Written by
Amy Clampitt |
past parentage or gender
beyond sung vocables
the slipped-between
the so infinitesimal
fault line
a limitless
interiority
beyond the woven
unicorn the maiden
(man-carved worm-eaten)
God at her hip
incipient
the untransfigured
cottontail
bluebell and primrose
growing wild a strawberry
chagrin night terrors
past the earthlit
unearthly masquerade
(we shall be changed)
a silence opens
*
the larval feeder
naked hairy ravenous
inventing from within
itself its own
raw stuffs'
hooked silk-hung
relinquishment
behind the mask
the milkfat shivering
sinew isinglass
uncrumpling transient
greed to reinvest
*
names have been
given (revelation
kif nirvana
syncope) for
whatever gift
unasked
gives birth to
torrents
fixities
reincarnations of
the angels
Joseph Smith
enduring
martyrdom
a cavernous
compunction driving
founder-charlatans
who saw in it
the infinite
love of God
and had
(George Fox
was one)
great openings
|
Written by
Emma Lazarus |
I
A dream of interlinking hands, of feet
Tireless to spin the unseen, fairy woof
Of the entangling waltz.
Bright eyebeams meet,
Gay laughter echoes from the vaulted roof.
Warm perfumes rise; the soft unflickering glow
Of branching lights sets off the changeful charms
Of glancing gems, rich stuffs, the dazzling snow
Of necks unkerchieft, and bare, clinging arms.
Hark to the music! How beneath the strain
Of reckless revelry, vibrates and sobs
One fundamental chord of constant pain,
The pulse-beat of the poet's heart that throbs.
So yearns, though all the dancing waves rejoice,
The troubled sea's disconsolate, deep voice.
II
Who shall proclaim the golden fable false
Of Orpheus' miracles? This subtle strain
Above our prose-world's sordid loss and gain
Lightly uplifts us.
With the rhythmic waltz,
The lyric prelude, the nocturnal song
Of love and languor, varied visions rise,
That melt and blend to our enchanted eyes.
The Polish poet who sleeps silenced long,
The seraph-souled musician, breathes again
Eternal eloquence, immortal pain.
Revived the exalted face we know so well,
The illuminated eyes, the fragile frame,
Slowly consuming with its inward flame,
We stir not, speak not, lest we break the spell.
III
A voice was needed, sweet and true and fine
As the sad spirit of the evening breeze,
Throbbing with human passion, yet devine
As the wild bird's untutored melodies.
A voice for him 'neath twilight heavens dim,
Who mourneth for his dead, while round him fall
The wan and noiseless leaves.
A voice for him
Who sees the first green sprout, who hears the call
Of the first robin on the first spring day.
A voice for all whom Fate hath set apart,
Who, still misprized, must perish by the way,
Longing with love, for that they lack the art
Of their own soul's expression.
For all these
Sing the unspoken hope, the vague, sad reveries.
IV
Then Nature shaped a poet's heart--a lyre
From out whose chords the lightest breeze that blows
Drew trembling music, wakening sweet desire.
How shall she cherish him? Behold! she throws
This precious, fragile treasure in the whirl
Of seething passions; he is scourged and stung,
Must dive in storm-vext seas, if but one pearl
Of art or beauty therefrom may be wrung.
No pure-browed pensive nymph his Muse shall be,
An amazon of thought with sovereign eyes,
Whose kiss was poison, man-brained, worldy-wise,
Inspired that elfin, delicate harmony.
Rich gain for us! But with him is it well?
The poet who must sound earth, heaven, and hell!
|
Written by
John Wilmot |
Well Sir, 'tis granted, I said Dryden's Rhimes,
Were stoln, unequal, nay dull many times:
What foolish Patron, is there found of his,
So blindly partial, to deny me this?
But that his Plays, Embroider'd up and downe,
With Witt, and Learning, justly pleas'd the Towne,
In the same paper, I as freely owne:
Yet haveing this allow'd, the heavy Masse,
That stuffs up his loose Volumes must not passe:
For by that Rule, I might as well admit,
Crownes tedious Scenes, for Poetry, and Witt.
