Only until this cigarette is ended, A little moment at the end of all, While on the floor the quiet ashes fall, And in the firelight to a lance extended, Bizarrely with the jazzing music blended, The broken shadow dances on the wall, I will permit my memory to recall The vision of you, by all my dreams attended. And then adieu,—farewell!—the dream is done. Yours is a face of which I can forget The color and the features, every one, The words not ever, and the smiles not yet; But in your day this moment is the sun Upon a hill, after the sun has set.
A sudden blow: the great wings beating still Above the staggering girl, her thighs caressed By the dark webs, her nape caught in his bill, He holds her helpless breast upon his breast.
How can those terrified vague fingers push The feathered glory from her loosening thighs? And how can body, laid in that white rush, But feel the strange heart beating where it lies?
A shudder in the loins engenders there The broken wall, the burning roof and tower And Agamemnon dead. Being so caught up, So mastered by the brute blood of the air, Did she put on his knowledge with his power Before the indifferent beak could let her drop?
SYON lyes waste, and Thy Ierusalem, O Lord, is falne to vtter desolation; Against Thy Prophets, and Thy holy men, The sinne hath wrought a fatal combination; Prophan'd Thy name, Thy worship ouerthrowne, And made Thee liuing Lord, a God vnknowne.
Thy powerfull lawes, Thy wonders of creation, Thy word incarnate, glorious heauen, darke hell, Lye shadowed vnder man's degeneration; Thy Christ still crucifi'd for doing well; Impiety, O Lord, sits on Thy throne, Which makes Thee liuing Lord, A God vnknowne.
Man's superstition hath Thy truth entomb'd, His atheisme againe her pomps defaceth; That sensuall vnsatiable vaste wombe, Of Thy seene Church, Thy vnseene Church disgraceth; There liues no truth with them that seeme Thine own, Which makes Thee liuing Lord, a God vnknowne.
Yet vnto Thee Lord — mirrour of transgression — Wee who for earthly idols haue forsaken, Thy heauenly image — sinlesse, pure impression — And so in nets of vanity lye taken, All desolate implore that to Thine owne, Lord, Thou no longer liue a God vnknowne.
Yet Lord let Israel's plagues not be eternall, Nor sinne for euer cloud Thy sacred mountaines, Nor with false flames spirituall but infernall, Dry up Thy Mercie's euer springing fountaines : Rather, sweet Iesus, fill vp time and come, To yeeld the sinne her euerlasting doome.
from Caelica by Fulke Greville. "That sensual insatiable vast womb."
So, we'll go no more a roving
So late into the night,
Though the heart be still as loving,
And the moon be still as bright.
For the sword outwears its sheath,
And the soul wears out the breast,
And the heart must pause to breathe,
And love itself have rest.
Though the night was made for loving,
And the day returns too soon,
Yet we'll go no more a roving
By the light of the moon.
from "Don Juan, Canto I"
I want a hero: an uncommon want, When every year and month sends forth a new one, Till, after cloying the gazettes with cant, The age discovers he is not the true one; Of such as these I should not care to vaunt, I’ll therefore take our ancient friend Don Juan— We all have seen him, in the pantomime, Sent to the devil somewhat ere his time.
Vernon, the butcher Cumberland, Wolfe, Hawke, Prince Ferdinand, Granby, Burgoyne, Keppel, Howe, Evil and good, have had their tithe of talk, And fill’d their sign posts then, like Wellesley now; Each in their turn like Banquo’s monarchs stalk, Followers of fame, ‘nine farrow’ of that sow: France, too, had Buonaparte and Dumourier Recorded in the Moniteur and Courier.
Barnave, Brissot, Condorcet, Mirabeau, Petion, Clootz, Danton, Marat, La Fayette, Were French, and famous people, as we know: And there were others, scarce forgotten yet, Joubert, Hoche, Marceau, Lannes, Desaix, Moreau, With many of the military set, Exceedingly remarkable at times, But not at all adapted to my rhymes.
Nelson was once Britannia’s god of war, And still should be so, but the tide is turn’d; There’s no more to be said of Trafalgar, ’Tis with our hero quietly inurn’d; Because the army ’s grown more popular, At which the naval people are concern’d; Besides, the prince is all for the land-service, Forgetting Duncan, Nelson, Howe, and Jervis.
