Others

Humble home. But rum, and charcoal...

Humble home. But rum, and charcoal
Grog of sketches on the wall,
And the cell becomes a mansion,
And the garret is a hall.


No more waves of housecoats: questions,
Even footsteps disappear;
Glassy mica fills the latticed
Work-encompassed vault of air.


Voice, commanding as a levy,
Does not leave a thing immune,
Smelting, fusing… In his gullet
Flows the tin of molten spoons.


What is fame for him, and glory,
Name, position in the world,
When the sudden breath of fusion
Blends his words into the Word?


He will burn for it his chattels,
Friendship, reason, daily round.
On his desk-a glass, unfinished,
World forgotten, clock unwound.


Clustered stanzas change like seething
Wax at fortune-telling times.
He will bless the sleeping children
With the steam of molten rhymes.

Hamlet


The murmurs ebb; onto the stage I enter.
I am trying, standing in the door,
To discover in the distant echoes
What the coming years may hold in store.


The nocturnal darkness with a thousand
Binoculars is focused onto me.
Take away this cup, O Abba Father,
Everything is possible to Thee.


I am fond of this Thy stubborn project,
And to play my part I am content.
But another drama is in progress,
And, this once, O let me be exempt.


But the plan of action is determined,
And the end irrevocably sealed.
I am alone; all round me drowns in falsehood:
Life is not a walk across a field.

Fairy Tale

Once, in times forgotten,
In a fairy place,
Through the steppe, a rider
Made his way apace.


While he sped to battle,
Nearing from the dim
Distance, a dark forest
Rose ahead of him.


Something kept repeating,
Seemed his heart to graze:
Tighten up the saddle,
Fear the watering-place.


But he did not listen.
Heeding but his will,
At full speed he bounded
Up the wooded hill;


Rode into a valley,
Turning from the mound,
Galloped through a meadow,
Skirted higher ground;


Reached a gloomy hollow,
Found a trail to trace
Down the woodland pathway
To the watering-place.


Deaf to voice of warning,
And without remorse,
Down the slope, the rider
Led his thirsty horse.


Where the stream grew shallow,
Winding through the glen,
Eerie flames lit up the
Entrance to a den.


Through thick clouds of crimson
Smoke above the spring,
An uncanny calling
Made the forest ring.


And the rider started,
And with peering eye
Urged his horse in answer
To the haunting cry.



Then he saw the dragon,
And he gripped his lance;
And his horse stood breathless
Fearing to advance.


Thrice around a maiden
Was the serpent wound;
Fire-breathing nostrils
Cast a glare around.


And the dragon's body
Moved his scaly neck,
At her shoulder snaking
Whiplike forth and back.


By that country's custom
Was a young and fair
Captive brought as ransom
To the dragon's lair.


This then was the tribute
That the people owed
To the worm-protection
For a poor abode.


Now the dragon hugged his
Victim in alarm,
And the coils grew tighter
Round her throat and arm.


Skyward looked the horseman
With imploring glance,
And for the impending
Fight he couched his lance.


Tightly closing eyelids.
Heights and cloudy spheres.
Rivers. Waters. Boulders.
Centuries and years.


Helmetless, the wounded
Lies, his life at stake.
With his hooves the charger
Tramples down the snake.


On the sand, together-
Dragon, steed, and lance;
In a swoon the rider,



The maiden-in a trance.


Blue the sky; soft breezes
Tender noon caress.
Who is she? A lady?
Peasant girl? Princess?


Now in joyous wonder
Cannot cease to weep;
Now again abandoned
To unending sleep.


Now, his strength returning,
Opens up his eyes;
Now anew the wounded
Limp and listless lies.


But their hearts are beating.
Waves surge up, die down;
Carry them, and waken,
And in slumber drown.


Tightly closing eyelids.
Heights and cloudy spheres.
Rivers. Waters. Boulders.
Centuries and years.