'Tis therefore not enough, when your false Sense
Hits the false Judgment of an Audience
Of Clapping-Fooles, assembling a vast Crowd
'Till the throng'd Play-House, crack with the dull Load;
Tho' ev'n that Tallent, merrits in some sort,
That can divert the Rabble and the Court:
Which blundring Settle, never cou'd attaine,
And puzling Otway, labours at in vaine.
But within due proportions, circumscribe
What e're you write; that with a flowing Tyde,
The Stile, may rise, yet in its rise forbeare,
With uselesse Words, t'oppresse the wearyed Eare:
Here be your Language lofty, there more light,
Your Rethorick, with your Poetry, unite:
For Elegance sake, sometimes alay the force
Of Epethets; 'twill soften the discourse;
A Jeast in Scorne, poynts out, and hits the thing,
More home, than the Morosest Satyrs Sting.
Shakespeare, and Johnson, did herein excell,
And might in this be Immitated well;
Whom refin'd Etheridge, Coppys not at all,
But is himself a Sheere Originall:
Nor that Slow Drudge, in swift Pindarique straines,
Flatman, who Cowley imitates with paines,
And rides a Jaded Muse, whipt with loose Raines.
When Lee, makes temp'rate Scipio, fret and Rave,
And Haniball, a whineing Am'rous Slave;
I laugh, and wish the hot-brain'd Fustian Foole,
In Busbys hands, to be well lasht at Schoole.
Of all our Moderne Witts, none seemes to me,
Once to have toucht upon true Comedy,
But hasty Shadwell, and slow Witcherley.
Shadwells unfinisht workes doe yet impart,
Great proofes of force of Nature, none of Art.
With just bold Stroakes, he dashes here and there,
Shewing great Mastery with little care;
And scornes to varnish his good touches o're,
To make the Fooles, and Women, praise 'em more.
But Witcherley, earnes hard, what e're he gaines,
He wants noe Judgment, nor he spares noe paines;
He frequently excells, and at the least,
Makes fewer faults, than any of the best.
Waller, by Nature for the Bayes design'd,
With force, and fire, and fancy unconfin'd,
In Panigericks does Excell Mankind:
He best can turne, enforce, and soften things,
To praise great Conqu'rours, or to flatter Kings.
For poynted Satyrs, I wou'd Buckhurst choose,
The best good Man, with the worst Natur'd Muse:
For Songs, and Verses, Mannerly Obscene,
That can stirr Nature up, by Springs unseene,
And without forceing blushes, warme the Queene:
Sidley, has that prevailing gentle Art,
That can with a resistlesse Charme impart,
The loosest wishes to the Chastest Heart,
Raise such a Conflict, kindle such a ffire
Betwixt declineing Virtue, and desire,
Till the poor Vanquisht Maid, dissolves away,
In Dreames all Night, in Sighs, and Teares, all Day.
Dryden, in vaine, try'd this nice way of Witt,
For he, to be a tearing Blade thought fit,
But when he wou'd be sharp, he still was blunt,
To friske his frollique fancy, hed cry ****;
Wou'd give the Ladyes, a dry Bawdy bob,
And thus he got the name of Poet Squab:
But to be just, twill to his praise be found,
His Excellencies, more than faults abound.
Nor dare I from his Sacred Temples teare,
That Lawrell, which he best deserves to weare.
But does not Dryden find ev'n Johnson dull?
Fletcher, and Beaumont, uncorrect, and full
Of Lewd lines as he calls em? Shakespeares Stile
Stiffe, and Affected? To his owne the while
Allowing all the justnesse that his Pride,
Soe Arrogantly, had to these denyd?
And may not I, have leave Impartially
To search, and Censure, Drydens workes, and try,
If those grosse faults, his Choyce Pen does Commit
Proceed from want of Judgment, or of Witt.