Brave men were living before Agamemnon And since, exceeding valorous and sage, A good deal like him too, though quite the same none; But then they shone not on the poet’s page, And so have been forgotten:—I condemn none, But can’t find any in the present age Fit for my poem (that is, for my new one); So, as I said, I’ll take my friend Don Juan.
Most epic poets plunge ‘in medias res’ (Horace makes this the heroic turnpike road), And then your hero tells, whene’er you please, What went before—by way of episode, While seated after dinner at his ease, Beside his mistress in some soft abode, Palace, or garden, paradise, or cavern, Which serves the happy couple for a tavern.
That is the usual method, but not mine— My way is to begin with the beginning; The regularity of my design Forbids all wandering as the worst of sinning, And therefore I shall open with a line (Although it cost me half an hour in spinning) Narrating somewhat of Don Juan’s father, And also of his mother, if you’d rather.
In Seville was he born, a pleasant city, Famous for oranges and women—he Who has not seen it will be much to pity, So says the proverb—and I quite agree; Of all the Spanish towns is none more pretty, Cadiz perhaps—but that you soon may see; Don Juan’s parents lived beside the river, A noble stream, and call’d the Guadalquivir.
His father’s name was Jose—Don, of course,— A true Hidalgo, free from every stain Of Moor or Hebrew blood, he traced his source Through the most Gothic gentlemen of Spain; A better cavalier ne’er mounted horse, Or, being mounted, e’er got down again, Than Jose, who begot our hero, who Begot—but that ’s to come—Well, to renew:
His mother was a learned lady, famed For every branch of every science known In every Christian language ever named, With virtues equall’d by her wit alone, She made the cleverest people quite ashamed, And even the good with inward envy groan, Finding themselves so very much exceeded In their own way by all the things that she did.
Her memory was a mine: she knew by heart All Calderon and greater part of Lope, So that if any actor miss’d his part She could have served him for the prompter’s copy; For her Feinagle’s were an useless art, And he himself obliged to shut up shop—he Could never make a memory so fine as That which adorn’d the brain of Donna Inez.
Her favourite science was the mathematical, Her noblest virtue was her magnanimity, Her wit (she sometimes tried at wit) was Attic all, Her serious sayings darken’d to sublimity; In short, in all things she was fairly what I call A prodigy—her morning dress was dimity, Her evening silk, or, in the summer, muslin, And other stuffs, with which I won’t stay puzzling.
Ode on the Death of a Favourite Cat Drowned in a Tub of Goldfishes
'Twas on a lofty vase’s side, Where China’s gayest art had dyed The azure flowers that blow; Demurest of the tabby kind, The pensive Selima, reclined, Gazed on the lake below.
Her conscious tail her joy declared; The fair round face, the snowy beard, The velvet of her paws, Her coat, that with the tortoise vies, Her ears of jet, and emerald eyes, She saw; and purred applause.
Still had she gazed; but ’midst the tide Two angel forms were seen to glide The genii of the stream; Their scaly armour’s Tyrian hue Through richest purple to the view Betrayed a golden gleam.
The hapless nymph with wonder saw; A whisker first and then a claw, With many an ardent wish, She stretched in vain to reach the prize. What female heart can gold despise? What cat’s averse to fish?
Presumptuous maid! with looks intent Again she stretch’d, again she bent, Nor knew the gulf between. (Malignant Fate sat by, and smiled) The slippery verge her feet beguiled, She tumbled headlong in.
Eight times emerging from the flood She mewed to every watery god, Some speedy aid to send. No dolphin came, no Nereid stirred; Nor cruel Tom, nor Susan heard; A Favourite has no friend!
From hence, ye beauties, undeceived, Know, one false step is ne’er retrieved, And be with caution bold. Not all that tempts your wandering eyes And heedless hearts, is lawful prize; Nor all that glisters, gold.
