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SARA TEASDALE | I feel the spring far off, far off,
The faint, far scent of bud and leaf
Oh, how can spring take heart to come
To a world in grief,
Deep grief?
The sun turns north, the days grow long,
Later the evening star grows bright
How can the daylight linger on
For men to fight,
Still fight?
The grass is waking in the ground,
Soon it will rise and blow in waves
How can it have the heart to sway
Over the graves,
New graves?
Under the boughs where lovers walked
The apple-blooms will shed their breath
But what of all the lovers now
Parted by Death,
Grey Death? | Spring in War-Time | Modern | Love |
IVOR GURNEY | Lying in dug-outs, joking idly, wearily;
Watching the candle guttering in the draught;
Hearing the great shells go high over us, eerily
Singing; how often have I turned over, and laughed
With pity and pride, photographs of all colours,
All sizes, subjects: khaki brothers in France;
Or mother's faces worn with countless dolours;
Or girls whose eyes were challenging and must dance,
Though in a picture only, a common cheap
Ill-taken card; and childrenfrozen, some
(Babies) waiting on Dicky-bird to peep
Out of the handkerchief that is his home
(But he's so shy!). And some with bright looks, calling
Delight across the miles of land and sea,
That not the dread of barrage suddenly falling
Could quite blot outnot mud nor lethargy.
Smiles and triumphant careless laughter. O
The pain of them, wide Earth's most sacred things!
Lying in dug-outs, hearing the great shells slow
Sailing mile-high, the heart mounts higher and sings.
But onceO why did he keep that bitter token
Of a dead Love?that boy, who, suddenly moved,
Showed me, his eyes wet, his low talk broken,
A girl who better had not been beloved. | Photographs | Modern | Love |
WILLIAM BUTLER YEATS | I went out to the hazel wood,
Because a fire was in my head,
And cut and peeled a hazel wand,
And hooked a berry to a thread;
And when white moths were on the wing,
And moth-like stars were flickering out,
I dropped the berry in a stream
And caught a little silver trout.
When I had laid it on the floor
I went to blow the fire a-flame,
But something rustled on the floor,
And someone called me by my name:
It had become a glimmering girl
With apple blossom in her hair
Who called me by my name and ran
And faded through the brightening air.
Though I am old with wandering
Through hollow lands and hilly lands,
I will find out where she has gone,
And kiss her lips and take her hands;
And walk among long dappled grass,
And pluck till time and times are done,
The silver apples of the moon,
The golden apples of the sun. | The Song of Wandering Aengus | Modern | Love |
LOUISE BOGAN | Now that I know
That passion warms little
Of flesh in the mold,
And treasure is brittle,
Ill lie here and learn
How, over their ground,
Trees make a long shadow
And a light sound.
August 1922 | Knowledge | Modern | Love |
GERTRUDE STEIN | Gertrude Stein, Idem the Same: A Valentine to Sherwood Anderson from A Stein Reader. Copyright 1993 by Gertrude Stein. Reprinted by permission of David Higham: Estate of Gertrude Stein . | Idem the Same: A Valentine to Sherwood Anderson | Modern | Love |
EZRA POUND | Ezra Pound, "Canto IV" from The Cantos of Ezra Pound. Copyright 1993 by Ezra Pound. Reprinted by permission of New Directions Publishing Corporation. | Canto IV | Modern | Love |
EZRA POUND | Ezra Pound, "Canto XXXVI" from The Cantos of Ezra Pound. Copyright 1993 by Ezra Pound. Reprinted by permission of New Directions Publishing Corporation. | Canto XXXVI | Modern | Love |
JAMES JOYCE | from Dana, 1904 | Song | Modern | Love |
PAUL LAURENCE DUNBAR | The moon has left the sky, love,
The stars are hiding now,
And frowning on the world, love,
Night bares her sable brow.
The snow is on the ground, love,
And cold and keen the air is.
Im singing here to you, love;
Youre dreaming there in Paris.
But this is Natures law, love,
Though just it may not seem,
That men should wake to sing, love;
While maidens sleep and dream.
Them care may not molest, love,
Nor stir them from their slumbers,
Though midnight find the swain, love.
Still halting oer his numbers.
I watch the rosy dawn, love,
Come stealing up the east,
While all things round rejoice, love,
That Night her reign has ceased.
The lark will soon be heard, love,
And on his way be winging;
When Natures poets, wake, love,
Why should a man be singing? | Night of Love | Modern | Love |
PAUL LAURENCE DUNBAR | Thou art my lute, by thee I sing,
My being is attuned to thee.
Thou settest all my words a-wing,
And meltest me to melody.
Thou art my life, by thee I live,
From thee proceed the joys I know;
Sweetheart, thy hand has power to give
The meed of lovethe cup of woe.
Thou art my love, by thee I lead
My soul the paths of light along,
From vale to vale, from mead to mead,
And home it in the hills of song.
My song, my soul, my life, my all,
Why need I pray or make my plea,
Since my petition cannot fall;
For Im already one with thee! | Thou Art My Lute | Modern | Love |
WILLIAM BUTLER YEATS | Wine comes in at the mouth
And love comes in at the eye;
Thats all we shall know for truth
Before we grow old and die.
I lift the glass to my mouth,
I look at you, and I sigh. | A Drinking Song | Modern | Love |
CARL SANDBURG | Bilbea, I was in Babylon on Saturday night.
I saw nothing of you anywhere.
I was at the old place and the other girls were there,
But no Bilbea.
Have you gone to another house? or city?
Why dont you write?
I was sorry. I walked home half-sick.
Tell me how it goes.
Send me some kind of a letter.
And take care of yourself. | Bilbea | Modern | Love |
CARL SANDBURG | How much do you love me, a million bushels?
Oh, a lot more than that, Oh, a lot more.
And tomorrow maybe only half a bushel?
Tomorrow maybe not even a half a bushel.
And is this your heart arithmetic?
This is the way the wind measures the weather. | How Much? | Modern | Love |
E. E. CUMMINGS | E.E. Cummings, [as freedom is a breakfastfood] from Complete Poems 1904-1962, edited by George J. Firmage. Copyright 1926, 1954, 1991 by the Trustees for the E.E. Cummings Trust. Copyright 1985 by George James Firmage. Reprinted with the permission of Liveright Publishing Corporation. | [as freedom is a breakfastfood] | Modern | Love |
E. E. CUMMINGS | E.E. Cummings, [love is more thicker than forget] from Complete Poems 1904-1962, edited by George J. Firmage. Copyright 1926, 1954, 1991 by the Trustees for the E.E. Cummings Trust. Copyright 1985 by George James Firmage. Reprinted with the permission of Liveright Publishing Corporation. | [love is more thicker than forget] | Modern | Love |
ELINOR WYLIE | 1
When the world turns completely upside down
You say well emigrate to the Eastern Shore
Aboard a river-boat from Baltimore;
Well live among wild peach trees, miles from town,
Youll wear a coonskin cap, and I a gown
Homespun, dyed butternuts dark gold color.
