My hands have not touched water since your hands, -
No; - nor my lips freed laughter since 'farewell'.
And with the day, distance again expands
Between us, voiceless as an uncoiled shell.
Yet, - much follows, much endures ... Trust birds alone:
A dove's wings clung about my heart last night
With surging gentleness; and the blue stone
Set in the tryst-ring has but worn more bright.
John Donne (1572-1631)
The Undertaking
I have done one braver thing
Than all the Worthies1 did,
And yet a braver thence doth spring,
Which is, to keep that hid.
It were but madness now t'impart
The skill of specular stone2,
When he which can have learn'd the art
To cut it, can find none.
So, if I now should utter this,
Others (because no more
Such stuff to work upon, there is,)
Would love but as before.
But he who loveliness within
Hath found, all outward loathes,
For he who colour loves, and skin,
Loves but their oldest clothes.
If, as I have, you also do
Virtue attir'd in woman see,
And dare love that, and say so too,
And forget the He and She;
And if this love, though placed so,
From profane men you hide,
Which will no faith on this bestow,
Or, if they do, deride:
Then you have done a braver thing
Than all the Worthies did;
And a braver thence will spring,
Which is, to keep that hid.
1 Worthies: The original nine Worthies included Hector, Alexander the Great, Julius Caesar, Joshua, David, Judas Maccabeus, King Arthur, Charlemagne, and Godfrey of Bouillon; the list, however, was variable, and 'all the Worthies' could add up to a formidable number.
2 specular stone: 'old selenite' cut up into thin strips and used for glazing by the Ancients; it was no longer available, and hence the skill to work it would be useless.
Algernon Charles Swinburne
Love and Sleep
Lying asleep between the strokes of night
I saw my love lean over my sad bed,
Pale as the duskiest lilly's leaf or head,
Smooth-skinned and dark, with bare throat made to bite,
Too wan for blushing and too warm for white,
But perfect-coloured without white or red.
And her lips opened amorously, and said -
I wist not what, saving one word - Delight.
And all her face was honey to my mouth,
And all her body pasture to mine eyes.
The long lithe arms and hotter hands than fire,
The quivering flanks, hair smelling of the south,
The bright light feet, the splendid supple thighs
And glittering eyelids of my soul's desire.
Samuel Taylor Coleridge
Kubla Khan
OR A VISION IN A DREAM. A FRAGMENT
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.
NOTE: Kubla Khan was the first khan, or ruler, of the Mongol dynasty in the 13th century China. The topography and place-names are fictitious. In a prefatory note to the poem, Coleridge gave the following background: 'In the summer of the year 1797, the author, then in ill health, had retired to a lonely farmhouse between Porlock and Linton, on the Exmoor confines of Somerset and Devonshire. In consequence of a slight indisposition, an anodyne [opium, most likely] 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 Purcha'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 sense, 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 purpot 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!'
Dylan Thomas
In My Craft or Sullen Art
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.
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.
Silver dust,
lifted from the earth,
higher than my arms reach,
you have mounted,
O, silver,
higher than my arms reach,
you front us with great mass;
no flower ever opened
so staunch a white leaf,
no flower ever parted silver
from such rare silver;
O, white pear,
your flower-tufts
thick on the branch
bring summer and ripe fruits
in their purple hearts.
I first tasted under Apollo's lips,
love and love sweetness,
I, Evadne;
my hair is made of crisp violets
or hyacinth which the wind combs back
across some rock shelf;
I, Evadne,
was made of the god of light.
His hair was crisp to my mouth,
as the flower of the crocus,
across my cheek,
cool as the silver-cress
on Erotos bank;
between my chin and throat,
his mouth slipped over and over.
Still between my arm and shoulder,
I feel the brush of his hair,
and my hands keep the gold they took,
as they wandered over and over,
that great arm-full of yellow flowers.
What I took in my hand
grew in weight. You must
understand it
was not obscene.
Night comes. We sleep.
Then if you know what
say it.
Don't pretend.
Guises are
what enemies wear. You
and I live
in a prayer.
Helpless. Helpless,
should I speak.
Would you.
What do you think of me.
No woman ever was,
was wiser
than you. None is
more true.
But fate, love, fate
scares me. What
I took in my hand
grows in weight.
The World
I wanted so ably
to reassure you, I wanted
the man you took to be me,
to comfort you, and got
up, and went to the window,
pushed back, as you asked me to,
the curtain, to see
the outline of the trees
in the night outside.