Feasts


I drink the gall of skies in autumn, tuberoses'
Sweet bitterness in your betrayals burning stream;
I drink the gall of nights, of crowded parties' noises,
Of sobbing virgin verse, and of a throbbing dream.


We fiends of studious fight a battle everlasting
Against our daily bread - can't stand the sober mood.
The troubled wind of nights is merely a toastmaster
Whose toasts, as like as not, will do no one much good.


Heredity and death are our guests at table.
A quiet dawn will paint bright-red the tops of trees.
An anapaest, like mice, will on the bread-plate scrabble,
And Cinderella will rush in to change her dress.


The floors have all been swept, and everything is dainty,
And like a child's sweet kiss, breathes quietly my verse,
And Cinderella flees-by cab on days of plenty,
And on shanks' pony when the last small coin is lost.

Definition of Creative Art

With shirt wide open at the collar,
Maned as Beethoven's bust, it stands;
Our conscience, dreams, the night and love,
Are as chessmen covered by its hands.


And one black king upon the board:
In sadness and in rage, forthright
It brings the day of doom.-Against
The pawn it brings the mounted knight.


In gardens where from icy spheres
The stars lean tender, linger near,
Tristan still sings, like a nightingale
On Isolde's vine, with trembling fear.


The gardens, ponds, and fences, made pure
By burning tears, and the whole great span,
Creation-are only burst of passion
Hoarded in the hearts of men.

Definition of Creative Art

With shirt wide open at the collar,
Maned as Beethoven's bust, it stands;
Our conscience, dreams, the night and love,
Are as chessmen covered by its hands.


And one black king upon the board:
In sadness and in rage, forthright
It brings the day of doom.-Against
The pawn it brings the mounted knight.


In gardens where from icy spheres
The stars lean tender, linger near,
Tristan still sings, like a nightingale
On Isolde's vine, with trembling fear.


The gardens, ponds, and fences, made pure
By burning tears, and the whole great span,
Creation-are only burst of passion
Hoarded in the hearts of men.

Definition of Creative Art

With shirt wide open at the collar,
Maned as Beethoven's bust, it stands;
Our conscience, dreams, the night and love,
Are as chessmen covered by its hands.


And one black king upon the board:
In sadness and in rage, forthright
It brings the day of doom.-Against
The pawn it brings the mounted knight.


In gardens where from icy spheres
The stars lean tender, linger near,
Tristan still sings, like a nightingale
On Isolde's vine, with trembling fear.


The gardens, ponds, and fences, made pure
By burning tears, and the whole great span,
Creation-are only burst of passion
Hoarded in the hearts of men.

Craft


When, having finished, I shall move my armchair,
The page will gasp, awakened from the strain.
Delirious, she is half asleep at present,
Obedient to suspense and to the rain.


The heaviness of burnt-out ships has numbed her,
Prostrated, weighted down her senseless form;
You cannot dupe this one by false pretences-
It is the poet who will keep her warm.


I told her at an hour (its secret shudder
Vouchsafed by fancy) when the winter will
Light up green screeching ice, fed up with waiting
Behind an office worker's window sill,


And clocks in banks and other public places,
While drinking in the snow and outside's dark,
Will suddenly jump up and strike-their faces
Crossed by the clockhands at the 'seven' mark-


At such a deep, at such a fateful hour,
I made the page wake up and take her chance,
To put on hood and scarf, and venture out to
Descendants, strangers, shaking off her trance.

Craft


When, having finished, I shall move my armchair,
The page will gasp, awakened from the strain.
Delirious, she is half asleep at present,
Obedient to suspense and to the rain.


The heaviness of burnt-out ships has numbed her,
Prostrated, weighted down her senseless form;
You cannot dupe this one by false pretences-
It is the poet who will keep her warm.


I told her at an hour (its secret shudder
Vouchsafed by fancy) when the winter will
Light up green screeching ice, fed up with waiting
Behind an office worker's window sill,


And clocks in banks and other public places,
While drinking in the snow and outside's dark,
Will suddenly jump up and strike-their faces
Crossed by the clockhands at the 'seven' mark-


At such a deep, at such a fateful hour,
I made the page wake up and take her chance,
To put on hood and scarf, and venture out to
Descendants, strangers, shaking off her trance.

