Poems that you love

[rowens]

Harold Bloom liked Falstaff despite Hamlet.

W. C. Fields despite Groucho's lines.



Perhaps this is, for the 1920s crowd, here, Bukowski over Miller. 



 Shem the Peman over me.


Naw.


I'm Falstaff and Hamlet.
Miller and Bukowski.


A poseur, not a poet

[rowens]

“I have dreamed too much to have so little.”
Panurge says this, and it truly reflects his character in Books Two and Three.

[brynmawr1]

Saturday Afternoon Blues
By Wanda Coleman

can kill you
can fade your life away
friends are all out shopping
ain’t nobody home
suicide hotline is busy
and here i am on my own
with a pill and a bottle for company
and heart full of been done wrong
i’m a candidate for the coroner, a lyric for a song

saturday afternoons are killers
when the air is brisk and warm
ol’ sun he steady whispers
soon the life you know will be done
suicide line i can’t get you
best friend out of town
alone with a pill and a bottle
i drink my troubles down

the man i love is a killer
the man i love is  thief
the man i love is a junky
the man i love is grief

some call saturday the sabbath
it’s the bottom of the line some say
whether last or first, my heart’s gonna burst
and there ain’t no help my way
here with a pill and a bottle
and a life full of been done wrong
i’m a candidate for the coroner, a lyric
for a song

[carahmellow]

An Attempt at Unrhymed Verse
by Wendy Cope

People tell you all the time,
Poems do not have to rhyme.
It's often better if they don't
And I'm determined this one won't

                                oh dear.

Never mind I'll start again.
Busy, busy with my pen...cil.
I can do it if I try
Easy, peasy, pudding and gherkins.

Writing verse is so much fun,
Cheering as the summer weather,
Makes you feel alert and bright,
'Specially when you get it more or
    less the way you want it.

[busker]

An Attempt at Unrhymed Verse
by Wendy Cope

People tell you all the time,
Poems do not have to rhyme.
It's often better if they don't
And I'm determined this one won't

                                oh dear.

Never mind I'll start again.
Busy, busy with my pen...cil.
I can do it if I try
Easy, peasy, pudding and gherkins.

Writing verse is so much fun,
Cheering as the summer weather,
Makes you feel alert and bright,
'Specially when you get it more or
    less the way you want it.

Eccelente!!!!

[rowens]

caramellow, are you Wendy Cope?

[busker]

I don’t think carahmellow is WC, but my word - Wendy Cope is simply brilliant!!
Thanks for introducing me to her, carahmellow

[carahmellow]

Here is an oldie, but goodie. Its my favorite poem of all time... and if I could write something this good, ONCE in my life, I will die happy.

Wynken, Blynken, and Nod one night
Sailed off in a wooden shoe,—
Sailed on a river of crystal light
Into a sea of dew.
"Where are you going, and what do you wish?"
The old moon asked the three.
"We have come to fish for the herring-fish
That live in this beautiful sea;
Nets of silver and gold have we,"
Said Wynken,
Blynken,
And Nod.

The old moon laughed and sang a song,
As they rocked in the wooden shoe;
And the wind that sped them all night long
Ruffled the waves of dew;
The little stars were the herring-fish
That lived in the beautiful sea.
"Now cast your nets wherever you wish,—
Never afraid are we!"
So cried the stars to the fishermen three,
Wynken,
Blynken,
And Nod.

All night long their nets they threw
To the stars in the twinkling foam,—
Then down from the skies came the wooden shoe,
Bringing the fishermen home:
'Twas all so pretty a sail, it seemed
As if it could not be;
And some folk thought 'twas a dream they'd dreamed
Of sailing that beautiful sea;
But I shall name you the fishermen three:
Wynken,
Blynken,
And Nod.

Wynken and Blynken are two little eyes,
And Nod is a little head,
And the wooden shoe that sailed the skies
Is a wee one's trundle-bed;
So shut your eyes while Mother sings
Of wonderful sights that be,
And you shall see the beautiful things
As you rock in the misty sea
Where the old shoe rocked the fishermen three:—
Wynken,
Blynken,
And Nod.

[rowens]

Read the book, Only a Boy.



Nature and Art, or Saturn and Jupiter
Hölderlin


From on high you rule the day and with your law
It flourishes, you hold the scales, Saturn’s son!
And divide the lot and rest gladly
In the fame of immortal sovereign arts.

But in the underworld, so the singers say,
Where you expelled the holy father, your own,
To fathomless lamentation, the
Savages of justice stand before you,

The innocent god of the golden age: once
As fluent, even greater than you are now,
Though he uttered no commandment and
No mortals ever called him by his name.

For he’s cast down! Or ashamed at your lack of
Gratitude! And if you want to stay, and serve
The elders, begrudge him that, before
All, to gods and man, who the singers call!

For how all your lightning that comes from the clouds
Comes from him, what's yours, see! So give back in word
To him what you’ve made, for from Saturn’s
Peace every power acquired arises.

And I have something living only in my
Heart, dawning and felt, what you’ve manufactured,
And it lives in your cradle in me,
Ecstasy, as the age drifts into sleep:

Then I know you, Cronus! Then I hear you, wise
Master, who, like ourselves, is a son of time,
Giving to us laws and proclaiming
What is recovered from the holy twilight.



