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I feel the spring far off, far off, The faint, far scent of bud and leaf Oh, how can spring take heart to come To a world in grief, Deep grief? The sun turns north, the days grow long, Later the evening star grows bright How can the daylight linger on For men to fight, Still fight? The grass is waking in the ground, Soon it will rise and blow in waves How can it have the heart to sway Over the graves, New graves? Under the boughs where lovers walked The apple-blooms will shed their breath But what of all the lovers now Parted by Death, Grey Death?
Love
Lying in dug-outs, joking idly, wearily; Watching the candle guttering in the draught; Hearing the great shells go high over us, eerily Singing; how often have I turned over, and laughed With pity and pride, photographs of all colours, All sizes, subjects: khaki brothers in France; Or mother's faces worn with countless dolours; Or girls whose eyes were challenging and must dance, Though in a picture only, a common cheap Ill-taken card; and childrenfrozen, some (Babies) waiting on Dicky-bird to peep Out of the handkerchief that is his home (But he's so shy!). And some with bright looks, calling Delight across the miles of land and sea, That not the dread of barrage suddenly falling Could quite blot outnot mud nor lethargy. Smiles and triumphant careless laughter. O The pain of them, wide Earth's most sacred things! Lying in dug-outs, hearing the great shells slow Sailing mile-high, the heart mounts higher and sings. But onceO why did he keep that bitter token Of a dead Love?that boy, who, suddenly moved, Showed me, his eyes wet, his low talk broken, A girl who better had not been beloved.
Love
I went out to the hazel wood, Because a fire was in my head, And cut and peeled a hazel wand, And hooked a berry to a thread; And when white moths were on the wing, And moth-like stars were flickering out, I dropped the berry in a stream And caught a little silver trout. When I had laid it on the floor I went to blow the fire a-flame, But something rustled on the floor, And someone called me by my name: It had become a glimmering girl With apple blossom in her hair Who called me by my name and ran And faded through the brightening air. Though I am old with wandering Through hollow lands and hilly lands, I will find out where she has gone, And kiss her lips and take her hands; And walk among long dappled grass, And pluck till time and times are done, The silver apples of the moon, The golden apples of the sun.
Love
Now that I know That passion warms little Of flesh in the mold, And treasure is brittle, Ill lie here and learn How, over their ground, Trees make a long shadow And a light sound. August 1922
Love
Gertrude Stein, Idem the Same: A Valentine to Sherwood Anderson from A Stein Reader. Copyright 1993 by Gertrude Stein. Reprinted by permission of David Higham: Estate of Gertrude Stein .
Love
Ezra Pound, "Canto IV" from The Cantos of Ezra Pound. Copyright 1993 by Ezra Pound. Reprinted by permission of New Directions Publishing Corporation.
Love
Ezra Pound, "Canto XXXVI" from The Cantos of Ezra Pound. Copyright 1993 by Ezra Pound. Reprinted by permission of New Directions Publishing Corporation.
Love
from Dana, 1904
Love
The moon has left the sky, love, The stars are hiding now, And frowning on the world, love, Night bares her sable brow. The snow is on the ground, love, And cold and keen the air is. Im singing here to you, love; Youre dreaming there in Paris. But this is Natures law, love, Though just it may not seem, That men should wake to sing, love; While maidens sleep and dream. Them care may not molest, love, Nor stir them from their slumbers, Though midnight find the swain, love. Still halting oer his numbers. I watch the rosy dawn, love, Come stealing up the east, While all things round rejoice, love, That Night her reign has ceased. The lark will soon be heard, love, And on his way be winging; When Natures poets, wake, love, Why should a man be singing?
Love
Thou art my lute, by thee I sing, My being is attuned to thee. Thou settest all my words a-wing, And meltest me to melody. Thou art my life, by thee I live, From thee proceed the joys I know; Sweetheart, thy hand has power to give The meed of lovethe cup of woe. Thou art my love, by thee I lead My soul the paths of light along, From vale to vale, from mead to mead, And home it in the hills of song. My song, my soul, my life, my all, Why need I pray or make my plea, Since my petition cannot fall; For Im already one with thee!
Love
Wine comes in at the mouth And love comes in at the eye; Thats all we shall know for truth Before we grow old and die. I lift the glass to my mouth, I look at you, and I sigh.
Love
Bilbea, I was in Babylon on Saturday night. I saw nothing of you anywhere. I was at the old place and the other girls were there, But no Bilbea. Have you gone to another house? or city? Why dont you write? I was sorry. I walked home half-sick. Tell me how it goes. Send me some kind of a letter. And take care of yourself.
Love
How much do you love me, a million bushels? Oh, a lot more than that, Oh, a lot more. And tomorrow maybe only half a bushel? Tomorrow maybe not even a half a bushel. And is this your heart arithmetic? This is the way the wind measures the weather.
Love
E.E. Cummings, [as freedom is a breakfastfood] from Complete Poems 1904-1962, edited by George J. Firmage. Copyright 1926, 1954, 1991 by the Trustees for the E.E. Cummings Trust. Copyright 1985 by George James Firmage. Reprinted with the permission of Liveright Publishing Corporation.
Love
E.E. Cummings, [love is more thicker than forget] from Complete Poems 1904-1962, edited by George J. Firmage. Copyright 1926, 1954, 1991 by the Trustees for the E.E. Cummings Trust. Copyright 1985 by George James Firmage. Reprinted with the permission of Liveright Publishing Corporation.
