What dire offence from am'rous causes springs,
What mighty contests rise from trivial things,
I sing — This verse to Caryl, Muse! is due:
This, ev'n Belinda may vouchsafe to view:
Slight is the subject, but not so the praise,
If she inspire, and he approve my lays.
Fame is not fastidious about the lips
which spread it. So long as there are mouths
to reiterate the one name it does not
matter whose they are.
The fact that to the seeker after fame
they are indistinguishable from each other
and are all counted as equal shows that this
passion has its origin in the experience
of crowd manipulation. Names collect
their own crowds. They are greedy, live their own
separate lives, hardly at all connected
with the real natures of the men who bear them.
1.
Pity the bathtub that belongs to the queen its feet
Are bronze casts of the former queen’ s feet its sheen
A sign of fretting is that an inferior stone shows through
Where the marble is worn away with industrious
Polishing the tub does not take long it is tiny some say
Because the queen does not want room for splashing
The maid thinks otherwise she knows the king
Does not grip the queen nightly in his arms there are
Others the queen does not have lovers she obeys
Beat! beat! drums! — blow! bugles! blow!
Through the windows — through doors — burst like a ruthless force,
Into the solemn church, and scatter the congregation,
Into the school where the scholar is studying,
Leave not the bridegroom quiet — no happiness must he have now with his bride,
Nor the peaceful farmer any peace, ploughing his field or gathering his grain,
So fierce you whirr and pound you drums — so shrill you bugles blow.
I hear America singing, the varied carols I hear,
Those of mechanics, each one singing his as it should be blithe and strong,
The carpenter singing his as he measures his plank or beam,
The mason singing his as he makes ready for work, or leaves off work,
The boatman singing what belongs to him in his boat, the deckhand singing on the steamboat deck,
The shoemaker singing as he sits on his bench, the hatter singing as he stands,
The wood-cutter’ s song, the ploughboy’ s on his way in the morning, or at noon intermission or at sundown,
When I heard the learn’ d astronomer,
When the proofs, the figures, were ranged in columns before me,
When I was shown the charts and diagrams, to add, divide, and measure them,
When I sitting heard the astronomer where he lectured with much applause in the lecture-room,
How soon unaccountable I became tired and sick,
Till rising and gliding out I wander’ d off by myself,
In the mystical moist night-air, and from time to time,
Look’ d up in perfect silence at the stars.
Where ever something breathes
Heart beating the rise and fall
Of mountains, the waves upon the sky
Of seas, the terror is our ignorance, that’ s
Why it is named after our home, earth
Where art is locked between
Gone and Destination
The destiny of some other where and feeling
The ape knew this, when his old lady pulled him up
Off the ground. Was he grateful, ask him he’ s still sitting up there
Watching the sky’ s adventures, leaving two holes for his own. Oh sing
The brook is this mix of roar & hiss as if God
has managed to scalpel a section of tempest & clothespin it in
the woods Over There Always draped in the trees
while we eat white summer peaches from celadon bowls
while the sun bleaches & blue jay squawks score the maple, oak
birch and apple-treed sky with their oblique Scriabin musics.
Fifteen years since I have seen a real Fall
her deciduous burlesque, her glistering things sifting
on the old cider mill. A holy show.
A rose can’ t change the world. It can only open or close.
A rose drives the world like an enormous gear.
It pushes a schooner east of Borneo.
When a body has been rearranged, it is held together with a rose.
A rose is a weapon, a guide, a compass.
It shatters the glass to explain a spilled blue shore. This is how we know we are in the presence of tragedy.
You shouldn’ t have. You couldn’ t have. You did. You are.
We piece together an aftermath.
E. P. ODE POUR L’ ÉLECTION DE SON SÉPULCHRE
For three years, out of key with his time,
He strove to resuscitate the dead art
Of poetry; to maintain “the sublime”
In the old sense. Wrong from the start —
No, hardly, but, seeing he had been born
In a half savage country, out of date;
Bent resolutely on wringing lilies from the acorn;
Capaneus; trout for factitious bait:
“Idmen gar toi panth, os eni Troie
Caught in the unstopped ear;
Giving the rocks small lee-way
The chopped seas held him, therefore, that year.
