Now remember courage, go to the door,Open it and see whether coiled on the bedOr cringing by the wall, a savage beastMaybe with golden hair, with deep eyesLike a bearded spider on a sunlit floorWill snarl-and man can never be alone.
What was I saying? An Egyptian king Once touched long fingers, which are not anything.
There is probably nothing wrong with art for art's sake if we take the phrase seriously, and not take it to mean the kind of poetry written in England forty years ago.
Swimmer of noonday, lean for the perfect dive To the dead Mother's face, whose subtile down You had not seen take amber light alive.
We know the particular poem, not what it says that we can restate.
I thought I heard the dark pounding its head On a rock, crying: Who are the dead?
Struck in the wet mire Four thousand leagues from the ninth buried city I thought of Troy, what we had built her for.
My darling boy whom I shall never know, My son, I love you in my deepest fears.
What is the flesh and blood compounded ofBut a few moments in the life of time?This prowling of the cells, litigious love,Wears the long claw of flesh-arguing crime.
The day's at end and there's nowhere to go, Draw to the fire, even this fire is dying; Get up and once again politely lying Invite the ladies toward the mistletoe.
Therefore with idle hands and head I sit In late December before the fire's daze Punished by crimes of which I would be quit.
The dreary flies, lazy and casual, Stick to the ceiling, buzz along the wall. O heart, the spider shuffles from the mould Weaving, between the pinks and grapes, his pall.
Good manners, Madam, are had these days not For your asking, nor mine, nor what-we-used-to-be's. The day is a loud grenade that bursts a smile Of serious weeds in a comic lily plot.
Genetic theories, I gather, have been cherished academically with detachment.
There's precious little to say between day and dark, Perhaps a few words on the implacable will Of time sailing like a magic barque Or something as fine for the amenities.
The innocent mansion of a panther's heart!
POET If not in a place, where are the People weeping? LIBERAL They creep weeping in the face, not place. POET Is it something with which we may cope The weeping, the creeping, the peepee-ing, the peeping?
Death's long anabasis.
Dark accurate plunger down the successive knell Of arch on arch, where ogives burst a red Reverberance of hail upon the dead Thunder like an exploding crucible!
The torrent of the reaching shade Broke shadow into all its parts, What then had been of shadow made Found exigence in fits and starts.
William Blake cursed the flesh for a clod, Yet of some of his sayings we Moderns have heard tell: 'The nakedness of woman is the work of God', Or that title--The Marriage of Heaven and Hell.
The dusk runs down the lane driven like hail; Far off a precise whistle is escheat To the dark; and then the towering weak and pale.
Row after row with strict impunity The headstones yield their names to the element, The wind whirrs without recollection.
All the sea-gods are dead. You, Venus, come home To your salt maidenhead.
I am not ridiculing verbal mechanisms, dreams, or repressions as origins of poetry; all three of them and more besides may have a great deal to do with it.
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