Author: Brian

Twelve Songs [Song V, March 1936]

Twelve Songs [Song V, March 1936]

by W. H. Auden

Fish in the unruffled lakes
Their swarming colours wear,
Swans in the winter air
A white perfection have,
And the great lion walks
Through his innocent grove;
Lion, fish, and swan
Act, and are gone
Upon Time’s toppling wave.

We, till shadowed days are done,
We must weep and sing
Duty’s conscious wrong,
The Devil in the clock,
The goodness carefully worn
For atonement or for luck;
We must lose our loves,
On each beast and bird that moves
Turn an envious look.

Sighs for folly done and said
Twist our narrow days,
But I must bless, I must praise
That you, my swan, who have
All gifts that to the swan
Impulsive nature gave,
The majesty and pride,
Last night should add
Your voluntary love.

The Course of a Particular

The Course of a Particular

by Wallace Stevens

Today the leaves cry, hanging on branches swept by wind,
Yet the nothingness of winter becomes a little less.
It is still full of icy shades and shapen snow.

The leaves cry . . . One holds off and merely hears the cry.
It is a busy cry, concerning someone else.
And though one says that one is part of everything,

There is a conflict, there is a resistance involved;
And being part is an exertion that declines:
One feels the life of that which gives life as it is.

The leaves cry. It is not a cry of divine attention,
Nor the smoke-drift of puffed-out heroes, nor human cry.
It is the cry of leaves that do not transcend themselves,

In the absence of fantasia, without meaning more
Than they are in the final finding of the ear, in the thing
Itself, until, at last, the cry concerns no one at all.

The Flight of Language

The Flight of Language

by W. S. Merwin

Some of the leaves stay on all winter
and spring comes without knowing
whether there is suffering in them
or ever was
and what it is in the tongue they speak
that cannot be remembered by listening
for the whole time that they are on the tree
and then as they fly off with the air
that always through their lives was there

The Stars at Tallapoosa

The Stars at Tallapoosa

by Wallace Stevens

The lines are straight and swift between the stars.
The night is not the cradle that they cry,
The criers, undulating the deep-oceaned phrase.
The lines are much too dark and much too sharp.

The mind herein attains simplicity.
There is no moon, on single, silvered leaf.
The body is no body to be seen
But is an eye that studies it’s black lid.

Let these be your delight, secretive hunter,
Wading the sea-lines, moist and ever-mingling,
Mounting the earth-lines, long and lax, lethargic.
These lines are swift and fall without diverging.

The melon-flower nor dew nor web of either
Is like to these. But in yourself is like:
A sheaf of brilliant arrows flying straight,
Flying and falling straightway for their pleasure,

Their pleasure that is all bright-edged and cold;
Or, if not arrows, then the nimblest motions,
Making recoveries of young nakedness
and the lost vehemence the midnights hold.

London Rain

London Rain

by Louis MacNeice

The rain of London pimples
The ebony street with white
And the neon lamps of London
Stain the canals of night
And the park becomes a jungle
In the alchemy of night.

My wishes turn to violent
Horses black as coal—
The randy mares of fancy,
The stallions of the soul—
Eager to take the fences
That fence about my soul.

Across the countless chimneys
The horses ride and across
The country to the channel
Where warning beacons toss,
To a place where God and No-God
Play at pitch and toss.

Whichever wins I am happy
For God will give me bliss
But No-God will absolve me
From all I do amiss
And I need not suffer conscience
If the world was made amiss.

Under God we can reckon
On pardon when we fall
But if we are under no God
Nothing will matter at all,
Arson and rape and murder
Must count for nothing at all.

So reinforced by logic
As having nothing to lose
My lust goes riding on horseback
To ravish where I choose,
To burgle all the turrets
Of beauty as I choose.

But now the rain gives over
Its dance upon the town,
Logic and lust together
Come dimly tumbling down,
And neither God nor No-God
Is either up or down.

The argument was wilful,
The alternatives untrue,
We need no metaphysics
To sanction what we do
Or to muffle us in comfort
From what we did not do.

Whether the living river
Began in bog or lake,
The world is what was given,
The world is what we make
And only we can discover
Life in the life we make.