Blake
There Is No Natural Religion


a
The Argument. Man has no notion of moral fitness but from Education. Naturally he is
only a natural organ subject to Sense.
I. Man cannot naturally Percieve but through his natural or bodily organs.
II. Man by his reasoning power can only compare & judge of what he has already
perciev’d.
III. From a perception of only 3 senses or 3 elements none could deduce a fourth or
fifth.
IV. None could have other than natural or organic thoughts if he had none but organic
perceptions.
V. Man's desires are limited by his perceptions; none can desire what he has not
perciev'd.
VI. The desires & perceptions of man, untaught by any thing but organs of sense, must
be limited to objects of sense.


There Is No Natural Religion

b
I. Man’s perceptions are not bounded by organs of perception; he percieves more than
sense (tho’ ever so acute) can discover.
II. Reason, or the ratio of all we have already known, is not the same that it shall be
when we know more.
[III lacking]
IV. The bounded is loathed by its possessor. The same dull round even of a universe
would soon become a mill with complicated wheels.
V. If the many become the same as the few when possess’d, More! More! is the cry of
a mistaken soul. Less than All cannot satisfy Man.
VI. If any could desire what he is incapable of possessing, despair must be his eternal
lot.
VII. The desire of Man being Infinite, the possession is Infinite & himself Infinite.
Application. He who sees the Infinite in all things sees God. He who sees the Ratio
only sees himself only.
Conclusion. If it were not for the Poetic or Prophetic character the Philosophic &
Experimental would soon be at the ratio of all things, & stand still unable to do other than
repeat the same dull round over again.
Therefore God becomes as we are, that we may be as he is.

---

The Poet’s Vocation
Hölderlin

The banks of the Ganges heard the God of Joy 
Triumphant, as from the Indus came
the Supreme, young Bacchus, with healing
wines to awaken the people.

And you, Angel of Day, will wake
Those who still slumber. Give laws, give
Life, Prevail! As only you
Have the right, like Bacchus, to conquer.

Notwithstanding mankind's skill for woe
At home and under the open sky,
Man, noble, being prey, fights back
And feeds himself, an equal woe

Entrusted to the care of writing
Poetry. We are suited to the Highest
By bringing Him close. Ever new
Song heard in the welcoming heart.

O you heavenly All,
Sources and shores and groves 
And wonderful plateaus, where first
The Unforgettable came

Upon us, the unexpected Genius.
The Creative, the Divine, that silently
Became sense to us, and as a
Radiance stirred, the skeleton trembled …

Unsettled in our wider world!
That fading day, the God
Of quiet beginnings redirects
His giant, drunk-with-rage steed

Is not for us to say, and if, from the steady
Stillness of the year, in us melodies sound,
They are to echo how brave
And futile are the children of the Master.

Are the pure, consecrated chords touched in jest?
What belongs to you, poet,
Of the Asian prophets and the Greek songs
And newly heard thunder? Does

Spirit require the service of your presence
To rush to the good, in ridicule, and to
Disavow the stupid, heartlessly,
And herd the hunted in a venal game?

Until, goaded by the sting of
The original fury, you cry and call 
To the Master, before you,
lifeless, are overgrown with death.

The Divine has been subservient too long,
And heaven’s powers used up, thrown away
By the gentle, with desire
Without thanks from the sly, who think they know,

When the Sublime is formed upon their fields,
Daylight and Thunderer, they peer
Through telescope and count 
Only the stars they have given names.

But the Father blankets with a holier
Night, that we might want to keep our eyes shut.
His love transcends beasts, but never forces
The far-reaching violence of heaven.

It is not good to be too wise. He sees your gratitude,
And does not keep it
But returns it, gladly, for you
to bless another poet. 

Alone before God, the poet is unafraid,
That he may protect, through simplicity,
With no need for weapons or deceit.
God's absence will sustain us.

---

To Nobodaddy

Blake

Why art thou silent & invisible 
Father of jealousy
Why dost thou hide thyself in clouds 
From every searching Eye

Why darkness & obscurity
In all thy words & laws 
That none dare eat the fruit but from 
The wily serpents jaws 
Or is it because Secrecy
gains females loud applause




London

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.

---

---

Vacillation

Yeats

I

Between extremities
Man runs his course;
A brand, or flaming breath.
Comes to destroy
All those antinomies
Of day and night;
The body calls it death,
The heart remorse.
But if these be right
What is joy?

II

A tree there is that from its topmost bough
Is half all glittering flame and half all green
Abounding foliage moistened with the dew;
And half is half and yet is all the scene;
And half and half consume what they renew,
And he that Attis’ image hangs between
That staring fury and the blind lush leaf
May know not what he knows, but knows not grief

III

Get all the gold and silver that you can,
Satisfy ambition, animate
The trivial days and ram them with the sun,
And yet upon these maxims meditate:
All women dote upon an idle man
Although their children need a rich estate;
No man has ever lived that had enough
Of children’s gratitude or woman’s love.

No longer in Lethean foliage caught
Begin the preparation for your death
And from the fortieth winter by that thought
Test every work of intellect or faith,
And everything that your own hands have wrought
And call those works extravagance of breath
That are not suited for such men as come
proud, open-eyed and laughing to the tomb.

IV

My fiftieth year had come and gone,
I sat, a solitary man,
In a crowded London shop,
An open book and empty cup
On the marble table-top.
While on the shop and street I gazed
My body of a sudden blazed;
And twenty minutes more or less
It seemed, so great my happiness,
That I was blessed and could bless.

V

Although the summer Sunlight gild
Cloudy leafage of the sky,
Or wintry moonlight sink the field
In storm-scattered intricacy,
I cannot look thereon,
Responsibility so weighs me down.

Things said or done long years ago,
Or things I did not do or say
But thought that I might say or do,
Weigh me down, and not a day
But something is recalled,
My conscience or my vanity appalled.