-- Thomas Gray
with thanks to Henri Matisse for the great painting. A critic recently wrote that "One poem like Gray's 'Elegy Written in a Country Churchyard' will drag you into anthologies forever, no matter how dull your other poems." Thomas Gray is anything but dull in such poems as this one, or "Ode on a Distant Prospect of Eton College," about which I wrote this..Here is an excerpt from the piece. DL
<<< I have read Gray’s “Ode” many times and it has never failed to astonish me. It begins conventionally enough with a description of Eton seen from afar. “Happy” are the hills, “pleasing” is the shade. We anticipate an idealized evocation of the life of boys on the playing fields of Eton (where, 70 years later, the Duke of Wellington would say that the battle of Waterloo was won). But even as Gray summons up the image of the boys at their games, we get hints that Eton remembered is what Frost called a “momentary stay against confusion.” The boys “snatch a fearful joy,” we learn in the fourth stanza. The fifth stanza states the enviable condition of youth: “the tear forgot as soon as shed.” But nothing prepares us for the change in intensity signaled by the opening of stanza six: “Alas, regardless of their doom,/ The little victims play.” At the sound of the words doom and victim, the reader is in the position of a batter who had expected a fast ball and looks in amazement and dismay as an off-speed pitch curves over the heart of the plate. >>>
If you travel the back roads at this time of year, you might get lucky and come across a roadside stand where seasonal produce is for sale. Oftentimes these work on the honor system: there's a price list for the produce, and a can or box where you deposit your money. Some stands sell a single crop, others sell a wide variety of whatever is ripe and ready. Whenever I pass one of these places, I pull over. I'm reminded of this poem by Charles Simic:
Roadside Stand -- by Charles Simic
In the watermelon and corn season, The earth is a paradise, the morning Is a ripe plum or a plump tomato We bite into as if it were the mouth of a lover.
Despite the puzzled face of the young fellow In scarecrow overalls reading a comic book, It’s all there, the bell peppers, the radishes, Local blueberries and blackberries That will stain our lips and tongue As if we were freezing to death in the snow.
The kid is bored, or pretends to be, While watching the woman pick up a melon And press its rough skin against her cheek. What makes people happy is a mystery, He concludes as he busies himself Straightening crumpled bills in a cigar box.
The Great Man with wife Georgie, daughter Ann, and son William
Vacillation
I
Between extremities Man runs his course; A brand, or flaming breath. Comes to destroy All those antinomies Of day and night; The body calls it death, The heart remorse. But if these be right What is joy?
II
A tree there is that from its topmost bough Is half all glittering flame and half all green Abounding foliage moistened with the dew; And half is half and yet is all the scene; And half and half consume what they renew, And he that Attis’ image hangs between That staring fury and the blind lush leaf May know not what he knows, but knows not grief
III
Get all the gold and silver that you can, Satisfy ambition, animate The trivial days and ram them with the sun, And yet upon these maxims meditate: All women dote upon an idle man Although their children need a rich estate; No man has ever lived that had enough Of children’s gratitude or woman’s love.
No longer in Lethean foliage caught Begin the preparation for your death And from the fortieth winter by that thought Test every work of intellect or faith, And everything that your own hands have wrought And call those works extravagance of breath That are not suited for such men as come proud, open-eyed and laughing to the tomb.
IV
My fiftieth year had come and gone, I sat, a solitary man, In a crowded London shop, An open book and empty cup On the marble table-top. While on the shop and street I gazed My body of a sudden blazed; And twenty minutes more or less It seemed, so great my happiness, That I was blessed and could bless.
V
Although the summer Sunlight gild Cloudy leafage of the sky, Or wintry moonlight sink the field In storm-scattered intricacy, I cannot look thereon, Responsibility so weighs me down.
Things said or done long years ago, Or things I did not do or say But thought that I might say or do, Weigh me down, and not a day But something is recalled, My conscience or my vanity appalled.
VI
A rivery field spread out below, An odour of the new-mown hay In his nostrils, the great lord of Chou Cried, casting off the mountain snow, ‘Let all things pass away.’
Wheels by milk-white asses drawn Where Babylon or Nineveh Rose; some conquer drew rein And cried to battle-weary men, ‘Let all things pass away.’
From man’s blood-sodden heart are sprung Those branches of the night and day Where the gaudy moon is hung. What’s the meaning of all song? ‘Let all things pass away.’
VII
The Soul. Seek out reality, leave things that seem. The Heart. What, be a singer born and lack a theme? The Soul. Isaiah’s coal, what more can man desire? The Heart. Struck dumb in the simplicity of fire! The Soul. Look on that fire, salvation walks within. The Heart. What theme had Homer but original sin?