Of if his lumpish fancy does refuse,
Spirit, and grace to his loose slatterne Muse?
Five Hundred Verses, ev'ry Morning writ,
Proves you noe more a Poet, than a Witt.
Such scribling Authors, have beene seene before,
Mustapha, the English Princesse, Forty more,
Were things perhaps compos'd in Half an Houre.
To write what may securely stand the test
Of being well read over Thrice oat least
Compare each Phrase, examin ev'ry Line,
Weigh ev'ry word, and ev'ry thought refine;
Scorne all Applause the Vile Rout can bestow,
And be content to please those few, who know.
Canst thou be such a vaine mistaken thing
To wish thy Workes might make a Play-house ring,
With the unthinking Laughter, and poor praise
Of Fopps, and Ladys, factious for thy Plays?
Then send a cunning Friend to learne thy doome,
From the shrew'd Judges in the Drawing-Roome.
I've noe Ambition on that idle score,
But say with Betty Morice, heretofore
When a Court-Lady, call'd her Buckleys Whore,
I please one Man of Witt, am proud on't too,
Let all the Coxcombs, dance to bed to you.
Shou'd I be troubled when the Purblind Knight
Who squints more in his Judgment, than his sight,
Picks silly faults, and Censures what I write?
Or when the poor-fed Poets of the Towne
For Scrapps, and Coach roome cry my Verses downe?
I loath the Rabble, 'tis enough for me,
If Sidley, Shadwell, Shepherd, Witcherley,
Godolphin, Buttler, Buckhurst, Buckingham,
And some few more, whom I omit to name
Approve my Sense, I count their Censure Fame.
|
Written by
Walt Whitman |
THEY shall arise in the States,
They shall report Nature, laws, physiology, and happiness;
They shall illustrate Democracy and the kosmos;
They shall be alimentive, amative, perceptive;
They shall be complete women and men—their pose brawny and supple, their drink water,
their blood clean and clear;
They shall enjoy materialism and the sight of products—they shall enjoy the sight of
the
beef, lumber, bread-stuffs, of Chicago, the great city;
They shall train themselves to go in public to become orators and oratresses;
Strong and sweet shall their tongues be—poems and materials of poems shall come from
their
lives—they shall be makers and finders;
Of them, and of their works, shall emerge divine conveyers, to convey gospels;
Characters, events, retrospections, shall be convey’d in gospels
—Trees, animals, waters, shall be convey’d,
Death, the future, the invisible faith, shall all be convey’d.
|
Written by
Anne Kingsmill Finch |
Why was that baleful Creature made,
Which seeks our Quiet to invade,
And screams ill Omens through the Shade?
'Twas, sure, for every Mortals good,
When, by wrong painting of her Brood,
She doom'd them for the Eagle's Food:
Who proffer'd Safety to her Tribe,
Wou'd she but shew them or describe,
And serving him, his Favour bribe.
When thus she did his Highness tell;
In Looks my Young do all excel,
Nor Nightingales can sing so well.
You'd joy to see the pretty Souls,
With wadling Steps and frowzy Poles,
Come creeping from their secret Holes.
But I ne'er let them take the Air,
The Fortune-hunters do so stare;
And Heiresses indeed they are.
This ancient Yew three hundred Years,
Has been possess'd by Lineal Heirs:
The Males extinct, now All is Theirs.
I hope I've done their Beauties right,
Whose Eyes outshine the Stars by Night;
Their Muffs and Tippets too are White.
The King of Cedars wav'd his Power,
And swore he'd fast ev'n from that Hour,
Ere he'd such Lady Birds devour.
Th' Agreement seal'd, on either part,
The Owl now promis'd, from her Heart,
All his Night-Dangers to divert;
As Centinel to stand and whoop,
If single Fowl, or Shoal, or Troop
Should at his Palace aim or stoop.
But home, one Evening without Meat,
The Eagle comes, and takes his Seat,
Where they did these Conditions treat.
The Mother-Owl was prol'd away,
To seek abroad for needful Prey,
And forth the Misses came to play.
