Music

Dagonet, the fool, whom Gawain in his mood
Had made mock-knight of Arthur's Table Round,
At Camelot, high above the yellowing woods,
Danced like a wither'd leaf before the hall.
And toward him from the hall, with harp in hand,
And from the crown thereof a carcanet
Of ruby swaying to and fro, the prize
Of Tristram in the jousts of yesterday,
Came Tristram, saying, "Why skip ye so, Sir Fool?"

For Arthur and Sir Lancelot riding once
Far down beneath a winding wall of rock
Heard a child wail. A stump of oak half-dead.
From roots like some black coil of carven snakes,
Clutch'd at the crag, and started thro' mid air

Was she of spirit race, or was she one
Of earth's least earthly daughters, one to whom
A gift of loveliness and soul is given,
Only to make them wretched?There is an antique gem, on which her brow
Retains its graven beauty even now.
Her hair is braided, but one curl behind
Floats as enamour'd of the summer wind;
The rest is simple. Is she not too fair

Swift as a spirit hastening to his task
Of glory & of good, the Sun sprang forth
Rejoicing in his splendour, & the mask
Of darkness fell from the awakened Earth.
The smokeless altars of the mountain snows
Flamed above crimson clouds, & at the birth
Of light, the Ocean's orison arose
To which the birds tempered their matin lay,

LOQUITUR: En Betrans de Born.
Dante Alighieri put this man in hell for that he was a stirrer-up of strife.
Eccovi!
Judge ye!
Have I dug him up again?

The scene is his castle, Altaforte. “Papiols” is his jongleur. “The
Leopard,” the device of Richard (Cœur de Lion).

I

Damn it all! all this our South stinks peace.
You whoreson dog, Papiols, come! Let’s to music!
I have no life save when the swords clash.
But ah! when I see the standards gold, vair, purple, opposing

There’s a barrel-organ carolling across a golden street
In the City as the sun sinks low;
And the music's not immortal; but the world has made it sweet
And fulfilled it with the sunset glow;
And it pulses through the pleasures of the City and the pain
That surround the singing organ like a large eternal light;
And they’ve given it a glory and a part to play again
In the Symphony that rules the day and night.

i
The World without Imagination

Nota: man is the intelligence of his soil,
The sovereign ghost. As such, the Socrates
Of snails, musician of pears, principium
And lex. Sed quaeritur: is this same wig
Of things, this nincompated pedagogue,

1
Held between wars
my lifetime
among wars, the big hands of the world of death
my lifetime
listens to yours.

The faces of the sufferers
in the street, in dailiness,

Blow back the breath of the bird,
Scatter the song through the air,
There was music you never heard,
And cannot hear anywhere.

It was not the sob of the vain
In the old, old dark so sweet,
(I shall never hear it again,)
Nor the coming of fairy feet.

It was music and music alone,
Not a sigh from a lover’s mouth;
Now it comes in a phantom moan
From the dead and buried South.

As unto lighter strains a boy might turn
From where great altars burn
And Music’s grave archangels tread the night,
So I, in seasons past,
Loved not the bitter might
And merciless control
Of thy bleak trumpets calling to the soul.
Their consummating blast

sound opens sound


shank of globe strings floating out



something like images are here

opening up avenues to view a dome


a distant clang reaches the edifice.





understanding what it means
to understand music

cloudless movementbeyond the neck’s reach

Ar. Now you have been taught words and I am free,
My pine struck open, your thick tongue untied,
And bells call out the music of the sea.

From this advantage I can clearly see
You will abuse me in your grovelling pride
Now you have been taught words: and I am free

To pinch and bully you eternally,
Swish round the island while the mermaids hide

from Book I, Introduction

Man’s Reason is in such deep insolvency to sense,
that tho’ she guide his highest flight heav’nward, and teach him
dignity morals manners and human comfort,
she can delicatly and dangerously bedizen
the rioting joys that fringe the sad pathways of Hell.
Not without alliance of the animal senses
hath she any miracle: Lov’st thou in the blithe hour

I
I weep for Adonais—he is dead!
Oh, weep for Adonais! though our tears
Thaw not the frost which binds so dear a head!
And thou, sad Hour, selected from all years
To mourn our loss, rouse thy obscure compeers,
And teach them thine own sorrow, say: "With me
Died Adonais; till the Future dares
Forget the Past, his fate and fame shall be
An echo and a light unto eternity!"

II
Where wert thou, mighty Mother, when he lay,
When thy Son lay, pierc'd by the shaft which flies
In darkness? where was lorn Urania

Nondum amabam, et amare amabam, quaerebam quid amarem, amans amare.—
Confess. St. August. Earth, ocean, air, belovèd brotherhood!
If our great Mother has imbued my soul
With aught of natural piety to feel
Your love, and recompense the boon with mine;

"Courage!" he said, and pointed toward the land,
"This mounting wave will roll us shoreward soon."
In the afternoon they came unto a land
In which it seemed always afternoon.
All round the coast the languid air did swoon,
Breathing like one that hath a weary dream.
Full-faced above the valley stood the moon;
And like a downward smoke, the slender stream
Along the cliff to fall and pause and fall did seem.

A land of streams! some, like a downward smoke,
Slow-dropping veils of thinnest lawn, did go;
And some thro' wavering lights and shadows broke,
Rolling a slumbrous sheet of foam below.
They saw the gleaming river seaward flow

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,

A bunch of the boys were whooping it up in the Malamute saloon;
The kid that handles the music-box was hitting a jag-time tune;
Back of the bar, in a solo game, sat Dangerous Dan McGrew,
And watching his luck was his light-o'-love, the lady that's known as Lou.

When out of the night, which was fifty below, and into the din and the glare,
There stumbled a miner fresh from the creeks, dog-dirty, and loaded for bear.
He looked like a man with a foot in the grave and scarcely the strength of a louse,
Yet he tilted a poke of dust on the bar, and he called for drinks for the house.

The style a form of concealment the way style is.
His manners seemed a parody, almost,
Of manners, a movie star of bygone days;

Strangely elaborate, highly stylized manners,
Complicit with his fame and with your praise;
Looking toward you and then away from you,

Star-like, movie-star-like, a dance routine,
The walk almost a glide, or elegant shuffle,
Always on the verge of veering away,

Circling away and over to the other side
Of the frozen skating arena that he was on;
A dancer’s courtesy, the courtesy,

THE WAY OUT

The night is covered with signs. The body and face of man,
with signs, and his journeys. Where the rock is split
and speaks to the water; the flame speaks to the cloud;
the red splatter, abstraction, on the door
speaks to the angel and the constellations.
The grains of sand on the sea-floor speak at last to the noon.
And the loud hammering of the land behind

Orpheus liked the glad personal quality
Of the things beneath the sky. Of course, Eurydice was a part
Of this. Then one day, everything changed. He rends
Rocks into fissures with lament. Gullies, hummocks
Can’t withstand it. The sky shudders from one horizon
To the other, almost ready to give up wholeness.
Then Apollo quietly told him: “Leave it all on earth.
Your lute, what point? Why pick at a dull pavan few care to