VIII
Must we part, Von Hugel, though much alike, for we Accept the miracles of the saints and honour sanctity? The body of Saint Teresa lies undecayed in tomb, Bathed in miraculous oil, sweet odours from it come, Healing from its lettered slab. Those self-same hands perchance Eternalised the body of a modern saint that once Had scooped out pharaoh’s mummy. I – though heart might find relief Did I become a Christian man and choose for my belief What seems most welcome in the tomb – play a pre-destined part. Homer is my example and his unchristened heart. The lion and the honeycomb, what has Scripture said? So get you gone, Von Hugel, though with blessings on your head.
And what is Life? An hour-glass on the run, A mist retreating from the morning sun, A busy, bustling, still-repeated dream. Its length? A minute's pause, a moment's thought. And Happiness? A bubble on the stream, That in the act of seizing shrinks to nought.
And what is Hope? The puffing gale of morn, That of its charms divests the dewy lawn, And robs each flow'ret of its gem -and dies; A cobweb, hiding disappointment's thorn, Which stings more keenly through the thin disguise.
And what is Death? Is still the cause unfound? That dark mysterious name of horrid sound? A long and lingering sleep the weary crave. And Peace? Where can its happiness abound? Nowhere at all, save heaven and the grave.
Then what is Life? When stripped of its disguise, A thing to be desired it cannot be; Since everything that meets our foolish eyes Gives proof sufficient of its vanity. 'Tis but a trial all must undergo, To teach unthankful mortals how to prize That happiness vain man's denied to know, Until he's called to claim it in the skies.
Ed. note: The English Romantic poet John Clare spent his last twenty-seven years in asylums for the mad. What ailed him? In twenty-first century terms you might say he suffered from bipolar disorder and a protracted identity crisis. He also endured a mean bout of malaria and took to heart the failure of an early love affair with a farmer's daughter named Mary Joyce. In July 1841, he escaped from the private asylum where he had spent the four previous years. He walked eighty miles to Northborough, ate grass to keep from starving, and wrote up his adventures in an prose account dediucated to "Mary Clare," his imaginary wife.Later that year, he was certified as insane and brought to St. Andrew's Asylum, in Northampton where he proceeded to write some of his best poems . He said he found his poems "in the fields." All he did was "write them down."-- DL
“grammar in learning is like tyranny in government - confound the bitch I'll never be her slave.” ― John Clare
*
And here is Clare's contribution to the anthology of great two-line poems:
“Language has not the power to speak what love indites The soul lies buried in the Ink that writes.”
Come, Madam, come, all rest my powers defy, Until I labour, I in labour lie. The foe oft-times having the foe in sight, Is tir’d with standing though he never fight. Off with that girdle, like heaven’s Zone glistering, But a far fairer world encompassing. Unpin that spangled breastplate which you wear, That th’eyes of busy fools may be stopped there. Unlace yourself, for that harmonious chime, Tells me from you, that now it is bed time. Off with that happy busk, which I envy, That still can be, and still can stand so nigh. Your gown going off, such beauteous state reveals, As when from flowery meads th’hill’s shadow steals. Off with that wiry Coronet and shew The hairy Diadem which on you doth grow: Now off with those shoes, and then safely tread In this love’s hallow’d temple, this soft bed. In such white robes, heaven’s Angels used to be Received by men; Thou Angel bringst with thee A heaven like Mahomet’s Paradise; and though Ill spirits walk in white, we easily know, By this these Angels from an evil sprite, Those set our hairs, but these our flesh upright.
Licence my roving hands, and let them go, Before, behind, between, above, below. O my America! my new-found-land, My kingdom, safeliest when with one man mann’d, My Mine of precious stones, My Empirie, How blest am I in this discovering thee! To enter in these bonds, is to be free; Then where my hand is set, my seal shall be.
Full nakedness! All joys are due to thee, As souls unbodied, bodies uncloth’d must be, To taste whole joys. Gems which you women use Are like Atlanta’s balls, cast in men’s views, That when a fool’s eye lighteth on a Gem, His earthly soul may covet theirs, not them. Like pictures, or like books’ gay coverings made For lay-men, are all women thus array’d; Themselves are mystic books, which only we (Whom their imputed grace will dignify) Must see reveal’d. Then since that I may know; As liberally, as to a Midwife, shew Thy self: cast all, yea, this white linen hence, There is no penance due to innocence.