What's here ! the hungry Monarch cry'd,
When near him living Flesh he spy'd,
With which he hop'd to be supply'd.
But recollecting, 'twas the Place,
Where he'd so lately promis'd Grace
To an enchanting, beauteous Race;
He paus'd a while, and kept his Maw,
With sober Temperance, in awe,
Till all their Lineaments he saw.
What are these Things, and of what Sex,
At length he cry'd, with Vultur's Becks,
And Shoulders higher than their Necks?
These wear no Palatines, nor Muffs,
Italian Silks, or Doyley Stuffs,
But motley Callicoes, and Ruffs.
Nor Brightness in their Eyes is seen,
But through the Film a dusky Green,
And like old Margery is their Mien.
Then for my Supper they're design'd,
Nor can be of that lovely Kind,
To whom my Pity was inclin'd.
No more Delays; as soon as spoke,
The Plumes are stripped, the Grisles broke,
And near the Feeder was to choak.
When now return'd the grizly Dame,
(Whose Family was out of Frame)
Against League-Breakers does exclaim.
How! quoth the Lord of soaring Fowls,
(Whilst horribly she wails and howls)
Were then your Progeny but Owls?
I thought some Phoenix was their Sire,
Who did those charming Looks inspire,
That you'd prepar'd me to admire.
Upon your self the Blame be laid;
My Talons you've to Blood betray'd,
And ly'd in every Word you said.
Faces or Books, beyond their Worth extoll'd,
Are censur'd most, and thus to pieces pulled.
|
Written by
Amy Lowell |
I
The inkstand is full of ink, and the paper lies
white and unspotted,
in the round of light thrown by a candle.
Puffs of darkness
sweep into
the corners, and keep rolling through the room behind his chair.
The
air
is silver and pearl, for the night is liquid with moonlight.
See how the roof glitters, like ice!
Over there, a slice of yellow cuts into the silver-blue,
and beside it stand
two geraniums, purple because the light is silver-blue, to-night.
See! She is coming, the young woman with the bright hair.
She swings a basket as she walks, which she places on the sill,
between the geranium stalks.
He laughs, and crumples
his paper
as he leans forward to look.
"The Basket Filled with
Moonlight",
what a title for a book!
The bellying clouds swing over the housetops.
He has forgotten the woman in the room with the geraniums.
He
is beating
his brain, and in his eardrums hammers his heavy pulse.
She
sits
on the window-sill, with the basket in her lap.
And tap! She
cracks a nut.
And tap! Another.
Tap! Tap! Tap! The
shells ricochet upon the roof,
and get into the gutters, and bounce over the edge and disappear.
"It is very *****," thinks Peter, "the basket was
empty, I'm sure.
How could nuts appear from the atmosphere?"
The silver-blue moonlight makes the geraniums purple,
and the roof glitters
like ice.
II
Five o'clock.
The geraniums are very
gay in their crimson array.
The bellying clouds swing over the housetops, and over the roofs
goes Peter
to pay his morning's work with a holiday.
"Annette, it is I.
Have you finished? Can
I come?"
Peter jumps through the window.
"Dear, are you alone?"
"Look, Peter, the dome of the tabernacle is done.
This
gold thread
is so very high, I am glad it is morning, a starry sky would have
seen me bankrupt.
Sit down, now tell me, is your story
going well?"
The golden dome glittered in the orange of the
setting sun.
On the walls,
at intervals, hung altar-cloths and chasubles, and copes, and stoles,
and coffin palls.
All stiff with rich embroidery, and
stitched with
so much artistry, they seemed like spun and woven gems, or flower-buds
new-opened on their stems.
Annette looked at the geraniums, very red against the blue sky.
"No matter how I try, I cannot find any thread
of such a red.
My bleeding hearts drip stuff muddy in comparison.
Heigh-ho! See
my little
pecking dove? I'm in love with my own temple.
Only
that halo's wrong.
The colour's too strong, or not strong enough.
I don't
know.
