How can something
I've refused to sing
Denied and sworn was fiction
Seem suddenly real to me

How can someone
Make me feel so undone
From my false reality
Despite everything I've done

How can it be
That the nighttime sings
When I'm alone inside my head
When will I finally see

It was you all along
Standing in front of me
It was you all along
The girl inside my dreams
How could I be so blind
To have wasted my time
Trying to forget these things
Cause all I've ever needed
Is the girl listening to this ballad

How could I
Have thought so highly
Been so naive
To think this wouldn't happen in time

How would I know
That you had stolen
My heart long before
And left, yea you left my love to grow

It was you all along
Standing in front of me
It was you all along
The girl inside my dreams
How could I be so blind
To have wasted my time
Trying to forget these things
Cause all I've ever needed
Is the girl listening to this ballad

You're the faceless girl
Who has haunted my world
My dreams came alive
Shining like your golden curls

You're the one I need
I need only succeed
In your eyes
Sing your ballad with me

It was you all along
Standing in front of me
It was you all along
The girl inside my dreams
How could I be so blind
To have wasted my time
Trying to forget these things
Cause all I've ever needed
Is the girl listening to this ballad

You're free and wild
Never gone out of style
Everytime I see you
I'm left standing beguiled

There is something I can't explain
A girl inside you, who can't be tamed
The girl I love, the girl I adore
You have the freedom engrained

I cannot break away
But I can face the day
But when the night comes
I don't know what to say

How am I supposed to be
What they need me to be
To be strong and brave
When I spent it all on you

I will not forget
Yet I do not regret
These memories I've kept
But I do regret the things I've left unsaid

It was you all along
Standing in front of me
It was you all along
The girl inside my dreams
How could I be so blind
To have wasted my time
Trying to forget these things
Cause all I've ever needed
Is the girl listening to this ballad
Listening to her ballad

I tried to sing you a song
a ballad of love,
I use ballad loosely, of course,
For my voice was hoarse
and my pitch was squeaky,
"I think you're tone death" you proclaimed,
with a cute, little, laugh.
"You must be blind" I said,
"I just kicked that song's ***!"  
Yet deep down I know the only *** kicked today was mine,
those chords ran me over,
and didn't even ask for the time.
But still as I was becoming great friends with the ground,
you picked me up,
you brushed the dirt off my shoulder
and washed the blood off my knees,
I must say, I was very pleased.
I guess what we learned from today is that my singing ability may need improvement,
and this rhyme, in all its amusement, may be a little cheesy,
But baby, we make this real life ballad of love
look oh so easy.

I

He did not wear his scarlet coat,
  For blood and wine are red,
And blood and wine were on his hands
  When they found him with the dead,
The poor dead woman whom he loved,
  And murdered in her bed.

He walked amongst the Trial Men
  In a suit of shabby grey;
A cricket cap was on his head,
  And his step seemed light and gay;
But I never saw a man who looked
  So wistfully at the day.

I never saw a man who looked
  With such a wistful eye
Upon that little tent of blue
  Which prisoners call the sky,
And at every drifting cloud that went
  With sails of silver by.

I walked, with other souls in pain,
  Within another ring,
And was wondering if the man had done
  A great or little thing,
When a voice behind me whispered low,
  “That fellows got to swing.”

Dear Christ! the very prison walls
  Suddenly seemed to reel,
And the sky above my head became
  Like a casque of scorching steel;
And, though I was a soul in pain,
  My pain I could not feel.

I only knew what hunted thought
  Quickened his step, and why
He looked upon the garish day
  With such a wistful eye;
The man had killed the thing he loved
  And so he had to die.

Yet each man kills the thing he loves
  By each let this be heard,
Some do it with a bitter look,
  Some with a flattering word,
The coward does it with a kiss,
  The brave man with a sword!

Some **** their love when they are young,
  And some when they are old;
Some strangle with the hands of Lust,
  Some with the hands of Gold:
The kindest use a knife, because
  The dead so soon grow cold.

Some love too little, some too long,
  Some sell, and others buy;
Some do the deed with many tears,
  And some without a sigh:
For each man kills the thing he loves,
  Yet each man does not die.