Beloved, with the spent and sickly fumes...

Beloved, with the spent and sickly fumes
Of rumour's cinders all the air is filled,
But you are the engrossing lexicon
Of fame mysterious and unrevealed,


And fame it is the soil's strong pull.
Would that I more erect were sprung!
But even so I shall be called
The native son of my own native tongue.


The poets' age no longer sets their rhyme,
Now, in the sweep of country plots and roads,
Lermontov is rhymed with summertime,
And Pushkin rhymes with geese and snow.


And my wish is that when we die,
Our circle closed, and hence depart,
We shall be set in closer rhyme
Than binds the auricle and the heart.


And may our harmony unified
Some listener's muffled ear caress
With all that we do now imbibe,
And shall draw in through mouths of grass.

Beloved, with the spent and sickly fumes...

Beloved, with the spent and sickly fumes
Of rumour's cinders all the air is filled,
But you are the engrossing lexicon
Of fame mysterious and unrevealed,


And fame it is the soil's strong pull.
Would that I more erect were sprung!
But even so I shall be called
The native son of my own native tongue.


The poets' age no longer sets their rhyme,
Now, in the sweep of country plots and roads,
Lermontov is rhymed with summertime,
And Pushkin rhymes with geese and snow.


And my wish is that when we die,
Our circle closed, and hence depart,
We shall be set in closer rhyme
Than binds the auricle and the heart.


And may our harmony unified
Some listener's muffled ear caress
With all that we do now imbibe,
And shall draw in through mouths of grass.

August


This was its promise, held to faithfully:
The early morning sun came in this way
Until the angle of its saffron beam
Between the curtains and the sofa lay,


And with its ochre heat it spread across
The village houses, and the nearby wood,
Upon my bed and on my dampened pillow
And to the corner where the bookcase stood.


Then I recalled the reason why my pillow
Had been so dampened by those tears that fellI'd
dreamt I saw you coming one by one
Across the wood to wish me your farewell.


You came in ones and twos, a straggling crowd;
Then suddenly someone mentioned a word:
It was the sixth of August, by Old Style,
And the Transfiguration of Our Lord.


For from Mount Tabor usually this day
There comes a light without a flame to shine,
And autumn draws all eyes upon itself
As clear and unmistaken as a sign.


But you came forward through the tiny, stripped,
The pauperly and trembling alder grove,
Into the graveyard's coppice, russet-red,
Which, like stamped gingerbread, lay there and glowed.


And with the silence of those high treetops
Was neighbour only the imposing sky
And in the echoed crowing of the cocks
The distances and distances rang by:


There in the churchyard underneath the trees,
Like some surveyor from the government
Death gazed on my pale face to estimate
How large a grave would suit my measurement.


All those who stood there could distinctly hear
A quiet voice emerge from where I lay:
The voice was mine, my past; prophetic words
That sounded now, unsullied by decay:


'Farewell, wonder of azure and of gold
Surrounding the Transfiguration's power:
Assuage now with a woman's last caress
The bitterness of my predestined hour!


'Farewell timeless expanse of passing years!
Farewell, woman who flung your challenge steeled



Against the abyss of humiliations:
For it is I who am your battlefield!


'Farewell, you span of open wings outspread,
The voluntary obstinacy of flight,
O figure of the world revealed in speech,
Creative genius, wonder-working might!'

A Walts With a Tear in It

Ah, how I love it in these first few days,
Fresh from the forest and out of the snow,
Awkwardness obvious still in every bough,
When every silver thread lazily sways
And every cone begins slowly to glow
In candlelight—and the white sheet below
Hides its sore stump from our eyes.


It will not bat an eye if you heap gold
And jewels on it-this shyest of fays
In blue enamel and tinfoil enfolded
Creeps in your heart of hearts—and there it stays.
Ah, how I love it all in these first days,
All golden finery and silver shades!