To teach thee, I am naked first; why then What needst thou have more covering than a man.
To His Coy Mistress by Andrew Marvell (1681)
To His Coy Mistress Andrew Marvell
Had we but world enough and time, This coyness, lady, were no crime. We would sit down, and think which way To walk, and pass our long love’s day. Thou by the Indian Ganges’ side Shouldst rubies find; I by the tide Of Humber would complain. I would Love you ten years before the flood, And you should, if you please, refuse Till the conversion of the Jews. My vegetable love should grow Vaster than empires and more slow; An hundred years should go to praise Thine eyes, and on thy forehead gaze; Two hundred to adore each breast, But thirty thousand to the rest; An age at least to every part, And the last age should show your heart. For, lady, you deserve this state, Nor would I love at lower rate.
But at my back I always hear Time’s wingèd chariot hurrying near; And yonder all before us lie Deserts of vast eternity. Thy beauty shall no more be found; Nor, in thy marble vault, shall sound My echoing song; then worms shall try That long-preserved virginity, And your quaint honour turn to dust, And into ashes all my lust; The grave’s a fine and private place, But none, I think, do there embrace.
Now therefore, while the youthful hue Sits on thy skin like morning dew, And while thy willing soul transpires At every pore with instant fires, Now let us sport us while we may, And now, like amorous birds of prey, Rather at once our time devour Than languish in his slow-chapped power. Let us roll all our strength and all Our sweetness up into one ball, And tear our pleasures with rough strife Through the iron gates of life: Thus, though we cannot make our sun Stand still, yet we will make him run.
Click here for a further analysis of the two poems.
Andrew Marvell (1621-1678) has been called “the greatest minor poet in the English language.” There’s plenty of competition for this curious distinction, but the case for Marvell is strong, especially if you like ambiguity and elegance in equal measure. Marvell happens to be one of the great mystery men of English letters. He had a gift for foreign languages, was an avid fencer, and lived a shadowy life on the continent that led to speculation that he was a spy or double agent. For twenty years he served as a member of parliament. He did not produce a large amount of poetry, but what he wrote was, as Spencer Tracey said of Katharine Hepburn’s anatomy, “cherce.”
Probably Marvell’s most famous poem is “To His Coy Mistress.” Never was a declaration of lust more logical. Carpe diem: We won’t be young forever, so let us make merry while we can. But Marvell develops the argument as one would a syllogism. He begins with wild hyperbole. If we had “world enough and time,” he would woo the maiden “ten years before the flood” and not mind if she should turn him down until the second coming.
But with the inevitable “but,” the tone changes drastically from genial to threatening: “But at my back I always hear / Time’s winged chariot hurrying near.” And now Marvell warns the lady that someday “worms will try / that long-preserv’d virginity” of hers – a grim image you’d not expect to find in a seduction poem. The stanza closes with a sarcastic couplet for the ages: “The grave’s a fine and private place, / But none I think do there embrace.”
The third and final stanza clinches the argument as the lovers clinch. The image of the lovers rolled into a ball concludes the poem in an outburst of violence. But the violence is contained; Marvell pushes the couplet to the breaking point: “Let us roll all our strength and all / Our sweetness up into one ball, / And tear our pleasures with rough strife / Through the iron gates of life.” T. S. Eliot liked the image so much he lifted it for “The Love Song of J. Alfred Prufrock.”
When Oliver Cromwell returned to England after subjugating Ireland in 1650, Marvell greeted him with “An Horatian Ode” that set some sort of record for calculated ambiguity. This stately, grave ode can be read as straightforward praise of the conquering hero who had beheaded King Charles I and would, as the poem predicts, go on to suppress the Scots. But subtle critics have propounded the opposite interpretation, contending that the ode has a secret royalist agenda and is deeply critical of Cromwell. And so this mid-seventeenth-century poem became a perfect object lesson in mid-twentieth-century literary criticism.
Read Marvell’s “The Garden” for his double vision of paradise lost and paradox gained. “Two paradises ‘twere in one / To live in paradise alone.” Before you declare your disagreement with this proposition, consider the mathematical metaphor Marvell employs. And then re-read the first three chapters of Genesis.