Love
1 When the world turns completely upside down You say well emigrate to the Eastern Shore Aboard a river-boat from Baltimore; Well live among wild peach trees, miles from town, Youll wear a coonskin cap, and I a gown Homespun, dyed butternuts dark gold color. Lost, like your lotus-eating ancestor, Well swim in milk and honey till we drown. The winter will be short, the summer long, The autumn amber-hued, sunny and hot, Tasting of cider and of scuppernong; All seasons sweet, but autumn best of all. The squirrels in their silver fur will fall Like falling leaves, like fruit, before your shot. 2 The autumn frosts will lie upon the grass Like bloom on grapes of purple-brown and gold. The misted early mornings will be cold; The little puddles will be roofed with glass. The sun, which burns from copper into brass, Melts these at noon, and makes the boys unfold Their knitted mufflers; full as they can hold Fat pockets dribble chestnuts as they pass. Peaches grow wild, and pigs can live in clover; A barrel of salted herrings lasts a year; The spring begins before the winters over. By February you may find the skins Of garter snakes and water moccasins Dwindled and harsh, dead-white and cloudy-clear. 3 When April pours the colors of a shell Upon the hills, when every little creek Is shot with silver from the Chesapeake In shoals new-minted by the ocean swell, When strawberries go begging, and the sleek Blue plums lie open to the blackbirds beak, We shall live well we shall live very well. The months between the cherries and the peaches Are brimming cornucopias which spill Fruits red and purple, sombre-bloomed and black; Then, down rich fields and frosty river beaches Well trample bright persimmons, while you kill Bronze partridge, speckled quail, and canvasback. 4 Down to the Puritan marrow of my bones Theres something in this richness that I hate. I love the look, austere, immaculate, Of landscapes drawn in pearly monotones. Theres something in my very blood that owns Bare hills, cold silver on a sky of slate, A thread of water, churned to milky spate Streaming through slanted pastures fenced with stones. I love those skies, thin blue or snowy gray, Those fields sparse-planted, rendering meagre sheaves; That spring, briefer than apple-blossoms breath, Summer, so much too beautiful to stay, Swift autumn, like a bonfire of leaves, And sleepy winter, like the sleep of death.
Love
Kenneth Fearing, "Aphrodite Metropolis (2)" from Collected Poems of Kenneth Fearing. Published by Random House, 1940. Reprinted by the permission of Russell & Volkening, Inc., as agents for the author. Copyright 1994 by Jubal Fearing and Phoebe Fearing.
Love
Kenneth Fearing, "X Minus X" from Collected Poems of Kenneth Fearing. Published by Random House, 1940. Reprinted by the permission of Russell & Volkening, Inc., as agents for the author. Copyright 1994 by Jubal Fearing and Phoebe Fearing.
Love
Suddenly discovering in the eyes of the very beautiful Normande cocotte The eyes of the very learned British Museum assistant.
Love
We sat together at one summers end, That beautiful mild woman, your close friend, And you and I, and talked of poetry. I said, A line will take us hours maybe; Yet if it does not seem a moments thought, Our stitching and unstitching has been naught. Better go down upon your marrow-bones And scrub a kitchen pavement, or break stones Like an old pauper, in all kinds of weather; For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, schoolmasters, and clergymen The martyrs call the world. And thereupon That beautiful mild woman for whose sake Theres many a one shall find out all heartache On finding that her voice is sweet and low Replied, To be born woman is to know Although they do not talk of it at school That we must labour to be beautiful. I said, Its certain there is no fine thing Since Adams fall but needs much labouring. There have been lovers who thought love should be So much compounded of high courtesy That they would sigh and quote with learned looks Precedents out of beautiful old books; Yet now it seems an idle trade enough. We sat grown quiet at the name of love; We saw the last embers of daylight die, And in the trembling blue-green of the sky A moon, worn as if it had been a shell Washed by times waters as they rose and fell About the stars and broke in days and years. I had a thought for no ones but your ears: That you were beautiful, and that I strove To love you in the old high way of love; That it had all seemed happy, and yet wed grown As weary-hearted as that hollow moon.
Love
I wanted you, nameless Woman of the South, No wraith, but utterlyas still more alone The Southern Cross takes night And lifts her girdles from her, one by one High, cool, wide from the slowly smoldering fire Of lower heavens, vaporous scars! Eve! Magdalene! or Mary, you? Whatever callfalls vainly on the wave. O simian Venus, homeless Eve, Unwedded, stumbling gardenless to grieve Windswept guitars on lonely decks forever; Finally to answer all within one grave! And this long wake of phosphor, iridescent Furrow of all our traveltrailed derision! Eyes crumble at its kiss. Its long-drawn spell Incites a yell. Slid on that backward vision The mind is churned to spittle, whispering hell. I wanted you . . . The embers of the Cross Climbed by aslant and huddling aromatically. It is blood to remember; it is fire To stammer back . . . It is Godyour namelessness. And the wash All night the water combed you with black Insolence. You crept out simmering, accomplished. Water rattled that stinging coil, your Rehearsed hairdocile, alas, from many arms. Yes, Evewraith of my unloved seed! The Cross, a phantom, buckleddropped below the dawn. Light drowned the lithic trillions of your spawn.
Love
Originally published in Poetry, March 1914.
Love
Down by the salley gardens my love and I did meet; She passed the salley gardens with little snow-white feet. She bid me take love easy, as the leaves grow on the tree; But I, being young and foolish, with her would not agree. In a field by the river my love and I did stand, And on my leaning shoulder she laid her snow-white hand. She bid me take life easy, as the grass grows on the weirs; But I was young and foolish, and now am full of tears.