All in the making-stars, flags, lanterns, flares,
There are no chocolates yet in bonbonnieres.
Even the candles are no candles—they
Look more like dull sticks of makeup by day.
This is an actress still lighting stage fright
In the tumult of her benefit night.
Ah, how I love her on this opening day,
Flushed in the coulisses before the play!


Apples to appletrees, and kicks to firtrees.
Only not this one—no kicks for the beauty.
She has a different purpose and duty.
She's the select one, receiver of favours.
Her evening party will go on forever.
Others may fear proverb s-this one does not.


Her fate is only a few firtrees' lot.
Golden and fiery, she will soar high,
Like an old prophet ascending the sky.


Ah, how I love it all in these first days,
When all the world chats and fusses and plays!

A Walts With a Tear in It

Ah, how I love it in these first few days,
Fresh from the forest and out of the snow,
Awkwardness obvious still in every bough,
When every silver thread lazily sways
And every cone begins slowly to glow
In candlelight—and the white sheet below
Hides its sore stump from our eyes.


It will not bat an eye if you heap gold
And jewels on it-this shyest of fays
In blue enamel and tinfoil enfolded
Creeps in your heart of hearts—and there it stays.
Ah, how I love it all in these first days,
All golden finery and silver shades!


All in the making-stars, flags, lanterns, flares,
There are no chocolates yet in bonbonnieres.
Even the candles are no candles—they
Look more like dull sticks of makeup by day.
This is an actress still lighting stage fright
In the tumult of her benefit night.
Ah, how I love her on this opening day,
Flushed in the coulisses before the play!


Apples to appletrees, and kicks to firtrees.
Only not this one—no kicks for the beauty.
She has a different purpose and duty.
She's the select one, receiver of favours.
Her evening party will go on forever.
Others may fear proverb s-this one does not.


Her fate is only a few firtrees' lot.
Golden and fiery, she will soar high,
Like an old prophet ascending the sky.


Ah, how I love it all in these first days,
When all the world chats and fusses and plays!

A Walts With a Tear in It

Ah, how I love it in these first few days,
Fresh from the forest and out of the snow,
Awkwardness obvious still in every bough,
When every silver thread lazily sways
And every cone begins slowly to glow
In candlelight—and the white sheet below
Hides its sore stump from our eyes.


It will not bat an eye if you heap gold
And jewels on it-this shyest of fays
In blue enamel and tinfoil enfolded
Creeps in your heart of hearts—and there it stays.
Ah, how I love it all in these first days,
All golden finery and silver shades!


All in the making-stars, flags, lanterns, flares,
There are no chocolates yet in bonbonnieres.
Even the candles are no candles—they
Look more like dull sticks of makeup by day.
This is an actress still lighting stage fright
In the tumult of her benefit night.
Ah, how I love her on this opening day,
Flushed in the coulisses before the play!


Apples to appletrees, and kicks to firtrees.
Only not this one—no kicks for the beauty.
She has a different purpose and duty.
She's the select one, receiver of favours.
Her evening party will go on forever.
Others may fear proverb s-this one does not.


Her fate is only a few firtrees' lot.
Golden and fiery, she will soar high,
Like an old prophet ascending the sky.


Ah, how I love it all in these first days,
When all the world chats and fusses and plays!

A Walts With a Tear in It

Ah, how I love it in these first few days,
Fresh from the forest and out of the snow,
Awkwardness obvious still in every bough,
When every silver thread lazily sways
And every cone begins slowly to glow
In candlelight—and the white sheet below
Hides its sore stump from our eyes.


It will not bat an eye if you heap gold
And jewels on it-this shyest of fays
In blue enamel and tinfoil enfolded
Creeps in your heart of hearts—and there it stays.
Ah, how I love it all in these first days,
All golden finery and silver shades!


All in the making-stars, flags, lanterns, flares,
There are no chocolates yet in bonbonnieres.
Even the candles are no candles—they
Look more like dull sticks of makeup by day.
This is an actress still lighting stage fright
In the tumult of her benefit night.
Ah, how I love her on this opening day,
Flushed in the coulisses before the play!