VI

A rivery field spread out below,
An odour of the new-mown hay
In his nostrils, the great lord of Chou
Cried, casting off the mountain snow,
‘Let all things pass away.’

Wheels by milk-white asses drawn
Where Babylon or Nineveh
Rose; some conquer drew rein
And cried to battle-weary men,
‘Let all things pass away.’

From man’s blood-sodden heart are sprung
Those branches of the night and day
Where the gaudy moon is hung.
What’s the meaning of all song?
‘Let all things pass away.’

VII

The Soul. Seek out reality, leave things that seem.
The Heart. What, be a singer born and lack a theme?
The Soul. Isaiah’s coal, what more can man desire?
The Heart. Struck dumb in the simplicity of fire!
The Soul. Look on that fire, salvation walks within.
The Heart. What theme had Homer but original sin?

VIII

Must we part, Von Hugel, though much alike, for we
Accept the miracles of the saints and honour sanctity?
The body of Saint Teresa lies undecayed in tomb,
Bathed in miraculous oil, sweet odours from it come,
Healing from its lettered slab. Those self-same hands perchance
Eternalised the body of a modern saint that once
Had scooped out pharaoh’s mummy. I – though heart might find relief
Did I become a Christian man and choose for my belief
What seems most welcome in the tomb – play a pre-destined part.
Homer is my example and his unchristened heart.
The lion and the honeycomb, what has Scripture said?
So get you gone, Von Hugel, though with blessings on your head.

---

I'm tinkering with the second Hölderlin poem. Whoever translated it doesn't understand it, and the translation is bad. I've made a few adjustments near the end and will make more.
______________________________________________________________________________________________________________________________________________________

There, I've tuned it up.

[rowens]

Liber B
vel Magi
sub Figura I
00. One is the Magus; twain His forces; four His weapons. These are the Seven Spirits of Unrighteousness; seven vultures of evil. Thus is the art and craft of the Magus but glamour. How shall He destroy Himself?

0. Yet the Magus hath power upon the Mother both directly and through Love. And the Magus is Love, and bindeth together That and This in his conjuration.

1. In the beginning doth the Magus speak Truth, and send forth Illusion and Falsehood to enslave the soul. Yet therein is the Mystery of Redemption.

2. By His Wisdom made He the Worlds; the Word that is God is none other than He.

3. How then shall He end His speech with Silence? For He is Speech.

4. He is the first and the last. How shall He cease to number Himself?

5. By a Magus is this writing made known through the mind of a Magister. The one uttereth clearly, and the other understandeth; yet the Word is falsehood, and the Understanding darkness. And this saying is Of All Truth.

6. Nevertheless it is written; for there be times of darkness, and this as a lamp therein.

7. With the Wand createth He.

8. With the Cup preserveth He.

9. With the Dagger destroyeth He.

10. With the Coin redeemeth He.

11. His weapons fulfil the wheel; and on What Axle that turneth is not known unto Him.

12. From all these actions must He cease before the curse of His Grade is uplifted from Him. Before He attain to That which existeth without Form.

13. And if at this time He be manifested upon earth as a Man, and therefore is this present writing, let this be His method, that the curse of His grade, and the burden of His attainment, be uplifted from Him.

14. Let Him beware of abstinence from action. For the curse of His grade is that He must speak Truth, that the Falsehood thereof may enslave the souls of men. Let him then utter that without Fear, that the Law may be fulfilled. And according to His Original Nature will that law be shapen, so that one may declare gentleness and quietness, being an Hindu; and another fierceness and servility, being a Jew; and yet another ardour and manliness, being an Arab. Yet this matter toucheth the mystery of Incarnation, and is not here to be declared.

15. Now the grade of a Magister teacheth the Mystery of Sorrow, and the grade of a Magus the Mystery of Change, and the grade of Ipsissimus the Mystery of Selflessness, which is called also the Mystery of Pan.

16. Let the Magus then contemplate each in turn, raising it to the ultimate power of Infinity. Wherein Sorrow is Joy, and Change is Stability, and Selflessness is Self. For the interplay of the parts hath no action upon the whole. And this contemplation shall be performed not by simple meditation— how much less then by reason? but by the method which shall have been given unto Him in His Initiation to the Grade.

17. Following which method, it shall be easy for Him to combine that trinity from its elements, and further to combine Sat-Chit-Ananda, and Light, Love, Life, three by three into nine that are one, in which meditation success shall be That which was first adumbrated to Him in the grade of Practicus (which reflecteth Mercury into the lowest world) in Liber XXVII, “Here is Nothing under its three Forms.”

18. And this is the Opening of the Grade of Ipsissimus, and by the Buddhists it is called the trance Nerodha-Samapatti.

19. And woe, woe, woe, yea woe, and again woe, woe, woe unto seven times be His that preacheth not His law to men!

20. And woe also be unto Him that refuseth the curse of the grade of a Magus, and the burden of the Attainment thereof.

21. And in the word CHAOS let the Book be sealed; yea, let the Book be sealed.

[rowens]

Wallace Stevens
Notes Toward a Supreme Fiction
                                To Henry Church

And for what, except for you, do I feel love?
Do I press the extremest book of the wisest man 
Close to me, hidden in me day and night?
In the uncertain light of single, certain truth,
Equal in living changingness to the light
In which I meet you, in which we sit at rest,
For a moment in the central of our being,
The vivid transparence that you bring is peace.