Love
Louise Bogan, Epitaph for a Romantic Woman from Body of this Death: Poems (New York: Robert M. McBride, 1923). Copyright 1923 by Louise Bogan. Reprinted with the permission of the Estate of Louise Bogan.
Love
Gertrude Stein, [The house was twinkling in the moon light] from Baby Precious Always Shines: Selected Love Notes Between Gertrude Stein and Alice B. Toklas (St. Martins Press, 1999). Reprinted with the permission of the Estate of Gertrude Stein.
Love
You dweller in the dark cabin, To whom the watermelon is always purple, Whose garden is wind and moon, Of the two dreams, night and day, What lover, what dreamer, would choose The one obscured by sleep? Here is the plantain by your door And the best cock of red feather That crew before the clocks. A feme may come, leaf-green, Whose coming may give revel Beyond revelries of sleep, Yes, and the blackbird spread its tail, So that the sun may speckle, While it creaks hail. You dweller in the dark cabin, Rise, since rising will not waken, And hail, cry hail, cry hail.
Love
[i carry your heart with me(i carry it in] Copyright 1952, 1980, 1991 by the Trustees for the E. E. Cummings Trust, from Complete Poems: 1904-1962 by E. E. Cummings, edited by George J. Firmage. Used by permission of Liveright Publishing Corporation.
Love
Come when the nights are bright with stars Or come when the moon is mellow; Come when the sun his golden bars Drops on the hay-field yellow. Come in the twilight soft and gray, Come in the night or come in the day, Come, O love, wheneer you may, And you are welcome, welcome. You are sweet, O Love, dear Love, You are soft as the nesting dove. Come to my heart and bring it to rest As the bird flies home to its welcome nest. Come when my heart is full of grief Or when my heart is merry; Come with the falling of the leaf Or with the reddning cherry. Come when the years first blossom blows, Come when the summer gleams and glows, Come with the winters drifting snows, And you are welcome, welcome.
Love
Louise Bogan, Juans Song from The Blue Estuaries: Poems 1923-1968. Copyright 1968 by Louise Bogan. Used by permission of Farrar, Straus & Giroux, LLC, http://us.macmillan.com/fsg. All rights reserved.
Love
Originally published in Poetry, August 1914.
Love
Originally published in Poetry, August 1922.
Love
Michael Anania, Motet from Selected Poems. Copyright 1994 by Michael Anania. Used by permission of Asphodel Press/Acorn Alliance.
Love
Kenneth Slessor, New Magic from Selected Poems, published by HarperCollins Publishers Australia. Used by permission.
Love
Basil Bunting, 30. The Orotava Road from Complete Poems, edited by Richard Caddel. Reprinted with the permission of Bloodaxe Books Ltd., www.bloodaxebooks.com.
Love
Originally published in Poetry, March 1914.
Love
Originally published in Poetry, March 1914.
Love
While my hair was still cut straight across my forehead I played about the front gate, pulling flowers. You came by on bamboo stilts, playing horse, You walked about my seat, playing with blue plums. And we went on living in the village of Chokan: Two small people, without dislike or suspicion. At fourteen I married My Lord you. I never laughed, being bashful. Lowering my head, I looked at the wall. Called to, a thousand times, I never looked back. At fifteen I stopped scowling, I desired my dust to be mingled with yours Forever and forever, and forever. Why should I climb the look out? At sixteen you departed You went into far Ku-to-en, by the river of swirling eddies, And you have been gone five months. The monkeys make sorrowful noise overhead. You dragged your feet when you went out. By the gate now, the moss is grown, the different mosses, Too deep to clear them away! The leaves fall early this autumn, in wind. The paired butterflies are already yellow with August Over the grass in the West garden; They hurt me. I grow older. If you are coming down through the narrows of the river Kiang, Please let me know beforehand, And I will come out to meet you As far as Cho-fu-Sa.
Love
Since there is no escape, since at the end My body will be utterly destroyed, This hand I love as I have loved a friend, This body I tended, wept with and enjoyed; Since there is no escape even for me Who love life with a love too sharp to bear: The scent of orchards in the rain, the sea And hours alone too still and sure for prayer Since darkness waits for me, then all the more Let me go down as waves sweep to the shore In pride, and let me sing with my last breath; In these few hours of light I lift my head; Life is my loverI shall leave the dead If there is any way to baffle death.
Love
Louise Bogan, Song for the Last Act from The Blue Estuaries: Poems 1923-1968. Copyright 1968 by Louise Bogan. Used by permission of Farrar, Straus & Giroux, LLC, http://us.macmillan.com/fsg. All rights reserved.
Love
Originally published in Poetry, December 1914.
Love
Originally published in Poetry, August 1922.
Love
Originally published in Poetry, May 1917.
Love
Too high, too high to pluck My heart shall swing. A fruit no bee shall suck, No wasp shall sting. If on some night of cold It falls to ground In apple-leaves of gold Ill wrap it round. And I shall seal it up With spice and salt, In a carven silver cup, In a deep vault. Before my eyes are blind And my lips mute, I must eat core and rind Of that same fruit. Before my heart is dust At the end of all, Eat it I must, I must Were it bitter gall. But I shall keep it sweet By some strange art; Wild honey I shall eat When I eat my heart. O honey cool and chaste As clovers breath! Sweet Heaven I shall taste Before my death.