Lost, like your lotus-eating ancestor,
Well swim in milk and honey till we drown.
The winter will be short, the summer long,
The autumn amber-hued, sunny and hot,
Tasting of cider and of scuppernong;
All seasons sweet, but autumn best of all.
The squirrels in their silver fur will fall
Like falling leaves, like fruit, before your shot.
2
The autumn frosts will lie upon the grass
Like bloom on grapes of purple-brown and gold.
The misted early mornings will be cold;
The little puddles will be roofed with glass.
The sun, which burns from copper into brass,
Melts these at noon, and makes the boys unfold
Their knitted mufflers; full as they can hold
Fat pockets dribble chestnuts as they pass.
Peaches grow wild, and pigs can live in clover;
A barrel of salted herrings lasts a year;
The spring begins before the winters over.
By February you may find the skins
Of garter snakes and water moccasins
Dwindled and harsh, dead-white and cloudy-clear.
3
When April pours the colors of a shell
Upon the hills, when every little creek
Is shot with silver from the Chesapeake
In shoals new-minted by the ocean swell,
When strawberries go begging, and the sleek
Blue plums lie open to the blackbirds beak,
We shall live well we shall live very well.
The months between the cherries and the peaches
Are brimming cornucopias which spill
Fruits red and purple, sombre-bloomed and black;
Then, down rich fields and frosty river beaches
Well trample bright persimmons, while you kill
Bronze partridge, speckled quail, and canvasback.
4
Down to the Puritan marrow of my bones
Theres something in this richness that I hate.
I love the look, austere, immaculate,
Of landscapes drawn in pearly monotones.
Theres something in my very blood that owns
Bare hills, cold silver on a sky of slate,
A thread of water, churned to milky spate
Streaming through slanted pastures fenced with stones.
I love those skies, thin blue or snowy gray,
Those fields sparse-planted, rendering meagre sheaves;
That spring, briefer than apple-blossoms breath,
Summer, so much too beautiful to stay,
Swift autumn, like a bonfire of leaves,
And sleepy winter, like the sleep of death. | Wild Peaches | Modern | Love |
KENNETH FEARING | Kenneth Fearing, "Aphrodite Metropolis (2)" from Collected Poems of Kenneth Fearing. Published by Random House, 1940. Reprinted by the permission of Russell & Volkening, Inc., as agents for the author. Copyright 1994 by Jubal Fearing and Phoebe Fearing. | Aphrodite Metropolis (2) | Modern | Love |
KENNETH FEARING | Kenneth Fearing, "X Minus X" from Collected Poems of Kenneth Fearing. Published by Random House, 1940. Reprinted by the permission of Russell & Volkening, Inc., as agents for the author. Copyright 1994 by Jubal Fearing and Phoebe Fearing. | X Minus X | Modern | Love |
EZRA POUND | Suddenly discovering in the eyes of the very beautiful
Normande cocotte
The eyes of the very learned British Museum assistant. | Pagani's, November 8 | Modern | Love |
WILLIAM BUTLER YEATS | We sat together at one summers end,
That beautiful mild woman, your close friend,
And you and I, and talked of poetry.
I said, A line will take us hours maybe;
Yet if it does not seem a moments thought,
Our stitching and unstitching has been naught.
Better go down upon your marrow-bones
And scrub a kitchen pavement, or break stones
Like an old pauper, in all kinds of weather;
For to articulate sweet sounds together
Is to work harder than all these, and yet
Be thought an idler by the noisy set
Of bankers, schoolmasters, and clergymen
The martyrs call the world.
And thereupon
That beautiful mild woman for whose sake
Theres many a one shall find out all heartache
On finding that her voice is sweet and low
Replied, To be born woman is to know
Although they do not talk of it at school
That we must labour to be beautiful.
I said, Its certain there is no fine thing
Since Adams fall but needs much labouring.
There have been lovers who thought love should be
So much compounded of high courtesy
That they would sigh and quote with learned looks
Precedents out of beautiful old books;
Yet now it seems an idle trade enough.
We sat grown quiet at the name of love;
We saw the last embers of daylight die,
And in the trembling blue-green of the sky
A moon, worn as if it had been a shell
Washed by times waters as they rose and fell
About the stars and broke in days and years.
I had a thought for no ones but your ears:
That you were beautiful, and that I strove
To love you in the old high way of love;
That it had all seemed happy, and yet wed grown
As weary-hearted as that hollow moon. | Adam's Curse | Modern | Love |
HART CRANE | I wanted you, nameless Woman of the South,
No wraith, but utterlyas still more alone
The Southern Cross takes night
And lifts her girdles from her, one by one
High, cool,
wide from the slowly smoldering fire
Of lower heavens,
vaporous scars!
Eve! Magdalene!
or Mary, you?
Whatever callfalls vainly on the wave.
O simian Venus, homeless Eve,
Unwedded, stumbling gardenless to grieve
Windswept guitars on lonely decks forever;
Finally to answer all within one grave!
And this long wake of phosphor,
iridescent
Furrow of all our traveltrailed derision!
Eyes crumble at its kiss. Its long-drawn spell
Incites a yell. Slid on that backward vision
The mind is churned to spittle, whispering hell.
I wanted you . . . The embers of the Cross
Climbed by aslant and huddling aromatically.
It is blood to remember; it is fire
To stammer back . . . It is
Godyour namelessness. And the wash
All night the water combed you with black
Insolence. You crept out simmering, accomplished.
Water rattled that stinging coil, your
Rehearsed hairdocile, alas, from many arms.
Yes, Evewraith of my unloved seed!
The Cross, a phantom, buckleddropped below the dawn.
Light drowned the lithic trillions of your spawn. | from The Bridge: Southern Cross | Modern | Love |
SARA TEASDALE | Originally published in Poetry, March 1914. | Debt | Modern | Love |
WILLIAM BUTLER YEATS | Down by the salley gardens
my love and I did meet;
She passed the salley gardens
with little snow-white feet.
She bid me take love easy,
as the leaves grow on the tree;
But I, being young and foolish,
with her would not agree.
In a field by the river
my love and I did stand,
And on my leaning shoulder
she laid her snow-white hand.
She bid me take life easy,
as the grass grows on the weirs;
But I was young and foolish,
and now am full of tears.
| Down By the Salley Gardens | Modern | Love |
LOUISE BOGAN | Louise Bogan, Epitaph for a Romantic Woman from Body of this Death: Poems (New York: Robert M. McBride, 1923). Copyright 1923 by Louise Bogan. Reprinted with the permission of the Estate of Louise Bogan. | Epitaph for a Romantic Woman | Modern | Love |
GERTRUDE STEIN | Gertrude Stein, [The house was twinkling in the moon light] from Baby Precious Always Shines: Selected Love Notes Between Gertrude Stein and Alice B. Toklas (St. Martins Press, 1999). Reprinted with the permission of the Estate of Gertrude Stein. | [The house was just twinkling in the moon light] | Modern | Love |
WALLACE STEVENS | You dweller in the dark cabin,
To whom the watermelon is always purple,
Whose garden is wind and moon,
Of the two dreams, night and day,
What lover, what dreamer, would choose
The one obscured by sleep?