Possibly no one, not even Pope, wrote couplets more complex and witty than those of Andrew Marvell. -- DL
from the archive; first posted March 29, 2008. Clickhere for more on Marvell's "To His Coy Mistress" contrasted with Donne's "To His Mistress Going to Bed"
for Lehman & Sisskind on Eliot's Prufrock, click here
for Lehman's essay on Wordsworth's "Tintern Abbey" click here
Only until this cigarette is ended, A little moment at the end of all, While on the floor the quiet ashes fall, And in the firelight to a lance extended, Bizarrely with the jazzing music blended, The broken shadow dances on the wall, I will permit my memory to recall The vision of you, by all my dreams attended. And then adieu,—farewell!—the dream is done. Yours is a face of which I can forget The color and the features, every one, The words not ever, and the smiles not yet; But in your day this moment is the sun Upon a hill, after the sun has set.
So there stood Matthew Arnold and this girl With the cliffs of England crumbling away behind them, And he said to her, 'Try to be true to me, And I'll do the same for you, for things are bad All over, etc., etc.' Well now, I knew this girl. It's true she had read Sophocles in a fairly good translation And caught that bitter allusion to the sea, But all the time he was talking she had in mind The notion of what his whiskers would feel like On the back of her neck. She told me later on That after a while she got to looking out At the lights across the channel, and really felt sad, Thinking of all the wine and enormous beds And blandishments in French and the perfumes. And then she got really angry. To have been brought All the way down from London, and then be addressed As a sort of mournful cosmic last resort Is really tough on a girl, and she was pretty. Anyway, she watched him pace the room And finger his watch-chain and seem to sweat a bit, And then she said one or two unprintable things. But you mustn't judge her by that. What I mean to say is, She's really all right. I still see her once in a while And she always treats me right. We have a drink And I give her a good time, and perhaps it's a year Before I see her again, but there she is, Running to fat, but dependable as they come. And sometimes I bring her a bottle of Nuit d' Amour.
See Late Romance: A Poet's Life by David Yezzi, a biography of Hecht published this year by St. Martin's Press.
Here is Matthew Arnold's "Dover Beach":
The sea is calm tonight.
The tide is full, the moon lies fair
Upon the straits; on the French coast the light
Gleams and is gone; the cliffs of England stand,
Glimmering and vast, out in the tranquil bay.
Come to the window, sweet is the night-air!
Only, from the long line of spray
Where the sea meets the moon-blanched land,
Listen! you hear the grating roar
Of pebbles which the waves draw back, and fling,
At their return, up the high strand,
Begin, and cease, and then again begin,
With tremulous cadence slow, and bring
The eternal note of sadness in.
Sophocles long ago
Heard it on the Ægean, and it brought
Into his mind the turbid ebb and flow
Of human misery; we
Find also in the sound a thought,
Hearing it by this distant northern sea.
The Sea of Faith
Was once, too, at the full, and round earth’s shore
Lay like the folds of a bright girdle furled.
But now I only hear
Its melancholy, long, withdrawing roar,
Retreating, to the breath
Of the night-wind, down the vast edges drear
And naked shingles of the world.
Ah, love, let us be true
To one another! for the world, which seems
To lie before us like a land of dreams,
So various, so beautiful, so new,
Hath really neither joy, nor love, nor light,
Nor certitude, nor peace, nor help for pain;
And we are here as on a darkling plain
Swept with confused alarms of struggle and flight,
S’io credesse che mia risposta fosse A persona che mai tornasse al mondo, Questa fiamma staria senza piu scosse. Ma percioche giammai di questo fondo Non torno vivo alcun, s’i’odo il vero, Senza tema d’infamia ti rispondo.
Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question ...
Oh, do not ask, “What is it?”
Let us go and make our visit.
In the room the women come and go
Talking of Michelangelo.
The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes,
Licked its tongue into the corners of the evening,
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.
And indeed there will be time
For the yellow smoke that slides along the street,
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate;
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.
In the room the women come and go
Talking of Michelangelo.
And indeed there will be time
To wonder, “Do I dare?” and, “Do I dare?”
Time to turn back and descend the stair,
With a bald spot in the middle of my hair —
(They will say: “How his hair is growing thin!”)
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin —
(They will say: “But how his arms and legs are thin!”)
Do I dare
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.
For I have known them all already, known them all:
Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall
Beneath the music from a farther room.