Love
When the first dark had fallen around them And the leaves were weary of praise, In the clear silence Beauty found them And shewed them all her ways. In the high noon of the heavenly garden Where the angels sunned with the birds, Beauty, before their hearts could harden, Had taught them heavenly words. When they fled in the burning weather And nothing dawned but a dream, Beauty fasted their hands together And cooled them at her stream. And when day wearied and night grew stronger, And they slept as the beautiful must, Then she bided a little longer, And blossomed from their dust.
Love
My love looks like a girl to-night, But she is old. The plaits that lie along her pillow Are not gold, But threaded with filigree silver, And uncanny cold. She looks like a young maiden, since her brow Is smooth and fair, Her cheeks are very smooth, her eyes are closed. She sleeps a rare Still winsome sleep, so still, and so composed. Nay, but she sleeps like a bride, and dreams her dreams Of perfect things. She lies at last, the darling, in the shape of her dream, And her dead mouth sings By its shape, like the thrushes in clear evenings.
Love
The jester walked in the garden: The garden had fallen still; He bade his soul rise upward And stand on her window-sill. It rose in a straight blue garment, When owls began to call: It had grown wise-tongued by thinking Of a quiet and light footfall; But the young queen would not listen; She rose in her pale night-gown; She drew in the heavy casement And pushed the latches down. He bade his heart go to her, When the owls called out no more; In a red and quivering garment It sang to her through the door. It had grown sweet-tongued by dreaming Of a flutter of flower-like hair; But she took up her fan from the table And waved it off on the air. 'I have cap and bells, he pondered, 'I will send them to her and die; And when the morning whitened He left them where she went by. She laid them upon her bosom, Under a cloud of her hair, And her red lips sang them a love-song Till stars grew out of the air. She opened her door and her window, And the heart and the soul came through, To her right hand came the red one, To her left hand came the blue. They set up a noise like crickets, A chattering wise and sweet, And her hair was a folded flower And the quiet of love in her feet.
Love
What large, dark hands are those at the window Lifted, grasping the golden light Which weaves its way through the creeper leaves To my heart's delight? Ah, only the leaves! But in the west, In the west I see a redness come Over the evening's burning breast 'Tis the wound of love goes home! The woodbine creeps abroad Calling low to her lover: The sun-lit flirt who all the day Has poised above her lips in play And stolen kisses, shallow and gay Of pollen, now has gone away She woos the moth with her sweet, low word, And when above her his broad wings hover Then her bright breast she will uncover And yield her honey-drop to her lover. Into the yellow, evening glow Saunters a man from the farm below, Leans, and looks in at the low-built shed Where hangs the swallow's marriage bed. The bird lies warm against the wall. She glances quick her startled eyes Towards him, then she turns away Her small head, making warm display Of red upon the throat. His terrors sway Her out of the nest's warm, busy ball, Whose plaintive cry is heard as she flies In one blue stoop from out the sties Into the evening's empty hall. Oh, water-hen, beside the rushes Hide your quaint, unfading blushes, Still your quick tail, and lie as dead, Till the distance folds over his ominous tread. The rabbit presses back her ears, Turns back her liquid, anguished eyes And crouches low: then with wild spring Spurts from the terror of his oncoming To be choked back, the wire ring Her frantic effort throttling: Piteous brown ball of quivering fears! Ah soon in his large, hard hands she dies, And swings all loose to the swing of his walk. Yet calm and kindly are his eyes And ready to open in brown surprise Should I not answer to his talk Or should he my tears surmise. I hear his hand on the latch, and rise from my chair Watching the door open: he flashes bare His strong teeth in a smile, and flashes his eyes In a smile like triumph upon me; then careless-wise He flings the rabbit soft on the table board And comes towards me: ah, the uplifted sword Of his hand against my bosom, and oh, the broad Blade of his hand that raises my face to applaud His coming: he raises up my face to him And caresses my mouth with his fingers, which still smell grim Of the rabbit's fur! God, I am caught in a snare! I know not what fine wire is round my throat, I only know I let him finger there My pulse of life, letting him nose like a stoat Who sniffs with joy before he drinks the blood: And down his mouth comes to my mouth, and down His dark bright eyes descend like a fiery hood Upon my mind: his mouth meets mine, and a flood Of sweet fire sweeps across me, so I drown Within him, die, and find death good.
Love
Supper comes at five o'clock, At six, the evening star, My lover comes at eight o'clock But eight o'clock is far. How could I bear my pain all day Unless I watched to see The clock-hands laboring to bring Eight o'clock to me.
Love
Go, dumb-born book, Tell her that sang me once that song of Lawes: Hadst thou but song As thou hast subjects known, Then were there cause in thee that should condone Even my faults that heavy upon me lie And build her glories their longevity. Tell her that sheds Such treasure in the air, Recking naught else but that her graces give Life to the moment, I would bid them live As roses might, in magic amber laid, Red overwrought with orange and all made One substance and one colour Braving time. Tell her that goes With song upon her lips But sings not out the song, nor knows The maker of it, some other mouth, May be as fair as hers, Might, in new ages, gain her worshippers, When our two dusts with Wallers shall be laid, Siftings on siftings in oblivion, Till change hath broken down All things save Beauty alone.
Love
They came to tell your faults to me, They named them over one by one; I laughed aloud when they were done, I knew them all so well before, Oh, they were blind, too blind to see Your faults had made me love you more.
Love
I never knew the earth had so much gold The fields run over with it, and this hill Hoary and old, Is young with buoyant blooms that flame and thrill. Such golden fires, such yellowlo, how good This spendthrift world, and what a lavish God! This fringe of wood, Blazing with buttercup and goldenrod. You too, beloved, are changed. Again I see Your face grow mystical, as on that night You turned to me, And all the trembling worldand youwere white. Aye, you are touched; your singing lips grow dumb; The fields absorb you, color you entire . . . And you become A goddess standing in a world of fire!