Here is the plantain by your door
And the best cock of red feather
That crew before the clocks.
A feme may come, leaf-green,
Whose coming may give revel
Beyond revelries of sleep,
Yes, and the blackbird spread its tail,
So that the sun may speckle,
While it creaks hail.
You dweller in the dark cabin,
Rise, since rising will not waken,
And hail, cry hail, cry hail. | Hymn from a Watermelon Pavilion | Modern | Love |
E. E. CUMMINGS | [i carry your heart with me(i carry it in] Copyright 1952, 1980, 1991 by the Trustees for the E. E. Cummings Trust, from Complete Poems: 1904-1962 by E. E. Cummings, edited by George J. Firmage. Used by permission of Liveright Publishing Corporation. | [i carry your heart with me(i carry it in] | Modern | Love |
PAUL LAURENCE DUNBAR | Come when the nights are bright with stars
Or come when the moon is mellow;
Come when the sun his golden bars
Drops on the hay-field yellow.
Come in the twilight soft and gray,
Come in the night or come in the day,
Come, O love, wheneer you may,
And you are welcome, welcome.
You are sweet, O Love, dear Love,
You are soft as the nesting dove.
Come to my heart and bring it to rest
As the bird flies home to its welcome nest.
Come when my heart is full of grief
Or when my heart is merry;
Come with the falling of the leaf
Or with the reddning cherry.
Come when the years first blossom blows,
Come when the summer gleams and glows,
Come with the winters drifting snows,
And you are welcome, welcome. | Invitation to Love | Modern | Love |
LOUISE BOGAN | Louise Bogan, Juans Song from The Blue Estuaries: Poems 1923-1968. Copyright 1968 by Louise Bogan. Used by permission of Farrar, Straus & Giroux, LLC, http://us.macmillan.com/fsg. All rights reserved. | Juans Song | Modern | Love |
EZRA POUND | Originally published in Poetry, August 1914. | Ladies | Modern | Love |
LOUISE BOGAN | Originally published in Poetry, August 1922. | Leave-Taking | Modern | Love |
MICHAEL ANANIA | Michael Anania, Motet from Selected Poems. Copyright 1994 by Michael Anania. Used by permission of Asphodel Press/Acorn Alliance. | Motet | Modern | Love |
KENNETH SLESSOR | Kenneth Slessor, New Magic from Selected Poems, published by HarperCollins Publishers Australia. Used by permission. | New Magic | Modern | Love |
ASIL BUNTING | Basil Bunting, 30. The Orotava Road from Complete Poems, edited by Richard Caddel. Reprinted with the permission of Bloodaxe Books Ltd., www.bloodaxebooks.com. | from Odes: 30. The Orotava Road | Modern | Love |
SARA TEASDALE | Originally published in Poetry, March 1914. | Old Love and New | Modern | Love |
SARA TEASDALE | Originally published in Poetry, March 1914. | Over the Roofs | Modern | Love |
EZRA POUND | While my hair was still cut straight across my forehead
I played about the front gate, pulling flowers.
You came by on bamboo stilts, playing horse,
You walked about my seat, playing with blue plums.
And we went on living in the village of Chokan:
Two small people, without dislike or suspicion.
At fourteen I married My Lord you.
I never laughed, being bashful.
Lowering my head, I looked at the wall.
Called to, a thousand times, I never looked back.
At fifteen I stopped scowling,
I desired my dust to be mingled with yours
Forever and forever, and forever.
Why should I climb the look out?
At sixteen you departed
You went into far Ku-to-en, by the river of swirling eddies,
And you have been gone five months.
The monkeys make sorrowful noise overhead.
You dragged your feet when you went out.
By the gate now, the moss is grown, the different mosses,
Too deep to clear them away!
The leaves fall early this autumn, in wind.
The paired butterflies are already yellow with August
Over the grass in the West garden;
They hurt me.
I grow older.
If you are coming down through the narrows of the river Kiang,
Please let me know beforehand,
And I will come out to meet you
As far as Cho-fu-Sa. | The River-Merchants Wife: A Letter | Modern | Love |
SARA TEASDALE | Since there is no escape, since at the end
My body will be utterly destroyed,
This hand I love as I have loved a friend,
This body I tended, wept with and enjoyed;
Since there is no escape even for me
Who love life with a love too sharp to bear:
The scent of orchards in the rain, the sea
And hours alone too still and sure for prayer
Since darkness waits for me, then all the more
Let me go down as waves sweep to the shore
In pride, and let me sing with my last breath;
In these few hours of light I lift my head;
Life is my loverI shall leave the dead
If there is any way to baffle death. | Since There Is No Escape | Modern | Love |
LOUISE BOGAN | Louise Bogan, Song for the Last Act from The Blue Estuaries: Poems 1923-1968. Copyright 1968 by Louise Bogan. Used by permission of Farrar, Straus & Giroux, LLC, http://us.macmillan.com/fsg. All rights reserved. | Song for the Last Act | Modern | Love |
D. H. LAWRENCE | Originally published in Poetry, December 1914. | Song (Love has crept...) | Modern | Love |
LOUISE BOGAN | Originally published in Poetry, August 1922. | To a Dead Lover | Modern | Love |
JAMES JOYCE | Originally published in Poetry, May 1917. | Tutto Sciolto | Modern | Love |
ELINOR WYLIE | Too high, too high to pluck
My heart shall swing.
A fruit no bee shall suck,
No wasp shall sting.
If on some night of cold
It falls to ground
In apple-leaves of gold
Ill wrap it round.
And I shall seal it up
With spice and salt,
In a carven silver cup,
In a deep vault.
Before my eyes are blind
And my lips mute,
I must eat core and rind
Of that same fruit.
Before my heart is dust
At the end of all,
Eat it I must, I must
Were it bitter gall.
But I shall keep it sweet
By some strange art;
Wild honey I shall eat
When I eat my heart.
O honey cool and chaste
As clovers breath!
Sweet Heaven I shall taste
Before my death. | Valentine | Modern | Love |
MARJORIE PICKTHALL | When the first dark had fallen around them
And the leaves were weary of praise,
In the clear silence Beauty found them
And shewed them all her ways.
In the high noon of the heavenly garden
Where the angels sunned with the birds,
Beauty, before their hearts could harden,
Had taught them heavenly words.
When they fled in the burning weather
And nothing dawned but a dream,
Beauty fasted their hands together
And cooled them at her stream.