'IT MUST BE ABSTRACT’'

I
Begin, ephebe, by perceiving the idea
Of this invention, this invented world,
The inconceivable idea of the sun.

You must become an ignorant man again
And see the sun again with an ignorant eye
And see it clearly in the idea of it.

Never suppose an inventing mind as source
Of this idea nor for that mind compose
A voluminous master folded in his fire.

How clean the sun when seen in its idea,
Washed in the remotest cleanliness of a heaven
That has expelled us and our images . . .

The death of one god is the death of all.
Let purple Phoebus lie in umber harvest,
Let Phoebus slumber and die in autumn umber,

Phoebus is dead, ephebe. But Phoebus was
A name for something that never could be named.
There was a project for the sun and is.

There is a project for the sun. The sun
Must bear no name, gold flourisher, but be
In the difficulty of what it is to be.


II
It is the celestial ennui of apartments
That sends us back to the first idea, the quick
Of this invention; and yet so poisonous

Are the ravishments of truth, so fatal to
The truth itself, the first idea becomes
The hermit in a poet’s metaphors,

Who comes and goes and comes and goes all day.
May there be an ennui of the first idea?
What else, prodigious scholar, should there be?

The monastic man is an artist. The philosopher
Appoints man’s place in music, say, today.
Bur the priest desires. The philosopher desires.

And no to have is the beginning of desire.
To have what is no is its ancient cycle.
It is desire at the end of winter, when

It observes the effortless weather turning blue
And sees the myosotis on its bush.
Being virile, it hears the calendar hymn.

It knows that what it has is what is not
And throws it away like a thing of another time,
As morning throws off stale moonlight and shabby sleep.


III
The poem refreshes life so that we share,
For a moment, the first idea . . . It satisfies
Belief in an immaculate beginning

And sends us, winged by an unconscious will,
To an immaculate end. We move between these points:
From that ever-early candor to its late plural

And the candor of them is the strong exhilaration
Of what we feel from what we think, of thought
Beating in the hear, as if blood newly came,

An elixir, an excitation, a pure power.
The poem, through candor, brings back a power again
That gives a candid kind to everything.

We say: At night an Arabian in my room,
With his damned hoobla-hoobla-hobbla-how,
Inscribes a primitive astronomy

Across the unscrawled foes the future casts
And throws his stars around the floor. By day
The wood-dove used to chant his hoobla-hoo

And still the grossest iridescence of ocean
Howls hoo and rises and howls hoo and fall.
Life’s nonsense pierces us with strange relation.


IV
The first idea was not our own. Adam
In Eden was the father of Descartes
And eve made air the mirror of herself,

Of her sons and of her daughters. They found themselves
In heaven as in a glass; a second earth;
And in the earth itself they found a green—

The inhabitants of a very varnished green.
But the first idea was not to shape the clouds
In imitation. The clouds preceded us.

There was a muddy centre before we breathed.
There was a myth before the myth began,
Venerable and articulate and complete.

From this the poem springs: that we live in a place
That is not our own and, much more, not ourselves
And hard it is in spire of blazoned days.

We are the mimics. Clouds are pedagogues.
The air is not a mirror but bare board,
Coulisse bright-dark, tragic chiaroscuro

And comic color of the rose, in which
Abysmal instruments make sounds like pips
Of the sweeping meanings that we add to them.


V
The lion roars at the enraging desert,
Reddens the sand with his red-colored noise,
Defies red emptiness to evolve his match,

Master by foot and jaws and by the mane,
Most supple challenger. The elephant
Breaches the darkness of Ceylon with blares,

The glitter-goes on surfaces of tanks,
Shattering velvetest far-away. The bear,
The ponderous cinnamon, snarls in his mountain

At summer thunder and sleeps through winter snow.
But you, ephebe, look from your attic window,
Your mansard with a rented piano. You lie

In silence upon your bed. You clutch the corner
Of the pillow in your hand. You writhe and press
A bitter utterance from your writhing, dumb,

Yet voluble of dumb violence. You look
Across the roofs as sigil and as ward
And in your centre mark them and are cowed . . .

These are the heroic children whom time breeds
Against the first idea—to lash the lion,
Caparison elephants, teach bears to juggle.


VI
Not to be realized because not to
Be seen, not to be loved nor hated because
Not to be realized. Weather by Franz Hals,

Brushed up by brushy winds in brushy clouds,
Wetted by blue, colder for white. Not to
Be spoken to, without a roof, without

First fruits, without the virginal of birds,
The dark-blown ceinture loosened, not relinquished.
Gay is, gay was, the gay forsythia

And yellow, yellow thins the Northern blue.
Without a name and nothing to be desired,
If only imagined but imagined well.

My house has changed a little in the sun.
The fragrance of the magnolias come close,
False flick, false form, but falseness close to kin.

It must be visible or invisible,
Invisible or visible or both:
A seeing and unseeing in the eye.

The weather and the giant of the weather,
Say the weather, the mere weather, the mere air:
An abstraction blooded, as a man by though.


VII
It feels good as it is without the giant,
A thinker of the first idea. Perhaps
The truth depends on a walk around a lake,

A composing as the body tires, a stop
To see hepatica, a stop to watch
A definition growing certain and

A wait within that certainty, a rest
In the swags of pine-trees bordering the lake.
Perhaps there are times of inherent excellence,

As when the cocks crows on the left and all
Is well, incalculable balances,
At which a kind of Swiss perfection comes

And a familiar music of the machine
Sets up its Schwarmerei, not balances
That we achieve but balances that happen,

As a man and woman meet and love forthwith.
Perhaps there are moments of awakening,
Extreme, fortuitous, personal, in which

We more than awaken, sit on the edge of sleep,
As on an elevation, and behold
The academies like structures in a mist.