He does not die a death of shame
  On a day of dark disgrace,
Nor have a noose about his neck,
  Nor a cloth upon his face,
Nor drop feet foremost through the floor
  Into an empty place

He does not sit with silent men
  Who watch him night and day;
Who watch him when he tries to weep,
  And when he tries to pray;
Who watch him lest himself should rob
  The prison of its prey.

He does not wake at dawn to see
  Dread figures throng his room,
The shivering Chaplain robed in white,
  The Sheriff stern with gloom,
And the Governor all in shiny black,
  With the yellow face of Doom.

He does not rise in piteous haste
  To put on convict-clothes,
While some coarse-mouthed Doctor gloats, and notes
  Each new and nerve-twitched pose,
******* a watch whose little ticks
  Are like horrible hammer-blows.

He does not know that sickening thirst
  That sands one’s throat, before
The hangman with his gardener’s gloves
  Slips through the padded door,
And binds one with three leathern thongs,
  That the throat may thirst no more.

He does not bend his head to hear
  The Burial Office read,
Nor, while the terror of his soul
  Tells him he is not dead,
Cross his own coffin, as he moves
  Into the hideous shed.

He does not stare upon the air
  Through a little roof of glass;
He does not pray with lips of clay
  For his agony to pass;
Nor feel upon his shuddering cheek
  The kiss of Caiaphas.


II

Six weeks our guardsman walked the yard,
  In a suit of shabby grey:
His cricket cap was on his head,
  And his step seemed light and gay,
But I never saw a man who looked
  So wistfully at the day.

I never saw a man who looked
  With such a wistful eye
Upon that little tent of blue
  Which prisoners call the sky,
And at every wandering cloud that trailed
  Its raveled fleeces by.

He did not wring his hands, as do
  Those witless men who dare
To try to rear the changeling Hope
  In the cave of black Despair:
He only looked upon the sun,
  And drank the morning air.

He did not wring his hands nor weep,
  Nor did he peek or pine,
But he drank the air as though it held
  Some healthful anodyne;
With open mouth he drank the sun
  As though it had been wine!

And I and all the souls in pain,
  Who tramped the other ring,
Forgot if we ourselves had done
  A great or little thing,
And watched with gaze of dull amaze
  The man who had to swing.

And strange it was to see him pass
  With a step so light and gay,
And strange it was to see him look
  So wistfully at the day,
And strange it was to think that he
  Had such a debt to pay.

For oak and elm have pleasant leaves
  That in the spring-time shoot:
But grim to see is the gallows-tree,
  With its adder-bitten root,
And, green or dry, a man must die
  Before it bears its fruit!

The loftiest place is that seat of grace
  For which all worldlings try:
But who would stand in hempen band
  Upon a scaffold high,
And through a murderer’s collar take
  His last look at the sky?

It is sweet to dance to violins
  When Love and Life are fair:
To dance to flutes, to dance to lutes
  Is delicate and rare:
But it is not sweet with nimble feet
  To dance upon the air!

So with curious eyes and sick surmise
  We watched him day by day,
And wondered if each one of us
  Would end the self-same way,
For none can tell to what red Hell
  His sightless soul may stray.

At last the dead man walked no more
  Amongst the Trial Men,
And I knew that he was standing up
  In the black dock’s dreadful pen,
And that never would I see his face
  In God’s sweet world again.

Like two doomed ships that pass in storm
  We had crossed each other’s way:
But we made no sign, we said no word,
  We had no word to say;
For we did not meet in the holy night,
  But in the shameful day.

A prison wall was round us both,
  Two outcast men were we:
The world had ****** us from its heart,
  And God from out His care:
And the iron gin that waits for Sin
  Had caught us in its snare.


III

In Debtors’ Yard the stones are hard,
  And the dripping wall is high,
So it was there he took the air
  Beneath the leaden sky,
And by each side a Warder walked,
  For fear the man might die.

Or else he sat with those who watched
  His anguish night and day;
Who watched him when he rose to weep,
  And when he crouched to pray;
Who watched him lest himself should rob
  Their scaffold of its prey.