My eyes
are tired.
Oh, Peter, don't be so rough; it is valuable.
I
won't do
any more.
I promise.
You tyrannise, Dear,
that's enough.
Now sit down
and amuse me while I rest.
"
The shadows of the geraniums creep over the floor,
and begin to climb
the opposite wall.
Peter watches her, fluid with fatigue, floating, and drifting,
and undulant in the orange glow.
His senses flow towards
her,
where she lies supine and dreaming.
Seeming drowned in
a golden halo.
The pungent smell of the geraniums is hard to bear.
He pushes against her knees, and brushes his lips across her languid
hands.
His lips are hot and speechless.
He woos her, quivering,
and the room
is filled with shadows, for the sun has set.
But she
only understands
the ways of a needle through delicate stuffs, and the shock of one
colour
on another.
She does not see that this is the same, and
querulously murmurs
his name.
"Peter, I don't want it.
I am tired.
"
And he, the undesired, burns and is consumed.
There is a crescent moon on the rim of the sky.
III
"Go home, now, Peter.
To-night is full
moon.
I must be alone.
"
"How soon the moon is full again! Annette,
let me stay.
Indeed, Dear Love,
I shall not go away.
My God, but you keep me starved! You
write
`No Entrance Here', over all the doors.
Is it not strange,
my Dear,
that loving, yet you deny me entrance everywhere.
Would
marriage
strike you blind, or, hating bonds as you do, why should I be denied
the rights of loving if I leave you free? You want the
whole of me,
you pick my brains to rest you, but you give me not one heart-beat.
Oh, forgive me, Sweet! I suffer in my loving, and you
know it.
I cannot
feed my life on being a poet.
Let me stay.
"
"As you please, poor Peter, but it will hurt me
if you do.
It will
crush your heart and squeeze the love out.
"
He answered gruffly, "I know what I'm about.
"
"Only remember one thing from to-night.
My
work is taxing and I must
have sight! I MUST!"
The clear moon looks in between the geraniums.
On
the wall,
the shadow of the man is divided from the shadow of the woman
by a silver thread.
They are eyes, hundreds of eyes, round like marbles! Unwinking,
for there
are no lids.
Blue, black, gray, and hazel, and the irises
are cased
in the whites, and they glitter and spark under the moon.
The
basket
is heaped with human eyes.
She cracks off the whites
and throws them away.
They ricochet upon the roof, and get into the gutters, and bounce
over the edge and disappear.
But she is here, quietly
sitting
on the window-sill, eating human eyes.
The silver-blue moonlight makes the geraniums purple,
and the roof shines
like ice.
IV
How hot the sheets are! His skin is
tormented with pricks,
and over him sticks, and never moves, an eye.
It lights
the sky with blood,
and drips blood.
And the drops sizzle on his bare skin,
and he smells them
burning in, and branding his body with the name "Annette".
The blood-red sky is outside his window now.
Is
it blood or fire?
Merciful God! Fire! And his heart wrenches
and pounds "Annette!"
The lead of the roof is scorching, he ricochets,
gets to the edge,
bounces over and disappears.
The bellying clouds are red as they swing over
the housetops.
V
The air is of silver and pearl, for the night is
liquid with moonlight.
How the ruin glistens, like a palace of ice! Only two
black holes swallow
the brilliance of the moon.
Deflowered windows, sockets
without sight.
A man stands before the house.
He sees
the silver-blue moonlight,
and set in it, over his head, staring and flickering, eyes of geranium
red.
Annette!
|
Written by
Amy Lowell |
Slowly, without force, the rain drops into the
city.
It stops a moment
on the carved head of Saint John, then slides on again, slipping
and trickling
over his stone cloak.
It splashes from the lead conduit
of a gargoyle,
and falls from it in turmoil on the stones in the Cathedral square.
Where are the people, and why does the fretted steeple sweep about
in the sky?
Boom! The sound swings against the rain.
Boom,
again! After it, only water
rushing in the gutters, and the turmoil from the spout of the gargoyle.