VIII
Can we compose a castle-fortress-home,
Even with the help of Viollet-le-Duc,
And see the MacCullough there as major man?

The first idea is an imagined thing.
The pensive giant prone in violet space
May be the MacCullough, an expedient,

Logos and logic, crystal hypothesis,
Incipit and a form to speak the word
And every latent double in the word,

Beau linguist. But the MacCullough is MacCullough.
It does not follow that major man is man.
If MacCullough himself lay lounging by the sea,

Drowned in its washes, reading in the sound,
About the thinker of the first idea,
He might take habit, whether from wave or phrase,

Or power of the wave, or deepened speech,
Or a leaner being, moving in on him,
Of greater aptitude and apprehension,

As if the waves at last were never broken,
As if the language suddenly, with ease,
Said things it had laboriously spoken.


IX
The romantic intoning, the declaimed clairvoyance
Are parts of apotheosis, appropriate
And of its nature, the idiom thereof.

They differ from reason’s click-clack, its applied
Enflashings. But apotheosis is not
The origin of the major man. He comes,

Compact in invincible foils, from reason,
Lighted at midnight by the studious eye,
Swaddled in revery, the object of

The hum of thoughts evaded in the mind,
Hidden from other thoughts, he that reposes
On a breast forever precious for that touch,

For whom the good of April falls tenderly,
Falls down, the cock-birds calling at the time.
My dame, sing for this person accurate songs.

He is and may be but oh! He is, he is,
This foundling of the infected past, so bright,
So moving in the manner of his hand.

Yet look not at his colored eyes. Give him
No names. Dismiss him form your images.
The hot of him is purest in the heart.


X
The major abstraction is the idea of man
And major man is its exponent, abler
In the abstract than in his singular,

More fecund as principle than particle,
Happy fecundity, flor-abundant force,
In being more than an exception, part,

Though an heroic part, of the commonal.
The major abstraction is the commonal,
The inanimate, difficult visage. Who is it?

What rabbi, grown furious with human wish,
What chieftain, walking by himself, crying
Most miserable, most victorious,

Does not see these separate figures one by one,
And yet see only one, in his old coat,
His slouching pantaloons, beyond the town,

Looking for what was, where it used to be?
Cloudless the morning. It is he. The man
In that old coat, those sagging pantaloons,

It is of him, ephebe, to make, to confect
The final elegance, not to console
Nor sanctify, but plainly to propound.


'IT MUST CHANGE’'

I
The old seraph, parcel-gilded, among violets
Inhaled the appointed odor, while the doves
Rose up like phantoms from chronologies.

The Italian girls wore jonquils in their hair
And these the seraph saw, had seen long since,
In the bandeaux of the mothers, would see again.

The bees came booming as if they had never gone,
As if hyacinths had never gone. We say
This changes and that changes. Thus the constant

Violets, doves, girls, bees and hyacinths
Are inconstant objects of inconstant cause
In a universe of inconstancy. This means

Night-blue is an inconstant thing. The seraph
Is satyr in Saturn, according to his thoughts.
It means the distaste we feel for this withered scene

Is that it has not changed enough. It remains,
It is a repetition. The bees come booming
As if—The pigeons clatter in the air.

An erotic perfume, half of the body, half
Of an obvious acid is sure what it intends
And the booming is blunt, not broken in subtleties.


II
The President ordains the bee to be
Immortal. The President ordains. But does
The body lift its heavy wing, take up,

Again, an inexhaustible being, rise
Over the loftiest antagonist
To drone the green phrases of its juvenal?

Why should the bee recapture a lost blague,
Find a deep echo in a horn and buzz
The bottomless trophy, new hornsman after old?

The President has apples on the table
And barefoot servants round him, who adjust
The curtains to a metaphysical t

And the banners of the nation flutter, burst
ON the flag-poles in a red-blue dazzle, whack
At the halyards. Why, then, when in golden fury

Spring vanishes the scraps of winter, why
Should there be a question of returning or
Of death in memory’s dream? Is spring a sleep?

This warmth is for lovers at last accomplishing
Their love, this beginning, not resuming, this
Booming and booming of the new-come bee.


III
The great statue of the General Du Puy
Rested immobile, though neighboring catafalques
Bore off the residents of its noble Place.

The right, uplifted foreleg of the horse
Suggested that, at the final funeral,
The music halted and the horse stood still.

On Sundays, lawyers in their promenades
Approached this strongly-heightened effigy
To study the past, and doctors, having bathed

Themselves with care, sought out the nerveless frame
Of a suspension, a permanence, so rigid
That it made the General a bit absurd,

Changed his true flesh to an inhuman bronze.
There never had been, never could be, such
A man. The lawyers disbelieved, the doctors

Said that as keen, illustrious ornament,
As a setting for geraniums, the General,
The very Place Du Puy, in fact, belonged

Among our more vestigial states of mind.
Nothing had happened because nothing had changed.
Yet the General was rubbish in the end.


IV
Two things of opposite natures seem to depend
On one another, as a man depends
On a woman, day on night, the imagined

On the real. This is the origin of change.
Winter and spring, cold copulars, embrace
And forth the particulars of rapture come.

Music falls on the silence like a sense,
A passion that we feel, not understand.
Morning and afternoon are clasped together

And North and South are an intrinsic couple
And sun and rain a plural, like two lovers
That walk away as one in the greenest body.