The Governor was strong upon
  The Regulations Act:
The Doctor said that Death was but
  A scientific fact:
And twice a day the Chaplain called
  And left a little tract.

And twice a day he smoked his pipe,
  And drank his quart of beer:
His soul was resolute, and held
  No hiding-place for fear;
He often said that he was glad
  The hangman’s hands were near.

But why he said so strange a thing
  No Warder dared to ask:
For he to whom a watcher’s doom
  Is given as his task,
Must set a lock upon his lips,
  And make his face a mask.

Or else he might be moved, and try
  To comfort or console:
And what should Human Pity do
  Pent up in Murderers’ Hole?
What word of grace in such a place
  Could help a brother’s soul?

With slouch and swing around the ring
  We trod the Fool’s Parade!
We did not care: we knew we were
  The Devil’s Own Brigade:
And shaven head and feet of lead
  Make a merry masquerade.

We tore the tarry rope to shreds
  With blunt and bleeding nails;
We rubbed the doors, and scrubbed the floors,
  And cleaned the shining rails:
And, rank by rank, we soaped the plank,
  And clattered with the pails.

We sewed the sacks, we broke the stones,
  We turned the dusty drill:
We banged the tins, and bawled the hymns,
  And sweated on the mill:
But in the heart of every man
  Terror was lying still.

So still it lay that every day
  Crawled like a ****-clogged wave:
And we forgot the bitter lot
  That waits for fool and knave,
Till once, as we tramped in from work,
  We passed an open grave.

With yawning mouth the yellow hole
  Gaped for a living thing;
The very mud cried out for blood
  To the thirsty asphalte ring:
And we knew that ere one dawn grew fair
  Some prisoner had to swing.

Right in we went, with soul intent
  On Death and Dread and Doom:
The hangman, with his little bag,
  Went shuffling through the gloom
And each man trembled as he crept
  Into his numbered tomb.

That night the empty corridors
  Were full of forms of Fear,
And up and down the iron town
  Stole feet we could not hear,
And through the bars that hide the stars
  White faces seemed to peer.

He lay as one who lies and dreams
  In a pleasant meadow-land,
The watcher watched him as he slept,
  And could not understand
How one could sleep so sweet a sleep
  With a hangman close at hand?

But there is no sleep when men must weep
  Who never yet have wept:
So we—the fool, the fraud, the knave—
  That endless vigil kept,
And through each brain on hands of pain
  Another’s terror crept.

Alas! it is a fearful thing
  To feel another’s guilt!
For, right within, the sword of Sin
  Pierced to its poisoned hilt,
And as molten lead were the tears we shed
  For the blood we had not spilt.

The Warders with their shoes of felt
  Crept by each padlocked door,
And peeped and saw, with eyes of awe,
  Grey figures on the floor,
And wondered why men knelt to pray
  Who never prayed before.

All through the night we knelt and prayed,
  Mad mourners of a corpse!
The troubled plumes of midnight were
  The plumes upon a hearse:
And bitter wine upon a sponge
  Was the savior of Remorse.

The **** crew, the red **** crew,
  But never came the day:
And crooked shape of Terror crouched,
  In the corners where we lay:
And each evil sprite that walks by night
  Before us seemed to play.

They glided past, they glided fast,
  Like travelers through a mist:
They mocked the moon in a rigadoon
  Of delicate turn and twist,
And with formal pace and loathsome grace
  The phantoms kept their tryst.

With mop and mow, we saw them go,
  Slim shadows hand in hand:
About, about, in ghostly rout
  They trod a saraband:
And the ****** grotesques made arabesques,
  Like the wind upon the sand!

With the pirouettes of marionettes,
  They tripped on pointed tread:
But with flutes of Fear they filled the ear,
  As their grisly masque they led,
And loud they sang, and long they sang,
  For they sang to wake the dead.

“Oho!” they cried, “The world is wide,
  But fettered limbs go lame!
And once, or twice, to throw the dice
  Is a gentlemanly game,
But he does not win who plays with Sin
  In the secret House of Shame.”

No things of air these antics were
  That frolicked with such glee:
To men whose lives were held in gyves,
  And whose feet might not go free,
Ah! wounds of Christ! they were living things,
  Most terrible to see.

