Art

To Kathleen

Still must the poet as of old,
In barren attic bleak and cold,
Starve, freeze, and fashion verses to
Such things as flowers and song and you;


Still as of old his being give
In Beauty's name, while she may live,
Beauty that may not die as long
As there are flowers and you and song.

The Concert

No, I will go alone.
I will come back when it's over.
Yes, of course I love you.
No, it will not be long.
Why may you not come with me?—
You are too much my lover.
You would put yourself
Between me and song.


If I go alone,
Quiet and suavely clothed,
My body will die in its chair,
And over my head a flame,
A mind that is twice my own,
Will mark with icy mirth
The wise advance and retreat
Of armies without a country,
Storming a nameless gate,
Hurling terrible javelins down
From the shouting walls of a singing town


Where no women wait!
Armies clean of love and hate,
Marching lines of pitiless sound
Climbing hills to the sun and hurling
Golden spears to the ground!
Up the lines a silver runner
Bearing a banner whereon is scored
The milk and steel of a bloodless wound
Healed at length by the sword!


You and I have nothing to do with music.
We may not make of music a filigree frame,
Within which you and I,
Tenderly glad we came,
Sit smiling, hand in hand.


Come now, be content.
I will come back to you, I swear I will;
And you will know me still.
I shall be only a little taller
Than when I went.

Euclid Alone

Euclid alone has looked on Beauty bare.
Let all who prate of Beauty hold their peace,
And lay them prone upon the earth and cease
To ponder on themselves, the while they stare
At nothing, intricately drawn nowhere
In shapes of shifting lineage; let geese
Gabble and hiss, but heroes seek release
From dusty bondage into luminous air.
O blinding hour, O holy, terrible day,
When first the shaft into his vision shone
Of light anatomized! Euclid alone
Has looked on Beauty bare. Fortunate they
Who, though once only and then but far away,
Have heard her massive sandal set on stone.

To The River --

Fair river! in thy bright, clear flow
Of crystal, wandering water,
Thou art an emblem of the glow
Of beauty- the unhidden heartThe
playful maziness of art
In old Alberto's daughter;

But when within thy wave she looksWhich
glistens then, and tremblesWhy,
then, the prettiest of brooks
Her worshipper resembles;
For in his heart, as in thy stream,
Her image deeply liesHis
heart which trembles at the beam
Of her soul-searching eyes.

Sonnet- To Science

Science! true daughter of Old Time thou art!
Who alterest all things with thy peering eyes.
Why preyest thou thus upon the poet's heart,
Vulture, whose wings are dull realities?
How should he love thee? or how deem thee wise,
Who wouldst not leave him in his wandering
To seek for treasure in the jewelled skies,

Albeit he soared with an undaunted wing?
Hast thou not dragged Diana from her car?
And driven the Hamadryad from the wood


To seek a shelter in some happier star?

Hast thou not torn the Naiad from her flood,
The Elfin from the green grass, and from me
The summer dream beneath the tamarind tree?

Elizabeth


Elizabeth, it surely is most fit
[Logic and common usage so commanding]
In thy own book that first thy name be writ,
Zeno and other sages notwithstanding;
And I have other reasons for so doing
Besides my innate love of contradiction;
Each poet - if a poet - in pursuing
The muses thro' their bowers of Truth or Fiction,
Has studied very little of his part,
Read nothing, written less - in short's a fool
Endued with neither soul, nor sense, nor art,
Being ignorant of one important rule,
Employed in even the theses of the schoolCalled
- I forget the heathenish Greek name
[Called anything, its meaning is the same]
"Always write first things uppermost in the heart."

An Enigma

"Seldom we find," says Solomon Don Dunce,
"Half an idea in the profoundest sonnet.

Through all the flimsy things we see at once
As easily as through a Naples bonnetTrash
of all trash!- how can a lady don it?

Yet heavier far than your Petrarchan stuffOwl-
downy nonsense that the faintest puff

Twirls into trunk-paper the while you con it."
And, veritably, Sol is right enough.
The general tuckermanities are arrant
Bubbles- ephemeral and so transparent


But this is, now- you may depend upon itStable,
opaque, immortal- all by dint
Of the dear names that he concealed within 't.