In solitude the trumpets of solitude
Are not of another solitude resounding;
A little string speaks for a crowd of voices.

The partaker partakes of that which changes him.
The child that touches takes character from the thing,
The body, it touches. The captain and his men

Are one and the sailor and the sea are one.
Follow after, O my companion, my fellow, my self,
Sister and solace, brother and delight.


V
On a blue island in a sky-wide water
The wild orange trees continued to bloom and to bear,
Long after the planter’s death. A few limes remained,

Where his house had fallen, three scraggy trees weighted
With garbled green. These were the planter’s turquoise
And his orange blotches, these were his zero green,

A green baked greener in the greenest sun.
These were his beaches, his sea-myrtles in
White sand, his patter of the long sea-slushes.

There was an island beyond him on which rested,
An island to the South, on which rested like
A mountain, a pine-apple pungent as Cuban summer.

And la-bas, la-bas, the cool bananas grew,
Hung heavily on the great banana tree,
Which pierces clouds and bends on half the world.

He thought often of the land from which he came,
How that whole country was a melon, pink
If seen rightly and yet a possible red.

An unaffected man in a negative light
Could not have borne his labor nor have died
Sighing that he should leave the banjo’s twang.


VI
Bethou me, said sparrow, to the crackled blade,
And you, and you, bethou me as you blow,
When in my coppice you behold me be.

Ah, ke! The bloody wren, the felon jay,
Ke-ke, the jug throated robin pouring out,
Bethou, bethou, bethou me in my glade.

There was such idiot minstrelsy in rain,
So many clappers going without bells,
That these bethous compose a heavenly gong.

One voice repeating, one tireless chorister,
The phrases of a single phrase, ke-ke,
A single text, granite monotony,

One sole face, like a photograph of fate,
Glass-blower’s destiny, bloodless episcopus,
Eye without lid, mind without any dream—

These are of minstrels lacking minstrelsy,
Of an earth in which the first leaf is the tale
Of leaves, in which the sparrow is a bird

Of stone, that never changes. Bethou him, you
And you, bethou him and bethou. It is
A sound like any other. It will end.


VII
After a luster of the moon, we say
We have not the need of any paradise,
We have not the need of any seducing hymn.

It is true. Tonight the lilacs magnify
The easy passion, the ever-ready love
Of the lover that lies within us and we breathe

An odor evoking nothing, absolute.
We encounter in the dead middle of the night
The purple odor, the abundant bloom.

The lover sighs as for accessible bliss,
Which he can take within him on his breath,
Possess in his heart, conceal and nothing known.

For easy passion and ever-ready love
Are of our earthy birth and here and now
And where we live and everywhere we live,

As in the top-cloud of a May night-evening,
As in the courage of the ignorant man,
Who changes by book, in the heat of the scholar, who writes 

The book, hot for another accessible bliss;
The fluctuations of certainty, the change
Of degrees of perception in the scholar’s dark.


VIII
On her trip around the world, Nanzia Nunzio
Confronted Ozymandia. She went
Alone and like a vestal long-prepared.

I am the spouse. She took her necklace off
And laid it in the sand. As I am, I am
The spouse. She opened her stone-studded belt.

I am the spouse, divested of bright gold, 
The spouse beyond emerald or amethyst,
Beyond the burning body that I bear.

I am the woman stripped more nakedly
Than nakedness, standing before an inflexible
Order, saying I am the contemplated spouse.

Speak to me that, which spoken, will array me
In its own only precious ornament.
Set on me the spirit’s diamond coronal.

Clothe me entire in the final filament,
So that I tremble with such love so known
And myself am precious for your perfecting.

Then Ozymandias said the spouse, the bride
Is never naked. A fictive covering
Weaves always glistening form the heart and mind.


IX
The poem goes form the poet’s gibberish to
The gibberish of the vulgate and back again.
Does it move to and fro or is it of both

At once? Is it a luminous flattering
Or the concentration of a cloudy day?
Is there a poem that never reaches words

And one that chaffers the time away?
Is the poem both peculiar and general?
There’s a meditation there, in which there seems

To be an evasion, a thing not apprehended or
Not apprehended well. Does the poet
Evade us, as in a senseless element?

Evade, this hot, dependent orator,
The spokesman at our bluntest barriers,
Exponent by a form of speech, the speaker

Of a speech only a little of the tongue?
It is the gibberish of the vulgate that he seeks.
He tries by a peculiar speech to speak

The peculiar potency of the general,
To compound the imagination’s Latin with
The lingua franca et jocundissima.


X
A bench was his catalepsy, Theatre
Of Trope. He sat in the park. The water of
The lake was full of artificial things,

Like a page of music, like an upper air,
Like a momentary color, in which swans
Were seraphs, were saints, were changing essences.

The west wind was the music, the motion, the force
To which the swans curveted, a will to change,
A will to make iris frettings on the blank.

There was a will to change, a necessitous
And present way, a presentation, a kind
Of volatile world, too constant to be denied,

The eye of a vagabond in metaphor
That catches our own. The casual is not
Enough. The freshness of transformation is

The freshness of a world. It is our own,
It is ourselves, the freshness of ourselves,
And that necessity and that presentation

Are rubbings of a glass in which we peer.
Of these beginnings, gay and green, propose
The suitable amours. Time will write them down.