So how should I presume?
And I have known the eyes already, known them all—
The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
Then how should I begin
To spit out all the butt-ends of my days and ways?
And how should I presume?
And I have known the arms already, known them all—
Arms that are braceleted and white and bare
(But in the lamplight, downed with light brown hair!)
Is it perfume from a dress
That makes me so digress?
Arms that lie along a table, or wrap about a shawl.
And should I then presume?
And how should I begin?
Shall I say, I have gone at dusk through narrow streets
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows? ...
I should have been a pair of ragged claws
Scuttling across the floors of silent seas.
And the afternoon, the evening, sleeps so peacefully!
Smoothed by long fingers,
Asleep ... tired ... or it malingers,
Stretched on the floor, here beside you and me.
Should I, after tea and cakes and ices,
Have the strength to force the moment to its crisis?
But though I have wept and fasted, wept and prayed,
Though I have seen my head (grown slightly bald) brought in upon a platter,
I am no prophet — and here’s no great matter;
I have seen the moment of my greatness flicker,
And I have seen the eternal Footman hold my coat, and snicker,
And in short, I was afraid.
And would it have been worth it, after all,
After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
Would it have been worth while,
To have bitten off the matter with a smile,
To have squeezed the universe into a ball
To roll it towards some overwhelming question,
To say: “I am Lazarus, come from the dead,
Come back to tell you all, I shall tell you all”—
If one, settling a pillow by her head
Should say: “That is not what I meant at all;
That is not it, at all.”
And would it have been worth it, after all,
Would it have been worth while,
After the sunsets and the dooryards and the sprinkled streets,
After the novels, after the teacups, after the skirts that trail along the floor—
And this, and so much more?—
It is impossible to say just what I mean!
But as if a magic lantern threw the nerves in patterns on a screen:
Would it have been worth while
If one, settling a pillow or throwing off a shawl,
And turning toward the window, should say:
“That is not it at all,
That is not what I meant, at all.”
No! I am not Prince Hamlet, nor was meant to be;
Am an attendant lord, one that will do
To swell a progress, start a scene or two,
Advise the prince; no doubt, an easy tool,
Deferential, glad to be of use,
Politic, cautious, and meticulous;
Full of high sentence, but a bit obtuse;
At times, indeed, almost ridiculous—
Almost, at times, the Fool.
I grow old ... I grow old ...
I shall wear the bottoms of my trousers rolled.
Shall I part my hair behind? Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach.
Marianne Moore didn't make it easy on us. She revised her poems, and often the later versions are radically different from and vastly inferior to the original.Thanks to the latest scholarship, I have learned that the text of "The Student" that I selected for The Oxford Book of American Poetry isweaker (and shorter) than an unrevised version that the poet wished to suppress.
Here are two versions of "The Past is the Present" by Marianne Moore.
The first version is the one that I used for The Oxford Book. The second version is one that I found circulating in the web. What makes the second version corrupt is that it regularizes the spacing. Easy to understand why: idiosyncrasies of spacing, unusual typographical arrangements, and even simple indentation are often casualties of electronic transmission. But the spacing here is crucial. I maintain that Moore's poem if printed with conventional spacing is not the same poem –– and it is certainly not as good a poem.
The second version differs from the Oxford text for a legitimate reason as well: it is an alternative draft of the same poem. The difference is between "as on a recent occasion I was goaded into doing by XY, who was speaking of unrhymed verse" and "as when in a Bible class the teacher was speaking of unrhymed verse."
The alternative version is more compact, and usually this is a good thing, but in this case I believe that the original is superior because 1) it is more specific to Moore's personality and 2) it fruitfully complicates the situation and the poem. The phrase “I was goaded into doing by XY” implies that the great assertive sentence that rounds off the poem is not only a comment on what “This man” (or “the teacher”) said but also a criticism of it as insufficient. The sentence by XY is vastly more interesting in this light: it exemplifies prose that lacks “a sort of heightened consciousness.” The discrepancy between the sentence’s broad truth and its own inadequacy as a vehicle for that truth thus irritates the poet into uttering her epigram. Notice, too, that the Oxford version has the word “occasion” in line four, obliging us to understand how the epigram applies to the making of this particular poem.