Around, around, they waltzed and wound;
  Some wheeled in smirking pairs:
With the mincing step of demirep
  Some sidled up the stairs:
And with subtle sneer, and fawning leer,
  Each helped us at our prayers.

The morning wind began to moan,
  But still the night went on:
Through its giant loom the web of gloom
  Crept till each thread was spun:
And, as we prayed, we grew afraid
  Of the Justice of the Sun.

The moaning wind went wandering round
  The weeping prison-wall:
Till like a wheel of turning-steel
  We felt the minutes crawl:
O moaning wind! what had we done
  To have such a seneschal?

At last I saw the shadowed bars
  Like a lattice wrought in lead,
Move right across the whitewashed wall
  That faced my three-plank bed,
And I knew that somewhere in the world
  God’s dreadful dawn was red.

At six o’clock we cleaned our cells,
  At seven all was still,
But the sough and swing of a mighty wing
  The prison seemed to fill,
For the Lord of Death with icy breath
  Had entered in to ****.

He did not pass in purple pomp,
  Nor ride a moon-white steed.
Three yards of cord and a sliding board
  Are all the gallows’ need:
So with rope of shame the Herald came
  To do the secret deed.

We were as men who through a fen
  Of filthy darkness *****:
We did not dare to breathe a prayer,
  Or give our anguish scope:
Something was dead in each of us,
  And what was dead was Hope.

For Man’s grim Justice goes its way,
  And will not swerve aside:
It slays the weak, it slays the strong,
  It has a deadly stride:
With iron heel it slays the strong,
  The monstrous parricide!

We waited for the stroke of eight:
  Each tongue was thick with thirst:
For the stroke of eight is the stroke of Fate
  That makes a man accursed,
And Fate will use a running noose
  For the best man and the worst.

We had no other thing to do,
  Save to wait for the sign to come:
So, like things of stone in a valley lone,
  Quiet we sat and dumb:
But each man’s heart beat thick and quick
  Like a madman on a drum!

With sudden shock the prison-clock
  Smote on the shivering air,
And from all the gaol rose up a wail
  Of impotent despair,
Like the sound that frightened marshes hear
  From a ***** in his lair.

And as one sees most fearful things
  In the crystal of a dream,
We saw the greasy hempen rope
  Hooked to the blackened beam,
And heard the prayer the hangman’s snare
  Strangled into a scream.

And all the woe that moved him so
  That he gave that bitter cry,
And the wild regrets, and the ****** sweats,
  None knew so well as I:
For he who lives more lives than one
  More deaths than one must die.


IV

There is no chapel on the day
  On which they hang a man:
The Chaplain’s heart is far too sick,
  Or his face is far too wan,
Or there is that written in his eyes
  Which none should look upon.

So they kept us close till nigh on noon,
  And then they rang the bell,
And the Warders with their jingling keys
  Opened each listening cell,
And down the iron stair we tramped,
  Each from his separate Hell.

Out into God’s sweet air we went,
  But not in wonted way,
For this man’s face was white with fear,
  And that man’s face was grey,
And I never saw sad men who looked
  So wistfully at the day.

I never saw sad men who looked
  With such a wistful eye
Upon that little tent of blue
  We prisoners called the sky,
And at every careless cloud that passed
  In happy freedom by.

But there were those amongst us all
  Who walked with downcast head,
And knew that, had each got his due,
  They should have died instead:
He had but killed a thing that lived
  Whilst they had killed the dead.

For he who sins a second time
  Wakes a dead soul to pain,
And draws it from its spotted shroud,
  And makes it bleed again,
And makes it bleed great gouts of blood
  And makes it bleed in vain!

Like ape or clown, in monstrous garb
  With crooked arrows starred,
Silently we went round and round
  The slippery asphalte yard;
Silently we went round and round,
  And no man spoke a word.

Silently we went round and round,
  And through each hollow mind
The memory of dreadful things
  Rushed like a dreadful wind,
And Horror stalked before each man,
  And terror crept behind.

The Warders strutted up and down,
  And kept their herd of brutes,
Their uniforms were ***** and span,
  And they wore their Sunday suits,
But we knew the work they had been at
  By the quicklime on their boots.