'IT MUST GIVE PLEASURE’'

I
To sing jubilas at exact, accustomed times,
To be crested and wear the mane of a multitude
And so, as part, to exult with its great throat,

To speak of joy and to sing of it, borne on
The shoulders of joyous men, to feel the heart
That is the common, the bravest fundament,

This is a facile exercise. Jerome
Begat the tubas and the fire-wind strings,
The golden fingers picking dark-blue air:

For companies of voices moving there,
To find of sound the bleakest ancestor,
To find of light a music issuing

Whereon it falls in more than sensual mode.
But the difficultest rigor is forthwith,
On the image of what we see, to catch from that

Irrational moment its unreasoning,
As when the sun comes rising, when the sea
Clears deeply, when the moon hangs on the wall

Of heaven-haven. These are not things transformed.
Yet we are shaken by them as if they were.
We reason about them with a later reason.


II
The blue woman, linked and lacquered, at her window
Did not desire that feathery argentines
Should be cold silver, neither that frothy clouds

Should foam, be foamy waves, should move like them,
Nor that the sexual blossoms should repose
Without their fierce addictions, nor that the heat

Of summer, growing fragrant in the night,
Should strengthen her abortive dreams and take
In sleep its natural form. It was enough

For her that she remembered: the argentines
Of spring come to their places in the grape leaves
To cool their ruddy pulses; the frothy clouds

Are nothing but frothy clouds; the frothy blooms
Waste without puberty; and afterward,
When the harmonious heat of August pines

Enters the room, it drowses and is the night.
It was enough for her that she remembered.
The blue woman looked and from her window named

The corals of the dogwood, cold and clear,
Cold, coldly delineating, being real,
Clear and, except for the eye, without intrusion.


III
A lasting visage in a lasting bush,
A face of stone in an unending red,
Red-emerald, red-slitted-blue, a face of slate,

An ancient forehead hung with heavy hair,
The channel slots of rain, the red-rose-red
And weathered and the ruby-water-worn,

The vines around the throat, the shapeless lips,
The frown like serpents basking on the brow,
The spent feeling leaving nothing of itself,

Red-in-red repetitions never going
Away, a little rusty, a little rouged,
A little roughened and ruder, a crown

The eye could not escape, a red renown
Blowing itself upon the tedious ear.
An effulgence faded, dull cornelian

Too venerably used. That might have bee.
It might and might have been. But as it was,
A dead shepherd brought tremendous chords from hell

And bad the sheep carouse. Or so they said.
Children in love with them brought early flowers
And scattered them about, no two alike.


IV
We reason of these things with later reason
And we make of what we see, what we see clearly
And have seen, a place dependent on ourselves.

There was a mystic marriage in Catawba,
At noon it was on the mid-day of the year
Between a great captain and the maiden Bawda.

This was their ceremonial hymn: Anon
We loved but would no marriage make. Anon
The one refused the other one to take,

Foreswore the sipping of the marriage wine.
Each must the other take not for his high,
His puissant, front nor for her subtle sound,

The shoo-shoo-shoo of secret cymbals round.
Each must the other take as sign, short sign
To stop the whirlwind, balk the elements.

The great captain loved the ever-hill Catawba
And therefore married Bawda, whom he found there,
And Bawda loved the captain as she loved the sun.

They married well because the marriage-place
Was what they loved. It was neither heaven nor hell.
They were love’s characters come face to face.


V
We drank Meursault, ate lobster Bombay with mango
Chutney. Then the Canon Aspirin declaimed
Of his sister, in what a sensible ecstasy

She lived in her house. She had two daughters, one
Of four, and one of seven, whom she dressed
The way a painter of pauvred color paints.

But still she painted them, appropriate to
Their poverty, a gray-blue yellowed out
With ribbon, a rigid statement of them, white,

With Sunday pearls, her widow’s gayety.
She hid them under simple names She held
Them closelier to her by rejecting dreams.

The words they spoke were voices that she heard.
She looked at them and saw them as they were
And what she felt fought off the barest phrase.

The Canon Aspirin, having said these things,
Reflected, humming an outline of a fugue
Of praise, a conjugation done by choirs.

Yet when her children slept, his sister herself
Demanded of sleep, in the excitements of silence
Only the unmuddled self of sleep, for them.


VI
When at long midnight the Canon came to sleep
And normal things had yawned themselves away,
The nothingness was a nakedness, a point,

Beyond which fact could not progress as fact.
Thereon the learning of the man conceived
Once more night’s pale illuminations, gold

Beneath, far underneath, the surface of
His eye and audible in the mountain of
His ear, the very material of his mind.

So that he was the ascending wings he saw
And moved on them in orbits’ outer stars
Descending to the children’s bed, on which

They lay. Forth then with huge pathetic force
Straight to the utmost crown of night he flew.
The nothingness was a nakedness, a point

Beyond which thought could not progress as thought.
He had to choose. But it was not a choice
Between excluding things. It was not a choice

Between, but of. He chose to include the things
That in each other are included, the whole,
The complicate, the amassing harmony.


VII
He imposes orders as he thinks of them,
As the fox and snake do. It is a brave affair.
Next he builds capitols and in their corridors,

Whiter than wax, sonorous, fame as it is,
He establishes statues of reasonable men,
Who surpassed the most literate owl, the most erudite

Of elephants. But to impose is not
To discover. To discover an order as of
A season, to discover summer and know it,

To discover winter and know it well, to find
Not to impose, not to have reasoned at all,
Out of nothing to have come on major weather,

It is possible, possible, possible. It must
Be possible. It must be that in time
The real will from its crude compoundings come,

Seeming at first, a beast disgorged, unlike,
Warmed by a desperate milk. To find the real,
To be stripped of every fiction except one,

The fiction of an absolute—Angel,
Be silent in your luminous cloud and hear
The luminous melody of proper sound.