Silence.
Ripples and mutters.
Boom!
The room is damp, but warm.
Little flashes swarm about
from the firelight.
The lustres of the chandelier are bright, and clusters of rubies
leap in the bohemian glasses on the `etagere'.
Her hands
are restless,
but the white masses of her hair are quite still.
Boom! Will
it never cease
to torture, this iteration! Boom! The vibration
shatters a glass
on the `etagere'.
It lies there, formless and glowing,
with all its crimson gleams shot out of pattern, spilled, flowing
red,
blood-red.
A thin bell-note pricks through the silence.
A
door creaks.
The old lady speaks: "Victor, clear away that broken
glass.
" "Alas!
Madame, the bohemian glass!" "Yes, Victor, one hundred
years ago
my father brought it --" Boom! The room shakes,
the servitor quakes.
Another goblet shivers and breaks.
Boom!
It rustles at the window-pane, the smooth, streaming rain, and he
is shut
within its clash and murmur.
Inside is his candle, his
table, his ink,
his pen, and his dreams.
He is thinking, and the walls
are pierced with
beams of sunshine, slipping through young green.
A fountain
tosses itself
up at the blue sky, and through the spattered water in the basin
he can see
copper carp, lazily floating among cold leaves.
A wind-harp
in a cedar-tree
grieves and whispers, and words blow into his brain, bubbled, iridescent,
shooting up like flowers of fire, higher and higher.
Boom!
The flame-flowers snap on their slender stems.
The fountain
rears up
in long broken spears of dishevelled water and flattens into the
earth.
Boom!
And there is only the room, the table, the candle, and the sliding
rain.
Again, Boom! -- Boom! -- Boom! He stuffs his fingers
into his ears.
He sees corpses, and cries out in fright.
Boom! It
is night,
and they are shelling the city! Boom! Boom!
A child wakes and is afraid, and weeps in the darkness.
What
has made
the bed shake? "Mother, where are you? I am
awake.
" "Hush, my Darling,
I am here.
" "But, Mother, something so ***** happened,
the room shook.
"
Boom! "Oh! What is it? What is
the matter?" Boom! "Where is Father?
I am so afraid.
" Boom! The child sobs and
shrieks.
The house
trembles and creaks.
Boom!
Retorts, globes, tubes, and phials lie shattered.
All
his trials
oozing across the floor.
The life that was his choosing,
lonely, urgent,
goaded by a hope, all gone.
A weary man in a ruined laboratory,
that is his story.
Boom! Gloom and ignorance,
and the jig of drunken brutes.
Diseases like snakes crawling over the earth, leaving trails of
slime.
Wails from people burying their dead.
Through the window,
he can see
the rocking steeple.
A ball of fire falls on the lead
of the roof,
and the sky tears apart on a spike of flame.
Up the spire,
behind the lacings of stone, zigzagging in and out of the carved
tracings,
squirms the fire.
It spouts like yellow wheat from the
gargoyles, coils round
the head of Saint John, and aureoles him in light.
It
leaps into the night
and hisses against the rain.
The Cathedral is a burning
stain on the white,
wet night.
Boom! The Cathedral is a torch, and the houses next to
it begin to scorch.
Boom! The bohemian glass on the `etagere' is no longer
there.
Boom! A stalk of flame sways against the red damask curtains.
The old lady cannot walk.
She watches the creeping stalk
and counts.
Boom! -- Boom! -- Boom!
The poet rushes into the street, and the rain wraps him in a sheet
of silver.
But it is threaded with gold and powdered with scarlet beads.
The
city burns.
Quivering, spearing, thrusting, lapping, streaming, run the flames.
Over roofs, and walls, and shops, and stalls.
Smearing
its gold on the sky,
the fire dances, lances itself through the doors, and lisps and
chuckles
along the floors.
The child wakes again and screams at the yellow petalled flower
flickering at the window.
The little red lips of flame
creep along
the ceiling beams.