The light, love,
the light we felt then,
grayly, was it, that
came in, on us, not
merely my hands or yours,
or a wetness so comfortable,
but in the dark then
as you slept, the gray
figure came so close
and leaned over,
between us, as you
slept, restless, and
my own face had to
see it, and be seen by it,
the man it was, your
gray lost tired bewildered
brother, unused, untaken -
hated by love, and dead,
but not dead, for an
instant, saw me, myself
the intruder, as he was not.
I tried to say, it is
all right, she is
happy, you are no longer
needed. I said,
he is dead, and he
went as you shifted
and woke, at first afraid,
then knew by my own knowing
what had happened -
and the light then
of the sun coming
for another morning
in the world.
His eyes are quickened so with grief,
He can watch a grass or leaf,
Every instant grow; he can
Clearly though a flint wall see,
Or watch the startled spirit flee
From the throat of a dead man.
Across two counties he can hear
And catch your words before you speak.
The woodlouse or the maggot's weak
Clamor rings in his sad ear,
And noise so slight it would surpass
Credence - drinking sound of grass,
Worm talk, clashing jaws of moth
Chumbling holes in cloth;
The groan of ants who undertake
Gigantic loads for honor's sake
(Their sinews creak, their breath comes thin);
Whir of spiders when they spin,
And minute whispering, mumbling, sighs
Of idle grubs and flies.
This man is quickened so with grief,
He wanders god-like or like thief
Inside and out, below, above,
Without relief seeking lost love.
Louise Bogan
Song for the Last Act
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.
Roman Fountain
Up from the bronze, I saw
Water without a flaw
Rush to its rest in air,
Reach to its rest, and fall.
Bronze of the blackest shade,
An element man-made,
Shaping upright the bare
Clear gouts of water in air.
O, as with arm and hammer,
Still it is good to strive
To beat out the image whole,
To echo the shout and stammer
When full-gushed waters, alive,
Strike on the fountain's bowl
After the air of summer.
Edwin Arlington Robinson
Richard Cory
Whenever Richard Cory went down town,
We people on the pavement looked at him:
He was a gentleman from sole to crown,
Clean favored, and imperially slim.
And he was always quietly arrayed,
And he was always human when he talked;
But still he fluttered pulses when he said,
'Good morning,' and he glittered when he walked.
And he was rich - yes, richer than a king -
And admirably schooled in every grace:
In fine, we thought that he was everything
To make us wish that we were in his place.
So on we worked, and waited for the light,
And went without the meat, and cursed the bread;
And Richard Cory, one calm summer night,
Went home and put a bullet through his head.
Mother, I cannot mind my wheel;
My fingers ache, my lips are dry;
Oh! if you felt the pain I feel!
But oh, who ever felt as I!
'Sappho, if you do not come out,
I swear, I will love you no more.
O rise and free your lovely strength
from the bed and shine upon us.
Lift off your Chian nightgown, and
like a pure lily by a spring,
bathe in the water. Our Kleis
will bring a saffron blouse and violet
tunic from your chest. We will place
a clean mantle on you, and crown
your hair with flowers. So come, darling,
with your beauty that maddens us,
and you, Praxinoa, roast the nuts
for our breakfast. One of the gods
is good to us, for on this day
Sappho, most beautiful of women,
will come with us to the white city
of Mytilene, like a mother
among her daughters.' Dearest Atthis,
can you now forget all those days?
Honestly I wish I were dead!
Although she too cried bitterly
when she left, and said to me,
'Ah, what a nightmare it is now.
Sappho, I swear I go unwillingly.'
And I answered, 'Go, and be happy.
But remember me, for surely you
know how we worshipped you. If not,
then I want to remind you of all
the exquisite days
we two shared; how
you took garlands of violets
and roses, and when by my side
you tied them round you in soft bands,
and you took many flowers
and flung them in loops
about your sapling throat,
how the air was rich in a scent
of queenly spices made of myrrh
you rubbed smoothly on your limbs,
and on soft beds, gently, our desire
for delicate girls
was satisfied,
and how there was no dance and no
holy shrine
we two did not share,
no sound,
no
grove.'
Before the sun goes down
I'll lay my wildflower hand
in your hand's white wicker basket
and bold-tender-shy I'll encircle you
as day and night would encircle
the trees of the day and night
and my kisses will live like birds on your shoulder
Shirley Williams
If He Let Us Go Now
let me strap.
the baby in the seat, just don't say
nothing all that while . . .
I move round to
the driver side of the car. The air
warm and dry here. Lawd know what it be
in L.A. He open the door for me
and I slide behind the wheel. Baby
facin me lookin without even
blinkin his eye. I wonder if he
know I'm his mamma that I love him
that that his daddy by the door (and
he won't let us go; he still got time
to say wait). Baby blink once but
he only five week old and whatever
he know don't show.