So let the water sizzle
Upon the gleaming slates,
There will be sunshine after
When the rain abates
And rain returning duly
When the sun abates.

My wishes now come homeward,
Their gallopings in vain,
Logic and lust are quiet,
Once more it starts to rain.
Falling asleep I listen
To the falling London rain.

Sad Strains of a Gay Waltz

Sad Strains of a Gay Waltz

by Wallace Stevens

The truth is that there comes a time
When we can mourn no more over music
That is so much motionless sound.

There comes a time when the waltz
Is no longer a mode of desire, a mode
Of revealing desire and is empty of shadows.

Too many waltzes have ended. And then
There’s that mountain-minded Hoon,
For whom desire was never that of the waltz,

Who found all form and order in solitude,
For whom the shapes were never the figures of men.
Now, for him, his forms have vanished.

There is order in neither sea nor sun.
The shapes have lost their glistening.
There are these sudden mobs of men,

These sudden clouds of faces and arms,
An immense suppression, freed,
These voices crying without knowing for what,

Except to be happy, without knowing how,
Imposing forms they cannot describe,
Requiring order beyond their speech.

Too many waltzes have ended. Yet the shapes
For which the voices cry, these, too, may be
Modes of desire, modes of revealing desire.

Too many waltzes–The epic of disbelief
Blares oftener and soon, will soon be constant.
Some harmonious skeptic soon in a skeptical music

Will unite these figures of men and their shapes
Will glisten again with motion, the music
Will be motion and full of shadows.

Auden has an essay on Frost that I like.

Auden has an essay on Frost that I like. Here’s how it ends:

Hardy, Yeats, and Frost have all written epitaphs for themselves.

Hardy
I never cared for life, life cared for me.
And hence I owe it some fidelity…

Yeats
Cast a cold eye
On life and death.
Horseman, pass by.

Frost
I would have written of me on my stone
I had a lover’s quarrel with the world.

Of the three, Frost, surely, comes off best. Hardy seems to be stating the Pessimist’s Case rather than his own feelings. I never cared… Never? Now, Mr. Hardy, really! Yeats’ horseman is a stage prop; the passer-by is much more likely to be a motorist. But Frost convinces me that he is telling neither more nor less than the truth about himself. And, when it comes to wisdom, is not having a lover’s quarrel with life more worthy of Prospero than not caring or looking coldly?

I realize looking over this that it’s not clear that any of those are necessarily on any of the poets’ headstones. Still, I thought I’d mention it. If only because I like the essay.

The Sunlight on the Garden

The Sunlight on the Garden

by Louis MacNeice

The sunlight on the garden
Hardens and grows cold,
We cannot cage the minute
Within its nets of gold;
When all is told
We cannot beg for pardon.

Our freedom as free lances
Advances towards its end;
The earth compels, upon it
Sonnets and birds descend;
And soon, my friend,
We shall have no time for dances.

The sky was good for flying
Defying the church bells
And every evil iron
Siren and what it tells:
The earth compels,
We are dying, Egypt, dying

And not expecting pardon,
Hardened in heart anew,
But glad to have sat under
Thunder and rain with you,
And grateful too
For sunlight on the garden.

For Alan

Permanently

by Kenneth Koch

One day the Nouns were clustered in the street.
An Adjective walked by, with her dark beauty.
The Nouns were struck, moved, changed.
The next day a Verb drove up, and created the Sentence.

Each Sentence says one thing— for example, “Although it was a dark rainy day when the Adjective walked by, I shall remember the pure and sweet expression on her face until the day I perish from the green, effective earth.”
Or, “Will you please close the window, Andrew?”
Or, for example, “Thank you, the pink pot of flowers on the window sill has changed color recently to a light yellow, due to the heat from the boiler factory which exists nearby.”

In the springtime the Sentences and the Nouns lay silently on the grass.
A lonely Conjunction here and there would call, “And! But!”
But the Adjective did not emerge.

As the Adjective is lost in the sentence,
So I am lost in your eyes, ears, nose, and throat—
You have enchanted me with a single kiss
Which can never be undone
Until the destruction of language.