In My Craft or Sullen Art

In my craft or sullen art
Exercised in the still night
When only the moon rages
And the lovers lie abed
With all their griefs in their arms
I labour by singing light
Not for ambition or bread
Or the strut and trade of charms
On the ivory stages
But for the common wages
Of their most secret heart.

Not for the proud man apart
From the raging moon I write
On these spindrift pages
Nor for the towering dead
With their nightingales and psalms
But for the lovers, their arms
Round the griefs of the ages,
Who pay no praise or wages
Nor heed my craft or art

Portrait of the Artist

Oh, lead me to a quiet cell
Where never footfall rankles,
And bar the window passing well,
And gyve my wrists and ankles.

Oh, wrap my eyes with linen fair,
With hempen cord go bind me,
And, of your mercy, leave me there,
Nor tell them where to find me.

Oh, lock the portal as you go,
And see its bolts be double....
Come back in half an hour or so,
And I will be in trouble.

For A Lady Who Must Write Verse

Unto seventy years and seven,
Hide your double birthright well-

You, that are the brat of Heaven
And the pampered heir to Hell.

Let your rhymes be tinsel treasures,
Strung and seen and thrown aside.

Drill your apt and docile measures
Sternly as you drill your pride.

Show your quick, alarming skill in
Tidy mockeries of art;

Never, never dip your quill in
Ink that rushes from your heart.

When your pain must come to paper,
See it dust, before the day;

Let your night-light curl and caper,
Let it lick the words away.

Never print, poor child, a lay on
Love and tears and anguishing,

Lest a cooled, benignant Phaon
Murmur, "Silly little thing!"

D.G. Rossetti
Dante Gabriel Rossetti
Buried all of his libretti,
Thought the matter over - then
Went and dug them up again.

Coda


There's little in taking or giving,
There's little in water or wine;
This living, this living, this living
Was never a project of mine.


Oh, hard is the struggle, and sparse is
The gain of the one at the top,

For art is a form of catharsis,
And love is a permanent flop,

And work is the province of cattle,
And rest's for a clam in a shell,

So I'm thinking of throwing the battleWould
you kindly direct me to hell?

Alfred, Lord Tennyson

Should Heaven send me any son,
I hope he's not like Tennyson.
I'd rather have him play a fiddle
Than rise and bow and speak an idyll.

To a Poet

There is a lovely noise about your name,
Above the shoutings of the city clear,
More than a moment's merriment, whose claim
Will greater grow with every mellowed year.


The people will not bear you down the street,
Dancing to the strong rhythm of your words,
The modern kings will throttle you to greet
The piping voice of artificial birds.


But the rare lonely spirits, even mine,
Who love the immortal music of all days,
Will see the glory of your trailing line,
The bedded beauty of your haunting lays.

Russian Cathedral

Bow down my soul in worship very low
And in the holy silences be lost.
Bow down before the marble man of woe,
Bow down before the singing angel host.
What jewelled glory fills my spirit's eye,
What golden grandeur moves the depths of me!
The soaring arches lift me up on high
Taking my breath with their rare symmetry.


Bow down my soul and let the wondrous light
Of beauty bathe thee from her lofty throne,
Bow down before the wonder of man's might.
Bow down in worship, humble and alone;
Bow lowly down before the sacred sight
Of man's divinity alive in stone.

Poetry


Sometimes I tremble like a storm-swept flower,
And seek to hide my tortured soul from thee.
Bowing my head in deep humility
Before the silent thunder of thy power.
Sometimes I flee before thy blazing light,
As from the specter of pursuing death;
Intimidated lest thy mighty breath,
Windways, will sweep me into utter night.
For oh, I fear they will be swallowed up--
The loves which are to me of vital worth,
My passion and my pleasure in the earth--
And lost forever in thy magic cup!
I fear, I fear my truly human heart
Will perish on the altar-stone of art!