For where a grave had opened wide,
  There was no grave at all:
Only a stretch of mud and sand
  By the hideous prison-wall,
And a little heap of burning lime,
  That the man should have his pall.

For he has a pall, this wretched man,
  Such as few men can claim:
Deep down below a prison-yard,
  Naked for greater shame,
He lies, with fetters on each foot,
  Wrapt in a sheet of flame!

And all the while the burning lime
  Eats flesh and bone away,
It eats the brittle bone by night,
  And the soft flesh by the day,
It eats the flesh and bones by turns,
  But it eats the heart alway.

For three long years they will not sow
  Or root or seedling there:
For three long years the unblessed spot
  Will sterile be and bare,
And look upon the wondering sky
  With unreproachful stare.

They think a murderer’s heart would taint
  Each simple seed they sow.
It is not true! God’s kindly earth
  Is kindlier than men know,
And the red rose would but blow more red,
  The white rose whiter blow.

Out of his mouth a red, red rose!
  Out of his heart a white!
For who can say by what strange way,
  Christ brings his will to light,
Since the barren staff the pilgrim bore
  Bloomed in the great Pope’s sight?

But neither milk-white rose nor red
  May bloom in prison air;
The shard, the pebble, and the flint,
  Are what they give us there:
For flowers have been known to heal
  A common man’s despair.

So never will wine-red rose or white,
  Petal by petal, fall
On that stretch of mud and sand that lies
  By the hideous prison-wall,
To tell the men who ***** the yard
  That God’s Son died for all.

Yet though the hideous prison-wall
  Still hems him round and round,
And a spirit man not walk by night
  That is with fetters bound,
And a spirit may not weep that lies
  In such unholy ground,

He is at peace—this wretched man—
  At peace, or will be soon:
There is no thing to make him mad,
  Nor does Terror walk at noon,
For the lampless Earth in which he lies
  Has neither Sun nor Moon.

They hanged him as a beast is hanged:
  They did not even toll
A reguiem that might have brought
  Rest to his startled soul,
But hurriedly they took him out,
  And hid him in a hole.

They stripped him of his canvas clothes,
  And gave him to the flies;
They mocked the swollen purple throat
  And the stark and staring eyes:
And with laughter loud they heaped the shroud
  In which their convict lies.

The Chaplain would not kneel to pray
  By his dishonored grave:
Nor mark it with that blessed Cross
  That Christ for sinners gave,
Because the man was one of those
  Whom Christ came down to save.

Yet all is well; he has but passed
  To Life’s appointed bourne:
And alien tears will fill for him
  Pity’s long-broken urn,
For his mourner will be outcast men,
  And outcasts always mourn.


V

I know not whether Laws be right,
  Or whether Laws be wrong;
All that we know who lie in gaol
  Is that the wall is strong;
And that each day is like a year,
  A year whose days are long.

But this I know, that every Law
  That men have made for Man,
Since first Man took his brother’s life,
  And the sad world began,
But straws the wheat and saves the chaff
  With a most evil fan.

This too I know—and wise it were
  If each could know the same—
That every prison that men build
  Is built with bricks of shame,
And bound with bars lest Christ should see
  How men their brothers maim.

With bars they blur the gracious moon,
  And blind the goodly sun:
And they do well to hide their Hell,
  For in it things are done
That Son of God nor son of Man
  Ever should look upon!

The vilest deeds like poison weeds
  Bloom well in prison-air:
It is only what is good in Man
  That wastes and withers there:
Pale Anguish keeps the heavy gate,
  And the Warder is Despair

For they starve the little frightened child
  Till it weeps both night and day:
And they scourge the weak, and flog the fool,
  And gibe the old and grey,
And some grow mad, and all grow bad,
And none a word may say.

Each narrow cell in which we dwell
  Is foul and dark latrine,
And the fetid breath of living Death
  Chokes up each grated screen,
And all, but Lust, is turned to dust
  In Humanity’s machine.

The brackish water that we drink
  Creeps with a loathsome slime,
And the bitter bread they weigh in scales
  Is full of chalk and lime,
And Sleep will not lie down, but walks
  Wild-eyed and cries to Time.

