land

Nor now the long light on the sea:
And here face downward in the sun
To feel how swift how secretly
The shadow of the night comes on...

Church Going
by Philip Larkin

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.

The Love Song of J. Alfred Prufrock
by T. S. Eliot

         S'io credesse che mia risposta fosse
A persona che mai tornasse al mondo,
Questa fiamma staria senza piu scosse.
Ma perciocche giammai di questo fondo
Non torno vivo alcun, s'i'odo il vero,
 Senza tema d'infamia ti rispondo. [1]

Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherised upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question .
Oh, do not ask, "What is it?"
Let us go and make our visit.

     In the room the women come and go
Talking of Michelangelo.

     The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes
Licked its tongue into the corners of the evening,
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.

     And indeed there will be time
For the yellow smoke that slides along the street,
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate;
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.

     In the room the women come and go
Talking of Michelangelo.

     And indeed there will be time
To wonder, "Do I dare?" and, "Do I dare?"
Time to turn back and descend the stair,
With a bald spot in the middle of my hair—
[They will say: "How his hair is growing thin!"]
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin—
[They will say: "But how his arms and legs are thin!"]
Do I dare
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.

     For I have known them all already, known them all:—
Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall
Beneath the music from a farther room.
     So how should I presume?

     And I have known the eyes already, known them all-
The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
Then how should I begin
To spit out all the butt-ends of my days and ways?
     And how should I presume?

     And I have known the arms already, known them all-
Arms that are braceleted and white and bare
[But in the lamplight, downed with light brown hair!]
It is perfume from a dress
That makes me so digress?
Arms that lie along a table, or wrap about a shawl.
     And should I then presume?
     And how should I begin?

                                .      .      .      .      .

Shall I say, I have gone at dusk through narrow streets
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows?. . .

I should have been a pair of ragged claws
Scuttling across the floors of silent seas.

                                .      .      .      .      .

And the afternoon, the evening, sleeps so peacefully!
Smoothed by long fingers,
Asleep . . . tired . . . or it malingers,
Stretched on the floor, here beside you and me.
Should I, after tea and cakes and ices,
Have the strength to force the moment to its crisis?
But though I have wept and fasted, wept and prayed,
Though I have seen my head [grown slightly bald] brought in upon a platter,
I am no prophet—and here's no great matter;
I have seen the moment of my greatness flicker,
And I have seen the eternal Footman hold my coat, and snicker,
And in short, I was afraid.

     And would it have been worth it, after all,
After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
Would it have been worth while,
To have bitten off the matter with a smile,
To have squeezed the universe into a ball
To roll it toward 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.

[1] Dante, Inferno 27.61-66 "If I thought my answer were given / to anyone who would ever return to the world, / this flame would stand still without moving any further. / But since never from this abyss / has anyone ever returned alive, if what I hear is true, /without fear of infamy I answer you."

The HyperTexts