Love
When she rises in the morning I linger to watch her; She spreads the bath-cloth underneath the window And the sunbeams catch her Glistening white on the shoulders, While down her sides the mellow Golden shadow glows as She stoops to the sponge, and her swung breasts Sway like full-blown yellow Gloire de Dijon roses. She drips herself with water, and her shoulders Glisten as silver, they crumple up Like wet and falling roses, and I listen For the sluicing of their rain-dishevelled petals. In the window full of sunlight Concentrates her golden shadow Fold on fold, until it glows as Mellow as the glory roses.
Love
Louis Untermeyer, Infidelity from The New Poetry: An Anthology of Twentieth Century Verse in English, ed. Harriet Monroe (New York: Macmillan, 1936). Permission is granted by arrangement with the Estate of Louis Untermeyer, Norma Anchin Untermeyer c/o Professional Publishing Services. The reprint is granted with the expressed permission by Laurence S. Untermeyer.
Love
Version 1 (1921) Yours is the shame and sorrow, But the disgrace is mine; Your love was dark and thorough, Mine was the love of the sun for a flower He creates with his shine. I was diligent to explore you, Blossom you stalk by stalk, Till my fire of creation bore you Shrivelling down in the final dour Anguish then I suffered a balk. I knew your pain, and it broke My fine, craftsman's nerve; Your body quailed at my stroke, And my courage failed to give you the last Fine torture you did deserve. You are shapely, you are adorned, But opaque and dull in the flesh, Who, had I but pierced with the thorned Fire-threshing anguish, were fused and cast In a lovely illumined mesh. Like a painted window: the best Suffering burnt through your flesh, Undrossed it and left it blest With a quivering sweet wisdom of grace: but now Who shall take you afresh? Now who will burn you free From your body's terrors and dross, Since the fire has failed in me? What man will stoop in your flesh to plough The shrieking cross? A mute, nearly beautiful thing Is your face, that fills me with shame As I see it hardening, Warping the perfect image of God, And darkening my eternal fame. Version 2 (1928) Yours is the sullen sorrow, The disgrace is also mine; Your love was intense and thorough, Mine was the love of a growing flower For the sunshine. You had the power to explore me, Blossom me stalk by stalk; You woke my spirit, you bore me To consciousness, you gave me the dour Awareness then I suffered a balk. Body to body I could not Love you, although I would. We kissed, we kissed though we should not. You yielded, we threw the last cast, And it was no good. You only endured, and it broke My craftsman's nerve. No flesh responded to my stroke; So I failed to give you the last Fine torture you did deserve. You are shapely, you are adorned But opaque and null in the flesh; Who, had I but pierced with the thorned Full anguish, perhaps had been cast In a lovely illuinined mesh Like a painted window; the best Fire passed through your flesh, Undrossed it, and left it blest In clean new awareness. But now Who shall take you afresh? Now who will burn you free From your body's deadness and dross? Since the fire has failed in me, What man will stoop in your flesh to plough The shrieking cross? A mute, nearly beautiful thing Is your face, that fills me with shame As I see it hardening; I should have been cruel enough to bring You through the flame.
Love
Strephon kissed me in the spring, Robin in the fall, But Colin only looked at me And never kissed at all. Strephon's kiss was lost in jest, Robin's lost in play, But the kiss in Colin's eyes Haunts me night and day.
Love
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 heres 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. I have heard the mermaids singing, each to each. I do not think that they will sing to me. I have seen them riding seaward on the waves Combing the white hair of the waves blown back When the wind blows the water white and black. We have lingered in the chambers of the sea By sea-girls wreathed with seaweed red and brown Till human voices wake us, and we drown.
Love
I went to the dances at Chandlerville, And played snap-out at Winchester. One time we changed partners, Driving home in the moonlight of middle June, And then I found Davis. We were married and lived together for seventy years, Enjoying, working, raising the twelve children, Eight of whom we lost Ere I had reached the age of sixty. I spun, I wove, I kept the house, I nursed the sick, I made the garden, and for holiday Rambled over the fields where sang the larks, And by Spoon River gathering many a shell, And many a flower and medicinal weed Shouting to the wooded hills, singing to the green valleys. At ninety-six I had lived enough, that is all, And passed to a sweet repose. What is this I hear of sorrow and weariness, Anger, discontent and drooping hopes? Degenerate sons and daughters, Life is too strong for you It takes life to love Life.
Love
Seen my lady home las' night, Jump back, honey, jump back. Hel' huh han' an' sque'z it tight, Jump back, honey, jump back. Hyeahd huh sigh a little sigh, Seen a light gleam f'om huh eye, An' a smile go flittin' by Jump back, honey, jump back. Hyeahd de win' blow thoo de pine, Jump back, honey, jump back. Mockin'-bird was singin' fine, Jump back, honey, jump back. An' my hea't was beatin' so, When I reached my lady's do', Dat I could n't ba' to go Jump back, honey, jump back. Put my ahm aroun' huh wais', Jump back, honey, jump back. Raised huh lips an' took a tase, Jump back, honey, jump back. Love me, honey, love me true? Love me well ez I love you? An' she answe'd, "'Cose I do" Jump back, honey, jump back.