The old man sits among his broken experiments and looks at
the burning Cathedral.
Now the streets are swarming with
people.
They seek shelter and crowd into the cellars.
They shout
and call,
and over all, slowly and without force, the rain drops into the
city.
Boom! And the steeple crashes down among the people.
Boom! Boom,
again!
The water rushes along the gutters.
The fire roars and
mutters.
Boom!
|
Written by
Amy Lowell |
The fountain bent and straightened itself
In the night wind,
Blowing like a flower.
It gleamed and glittered,
A tall white lily,
Under the eye of the golden moon.
From a stone seat,
Beneath a blossoming lime,
The man watched it.
And the spray pattered
On the dim grass at his feet.
The fountain tossed its water,
Up and up, like silver marbles.
Is that an arm he sees?
And for one moment
Does he catch the moving curve
Of a thigh?
The fountain gurgled and splashed,
And the man's face was wet.
Is it singing that he hears?
A song of playing at ball?
The moonlight shines on the straight column of water,
And through it he sees a woman,
Tossing the water-balls.
Her breasts point outwards,
And the nipples are like buds of peonies.
Her flanks ripple as she plays,
And the water is not more undulating
Than the lines of her body.
"Come," she sings, "Poet!
Am I not more worth than your day ladies,
Covered with awkward stuffs,
Unreal, unbeautiful?
What do you fear in taking me?
Is not the night for poets?
I am your dream,
Recurrent as water,
Gemmed with the moon!"
She steps to the edge of the pool
And the water runs, rustling, down her sides.
She stretches out her arms,
And the fountain streams behind her
Like an opened veil.
*
* * * *
In the morning the gardeners came to their work.
"There is something in the fountain," said one.
They shuddered as they laid their dead master
On the grass.
"I will close his eyes," said the head gardener,
"It is uncanny to see a dead man staring at the sun.
"
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Written by
Amy Lowell |
First Movement
Thin-voiced, nasal pipes
Drawing sound out and out
Until it is a screeching thread,
Sharp and cutting, sharp and cutting,
It hurts.
Whee-e-e!
Bump! Bump! Tong-ti-bump!
There are drums here,
Banging,
And wooden shoes beating the round, grey stones
Of the market-place.
Whee-e-e!
Sabots slapping the worn, old stones,
And a shaking and cracking of dancing bones;
Clumsy and hard they are,
And uneven,
Losing half a beat
Because the stones are slippery.
Bump-e-ty-tong! Whee-e-e! Tong!
The thin Spring leaves
Shake to the banging of shoes.
Shoes beat, slap,
Shuffle, rap,
And the nasal pipes squeal with their pigs' voices,
Little pigs' voices
Weaving among the dancers,
A fine white thread
Linking up the dancers.
Bang! Bump! Tong!
Petticoats,
Stockings,
Sabots,
Delirium flapping its thigh-bones;
Red, blue, yellow,
Drunkenness steaming in colours;
Red, yellow, blue,
Colours and flesh weaving together,
In and out, with the dance,
Coarse stuffs and hot flesh weaving together.
Pigs' cries white and tenuous,
White and painful,
White and --
Bump!
Tong!
Second Movement
Pale violin music whiffs across the moon,
A pale smoke of violin music blows over the moon,
Cherry petals fall and flutter,
And the white Pierrot,
Wreathed in the smoke of the violins,
Splashed with cherry petals falling, falling,
Claws a grave for himself in the fresh earth
With his finger-nails.
Third Movement
An organ growls in the heavy roof-groins of a church,
It wheezes and coughs.
The nave is blue with incense,
Writhing, twisting,
Snaking over the heads of the chanting priests.
`Requiem aeternam dona ei, Domine';
The priests whine their bastard Latin
And the censers swing and click.
The priests walk endlessly
Round and round,
Droning their Latin
Off the key.
The organ crashes out in a flaring chord,
And the priests hitch their chant up half a tone.
`Dies illa, dies irae,
Calamitatis et miseriae,
Dies magna et amara valde.