Apples to appletrees, and kicks to firtrees.
Only not this one—no kicks for the beauty.
She has a different purpose and duty.
She's the select one, receiver of favours.
Her evening party will go on forever.
Others may fear proverb s-this one does not.


Her fate is only a few firtrees' lot.
Golden and fiery, she will soar high,
Like an old prophet ascending the sky.


Ah, how I love it all in these first days,
When all the world chats and fusses and plays!

‘Like a brazier’s bronze cinders,’

Like a brazier’s bronze cinders,
the sleepy garden’s beetles flowing.
Level with me, and my candle,
a flowering world is hanging.

As if into unprecedented faith,
I cross into this night,
where the poplar’s beaten grey
veils the moon’s rim from sight.

Where the pond’s an open secret,
where apple-trees whisper of waves,
where the garden hanging on piles,
holds the sky before its face.

‘Like a brazier’s bronze cinders,’

Like a brazier’s bronze cinders,
the sleepy garden’s beetles flowing.
Level with me, and my candle,
a flowering world is hanging.

As if into unprecedented faith,
I cross into this night,
where the poplar’s beaten grey
veils the moon’s rim from sight.

Where the pond’s an open secret,
where apple-trees whisper of waves,
where the garden hanging on piles,
holds the sky before its face.

Stars were racing; waves were washing headlands.
Salt went blind, and tears were slowly drying.
Darkened were the bedrooms; thoughts were racing,
And the Sphinx was listening to the desert.


Candles swam. It seemed that the Colossus'
Blood grew cold; upon his lips was spreading
The blue shadow smile of the Sahara.
With the turning tide the night was waning.


Sea-breeze from Morocco touched the water.
Simooms blew. In snowdrifts snored Archangel.
Candles swam; the rough draft of 'The Prophet'
Slowly dried, and dawn broke on the Ganges


Мчались
звезды. В
море
мылись
мысы.
Слепла
соль. И
слезы
высыхали.
Были темны
спальни.
Мчались
мысли,
И
прислушивk
2;лся сфинкс
к Сахаре.

Плыли
свечи. И
казалось,
стынет
Кровь
колосса.
Заплывали
губы
Голубой
улыбкою
пустыни.
В час
отлива
ночь пошла
на убыль.

Море


тронул
ветерок с
Марокко.
Шел самум.
Храпел в
снегах
Архангельl
9;к.
Плыли
свечи.
Черновик
'Пророка'
Просыхал, и
брезжил
день на
Ганге.

‘February. Take ink and weep,’

February. Take ink and weep,
write February as you’re sobbing,
while black Spring burns deep
through the slush and throbbing.

Take a cab. For a clutch of copecks,
through bell-towers’ and wheel noise,
go where the rain-storm’s din breaks,
greater than crying or ink employs.

Where rooks in thousands falling,
like charred pears from the skies,
drop down into puddles, bringing
cold grief to the depths of eyes.

Below, the black shows through,
and the wind’s furrowed with cries:
the more freely, the more truly
then, sobbing verse is realised.

The Only Day In Existence

The early sun is so pale and shadowy,
I could be looking up at a ghost
in the shape of a window,
a tall, rectangular spirit
looking down at me in bed,
about to demand that I avenge
the murder of my father.
But the morning light is only the first line
in the play of this day-the
only day in existence-the
opening chord of its long song,
or think of what is permeating
the thin bedroom curtains


as the beginning of a lecture
I will listen to until it is dark,
a curious student in a V-neck sweater,
angled into the wooden chair of his life,
ready with notebook and a chewed-up pencil,
quiet as a goldfish in winter,
serious as a compass at sea,
eager to absorb whatever lesson
this damp, overcast Tuesday
has to teach me,
here in the spacious classroom of the world
with its long walls of glass,
its heavy, low-hung ceiling.