Love
W'en daih's chillun in de house, Dey keep on a-gittin' tall; But de folks don' seem to see Dat dey's growin' up at all, 'Twell dey fin' out some fine day Dat de gals has 'menced to grow, W'en dey notice as dey pass Dat de front gate's saggin' low. W'en de hinges creak an' cry, An' de bahs go slantin' down, You kin reckon dat hit's time Fu' to cas' yo' eye erroun', 'Cause daih ain't no 'sputin' dis, Hit's de trues' sign to show Dat daih's cou'tin goin' on W'en de ol' front gate sags low. Oh, you grumble an' complain, An' you prop dat gate up right; But you notice right nex' day Dat hit's in de same ol' plight. So you fin' dat hit's a rule, An' daih ain' no use to blow, W'en de gals is growin' up, Dat de front gate will sag low. Den you t'ink o' yo' young days, W'en you cou'ted Sally Jane, An' you so't o' feel ashamed Fu' to grumble an' complain, 'Cause yo' ricerlection says, An' you know hits wo'ds is so, Dat huh pappy had a time Wid his front gate saggin' low. So you jes' looks on an' smiles At 'em leanin' on de gate, Tryin' to t'ink whut he kin say Fu' to keep him daih so late, But you lets dat gate erlone, Fu' yo' 'sperunce goes to show, 'Twell de gals is ma'ied off, It gwine keep on saggin' low.
Love
I saw her in a Broadway car, The woman I might grow to be; I felt my lover look at her And then turn suddenly to me. Her hair was dull and drew no light And yet its color was as mine; Her eyes were strangely like my eyes Tho' love had never made them shine. Her body was a thing grown thin, Hungry for love that never came; Her soul was frozen in the dark Unwarmed forever by love's flame. I felt my lover look at her And then turn suddenly to me, His eyes were magic to defy The woman I shall never be.
Love
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, She bathed in her still garden, while The red-eyed elders, watching, felt The basses of their beings throb In witching chords, and their thin blood Pulse pizzicati of Hosanna. II In the green water, clear and warm, Susanna lay. She searched The touch of springs, And found Concealed imaginings. She sighed, For so much melody. Upon the bank, she stood In the cool Of spent emotions. She felt, among the leaves, The dew Of old devotions. She walked upon the grass, Still quavering. The winds were like her maids, On timid feet, Fetching her woven scarves, Yet wavering. A breath upon her hand Muted the night. She turned A cymbal crashed, And roaring horns. III Soon, with a noise like tambourines, Came her attendant Byzantines. They wondered why Susanna cried Against the elders by her side; And as they whispered, the refrain Was like a willow swept by rain. Anon, their lamps' uplifted flame Revealed Susanna and her shame. And then, the simpering Byzantines Fled, with a noise like tambourines. IV Beauty is momentary in the mind The fitful tracing of a portal; But in the flesh it is immortal. The body dies; the body's beauty lives. So evenings die, in their green going, A wave, interminably flowing. So gardens die, their meek breath scenting The cowl of winter, done repenting. So maidens die, to the auroral Celebration of a maiden's choral. Susanna's music touched the bawdy strings Of those white elders; but, escaping, Left only Death's ironic scraping. Now, in its immortality, it plays On the clear viol of her memory, And makes a constant sacrament of praise.
Love
I Among the smoke and fog of a December afternoon You have the scene arrange itself as it will seem to do With "I have saved this afternoon for you"; And four wax candles in the darkened room, Four rings of light upon the ceiling overhead, An atmosphere of Juliet's tomb Prepared for all the things to be said, or left unsaid. We have been, let us say, to hear the latest Pole Transmit the Preludes, through his hair and finger-tips. "So intimate, this Chopin, that I think his soul Should be resurrected only among friends Some two or three, who will not touch the bloom That is rubbed and questioned in the concert room." And so the conversation slips Among velleities and carefully caught regrets Through attenuated tones of violins Mingled with remote cornets And begins. "You do not know how much they mean to me, my friends, And how, how rare and strange it is, to find In a life composed so much, so much of odds and ends, (For indeed I do not love it ... you knew? you are not blind! How keen you are!) To find a friend who has these qualities, Who has, and gives Those qualities upon which friendship lives. How much it means that I say this to you Without these friendships life, what cauchemar!" Among the winding of the violins And the ariettes Of cracked cornets Inside my brain a dull tom-tom begins Absurdly hammering a prelude of its own, Capricious monotone That is at least one definite "false note." Let us take the air, in a tobacco trance, Admire the monuments, Discuss the late events, Correct our watches by the public clocks. Then sit for half an hour and drink our bocks. II Now that lilacs are in bloom She has a bowl of lilacs in her room And twists one in her fingers while she talks. "Ah, my friend, you do not know, you do not know What life is, you who hold it in your hands"; (Slowly twisting the lilac stalks) "You let it flow from you, you let it flow, And youth is cruel, and has no remorse And smiles at situations which it cannot see." I smile, of course, And go on drinking tea. "Yet with these April sunsets, that somehow recall My buried life, and Paris in the Spring, I feel immeasurably at peace, and find the world To be wonderful and youthful, after all." The voice returns like the insistent out-of-tune Of a broken violin on an August afternoon: "I am always sure that you understand My feelings, always sure that you feel, Sure that across the gulf you reach your hand. You are invulnerable, you have no Achilles' heel. You will go on, and when you have prevailed You can say: at this point many a one has failed. But what have I, but what have I, my friend, To give you, what can you receive from me? Only the friendship and the sympathy Of one about to reach her journey's