His daddy call
my name and I turn to him and wait.
It be cold in the Grapevine at night
this time of year. Wind come whistlin down
through them mountains almost blow this old
VW off the road. I'll be in
touch he say. Say, take care; say, write if
you need somethin.
I will him to touch
us now, to take care us, to know what
we need is him and his name. He slap
the car door, say, drive careful and turn
to go. If he let us go now . . . how
we gon ever take him back? I ease
out on the clutch, mash in on the gas.
The only answer I get is his back.
Dear, though the night is gone,
Its dream still haunts today,
That brought us to a room
Cavernous, lofty as
A railway terminus,
And crowded in that gloom
Were beds, and we in one
In a far corner lay.
Our whisper woke no clocks,
We kissed and I was glad
At everything you did,
Indifferent to those
Who sat with hostile eyes
In pairs on every bed,
Arms round each other's neck,
Inert and vaguely sad.
O but what worm of guilt
Or what malignant doubt
Am I the victim of,
That you then, unabashed,
Did what I never wished,
Confessed another love;
And I, submissive, felt
Unwanted and went out?
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.
Come, live with me and be my love,
And we will all the pleasures prove
Of peace and plenty, bed and board,
That chance employment may afford.
I'll handle dainties on the docks
And thou shalt read of summer frocks:
At evening by the sour canals
We'll hope to hear some madrigals.
Care on thy maiden brow shall put
A wreath of wrinkles, and thy foot
Be shod with pain: not silken dress
But toil shall tire thy loveliness.
Hunger shall make thy modest zone
And cheat fond death of all but bone -
If these delights thy mind may move,
Then live with me and be my love.
O generation of the thoroughly smug
and thoroughly uncomfortable,
I have seen fishermen picnicking in the sun,
I have seen them with untidy families,
I have seen their smiles full of teeth
and heard ungainly laughter.
And I am happier than you are,
And they were happier than I am;
And the fish swim in the lake
and do not even own clothing.
A Pact
I make a pact with you, Walt Whitman -
I have detested you long enough.
I come to you as a grown child
Who has had a pig-headed father;
I am old enough now to make friends.
It was you that broke the new wood,
Now is a time for carving.
We have one sap and one root -
Let there be commerce between us.
A Virginal
No, no! Go from me. I have left her lately.
I will not spoil my sheath with lesser brightness,
For my surrounding air hath a new lightness;
Slight are her arms, yet they have bound me straitly
And left me cloaked as with a gauze of aether;
As with sweet leaves; as with subtle clearness.
Oh, I have picked up magic in her nearness
To sheathe me half in half the things that sheathe her.
No, no! Go from me. I have still the flavour,
Soft as spring wind that's come from birchen bowers.
Green come the shoots, aye April in the branches,
As winter's wound with her sleight hand she staunches,
Hath of the trees a likeness of the savour:
As white their bark, so white this lady's hours.
The girl's far treble, muted to the heat,
calls like a fainting bird across the fields
to where her flock lies panting for her voice,
their black horns buried deep in marigolds.
They climb awake, like drowsy butterflies,
and press their red flanks through the tall branched grass,
and as they go their wandering tongues embrace
the vacant summer mirrored in their eyes.
Led to the limestone shadows of a barn
they snuff their past embalmed in the hay,
while her cool hand, cupped to the udder's fount,
distills the brimming harvest of their day.
Look what a cloudy cream the earth gives out,
fat juice of buttercups and meadow-rye;
the girl dreams milk within her body's field
and hears, far off, her muted children cry.
Edgar Lee Masters
Fiddler Jones
The earth keeps some vibration going
There in your heart, and that is you.
And if the people find you can fiddle,
Why, fiddle you must, for all your life.
What do you see, a harvest of clover?
Or a meadow to walk through to the river?
The wind's in the corn; you rub your hands
For beeves hereafter ready for market;
Or else you hear the rustle of skirts
Like the girls when dancing at Little Grove.
To Cooney Potter a pillar of dust
Or whirling leaves meant ruinous drouth;
They looked to me like Red-Head Sammy
Stepping it off, to 'Toor-a-Loor.'
How could I till my forty acres
Not to speak of getting more,
With a medley of horns, bassoons and piccolos
Stirred in my brain by crows and robins
And the creak of a wind-mill - only these?
And I never started to plow in my life
That some one did not stop in the road
And take me away to a dance or picnic.
I ended up with forty acres;
I ended up with a broken fiddle -
And a broken laugh, and a thousand memories,
And not a single regret.
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