The Iron Bridge

I am standing on a disused iron bridge
that was erected in 1902,
according to the iron plaque bolted into a beam,
the year my mother turned one.
Imagine--a mother in her infancy,
and she was a Canadian infant at that,
one of the great infants of the province of Ontario.


But here I am leaning on the rusted railing
looking at the water below,
which is flat and reflective this morning,
sky-blue and streaked with high clouds,
and the more I look at the water,
which is like a talking picture,
the more I think of 1902
when workmen in shirts and caps
riveted this iron bridge together
across a thin channel joining two lakes
where wildflowers blow along the shore now
and pairs of swans float in the leafy coves.


1902--my mother was so tiny
she could have fit into one of those oval
baskets for holding apples,
which her mother could have lined with a soft cloth
and placed on the kitchen table
so she could keep an eye on infant Katherine
while she scrubbed potatoes or shelled a bag of peas,


the way I am keeping an eye on that cormorant
who just broke the glassy surface
and is moving away from me and the iron bridge,
swiveling his curious head,
slipping out to where the sun rakes the water
and filters through the trees that crowd the shore.


And now he dives,
disappears below the surface,
and while I wait for him to pop up,
I picture him flying underwater with his strange wings,


as I picture you, my tiny mother,
who disappeared last year,
flying somewhere with your strange wings,
your wide eyes, and your heavy wet dress,
kicking deeper down into a lake
with no end or name, some boundless province of water.

The Best Cigarette

There are many that I miss
having sent my last one out a car window
sparking along the road one night, years ago.


The heralded one, of course:
after sex, the two glowing tips
now the lights of a single ship;
at the end of a long dinner
with more wine to come
and a smoke ring coasting into the chandelier;
or on a white beach,
holding one with fingers still wet from a swim.


How bittersweet these punctuations
of flame and gesture;
but the best were on those mornings
when I would have a little something going
in the typewriter,
the sun bright in the windows,
maybe some Berlioz on in the background.
I would go into the kitchen for coffee
and on the way back to the page,
curled in its roller,
I would light one up and feel
its dry rush mix with the dark taste of coffee.


Then I would be my own locomotive,
trailing behind me as I returned to work
little puffs of smoke,
indicators of progress,
signs of industry and thought,
the signal that told the nineteenth century
it was moving forward.
That was the best cigarette,
when I would steam into the study
full of vaporous hope
and stand there,
the big headlamp of my face
pointed down at all the words in parallel lines.

Reading An Anthology Of Chinese Poems Of The Sung Dynasty, I Pause To
Admire The Length And Clarity Of Their Titles

It seems these poets have nothing
up their ample sleeves
they turn over so many cards so early,
telling us before the first line
whether it is wet or dry,
night or day, the season the man is standing in,
even how much he has had to drink.


Maybe it is autumn and he is looking at a sparrow.
Maybe it is snowing on a town with a beautiful name.


"Viewing Peonies at the Temple of Good Fortune
on a Cloudy Afternoon" is one of Sun Tung Po's.
"Dipping Water from the River and Simmering Tea"
is another one, or just
"On a Boat, Awake at Night."


And Lu Yu takes the simple rice cake with
"In a Boat on a Summer Evening
I Heard the Cry of a Waterbird.
It Was Very Sad and Seemed To Be Saying
My Woman Is Cruel--Moved, I Wrote This Poem."


There is no iron turnstile to push against here
as with headings like "Vortex on a String,"
"The Horn of Neurosis," or whatever.
No confusingly inscribed welcome mat to puzzle over.


Instead, "I Walk Out on a Summer Morning
to the Sound of Birds and a Waterfall"
is a beaded curtain brushing over my shoulders.


And "Ten Days of Spring Rain Have Kept Me Indoors"
is a servant who shows me into the room
where a poet with a thin beard
is sitting on a mat with a jug of wine
whispering something about clouds and cold wind,
about sickness and the loss of friends.


How easy he has made it for me to enter here,
to sit down in a corner,
cross my legs like his, and listen.