But though lean Hunger and green Thirst
  Like asp with adder fight,
We have little care of prison fare,
  For what chills and kills outright
Is that every stone one lifts by day
  Becomes one’s heart by night.

With midnight always in one’s heart,
  And twilight in one’s cell,
We turn the crank, or tear the rope,
  Each in his separate Hell,
And the silence is more awful far
  Than the sound of a brazen bell.

And never a human voice comes near
  To speak a gentle word:
And the eye that watches through the door
  Is pitiless and hard:
And by all forgot, we rot and rot,
  With soul and body marred.

And thus we rust Life’s iron chain
  Degraded and alone:
And some men curse, and some men weep,
  And some men make no moan:
But God’s eternal Laws are kind
  And break the heart of stone.

And every human heart that breaks,
  In prison-cell or yard,
Is as that broken box that gave
  Its treasure to the Lord,
And filled the unclean *****’s house
  With the scent of costliest nard.

Ah! happy day they whose hearts can break
  And peace of pardon win!
How else may man make straight his plan
  And cleanse his soul from Sin?
How else but through a broken heart
  May Lord Christ enter in?

And he of the swollen purple throat.
  And the stark and staring eyes,
Waits for the holy hands that took
  The Thief to Paradise;
And a broken and a contrite heart
  The Lord will not despise.

The man in red who reads the Law
  Gave him three weeks of life,
Three little weeks in which to heal
  His soul of his soul’s strife,
And cleanse from every blot of blood
  The hand that held the knife.

And with tears of blood he cleansed the hand,
  The hand that held the steel:
For only blood can wipe out blood,
  And only tears can heal:
And the crimson stain that was of Cain
  Became Christ’s snow-white seal.


VI

In Reading gaol by Reading town
  There is a pit of shame,
And in it lies a wretched man
  Eaten by teeth of flame,
In burning winding-sheet he lies,
  And his grave has got no name.

And there, till Christ call forth the dead,
  In silence let him lie:
No need to waste the foolish tear,
  Or heave the windy sigh:
The man had killed the thing he loved,
  And so he had to die.

And all men **** the thing they love,
  By all let this be heard,
Some do it with a bitter look,
  Some with a flattering word,
The coward does it with a kiss,
  The brave man with a sword!

Drawn by the power of greed and lust
I dawned unto a me I could not recognize
the earth grew so did my hunger
I became insatiable
when my end came I ran and ran
hear this ballad of a broken man

now I had everything I wished for
but satisfaction still eluded me
the beast inside me wanted more
became a slave of my own desires
when my end came I ran and ran
hear this ballad of a broken man

now death moons over me as I rest
but satisfaction still eluded me
and a wise man spoke
"son you've wasted your life
and your soul died of thirst
while you tended to your greed
your soul forgot to breathe"
and now his end had come
and no more he ran
this was the ballad of a broken man

Original French

Dictes moy ou, n'en quel pays,
Est Flora la belle Rommaine,
Archipiades ne Thaïs,
Qui fut sa cousine germaine,
Echo parlant quant bruyt on maine
Dessus riviere ou sus estan,
Qui beaulté ot trop plus q'humaine.
Mais ou sont les neiges d'antan?

Ou est la tres sage Helloïs,
Pour qui chastré fut et puis moyne
Pierre Esbaillart a Saint Denis?
Pour son amour ot ceste essoyne.
Semblablement, ou est la royne
Qui commanda que Buridan
Fust geté en ung sac en Saine?
Mais ou sont les neiges d'antan?

La royne Blanche comme lis
Qui chantoit a voix de seraine,
Berte au grand pié, Beatris, Alis,
Haremburgis qui tint le Maine,
Et Jehanne la bonne Lorraine
Qu'Englois brulerent a Rouan;
Ou sont ilz, ou, Vierge souvraine?
Mais ou sont les neiges d'antan?

Prince, n'enquerez de sepmaine
Ou elles sont, ne de cest an,
Qu'a ce reffrain ne vous remaine:
Mais ou sont les neiges d'antan?