'
A wind rattles the leaded windows.
The little pear-shaped candle flames leap and flutter,
`Dies illa, dies irae;'
The swaying smoke drifts over the altar,
`Calamitatis et miseriae;'
The shuffling priests sprinkle holy water,
`Dies magna et amara valde;'
And there is a stark stillness in the midst of them
Stretched upon a bier.
His ears are stone to the organ,
His eyes are flint to the candles,
His body is ice to the water.
Chant, priests,
Whine, shuffle, genuflect,
He will always be as rigid as he is now
Until he crumbles away in a dust heap.
`Lacrymosa dies illa,
Qua resurget ex favilla
Judicandus *****reus.
'
Above the grey pillars the roof is in darkness.
|
Written by
Rudyard Kipling |
If you've ever stole a pheasant-egg be'ind the keeper's back,
If you've ever snigged the washin' from the line,
If you've ever crammed a gander in your bloomin' 'aversack,
You will understand this little song o' mine.
But the service rules are 'ard, an' from such we are debarred,
For the same with English morals does not suit.
(Cornet: Toot! toot!)
W'y, they call a man a robber if 'e stuffs 'is marchin' clobber
With the --
(Chorus) Loo! loo! Lulu! lulu! Loo! loo! Loot! loot! loot!
Ow the loot!
Bloomin' loot!
That's the thing to make the boys git up an' shoot!
It's the same with dogs an' men,
If you'd make 'em come again
Clap 'em forward with a Loo! loo! Lulu! Loot!
(ff) Whoopee! Tear 'im, puppy! Loo! loo! Lulu! Loot! loot! loot!
If you've knocked a ****** edgeways when 'e's thrustin' for your life,
You must leave 'im very careful where 'e fell;
An' may thank your stars an' gaiters if you didn't feel 'is knife
That you ain't told off to bury 'im as well.
Then the sweatin' Tommies wonder as they spade the beggars under
Why lootin' should be entered as a crime;
So if my song you'll 'ear, I will learn you plain an' clear
'Ow to pay yourself for fightin' overtime.
(Chorus) With the loot, .
.
.
Now remember when you're 'acking round a gilded Burma god
That 'is eyes is very often precious stones;
An' if you treat a ****** to a dose o' cleanin'-rod
'E's like to show you everything 'e owns.
When 'e won't prodooce no more, pour some water on the floor
Where you 'ear it answer 'ollow to the boot
(Cornet: Toot! toot!) --
When the ground begins to sink, shove your baynick down the chink,
An' you're sure to touch the --
(Chorus) Loo! loo! Lulu! Loot! loot! loot!
Ow the loot! .
.
.
When from 'ouse to 'ouse you're 'unting, you must always work in pairs --
It 'alves the gain, but safer you will find --
For a single man gets bottled on them twisty-wisty stairs,
An' a woman comes and clobs 'im from be'ind.
When you've turned 'em inside out, an' it seems beyond a doubt
As if there weren't enough to dust a flute
(Cornet: Toot! toot!) --
Before you sling your 'ook, at the 'ousetops take a look,
For it's underneath the tiles they 'ide the loot.
(Chorus) Ow the loot! .
.
.
You can mostly square a Sergint an' a Quartermaster too,
If you only take the proper way to go;
I could never keep my pickin's, but I've learned you all I knew --
An' don't you never say I told you so.
An' now I'll bid good-bye, for I'm gettin' rather dry,
An' I see another tunin' up to toot
(Cornet: Toot! toot!) --
So 'ere's good-luck to those that wears the Widow's clo'es,
An' the Devil send 'em all they want o' loot!
(Chorus) Yes, the loot,
Bloomin' loot!
In the tunic an' the mess-tin an' the boot!
It's the same with dogs an' men,
If you'd make 'em come again
(fff) Whoop 'em forward with a Loo! loo! Lulu! Loot! loot! loot!
Heeya! Sick 'im, puppy! Loo! loo! Lulu! Loot! loot! loot!
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