end. I shall sit here, serving tea to friends ...." I take my hat: how can I make a cowardly amends For what she has said to me? You will see me any morning in the park Reading the comics and the sporting page. Particularly I remark. An English countess goes upon the stage. A Greek was murdered at a Polish dance, Another bank defaulter has confessed. I keep my countenance, I remain self-possessed Except when a street-piano, mechanical and tired Reiterates some worn-out common song With the smell of hyacinths across the garden Recalling things that other people have desired. Are these ideas right or wrong? III The October night comes down; returning as before Except for a slight sensation of being ill at ease I mount the stairs and turn the handle of the door And feel as if I had mounted on my hands and knees. "And so you are going abroad; and when do you return? But that's a useless question. You hardly know when you are coming back, You will find so much to learn." My smile falls heavily among the bric-a-brac. "Perhaps you can write to me." My self-possession flares up for a second; This is as I had reckoned. "I have been wondering frequently of late (But our beginnings never know our ends!) Why we have not developed into friends." I feel like one who smiles, and turning shall remark Suddenly, his expression in a glass. My self-possession gutters; we are really in the dark. "For everybody said so, all our friends, They all were sure our feelings would relate So closely! I myself can hardly understand. We must leave it now to fate. You will write, at any rate. Perhaps it is not too late. I shall sit here, serving tea to friends." And I must borrow every changing shape To find expression ... dance, dance Like a dancing bear, Cry like a parrot, chatter like an ape. Let us take the air, in a tobacco trance Well! and what if she should die some afternoon, Afternoon grey and smoky, evening yellow and rose; Should die and leave me sitting pen in hand With the smoke coming down above the housetops; Doubtful, for quite a while Not knowing what to feel or if I understand Or whether wise or foolish, tardy or too soon ... Would she not have the advantage, after all? This music is successful with a "dying fall" Now that we talk of dying And should I have the right to smile?
Love
Maurice, weep not, I am not here under this pine tree. The balmy air of spring whispers through the sweet grass, The stars sparkle, the whippoorwill calls, But thou grievest, while my soul lies rapturous In the blest Nirvana of eternal light! Go to the good heart that is my husband, Who broods upon what he calls our guilty love: i Tell him that my love for you, no less than my love for him Wrought out my destiny i that through the flesh I won spirit, and through spirit, peace. There is no marriage in heaven, But there is love.
Love
I shall not go with pain Whether you hold me, whether you forget My little loss and my immortal gain. O flower unseen, O fountain sealed apart! Give me one look, one look remembering yet, Sweet heart. I shall not go with grief, Whether you call me, whether you deny The crowning vintage and the golden sheaf. O, April hopes that blossom but to close! Give me one look, one look and so good-bye, Red rose. I shall not go with sighs, But as full-crowned the warrior leaves the fight, Dawn on his shield and death upon his eyes. O, life so bitter-sweet and heaven so far! Give me one look, one look and so good night, My star.
Love
Wintah, summah, snow er shine, Hit's all de same to me, Ef only I kin call you mine, An' keep you by my knee. Ha'dship, frolic, grief er caih, Content by night an' day, Ef only I kin see you whaih You wait beside de way. Livin', dyin', smiles er teahs, My soul will still be free, Ef only thoo de comin' yeahs You walk de worl' wid me. Bird-song, breeze-wail, chune er moan, What puny t'ings dey'll be, Ef w'en I's seemin' all erlone, I knows yo' hea't's wid me.
Love
This youth too long has heard the break Of waters in a land of change. He goes to see what suns can make From soil more indurate and strange. He cuts what holds his days together And shuts him in, as lock on lock: The arrowed vane announcing weather, The tripping racket of a clock; Seeking, I think, a light that waits Still as a lamp upon a shelf, A land with hills like rocky gates Where no sea leaps upon itself. But he will find that nothing dares To be enduring, save where, south Of hidden deserts, torn fire glares On beauty with a rusted mouth, Where something dreadful and another Look quietly upon each other.
Love
Making his advances He does not look at her, nor sniff at her, No, not even sniff at her, his nose is blank. Only he senses the vulnerable folds of skin That work beneath her while she sprawls along In her ungainly pace, Her folds of skin that work and row Beneath the earth-soiled hovel in which she moves. And so he strains beneath her housey walls And catches her trouser-legs in his beak Suddenly, or her skinny limb, And strange and grimly drags at her Like a dog, Only agelessly silent, with a reptile's awful persistency. Grim, gruesome gallantry, to which he is doomed. Dragged out of an eternity of silent isolation And doomed to partiality, partial being, Ache, and want of being, Want, Self-exposure, hard humiliation, need to add himself on to her. Born to walk alone, Forerunner, Now suddenly distracted into this mazy side-track, This awkward, harrowing pursuit, This grim necessity from within. Does she know As she moves eternally slowly away? Or is he driven against her with a bang, like a bird flying in the dark against a window, All knowledgeless? The awful concussion, And the still more awful need to persist, to follow, follow, continue, Driven, after ons of pristine, fore-god-like singleness and oneness, At the end of some mysterious, red-hot iron, Driven away from himself into her tracks, Forced to crash against her. Stiff, gallant, irascible, crook-legged reptile, Little gentleman, Sorry plight, We ought to look the other way. Save that, having come with you so far, We will go on to the end.