English Translation

Ballad Of The Ladies Of Yore

Tell me where, in what country,
Is Flora the beautiful Roman,
Archipiada or Thais
Who was first cousin to her once,
Echo who speaks when there's a sound
On a pond or a river
Whose beauty was more than human?
But where are the snows of yesteryear?
Where is the leamed Heloise
For whom they castrated Pierre Abelard
And made him a monk at Saint-Denis,
For his love he took this pain,
Likewise where is the queen
Who commanded that Buridan
Be thrown in a sack into the Seine?
But where are the snows of yesteryear?

The queen white as a lily
Who sang with a siren's voice,
Big-footed Bertha, Beatrice, Alice,
Haremburgis who held Maine
And Jeanne the good maid of Lorraine
Whom the English bumt at Rouen, where,
Where are they, sovereign ******?
But where are the snows of yesteryear?

Prince, don't ask me in a week
or in a year what place they are;
I can only give you this refrain:
Where are the snows of yesteryear?

Behold a glance at mother earth, you’re a witness to her fall.
A tortuous act of uncertainty a rage against all those who step
Upon her slovenly ground. A lash of ardent air that’s tears
Her golden limbs down.

As soda pop bottles reel through her grass
As a fawn come to inspect its newest injury
The top do the bottle rolls onto the damp ground
For she has been crying, a blustery song.

Her waterfall carries a small tangled duckling
Wrapped in an armor of fisherman’s wire.
She weeps some more wishing to stop the river.
As children stamp on the pedals of her waters reeds.

A cloud of beastly darkness overlooks a city
And her children cough to keep safe
From this monstrous beast.
She tries to cover their ears with a howl cry
To tell them to stop, or else she will die.

One petal stands on a daisy’s bud,
Her last child picks it away…let it float
Through the air to mothers hand…a reminder of home
When sons and daughters cared.

Here is the ballad of Web MD,
Self-diagnosing terminal maladies,
My fatal afflictions linger on,
I'm buying more medical texts from Fishpond.

Let's do our own diagnosis,
Teach yourself self-hypnosis,
My fatal afflictions linger on,
I'm buying more medical texts from Fishpond.

Let's sing our ballad of  MD,
Sure we've got terminal maladies,
My fatal afflictions linger on,
I'm buying more medical texts from Fishpond.

That was the ballad of Web MD,
What are today's self-diagnosis,
My fatal afflictions linger on,
I'm buying more medical texts from Fishpond.

yestereve we succame
A lengthy ballad of longing
formerly one of obstinance
flared in a cacophony of passion

Whilst usually twirling in a seemly epitome fashion,
yestereve a caprice thought laid heavy on hearts
as there was no doubt of desire
nor were there objections to her
for even when my affections consumed you
lady desire was just an inexorable

yestereve she picked petals from a Sinensis blossom
there went the pain
any semblance of grudge
along with sanity
reason
and lastly, walls as carefully constructed as that of Pyramus and Thisbe's
such vulnerability unmatched
for your sweet scent lulled me from the arms of reason
for reason, although safe,
is the most intricate and fragile part of the ballad
and the first to fall victim to the cascade

What a fool I must be to have gladly forgotten the kinks of your hands
or the freckles on the back of your neck that form a perfect triad.
The way your upper lip curls when you grin
made my glissade blissful and passionate
Your flustered twirl
the very epitome of aubade

Ignorant of the harsh retombe of reality
Your flustered face En L'air
Every touch a pleasant surprise that formed a grand symphony

A moment of unfiltered emotion
A heavenly ballad
so cruelly of yestereve.

This is a fictional account, but based
On truth for many women. I was,
Myself, abused by an ex-boyfriend.

---

Here's the ballad of Hammer Hand,
I'm here to spread it 'cross the land.
He loved to hit, as you can see.
What he hit was mainly me.
He was a brawler in the day,
But I left him where he lay.

This is for you gals out there
Who are hopeless, in despair,
Who are battered, made to kneel,
I do this so we both can heal.

I was kicked upside the head,
But now ol' Hammer Hand is dead.