And when day wearied and night grew stronger,
And they slept as the beautiful must,
Then she bided a little longer,
And blossomed from their dust. | Adam and Eve | Modern | Love |
D. H. LAWRENCE | My love looks like a girl to-night,
But she is old.
The plaits that lie along her pillow
Are not gold,
But threaded with filigree silver,
And uncanny cold.
She looks like a young maiden, since her brow
Is smooth and fair,
Her cheeks are very smooth, her eyes are closed.
She sleeps a rare
Still winsome sleep, so still, and so composed.
Nay, but she sleeps like a bride, and dreams her dreams
Of perfect things.
She lies at last, the darling, in the shape of her dream,
And her dead mouth sings
By its shape, like the thrushes in clear evenings. | The Bride | Modern | Love |
WILLIAM BUTLER YEATS | The jester walked in the garden:
The garden had fallen still;
He bade his soul rise upward
And stand on her window-sill.
It rose in a straight blue garment,
When owls began to call:
It had grown wise-tongued by thinking
Of a quiet and light footfall;
But the young queen would not listen;
She rose in her pale night-gown;
She drew in the heavy casement
And pushed the latches down.
He bade his heart go to her,
When the owls called out no more;
In a red and quivering garment
It sang to her through the door.
It had grown sweet-tongued by dreaming
Of a flutter of flower-like hair;
But she took up her fan from the table
And waved it off on the air.
'I have cap and bells, he pondered,
'I will send them to her and die;
And when the morning whitened
He left them where she went by.
She laid them upon her bosom,
Under a cloud of her hair,
And her red lips sang them a love-song
Till stars grew out of the air.
She opened her door and her window,
And the heart and the soul came through,
To her right hand came the red one,
To her left hand came the blue.
They set up a noise like crickets,
A chattering wise and sweet,
And her hair was a folded flower
And the quiet of love in her feet. | The Cap and Bells | Modern | Love |
D. H. LAWRENCE | What large, dark hands are those at the window
Lifted, grasping the golden light
Which weaves its way through the creeper leaves
To my heart's delight?
Ah, only the leaves! But in the west,
In the west I see a redness come
Over the evening's burning breast
'Tis the wound of love goes home!
The woodbine creeps abroad
Calling low to her lover:
The sun-lit flirt who all the day
Has poised above her lips in play
And stolen kisses, shallow and gay
Of pollen, now has gone away
She woos the moth with her sweet, low word,
And when above her his broad wings hover
Then her bright breast she will uncover
And yield her honey-drop to her lover.
Into the yellow, evening glow
Saunters a man from the farm below,
Leans, and looks in at the low-built shed
Where hangs the swallow's marriage bed.
The bird lies warm against the wall.
She glances quick her startled eyes
Towards him, then she turns away
Her small head, making warm display
Of red upon the throat. His terrors sway
Her out of the nest's warm, busy ball,
Whose plaintive cry is heard as she flies
In one blue stoop from out the sties
Into the evening's empty hall.
Oh, water-hen, beside the rushes
Hide your quaint, unfading blushes,
Still your quick tail, and lie as dead,
Till the distance folds over his ominous tread.
The rabbit presses back her ears,
Turns back her liquid, anguished eyes
And crouches low: then with wild spring
Spurts from the terror of his oncoming
To be choked back, the wire ring
Her frantic effort throttling:
Piteous brown ball of quivering fears!
Ah soon in his large, hard hands she dies,
And swings all loose to the swing of his walk.
Yet calm and kindly are his eyes
And ready to open in brown surprise
Should I not answer to his talk
Or should he my tears surmise.
I hear his hand on the latch, and rise from my chair
Watching the door open: he flashes bare
His strong teeth in a smile, and flashes his eyes
In a smile like triumph upon me; then careless-wise
He flings the rabbit soft on the table board
And comes towards me: ah, the uplifted sword
Of his hand against my bosom, and oh, the broad
Blade of his hand that raises my face to applaud
His coming: he raises up my face to him
And caresses my mouth with his fingers, which still smell grim
Of the rabbit's fur! God, I am caught in a snare!
I know not what fine wire is round my throat,
I only know I let him finger there
My pulse of life, letting him nose like a stoat
Who sniffs with joy before he drinks the blood:
And down his mouth comes to my mouth, and down
His dark bright eyes descend like a fiery hood
Upon my mind: his mouth meets mine, and a flood
Of sweet fire sweeps across me, so I drown
Within him, die, and find death good. | Cruelty and Love | Modern | Love |
SARA TEASDALE | Supper comes at five o'clock,
At six, the evening star,
My lover comes at eight o'clock
But eight o'clock is far.
How could I bear my pain all day
Unless I watched to see
The clock-hands laboring to bring
Eight o'clock to me. | Eight O'Clock | Modern | Love |
EZRA POUND | Go, dumb-born book,
Tell her that sang me once that song of Lawes:
Hadst thou but song
As thou hast subjects known,
Then were there cause in thee that should condone
Even my faults that heavy upon me lie
And build her glories their longevity.
Tell her that sheds
Such treasure in the air,
Recking naught else but that her graces give
Life to the moment,
I would bid them live
As roses might, in magic amber laid,
Red overwrought with orange and all made
One substance and one colour
Braving time.
Tell her that goes
With song upon her lips
But sings not out the song, nor knows
The maker of it, some other mouth,
May be as fair as hers,
Might, in new ages, gain her worshippers,
When our two dusts with Wallers shall be laid,
Siftings on siftings in oblivion,
Till change hath broken down
All things save Beauty alone. | Envoi | Modern | Love |
SARA TEASDALE | They came to tell your faults to me,
They named them over one by one;
I laughed aloud when they were done,
I knew them all so well before,
Oh, they were blind, too blind to see
Your faults had made me love you more. | Faults | Modern | Love |
LOUIS UNTERMEYER | I never knew the earth had so much gold
The fields run over with it, and this hill
Hoary and old,
Is young with buoyant blooms that flame and thrill.
Such golden fires, such yellowlo, how good
This spendthrift world, and what a lavish God!
This fringe of wood,
Blazing with buttercup and goldenrod.
You too, beloved, are changed. Again I see
Your face grow mystical, as on that night
You turned to me,
And all the trembling worldand youwere white.
Aye, you are touched; your singing lips grow dumb;
The fields absorb you, color you entire . . .
And you become
A goddess standing in a world of fire! | Feuerzauber | Modern | Love |
D. H. LAWRENCE | When she rises in the morning
I linger to watch her;
She spreads the bath-cloth underneath the window
And the sunbeams catch her
Glistening white on the shoulders,
While down her sides the mellow
Golden shadow glows as
She stoops to the sponge, and her swung breasts
Sway like full-blown yellow
Gloire de Dijon roses.
She drips herself with water, and her shoulders
Glisten as silver, they crumple up
Like wet and falling roses, and I listen
For the sluicing of their rain-dishevelled petals.
