From golden showers of the ancient skies, On the first day, and the eternal snow of stars, You once unfastened giant calyxes For the young earth still innocent of scars:
Young gladioli with the necks of swans, Laurels divine, of exiled souls the dream, Vermilion as the modesty of dawns Trod by the footsteps of the seraphim;
Gliding o'er all, through all, Through Nature, Time, and Space, As a ship on the waters advancing, The voyage of the soul—not life alone, Death, many deaths I'll sing.
This is how the wind shifts: Like the thoughts of an old human, Who still thinks eagerly And despairingly. The wind shifts like this: Like a human without illusions, Who still feels irrational things within her. The wind shifts like this:
(Double Portrait in a Mirror)
I
To the meeting despair of eyes in the street, offer
Your eyes on plates and your liver on skewers of pity.
When the Jericho sky is heaped with clouds which the sun
Trumpets above, respond to Apocalypse
With a headache. In spirit follow
The young men to the war, up Everest. Be shot.
Now that I, tying thy glass mask tightly, May gaze thro’ these faint smokes curling whitely, As thou pliest thy trade in this devil’s-smithy— Which is the poison to poison her, prithee?
He is with her, and they know that I know Where they are, what they do: they believe my tears flow While they laugh, laugh at me, at me fled to the drear Empty church, to pray God in, for them!—I am here.
Grind away, moisten and mash up thy paste, Pound at thy powder,—I am not in haste! Better sit thus and observe thy strange things, Than go where men wait me and dance at the King’s.
One face looks out from all his canvases, One selfsame figure sits or walks or leans: We found her hidden just behind those screens, That mirror gave back all her loveliness. A queen in opal or in ruby dress, A nameless girl in freshest summer-greens, A saint, an angel — every canvas means The same one meaning, neither more or less.
Aunt Mildred tied up her petticoats with binder’s twine, and my great-uncle Ezekiel waxed and waxed his moustaches into flexibility. It was the whole family off then into the dangerous continent of air
and while the salesman with the one gold eyetooth told us the cords at our ankles were guaranteed to stretch to their utmost and then bring us safely back to the fried chicken and scalloped potatoes of Sunday dinner
Poor soul, the centre of my sinful earth, [......] these rebel powers that thee array, Why dost thou pine within and suffer dearth, Painting thy outward walls so costly gay? Why so large cost, having so short a lease, Dost thou upon thy fading mansion spend? Shall worms, inheritors of this excess, Eat up thy charge? Is this thy body's end? Then soul, live thou upon thy servant's loss And let that pine to aggravate thy store; Buy terms divine in selling hours of dross; Within be fed, without be rich no more. So shalt thou feed on Death, that feeds on men, And, Death once dead, there's no more dying then.
The folk who live in Backward Town Are inside out and upside down. They wear their hats inside their heads And go to sleep beneath their beds. They only eat the apple peeling And take their walks across the ceiling.
To the Priest, on Observing how most Men mistake their own Talents When beasts could speak (the learned say, They still can do so ev'ry day), It seems, they had religion then, As much as now we find in men.
Ink-black, but moving independently across the black and white parquet of print, the ant cancels the author out. The page, translated to itself, bears hair-like legs disturbing the fine hairs of its fiber. These are the feet of summer, pillaging meaning, destroying Alexandria. Sunlight is silence laying waste all languages, until, thinly,
1 The white butterfly in the park is being read by many. I love that cabbage-moth as if it were a fluttering corner of truth itself!
At dawn the running crowds set our quiet planet in motion. Then the park fills with people. To each one, eight faces polished like jade, for all situations, to avoid making mistakes. To each one, there's also the invisible face reflecting "something you don't talk about." Something that appears in tired moments and is as rank as a gulp of viper schnapps with its long scaly aftertaste.
Last night I dreamed I ran through the streets of New York Looking for help for you, Nicanor. But my few friends who are rich or influential were temporarily absent from their penthouses or hotel suites. They had gone to the opera, or flown for the weekend to Bermuda. At last I found one or two of them at home, preparing for social engagements, absently smiling, as they tried on gown after gown
The country lies flat, expressionless as the face of a stranger. Not one hillock shelters a buried bone. The city: a scene thin as a theater backdrop, where no doors open, no streets extend beyond the view from the corner.
Only the railroad embankment is high, shaggy with grass. Only the freight, knuckling a red sun under its wheels, drags familiar box-car shapes down long perspectives of childhood meals and all crossings at sunset.
Beholde, o man! lyft up thyn eye and see What mortall peyne I suffre for thi trespace. With pietous voys I crye and sey to the: Beholde my woundes, behold my blody face, Beholde the rebukes that do me so manace, Beholde my enemyes that do me so despice, And how that I, to reforme the to grace, Was like a lambe offred in sacryfice.
...
And geyn thi pryde behold my gret mekenesse; Geyn thyn envie behold my charité; Geyn thi leccherye behold my chast clennesse; Geyn thi covetyse behold my poverté.
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