Basho said to refuse a prayer until its warmth hunches inside like
a bird in its hutch. First the fledgling is born, then the worm, then they
meet somewhere in the grass. I choose my paper for its cereal color, fuss
over shaving a pencil. The prayer means to cleanse both triumph and lust.
O derivative, sunlight reaping the trees, this whole morning cries through a
single reed. Pencil, razor blade, spit — I'll try not to hurry.
If I were a bear,
And a big bear too,
I shouldn’t much care
If it froze or snew;
I shouldn’t much mind
If it snowed or friz —
I’d be all fur-lined
With a coat like his!
For I’d have fur boots and a brown fur wrap,
And brown fur knickers and a big fur cap.
I’d have a fur muffle-ruff to cover my jaws,
And brown fur mittens on my big brown paws.
With a big brown furry-down up to my head,
I’d sleep all the winter in a big fur bed.
What is the matter with Mary Jane?
She’s crying with all her might and main,
And she won’t eat her dinner — rice pudding again —
What is the matter with Mary Jane?
What is the matter with Mary Jane?
I’ve promised her dolls and a daisy-chain,
And a book about animals — all in vain —
What is the matter with Mary Jane?
What is the matter with Mary Jane?
She’s perfectly well, and she hasn’t a pain;
But, look at her, now she’s beginning again!
What is the matter with Mary Jane?
No one can tell me,
Nobody knows,
Where the wind comes from,
Where the wind goes.
It’s flying from somewhere
As fast as it can,
I couldn’t keep up with it,
Not if I ran.
But if I stopped holding
The string of my kite,
It would blow with the wind
For a day and a night.
And then when I found it,
Wherever it blew,
I should know that the wind
Had been going there too.
So then I could tell them
Where the wind goes...
But where the wind comes from
Nobody knows.
There is a garden in her face
Where roses and white lilies blow;
A heavenly paradise is that place,
Wherein all pleasant fruits do flow:
There cherries grow which none may buy
Till “Cherry-ripe” themselves do cry.
Those cherries fairly do enclose
Of orient pearl a double row,
Which when her lovely laughter shows,
They look like rose-buds filled with snow;
Yet them no peer nor prince can buy
Till “Cherry-ripe” themselves do cry.
I care not for these ladies,
That must be wooed and prayed:
Give me kind Amaryllis,
The wanton country maid.
Nature art disdaineth,
Her beauty is her own.
Her when we court and kiss,
She cries, “Forsooth, let go! ”
But when we come where comfort is,
She never will say no.
Kind are her answers,
But her performance keeps no day;
Breaks time, as dancers
From their own music when they stray:
All her free favors
And smooth words wing my hopes in vain.
O did ever voice so sweet but only feign?
Can true love yield such delay,
Converting joy to pain?
Now winter nights enlarge
The number of their hours;
And clouds their storms discharge
Upon the airy towers.
Let now the chimneys blaze
And cups o’erflow with wine,
Let well-turned words amaze
With harmony divine.
Now yellow waxen lights
Shall wait on honey love
While youthful revels, masques, and courtly sights
Sleep’s leaden spells remove.
Rose-cheek'd Laura, come,
Sing thou smoothly with thy beauty's
Silent music, either other
Sweetly gracing.
Lovely forms do flow
From concent divinely framed;
Heav'n is music, and thy beauty's
Birth is heavenly.
These dull notes we sing
Discords need for helps to grace them;
Only beauty purely loving
Knows no discord,
But still moves delight,
Like clear springs renew'd by flowing,
Ever perfect, ever in them-
Selves eternal.
When thou must home to shades of underground,
And there arrived, a new admirèd guest,
The beauteous spirits do engirt thee round,
White Iope, blithe Helen, and the rest,
To hear the stories of thy finished love
From that smooth tongue whose music hell can move;