In the window full of sunlight
Concentrates her golden shadow
Fold on fold, until it glows as
Mellow as the glory roses. | Gloire de Dijon | Modern | Love |
LOUIS UNTERMEYER | Louis Untermeyer, Infidelity from The New Poetry: An Anthology of Twentieth Century Verse in English, ed. Harriet Monroe (New York: Macmillan, 1936). Permission is granted by arrangement with the Estate of Louis Untermeyer, Norma Anchin Untermeyer c/o Professional Publishing Services. The reprint is granted with the expressed permission by Laurence S. Untermeyer. | Infidelity | Modern | Love |
D. H. LAWRENCE | Version 1 (1921)
Yours is the shame and sorrow,
But the disgrace is mine;
Your love was dark and thorough,
Mine was the love of the sun for a flower
He creates with his shine.
I was diligent to explore you,
Blossom you stalk by stalk,
Till my fire of creation bore you
Shrivelling down in the final dour
Anguish then I suffered a balk.
I knew your pain, and it broke
My fine, craftsman's nerve;
Your body quailed at my stroke,
And my courage failed to give you the last
Fine torture you did deserve.
You are shapely, you are adorned,
But opaque and dull in the flesh,
Who, had I but pierced with the thorned
Fire-threshing anguish, were fused and cast
In a lovely illumined mesh.
Like a painted window: the best
Suffering burnt through your flesh,
Undrossed it and left it blest
With a quivering sweet wisdom of grace: but now
Who shall take you afresh?
Now who will burn you free
From your body's terrors and dross,
Since the fire has failed in me?
What man will stoop in your flesh to plough
The shrieking cross?
A mute, nearly beautiful thing
Is your face, that fills me with shame
As I see it hardening,
Warping the perfect image of God,
And darkening my eternal fame.
Version 2 (1928)
Yours is the sullen sorrow,
The disgrace is also mine;
Your love was intense and thorough,
Mine was the love of a growing flower
For the sunshine.
You had the power to explore me,
Blossom me stalk by stalk;
You woke my spirit, you bore me
To consciousness, you gave me the dour
Awareness then I suffered a balk.
Body to body I could not
Love you, although I would.
We kissed, we kissed though we should not.
You yielded, we threw the last cast,
And it was no good.
You only endured, and it broke
My craftsman's nerve.
No flesh responded to my stroke;
So I failed to give you the last
Fine torture you did deserve.
You are shapely, you are adorned
But opaque and null in the flesh;
Who, had I but pierced with the thorned
Full anguish, perhaps had been cast
In a lovely illuinined mesh
Like a painted window; the best
Fire passed through your flesh,
Undrossed it, and left it blest
In clean new awareness. But now
Who shall take you afresh?
Now who will burn you free
From your body's deadness and dross?
Since the fire has failed in me,
What man will stoop in your flesh to plough
The shrieking cross?
A mute, nearly beautiful thing
Is your face, that fills me with shame
As I see it hardening;
I should have been cruel enough to bring
You through the flame. | Last Words to Miriam | Modern | Love |
SARA TEASDALE | Strephon kissed me in the spring,
Robin in the fall,
But Colin only looked at me
And never kissed at all.
Strephon's kiss was lost in jest,
Robin's lost in play,
But the kiss in Colin's eyes
Haunts me night and day. | The Look | Modern | Love |
T. S. ELIOT | Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question ...
Oh, do not ask, What is it?
Let us go and make our visit.
In the room the women come and go
Talking of Michelangelo.
The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes,
Licked its tongue into the corners of the evening,
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.
And indeed there will be time
For the yellow smoke that slides along the street,
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate;
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.
In the room the women come and go
Talking of Michelangelo.
And indeed there will be time
To wonder, Do I dare? and, Do I dare?
Time to turn back and descend the stair,
With a bald spot in the middle of my hair
(They will say: How his hair is growing thin!)
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin
(They will say: But how his arms and legs are thin!)
Do I dare
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.
For I have known them all already, known them all:
Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall
Beneath the music from a farther room.
So how should I presume?
And I have known the eyes already, known them all
The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
Then how should I begin
To spit out all the butt-ends of my days and ways?
And how should I presume?
And I have known the arms already, known them all
Arms that are braceleted and white and bare
(But in the lamplight, downed with light brown hair!)
Is it perfume from a dress
That makes me so digress?
Arms that lie along a table, or wrap about a shawl.
And should I then presume?
And how should I begin?
Shall I say, I have gone at dusk through narrow streets
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows? ...
I should have been a pair of ragged claws
Scuttling across the floors of silent seas.
And the afternoon, the evening, sleeps so peacefully!
Smoothed by long fingers,
Asleep ... tired ... or it malingers,
Stretched on the floor, here beside you and me.
Should I, after tea and cakes and ices,
Have the strength to force the moment to its crisis?
But though I have wept and fasted, wept and prayed,
Though I have seen my head (grown slightly bald) brought in upon a platter,
I am no prophet and heres no great matter;
I have seen the moment of my greatness flicker,
And I have seen the eternal Footman hold my coat, and snicker,
And in short, I was afraid.
And would it have been worth it, after all,
After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
Would it have been worth while,
To have bitten off the matter with a smile,
To have squeezed the universe into a ball
To roll it towards some overwhelming question,
To say: I am Lazarus, come from the dead,
Come back to tell you all, I shall tell you all
If one, settling a pillow by her head
Should say: That is not what I meant at all;
That is not it, at all.
And would it have been worth it, after all,
Would it have been worth while,
After the sunsets and the dooryards and the sprinkled streets,
After the novels, after the teacups, after the skirts that trail along the floor
And this, and so much more?
It is impossible to say just what I mean!
But as if a magic lantern threw the nerves in patterns on a screen:
Would it have been worth while
If one, settling a pillow or throwing off a shawl,
And turning toward the window, should say:
That is not it at all,
That is not what I meant, at all.
No! I am not Prince Hamlet, nor was meant to be;
Am an attendant lord, one that will do
To swell a progress, start a scene or two,
Advise the prince; no doubt, an easy tool,
Deferential, glad to be of use,
Politic, cautious, and meticulous;
Full of high sentence, but a bit obtuse;
At times, indeed, almost ridiculous
Almost, at times, the Fool.
I grow old ... I grow old ...
I shall wear the bottoms of my trousers rolled.
Shall I part my hair behind? Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach.
I have heard the mermaids singing, each to each.
I do not think that they will sing to me.
I have seen them riding seaward on the waves
Combing the white hair of the waves blown back
When the wind blows the water white and black.
We have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown
Till human voices wake us, and we drown. | The Love Song of J. Alfred Prufrock | Modern | Love |
EDGAR LEE MASTERS | I went to the dances at Chandlerville,
And played snap-out at Winchester.
One time we changed partners,
Driving home in the moonlight of middle June,
And then I found Davis.
We were married and lived together for seventy years,
Enjoying, working, raising the twelve children,
Eight of whom we lost
Ere I had reached the age of sixty.