VIII
What am I to believe? If the angel in his cloud,
Serenely gazing at the violent abyss,
Plucks on his strings to pluck abysmal glory,

Leaps downward through evening’s revelations, and
On his spredden wings, needs nothing but deep space,
Forgets the gold centre, the golden destiny,

Grows warm in the motionless motion of his flight,
Am I that imagine this angel less-satisfied?
Are the wings his, the lapis-haunted air?

Is it he or is it I that experience this?
Is it I then that keep saying there is an hour
Filled with expressible bliss, in which I have

No need, am happy, forget need’s golden hand,
Am satisfied without solacing majesty,
And if there is an hour there is a day,

There is a month, a year, there is a time
In which majesty is a mirror of the self:
I have not but I am and as I am, I am.

These external regions, what do we fill them with
Except reflections, the escapades of death,
Cinderella fulfilling herself beneath the roof?


IX
Whistle aloud, too weedy wren. I can
Do all that angels can. I enjoy like them,
Like men besides, like men in light secluded,

Enjoying angels. Whistle, forced bugler,
That bugles for the mate, nearby the nest,
Cock bugler, whistle and bugle and stop just short,

Red robin, stop in your preludes, practicing
Mere repetitions. These things at least comprise
An occupation, an exercise, a work,

A thing final in itself and, therefore, good:
One of the vast repetitions final in
Themselves and, therefore, good, the going round

And round and round, the merely going round,
Until merely going round is a final good,
The way wine comes at a table in a wood.

And we enjoy like men, the way a leaf
Above the table spins its constant spin,
So that we look at it with pleasure, look

At it spinning its eccentric measure. Perhaps,
The man-hero is not the exceptional monster,
But he that of repetition is most master.


X
Fat girl, terrestrial, my summer, my night,
How is it I find you in difference, see you there
In a moving contour, a change not quite completed?

You are familiar yet an aberration.
Civil, madam, I am, but underneath
A tree, this unprovoked sensation requires

That I should name you flatly, waste no words,
Check your evasions, hold you to yourself.
Even so when I think of you as strong or tired,

Bent over work, anxious, content, alone,
You remain the more than natural figure. You
Become the soft-footed phantom, the irrational

Distortion, however fragrant, however dear.
That’s it: the more than rational distortion,
The fiction that results from feeling. Yes, that.

They will get it straight one day at the Sorbonne.
We shall return at twilight from the lecture
Pleased that the irrational is rational,

Until flicked by feeling, in a gildered street,
I call you by name, my green, my fluent mundo.
You will have stopped revolving except in crystal.

———————-

Soldier, there is a war between the mind
And sky, between thought and day and night. IT is
For that the poet is always in the sun,

Patches the moon together in his room
To his Virgilian cadences, up down,
Up down. It is a war that never ends.

Yet it depends on yours. The two are one.
They are a plural, a right and left, a pair,
Two parallels that meet if only in

The meeting of their shadows or that meet
In a book in a barrack, a letter from Malay. 
But your war ends. And after it you return

With six meats and twelve wines or else without
To walk another room . . . Monsieur and comrade,
The soldier is poor without the poet’s lines,

His petty syllabi, the sounds that stick,
Inevitably modulating, in the blood.
And war for war, each has its gallant kind.

How simply the fictive hero becomes the real;
How gladly with proper words the solider dies,
If he must, or lives on the bread of faithful speech.

[rowens]

Then Was My Neophyte
Dylan Thomas

Then was my neophyte,
Child in white blood bent on its knees
Under the bell of rocks,
Ducked in the twelve, disciple seas
The winder of the water-clocks
Calls a green day and night.
My sea hermaphrodite,
Snail of man in His ship of fires
That burn the bitten decks,
Knew all His horrible desires
The climber of the water sex
Calls the green rock of light.

Who in these labyrinths,
This tidethread and the lane of scales,
Twine in a moon-blown shell,
Escapes to the flat cities' sails
Furled on the fishes' house and hell,
Nor falls to His green myths?
Stretch the salt photographs,
The landscape grief, love in His oils
Mirror from man to whale
That the green child see like a grail
Through veil and fin and fire and coil
Time on the canvas paths.

He films my vanity.
Shot in the wind, by tilted arcs,
Over the water come
Children from homes and children's parks
Who speak on a finger and thumb,
And the masked, headless boy.
His reels and mystery
The winder of the clockwise scene
Wound like a ball of lakes
Then threw on that tide-hoisted screen
Love's image till my heartbone breaks
By a dramatic sea.

Who kills my history?
The year-hedged row is lame with flint,
Blunt scythe and water blade.
'Who could snap off the shapeless print
From your to-morrow-treading shade
With oracle for eye?'
Time kills me terribly.
'Time shall not murder you,' He said,
'Nor the green nought be hurt;
Who could hack out your unsucked heart,
O green and unborn and undead?'
I saw time murder me.

[tun]

Division of Philosophy.

Philosophy
may be said to contain
the principles
of the rational cognition
that concepts afford us of things
not merely
as with logic
the principles
of the form of thought in general
irrespective of the objects
and thus interpreted
the course usually adopted
of dividing it into
theoretical and practical
is perfectly sound
but this makes imperative
a specific distinction
on the part of the concepts 
by which the principles
of this rational cognition
get their object assigned to them
for if the concepts are not distinct
they fail to justify a division
which always presupposes
that the principles 
belonging to the rational cognition
of the several parts of the science in question
are themselves mutually exclusive.

Immanuel Kant.