The Venal Muse
O muse of my heart, lover of palaces,
Will you bring, when January lets loose its sleet
And its black evenings without solace,
An ember to warm my violet feet?
What will revive your bruised shoulders,
The nocturnal rays that pierce the shutters?
When you cannot feel your palace, just your empty billfold,
How will you harvest the gold of azure vaults and gutters?
You should, to earn your bread today
Like a choir boy with a censer to wave,
Sings hymns with feeling but without belief.
Or, a starving rip-off artist, selling your charm
And your laughter shades the tears so no one sees the harm
In bringing to bloom an ordinary rat, a vulgar thief.
Translated by William A. Sigler
Submitted by Ryan McGuire

The Albatross
Often to pass the time on board, the crew
will catch an albatross, one of those big birds
which nonchalently chaperone a ship
across the bitter fathoms of the sea.
Tied to the deck, this sovereign of space,
as if embarrassed by its clumsiness,
pitiably lets its great white wings
drag at its sides like a pair of unshipped oars.
How weak and awkward, even comical
this traveller but lately so adoit -
one deckhand sticks a pipestem in its beak,
another mocks the cripple that once flew!
The Poet is like this monarch of the clouds
riding the storm above the marksman's range;
exiled on the ground, hooted and jeered,
he cannot walk because of his great wings.

Ill-Starred
To bear a weight that cannot be borne,
Sisyphus, even you aren't that strong,
Although your heart cannot be torn
Time is short and Art is long.
Far from celebrated sepulchers
Toward a solitary graveyard
My heart, like a drum muffled hard
Beats a funeral march for the ill-starred.
—Many jewels are buried or shrouded
In darkness and oblivion's clouds,
Far from any pick or drill bit,
Many a flower unburdens with regret
Its perfume sweet like a secret;
In profoundly empty solitude to sit.
Translated by William A. Sigler
Submitted by Ryan McGuire

Beauty
I am as lovely as a dream in stone;
My breast on which each finds his death in turn
Inspires the poet with a love as lone
As everlasting clay, and as taciturn.
Swan-white of heart, as sphinx no mortal knows,
My throne is in the heaven's azure deep;
I hate all movement that disturbs my pose;
I smile not ever, neither do I weep.
Before my monumental attitudes,
Taken from the proudest plastic arts,
My poets pray in austere studious moods,
For I, to fold enchantment round their hearts,
Have pools of light where beauty flames and dies,
The placid mirrors of my luminous eyes.

They All Want to Play Hamlet

They all want to play Hamlet.
They have not exactly seen their fathers killed
Nor their mothers in a frame-up to kill,
Nor an Ophelia lying with dust gagging the heart,
Not exactly the spinning circles of singing golden spiders,
Not exactly this have they got at nor the meaning of flowers--O flowers, flowers slung
by a dancing girl--in the saddest play the inkfish, Shakespeare ever wrote;
Yet they all want to play Hamlet because it is sad like all actors are sad and to stand by
an open grave with a joker's skull in the hand and then to say over slow and over slow
wise, keen, beautiful words asking the heart that's breaking, breaking,
This is something that calls and calls to their blood.
They are acting when they talk about it and they know it is acting to be particular
about it and yet: They all want to play Hamlet.

Style


Style--go ahead talking about style.


You can tell where a man gets his style just
as you can tell where Pavlowa got her legs
or Ty Cobb his batting eye.

Go on talking.


Only don't take my style away.
It's my face.
Maybe no good

but anyway, my face.
I talk with it, I sing with it, I see, taste and feel with it,
I know why I want to keep it.


Kill my style
and you break Pavlowa's legs,
and you blind Ty Cobb's batting eye.

Salvage


Guns on the battle lines have pounded now a year
between Brussels and Paris.


And, William Morris, when I read your old chapter on
the great arches and naves and little whimsical
corners of the Churches of Northern France--Brr-rr!


I'm glad you're a dead man, William Morris, I'm glad
you're down in the damp and mouldy, only a memory
instead of a living man--I'm glad you're gone.


You never lied to us, William Morris, you loved the
shape of those stones piled and carved for you to
dream over and wonder because workmen got joy
of life into them,


Workmen in aprons singing while they hammered, and
praying, and putting their songs and prayers into
the walls and roofs, the bastions and cornerstones
and gargoyles--all their children and kisses of
women and wheat and roses growing.


I say, William Morris, I'm glad you're gone, I'm glad
you're a dead man.


Guns on the battle lines have pounded a year now between
Brussels and Paris.

Mask


Fling your red scarf faster and faster, dancer.
It is summer and the sun loves a million green leaves, masses of green.
Your red scarf flashes across them calling and a-calling.
The silk and flare of it is a great soprano leading a chorus
Carried along in a rouse of voices reaching for the heart of the world.
Your toes are singing to meet the song of your arms:


Let the red scarf go swifter.
Summer and the sun command you.