I spun, I wove, I kept the house, I nursed the sick,
I made the garden, and for holiday
Rambled over the fields where sang the larks,
And by Spoon River gathering many a shell,
And many a flower and medicinal weed
Shouting to the wooded hills, singing to the green valleys.
At ninety-six I had lived enough, that is all,
And passed to a sweet repose.
What is this I hear of sorrow and weariness,
Anger, discontent and drooping hopes?
Degenerate sons and daughters,
Life is too strong for you
It takes life to love Life. | Lucinda Matlock | Modern | Love |
PAUL LAURENCE DUNBAR | Seen my lady home las' night,
Jump back, honey, jump back.
Hel' huh han' an' sque'z it tight,
Jump back, honey, jump back.
Hyeahd huh sigh a little sigh,
Seen a light gleam f'om huh eye,
An' a smile go flittin' by
Jump back, honey, jump back.
Hyeahd de win' blow thoo de pine,
Jump back, honey, jump back.
Mockin'-bird was singin' fine,
Jump back, honey, jump back.
An' my hea't was beatin' so,
When I reached my lady's do',
Dat I could n't ba' to go
Jump back, honey, jump back.
Put my ahm aroun' huh wais',
Jump back, honey, jump back.
Raised huh lips an' took a tase,
Jump back, honey, jump back.
Love me, honey, love me true?
Love me well ez I love you?
An' she answe'd, "'Cose I do"
Jump back, honey, jump back. | A Negro Love Song | Modern | Love |
PAUL LAURENCE DUNBAR | W'en daih's chillun in de house,
Dey keep on a-gittin' tall;
But de folks don' seem to see
Dat dey's growin' up at all,
'Twell dey fin' out some fine day
Dat de gals has 'menced to grow,
W'en dey notice as dey pass
Dat de front gate's saggin' low.
W'en de hinges creak an' cry,
An' de bahs go slantin' down,
You kin reckon dat hit's time
Fu' to cas' yo' eye erroun',
'Cause daih ain't no 'sputin' dis,
Hit's de trues' sign to show
Dat daih's cou'tin goin' on
W'en de ol' front gate sags low.
Oh, you grumble an' complain,
An' you prop dat gate up right;
But you notice right nex' day
Dat hit's in de same ol' plight.
So you fin' dat hit's a rule,
An' daih ain' no use to blow,
W'en de gals is growin' up,
Dat de front gate will sag low.
Den you t'ink o' yo' young days,
W'en you cou'ted Sally Jane,
An' you so't o' feel ashamed
Fu' to grumble an' complain,
'Cause yo' ricerlection says,
An' you know hits wo'ds is so,
Dat huh pappy had a time
Wid his front gate saggin' low.
So you jes' looks on an' smiles
At 'em leanin' on de gate,
Tryin' to t'ink whut he kin say
Fu' to keep him daih so late,
But you lets dat gate erlone,
Fu' yo' 'sperunce goes to show,
'Twell de gals is ma'ied off,
It gwine keep on saggin' low. | The Old Front Gate | Modern | Love |
SARA TEASDALE | I saw her in a Broadway car,
The woman I might grow to be;
I felt my lover look at her
And then turn suddenly to me.
Her hair was dull and drew no light
And yet its color was as mine;
Her eyes were strangely like my eyes
Tho' love had never made them shine.
Her body was a thing grown thin,
Hungry for love that never came;
Her soul was frozen in the dark
Unwarmed forever by love's flame.
I felt my lover look at her
And then turn suddenly to me,
His eyes were magic to defy
The woman I shall never be. | The Old Maid | Modern | Love |
WALLACE STEVENS | I
Just as my fingers on these keys
Make music, so the selfsame sounds
On my spirit make a music, too.
Music is feeling, then, not sound;
And thus it is that what I feel,
Here in this room, desiring you,
Thinking of your blue-shadowed silk,
Is music. It is like the strain
Waked in the elders by Susanna:
Of a green evening, clear and warm,
She bathed in her still garden, while
The red-eyed elders, watching, felt
The basses of their beings throb
In witching chords, and their thin blood
Pulse pizzicati of Hosanna.
II
In the green water, clear and warm,
Susanna lay.
She searched
The touch of springs,
And found
Concealed imaginings.
She sighed,
For so much melody.
Upon the bank, she stood
In the cool
Of spent emotions.
She felt, among the leaves,
The dew
Of old devotions.
She walked upon the grass,
Still quavering.
The winds were like her maids,
On timid feet,
Fetching her woven scarves,
Yet wavering.
A breath upon her hand
Muted the night.
She turned
A cymbal crashed,
And roaring horns.
III
Soon, with a noise like tambourines,
Came her attendant Byzantines.
They wondered why Susanna cried
Against the elders by her side;
And as they whispered, the refrain
Was like a willow swept by rain.
Anon, their lamps' uplifted flame
Revealed Susanna and her shame.
And then, the simpering Byzantines
Fled, with a noise like tambourines.
IV
Beauty is momentary in the mind
The fitful tracing of a portal;
But in the flesh it is immortal.
The body dies; the body's beauty lives.
So evenings die, in their green going,
A wave, interminably flowing.
So gardens die, their meek breath scenting
The cowl of winter, done repenting.
So maidens die, to the auroral
Celebration of a maiden's choral.
Susanna's music touched the bawdy strings
Of those white elders; but, escaping,
Left only Death's ironic scraping.
Now, in its immortality, it plays
On the clear viol of her memory,
And makes a constant sacrament of praise. | Peter Quince at the Clavier | Modern | Love |
T. S. ELIOT | I
Among the smoke and fog of a December afternoon
You have the scene arrange itself as it will seem to do
With "I have saved this afternoon for you";
And four wax candles in the darkened room,
Four rings of light upon the ceiling overhead,
An atmosphere of Juliet's tomb
Prepared for all the things to be said, or left unsaid.
We have been, let us say, to hear the latest Pole
Transmit the Preludes, through his hair and finger-tips.
"So intimate, this Chopin, that I think his soul
Should be resurrected only among friends
Some two or three, who will not touch the bloom
That is rubbed and questioned in the concert room."
And so the conversation slips
Among velleities and carefully caught regrets
Through attenuated tones of violins
Mingled with remote cornets
And begins.
"You do not know how much they mean to me, my friends,
And how, how rare and strange it is, to find
In a life composed so much, so much of odds and ends,
(For indeed I do not love it ... you knew? you are not blind!
How keen you are!)
To find a friend who has these qualities,
Who has, and gives
Those qualities upon which friendship lives.
How much it means that I say this to you
Without these friendships life, what cauchemar!"
Among the winding of the violins
And the ariettes
Of cracked cornets
Inside my brain a dull tom-tom begins
Absurdly hammering a prelude of its own,
Capricious monotone
That is at least one definite "false note."