Love
I thought he was dumb, I said he was dumb, Yet I've heard him cry. First faint scream, Out of life's unfathomable dawn, Far off, so far, like a madness, under the horizon's dawning rim, Far, far off, far scream. Tortoise in extremis. Why were we crucified into sex? Why were we not left rounded off, and finished in ourselves, As we began, As he certainly began, so perfectly alone? A far, was-it-audible scream, Or did it sound on the plasm direct? Worse than the cry of the new-born, A scream, A yell, A shout, A pan, A death-agony, A birth-cry, A submission, All tiny, tiny, far away, reptile under the first dawn. War-cry, triumph, acute-delight, death-scream reptilian, Why was the veil torn? The silken shriek of the soul's torn membrane? The male soul's membrane Torn with a shriek half music, half horror. Crucifixion. Male tortoise, cleaving behind the hovel-wall of that dense female, Mounted and tense, spread-eagle, out-reaching out of the shell In tortoise-nakedness, Long neck, and long vulnerable limbs extruded, spread-eagle over her house-roof, And the deep, secret, all-penetrating tail curved beneath her walls, Reaching and gripping tense, more reaching anguish in uttermost tension Till suddenly, in the spasm of coition, tupping like a jerking leap, and oh! Opening its clenched face from his outstretched neck And giving that fragile yell, that scream, Super-audible, From his pink, cleft, old-man's mouth, Giving up the ghost, Or screaming in Pentecost, receiving the ghost. His scream, and his moment's subsidence, The moment of eternal silence, Yet unreleased, and after the moment, the sudden, startling jerk of coition, and at once The inexpressible faint yell And so on, till the last plasm of my body was melted back To the primeval rudiments of life, and the secret. So he tups, and screams Time after time that frail, torn scream After each jerk, the longish interval, The tortoise eternity, Agelong, reptilian persistence, Heart-throb, slow heart-throb, persistent for the next spasm. I remember, when I was a boy, I heard the scream of a frog, which was caught with his foot in the mouth of an up-starting snake; I remember when I first heard bull-frogs break into sound in the spring; I remember hearing a wild goose out of the throat of night Cry loudly, beyond the lake of waters; I remember the first time, out of a bush in the darkness, a nightingale's piercing cries and gurgles startled the depths of my soul; I remember the scream of a rabbit as I went through a wood at midnight; I remember the heifer in her heat, blorting and blorting through the hours, persistent and irrepressible; I remember my first terror hearing the howl of weird, amorous cats; I remember the scream of a terrified, injured horse, the sheet-lightning And running away from the sound of a woman in labor, something like an owl whooing, And listening inwardly to the first bleat of a lamb, The first wail of an infant, And my mother singing to herself, And the first tenor singing of the passionate throat of a young collier, who has long since drunk himself to death, The first elements of foreign speech On wild dark lips. And more than all these, And less than all these, This last, Strange, faint coition yell Of the male tortoise at extremity, Tiny from under the very edge of the farthest far-off horizon of life. The cross, The wheel on which our silence first is broken, Sex, which breaks up our integrity, our single inviolability, our deep silence Tearing a cry from us. Sex, which breaks us into voice, sets us calling across the deeps, calling, calling for the complement, Singing, and calling, and singing again, being answered, having found. Torn, to become whole again, after long seeking for what is lost, The same cry from the tortoise as from Christ, the Osiris-cry of abandonment, That which is whole, torn asunder, That which is in part, finding its whole again throughout the universe.
Love
With the man I love who loves me not, I walked in the street-lamps' flare; We watched the world go home that night In a flood through Union Square. I leaned to catch the words he said That were light as a snowflake falling; Ah well that he never leaned to hear The words my heart was calling. And on we walked and on we walked Past the fiery lights of the picture shows Where the girls with thirsty eyes go by On the errand each man knows. And on we walked and on we walked, At the door at last we said good-bye; I knew by his smile he had not heard My heart's unuttered cry. With the man I love who loves me not I walked in the street-lamps' flare But oh, the girls who ask for love In the lights of Union Square.
Love
Hart Crane, "Voyages I, II, III, IV, V, VI" from The Complete Poems of Hart Crane, edited by Marc Simon. Copyright 1933, 1958, 1966 by Liveright Publishing Corporation. Copyright 1986 by Marc Simon. Used by permission of Liveright Publishing.
Love
When you are old and grey and full of sleep, And nodding by the fire, take down this book, And slowly read, and dream of the soft look Your eyes had once, and of their shadows deep; How many loved your moments of glad grace, And loved your beauty with love false or true, But one man loved the pilgrim soul in you, And loved the sorrows of your changing face; And bending down beside the glowing bars, Murmur, a little sadly, how Love fled And paced upon the mountains overhead And hid his face amid a crowd of stars.
Love
Give me hunger, O you gods that sit and give The world its orders. Give me hunger, pain and want, Shut me out with shame and failure From your doors of gold and fame, Give me your shabbiest, weariest hunger! But leave me a little love, A voice to speak to me in the day end, A hand to touch me in the dark room Breaking the long loneliness. In the dusk of day-shapes Blurring the sunset, One little wandering, western star Thrust out from the changing shores of shadow. Let me go to the window, Watch there the day-shapes of dusk And wait and know the coming Of a little love.
Love
Potuia, potuia White grave goddess, Pity my sadness, O silence of Paros. I am not of these about thy feet, These garments and decorum; I am thy brother, Thy lover of aforetime crying to thee, And thou hearest me not. I have whispered thee in thy solitudes Of our loves in Phrygia, The far ecstasy of burning noons When the fragile pipes Ceased in the cypress shade, And the brown fingers of the shepherd Moved over slim shoulders; And only the cicada sang. I have told thee of the hills And the lisp of reeds And the sun upon thy breasts, And thou hearest me not, Potuia, potuia Thou hearest me not.
Love