From the poem’s conclusion I drew the title of the anthology Ecstatic Occasions, Expedient Forms. -- DL
The Past is the Present
If external action is effete and rhyme is outmoded, I shall revert to you, Habakkuk, as on a recent occasion I was goaded into doing by XY, who was speaking of unrhymed Verse. This man said – I think that I repeat his identical words: “Hebrew poetry is prose with a sort of heightened consciousness." Ecstasy affords the occasion and expediency determines the form."
– Marianne Moore
corrupt / alternative version found on the web:
The Past is the Present
If external action is effete and rhyme is outmoded, I shall revert to you, Habakkuk, as when in a Bible class the teacher was speaking of unrhymed verse. He said - and I think I repeat his exact words - "Hebrew poetry is prose with a sort of heightened consciousness." Ecstasy affords the occasion and expediency determines the form.
– Marianne Moore
from the achive; first posted February 2, 2018. Ian Probstein notes that "There are two more versions: 1) with a different spacing is in Complete Poems of Marianne Moore (The Macmillan Co/ The Viking Press [1967], 1981) and in the Academy of American Poets, which is a completely different text https://poets.org/poem/past-present"
What is the scariest poem in the language? I wager that many would select Poe’s “The Raven,” and it is unquestionable that Poe has the ability, in his verse as in his stories, to scare the devil in you or out of you. "The Rime of the Ancient Mariner" will get votes, as it should. It is possible, however, that Robert Frost -- Frost, who was once habitually misread as a genial Yankee sage -- has written the darkest and most frightening poems in our literature. The French philosopher and mathematician Blaise Pascal confessed himself terrified by the “eternal silence of those infinite spaces.” It is Frost who captures that silence.
The brilliant sonnet “Design” – in which a spider makes a meal of a moth -- exemplifies the view of nature that informs Frost’s poetry. Nature at work is aesthetically satisfying; it has order, pattern, design; but there is nothing moral or ethical about it. Nature, as opposed to human nature, is indifferent to individual life. Put another way, nature feeds on itself, and life requires death, as the life of the spider requires the death of the moth.
Humanity is stupid or destructive in Robinson Jeffers’s poems, which take the side of nature against human life. Frost doesn’t go that far, but in his poems the life of man is solitary, poor, nasty, brutish, and short. Man is frail, and the loss of a man may be mourned, but the mourning lasts a mere moment. In Frost’s “Out, Out – “ a boy working with a buzz saw loses his hand in an accident. The results are surprisingly fatal: “No one believed. They listened at his heart. / Little – less – nothing! – and that ended it.” But what truly shocks the reader is not the death but the moment when the boy, a “big boy / Doing a man’s work, though a child at heart,” pleads, “Don’t let him cut my hand off -- / The doctor, when he comes. Don’t let him, sister!” We infer that brother and big sister lack parents, and this knowledge deepens the pathos.
The ending of “Out, Out –“ seems at first to indict humanity for its essential callousness. They – the same “they” that had listened at the boy’s heart – go right on living: “And they, since they / Were not the one dead, turned to their affairs.” Callousness or realism? The ending is similar to the ending of Auden’s great “Musee des Beaux Arts,” in which Icarus, in Brueghel’s painting, falls from the sky to his death in the sea, “and the expensive delicate ship that must have seen / Something amazing, a boy falling out of the sky, / Had somewhere to get to and sailed calmly on.” Both poems are superb, but Frost’s will give you the chills while Auden’s more analytical approach will make you ponder the thesis that humanity is necessarily indifferent to human suffering. Click here for my reading of Auden's poem.
Among the scariest of Frost’s poems is “Desert Places.” Compare it to Wallace Stevens’s “The Snow Man.” Both poems are about “nothing.” It may be that Stevens’s poem is the stronger of the two; it certainly requires enormous attention and rewards numerous re-readings. But “Desert Places” has something that “The Snow Man” with its “distant glitter of the January sun” lacks. “Desert Places” has terror. Here is the final stanza:
They cannot scare me with their empty spaces Between stars – on stars where no human race is. I have it in me so much nearer home To scare myself with my own desert places.
Take that, Pascal.-- DL from the archive; October 31, 2015
I left it
on when I
left the house
for the pleasure
of coming back
ten hours later to the greatness of Teddy Wilson "After You've Gone" on the piano in the corner of the bedroom as I enter in the dark