Let us take the air, in a tobacco trance,
Admire the monuments,
Discuss the late events,
Correct our watches by the public clocks.
Then sit for half an hour and drink our bocks.
II
Now that lilacs are in bloom
She has a bowl of lilacs in her room
And twists one in her fingers while she talks.
"Ah, my friend, you do not know, you do not know
What life is, you who hold it in your hands";
(Slowly twisting the lilac stalks)
"You let it flow from you, you let it flow,
And youth is cruel, and has no remorse
And smiles at situations which it cannot see."
I smile, of course,
And go on drinking tea.
"Yet with these April sunsets, that somehow recall
My buried life, and Paris in the Spring,
I feel immeasurably at peace, and find the world
To be wonderful and youthful, after all."
The voice returns like the insistent out-of-tune
Of a broken violin on an August afternoon:
"I am always sure that you understand
My feelings, always sure that you feel,
Sure that across the gulf you reach your hand.
You are invulnerable, you have no Achilles' heel.
You will go on, and when you have prevailed
You can say: at this point many a one has failed.
But what have I, but what have I, my friend,
To give you, what can you receive from me?
Only the friendship and the sympathy
Of one about to reach her journey's end.
I shall sit here, serving tea to friends ...."
I take my hat: how can I make a cowardly amends
For what she has said to me?
You will see me any morning in the park
Reading the comics and the sporting page.
Particularly I remark.
An English countess goes upon the stage.
A Greek was murdered at a Polish dance,
Another bank defaulter has confessed.
I keep my countenance,
I remain self-possessed
Except when a street-piano, mechanical and tired
Reiterates some worn-out common song
With the smell of hyacinths across the garden
Recalling things that other people have desired.
Are these ideas right or wrong?
III
The October night comes down; returning as before
Except for a slight sensation of being ill at ease
I mount the stairs and turn the handle of the door
And feel as if I had mounted on my hands and knees.
"And so you are going abroad; and when do you return?
But that's a useless question.
You hardly know when you are coming back,
You will find so much to learn."
My smile falls heavily among the bric-a-brac.
"Perhaps you can write to me."
My self-possession flares up for a second;
This is as I had reckoned.
"I have been wondering frequently of late
(But our beginnings never know our ends!)
Why we have not developed into friends."
I feel like one who smiles, and turning shall remark
Suddenly, his expression in a glass.
My self-possession gutters; we are really in the dark.
"For everybody said so, all our friends,
They all were sure our feelings would relate
So closely! I myself can hardly understand.
We must leave it now to fate.
You will write, at any rate.
Perhaps it is not too late.
I shall sit here, serving tea to friends."
And I must borrow every changing shape
To find expression ... dance, dance
Like a dancing bear,
Cry like a parrot, chatter like an ape.
Let us take the air, in a tobacco trance
Well! and what if she should die some afternoon,
Afternoon grey and smoky, evening yellow and rose;
Should die and leave me sitting pen in hand
With the smoke coming down above the housetops;
Doubtful, for quite a while
Not knowing what to feel or if I understand
Or whether wise or foolish, tardy or too soon ...
Would she not have the advantage, after all?
This music is successful with a "dying fall"
Now that we talk of dying
And should I have the right to smile? | Portrait of a Lady | Modern | Love |
EDGAR LEE MASTERS | Maurice, weep not, I am not here under this pine tree.
The balmy air of spring whispers through the sweet grass,
The stars sparkle, the whippoorwill calls,
But thou grievest, while my soul lies rapturous
In the blest Nirvana of eternal light!
Go to the good heart that is my husband,
Who broods upon what he calls our guilty love: i
Tell him that my love for you, no less than my love for him
Wrought out my destiny i that through the flesh
I won spirit, and through spirit, peace.
There is no marriage in heaven,
But there is love. | Sarah Brown | Modern | Love |
MARJORIE PICKTHALL | I shall not go with pain
Whether you hold me, whether you forget
My little loss and my immortal gain.
O flower unseen, O fountain sealed apart!
Give me one look, one look remembering yet,
Sweet heart.
I shall not go with grief,
Whether you call me, whether you deny
The crowning vintage and the golden sheaf.
O, April hopes that blossom but to close!
Give me one look, one look and so good-bye,
Red rose.
I shall not go with sighs,
But as full-crowned the warrior leaves the fight,
Dawn on his shield and death upon his eyes.
O, life so bitter-sweet and heaven so far!
Give me one look, one look and so good night,
My star. | Song | Modern | Love |
PAUL LAURENCE DUNBAR | Wintah, summah, snow er shine,
Hit's all de same to me,
Ef only I kin call you mine,
An' keep you by my knee.
Ha'dship, frolic, grief er caih,
Content by night an' day,
Ef only I kin see you whaih
You wait beside de way.
Livin', dyin', smiles er teahs,
My soul will still be free,
Ef only thoo de comin' yeahs
You walk de worl' wid me.
Bird-song, breeze-wail, chune er moan,
What puny t'ings dey'll be,
Ef w'en I's seemin' all erlone,
I knows yo' hea't's wid me. | Song (Wintah, summah, snow er shine) | Modern | Love |
LOUISE BOGAN | This youth too long has heard the break
Of waters in a land of change.
He goes to see what suns can make
From soil more indurate and strange.
He cuts what holds his days together
And shuts him in, as lock on lock:
The arrowed vane announcing weather,
The tripping racket of a clock;
Seeking, I think, a light that waits
Still as a lamp upon a shelf,
A land with hills like rocky gates
Where no sea leaps upon itself.
But he will find that nothing dares
To be enduring, save where, south
Of hidden deserts, torn fire glares
On beauty with a rusted mouth,
Where something dreadful and another
Look quietly upon each other. | A Tale | Modern | Love |
D. H. LAWRENCE | Making his advances
He does not look at her, nor sniff at her,
No, not even sniff at her, his nose is blank.
Only he senses the vulnerable folds of skin
That work beneath her while she sprawls along
In her ungainly pace,
Her folds of skin that work and row
Beneath the earth-soiled hovel in which she moves.
And so he strains beneath her housey walls
And catches her trouser-legs in his beak
Suddenly, or her skinny limb,
And strange and grimly drags at her
Like a dog,
Only agelessly silent, with a reptile's awful persistency.
Grim, gruesome gallantry, to which he is doomed.
Dragged out of an eternity of silent isolation
And doomed to partiality, partial being,
Ache, and want of being,
Want,
Self-exposure, hard humiliation, need to add himself on to her.
Born to walk alone,
Forerunner,
Now suddenly distracted into this mazy side-track,
This awkward, harrowing pursuit,
This grim necessity from within.
Does she know
As she moves eternally slowly away?
Or is he driven against her with a bang, like a bird flying in the dark against a window,
All knowledgeless?
The awful concussion,
And the still more awful need to persist, to follow, follow, continue,
Driven, after ons of pristine, fore-god-like singleness and oneness,
At the end of some mysterious, red-hot iron,
Driven away from himself into her tracks,
Forced to crash against her.
