Arts & Sciences

XI

1

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Having once taken the plunge the situation that preceded it becomes obsolete which a moment before was alive with malignant rigidities.

2

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XXVII

1

al fin.

2

3

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Let the musicians begin,
Let every instrument awaken and instruct us
In love’ s willing river and love’ s dear discipline:
We wait, silent, in consent and in the penance
Of patience, awaiting the serene exaltation
Which is the liberation and conclusion of expiation.

Now may the chief musician say:
“Lust and emulation have dwelt amoung us
Like barbarous kings: have conquered us:
Have inhabited our hearts: devoured and ravished
— With the savage greed and avarice of fire —
The substance of pity and compassion.”

When I was a young man, I loved to write poems
And I called a spade a spade
And the only only thing that made me sing
Was to lift the masks at the masquerade.
I took them off my own face,
I took them off others too
And the only only wrong in all my song
Was the view that I knew what was true.

II. Conversion

I like to be stationary.
— Bartleby

Who is not a wild Enthusiast

in a green meadow

furious and fell

Arriving on the stage of history
I saw madness of the world

Stripped of falsification
and corruption

anthems were singing in Authorem

Father and the Father
by my words will I be justified

Autobiography I saw

a stark
Quake

a numb
Calm

*

clutching my Crumbl
ejumble
among
Tombs and
in Caves
my
Dream
Vision

Men say they know many things;
But lo! they have taken wings, —
The arts and sciences,
And a thousand appliances;
The wind that blows
Is all that any body knows.

Helen achieves the difficult task of translating a symbol in time, into timeless-time or hieroglyph or ancient Egyptian time. She knows the script, she says, but we judge that this is intuitive or emotional knowledge, rather than intellectual. In any case, a night-bird swooped toward them, in their first encounter on the beach. To Achilles, lately arrived from Troy and the carnage of battle, this is a "carrion creature," but Helen would banish these memories. She says she is "instructed," she is enchanted, rather.

Wash of cold river
in a glacial land,
Ionian water,
chill, snow-ribbed sand,
drift of rare flowers,
clear, with delicate shell-
like leaf enclosing
frozen lily-leaf,
camellia texture,
colder than a rose;

wind-flower
that keeps the breath
of the north-wind —
these and none other;

A voice from the dark called out,
‘The poets must give us
imagination of peace, to oust the intense, familiar
imagination of disaster. Peace, not only
the absence of war.’
But peace, like a poem,
is not there ahead of itself,
can’ t be imagined before it is made,
can’ t be known except
in the words of its making,
grammar of justice,
syntax of mutual aid.
A feeling towards it,
dimly sensing a rhythm, is all we have
until we begin to utter its metaphors,
learning them as we speak.