Stiff, gallant, irascible, crook-legged reptile,
Little gentleman,
Sorry plight,
We ought to look the other way.
Save that, having come with you so far,
We will go on to the end. | Tortoise Gallantry | Modern | Love |
D. H. LAWRENCE | I thought he was dumb,
I said he was dumb,
Yet I've heard him cry.
First faint scream,
Out of life's unfathomable dawn,
Far off, so far, like a madness, under the horizon's dawning rim,
Far, far off, far scream.
Tortoise in extremis.
Why were we crucified into sex?
Why were we not left rounded off, and finished in ourselves,
As we began,
As he certainly began, so perfectly alone?
A far, was-it-audible scream,
Or did it sound on the plasm direct?
Worse than the cry of the new-born,
A scream,
A yell,
A shout,
A pan,
A death-agony,
A birth-cry,
A submission,
All tiny, tiny, far away, reptile under the first dawn.
War-cry, triumph, acute-delight, death-scream reptilian,
Why was the veil torn?
The silken shriek of the soul's torn membrane?
The male soul's membrane
Torn with a shriek half music, half horror.
Crucifixion.
Male tortoise, cleaving behind the hovel-wall of that dense female,
Mounted and tense, spread-eagle, out-reaching out of the shell
In tortoise-nakedness,
Long neck, and long vulnerable limbs extruded, spread-eagle over her house-roof,
And the deep, secret, all-penetrating tail curved beneath her walls,
Reaching and gripping tense, more reaching anguish in uttermost tension
Till suddenly, in the spasm of coition, tupping like a jerking leap, and oh!
Opening its clenched face from his outstretched neck
And giving that fragile yell, that scream,
Super-audible,
From his pink, cleft, old-man's mouth,
Giving up the ghost,
Or screaming in Pentecost, receiving the ghost.
His scream, and his moment's subsidence,
The moment of eternal silence,
Yet unreleased, and after the moment, the sudden, startling jerk of coition, and at once
The inexpressible faint yell
And so on, till the last plasm of my body was melted back
To the primeval rudiments of life, and the secret.
So he tups, and screams
Time after time that frail, torn scream
After each jerk, the longish interval,
The tortoise eternity,
Agelong, reptilian persistence,
Heart-throb, slow heart-throb, persistent for the next spasm.
I remember, when I was a boy,
I heard the scream of a frog, which was caught with his foot in the mouth of an up-starting snake;
I remember when I first heard bull-frogs break into sound in the spring;
I remember hearing a wild goose out of the throat of night
Cry loudly, beyond the lake of waters;
I remember the first time, out of a bush in the darkness, a nightingale's piercing cries and gurgles startled the depths of my soul;
I remember the scream of a rabbit as I went through a wood at midnight;
I remember the heifer in her heat, blorting and blorting through the hours, persistent and irrepressible;
I remember my first terror hearing the howl of weird, amorous cats;
I remember the scream of a terrified, injured horse, the sheet-lightning
And running away from the sound of a woman in labor, something like an owl whooing,
And listening inwardly to the first bleat of a lamb,
The first wail of an infant,
And my mother singing to herself,
And the first tenor singing of the passionate throat of a young collier, who has long since drunk himself to death,
The first elements of foreign speech
On wild dark lips.
And more than all these,
And less than all these,
This last,
Strange, faint coition yell
Of the male tortoise at extremity,
Tiny from under the very edge of the farthest far-off horizon of life.
The cross,
The wheel on which our silence first is broken,
Sex, which breaks up our integrity, our single inviolability, our deep silence
Tearing a cry from us.
Sex, which breaks us into voice, sets us calling across the deeps, calling, calling for the complement,
Singing, and calling, and singing again, being answered, having found.
Torn, to become whole again, after long seeking for what is lost,
The same cry from the tortoise as from Christ, the Osiris-cry of abandonment,
That which is whole, torn asunder,
That which is in part, finding its whole again throughout the universe. | Tortoise Shout | Modern | Love |
SARA TEASDALE | With the man I love who loves me not,
I walked in the street-lamps' flare;
We watched the world go home that night
In a flood through Union Square.
I leaned to catch the words he said
That were light as a snowflake falling;
Ah well that he never leaned to hear
The words my heart was calling.
And on we walked and on we walked
Past the fiery lights of the picture shows
Where the girls with thirsty eyes go by
On the errand each man knows.
And on we walked and on we walked,
At the door at last we said good-bye;
I knew by his smile he had not heard
My heart's unuttered cry.
With the man I love who loves me not
I walked in the street-lamps' flare
But oh, the girls who ask for love
In the lights of Union Square. | Union Square | Modern | Love |
HART CRANE | Hart Crane, "Voyages I, II, III, IV, V, VI" from The Complete Poems of Hart Crane, edited by Marc Simon. Copyright 1933, 1958, 1966 by Liveright Publishing Corporation. Copyright 1986 by Marc Simon. Used by permission of Liveright Publishing. | Voyages | Modern | Love |
WILLIAM BUTLER YEATS | When you are old and grey and full of sleep,
And nodding by the fire, take down this book,
And slowly read, and dream of the soft look
Your eyes had once, and of their shadows deep;
How many loved your moments of glad grace,
And loved your beauty with love false or true,
But one man loved the pilgrim soul in you,
And loved the sorrows of your changing face;
And bending down beside the glowing bars,
Murmur, a little sadly, how Love fled
And paced upon the mountains overhead
And hid his face amid a crowd of stars. | When You Are Old | Modern | Love |
CARL SANDBURG | Give me hunger,
O you gods that sit and give
The world its orders.
Give me hunger, pain and want,
Shut me out with shame and failure
From your doors of gold and fame,
Give me your shabbiest, weariest hunger!
But leave me a little love,
A voice to speak to me in the day end,
A hand to touch me in the dark room
Breaking the long loneliness.
In the dusk of day-shapes
Blurring the sunset,
One little wandering, western star
Thrust out from the changing shores of shadow.
Let me go to the window,
Watch there the day-shapes of dusk
And wait and know the coming
Of a little love. | At a Window | Modern | Love |
RICHARD ALDINGTON | Potuia, potuia
White grave goddess,
Pity my sadness,
O silence of Paros.
I am not of these about thy feet,
These garments and decorum;
I am thy brother,
Thy lover of aforetime crying to thee,
And thou hearest me not.
I have whispered thee in thy solitudes
Of our loves in Phrygia,
The far ecstasy of burning noons
When the fragile pipes
Ceased in the cypress shade,
And the brown fingers of the shepherd
Moved over slim shoulders;
And only the cicada sang.
I have told thee of the hills
And the lisp of reeds
And the sun upon thy breasts,
And thou hearest me not,
Potuia, potuia
Thou hearest me not. | To a Greek Marble | Modern | Love |