~~CHORUS~~
Hammer Hand, oh Hammer Hand,
Did beating me make you a man?
I have suffered your attack,
You have made me blue on black,
Your heart was black, my soul was blue,
Your soul was false, my heart was true.

~~~~~~

Hammer Hand was tall and lean,
He was big, and ha was mean,
He would snack and he would punch,
Then he would demand his lunch.
He used to hit me when he drank,
His breath was fetid, his body rank,
Whenever help I'd try to seek.
He would hit me into next week.

~~~~~~

Hammer Hand is dead today
And this is what I have to say,
I told him when he broke my teeth,
He would pay and come to grief!
Satan himself will take you down,
And you'll be six feet underground.

~~ CHORUS ~~

I'm a woman so you're bold,
But Hammer Hand, you're getting old,
Hammer Hand you've had your fun,
But don't forget I have a SON.
You can make me black and blue,
But don't you go and  hit him, too!
Don't make him hate you, make him mean,
Soon he will be seventeen.

You said a thing which I believe,
You said you'd **** me if I leave.
But me 'n Jamie gonna pack,
We're gonna leave and not come back.
When I die, at least I know,
Where I'm bound, which way I'll go!
Down inside you know as well,
You are goin' straight to hell.

Hammer Hand, O Hammer Hand,
Now we've left, are you so grand?
You won't hurt us anymore,
'Cause you're dead upon the floor.
I don't think that you'll survive,
Shot with your own 45,

It wasn't me, I'm not that brave...

T'was Jamie put you in the grave.

At sixteen he was pale and shy

But he put a slug between your eyes.

You made him beg. You made him bow.

Well. I hope you're happy now.


SoulSurvivor
Catherine Jarvis
(C) June 11, 2011

I met him on the Amtrak line to Central Jersey. His name was Walker, and his surname Norris. I thought there was a certain charm to that. He was a Texas man, and he fell right into my image of what a Texas man should look like. Walker was tall, about 6’4”, with wide shoulders and blue eyes. He had semi-long hair, tied into a weak ponytail that hung down from the wide brim hat he wore on his head. As for the hat, you could tell it had seen better days, and the brim was starting to droop slightly from excessive wear. Walker had on a childish smile that he seemed to wear perpetually, as if he were entirely unmoved by the negative experiences of his own life. I have often thought back to this smile, and wondered if I would trade places with him, knowing that I could be so unaffected by my suffering. I always end up choosing despair, though, because I am a writer, and so despair to me is but a reservoir of creativity. Still, there is a certain romance to the way Walker braved the world’s slings and arrows, almost oblivious to the cruel intentions with which they were sent at him.
“I never think people are out to get me.” I remember him saying, in the thick, rich, southern drawl with which he spoke, “Some people just get confused sometimes. Ma’ momma always used to tell me, ‘There ain’t nothing wrong with trustin’ everyone, but soon as you don’t trust someone trustworthy, then you’ve got another problem on your hands.’”—He was full of little gems like that.
As it turns out, Walker had traveled all the way from his hometown in Texas, in pursuit of his runaway girlfriend, who in a fit of frenzy, had run off with his car…and his heart. The town that he lived in was a small rinky-**** miner’s village that had been abandoned for years and had recently begun to repopulate. It had no train station and no bus stop, and so when Walker’s girlfriend decided to leave with his car, he was left struggling for transportation. This did not phase Walker however, who set out to look for his runaway lover in the only place he thought she might go to—her mother’s house.
So Walker started walking, and with only a few prized possessions, he set out for the East Coast, where he knew his girlfriend’s family lived. On his back, Walker carried a canvas bag with a few clothes, some soap, water and his knife in it. In his pocket, he carried $300, or everything he had that Lisa (his girlfriend) hadn’t stolen. The first leg of Walker’s odyssey he described as “the easy part.” He set out on U.S. 87, the highway closest to his village, and started walking, looking for a ride. He walked about 40 or 50 miles south, without crossing a single car, and stopping only once to get some water. It was hot and dry, and the Texas sun beat down on Walker’s pale white skin, but he kept walking, without once complaining. After hours of trekking on U.S. 87, Walker reached the passage to Interstate 20, where he was picked up by a man in a rust-red pickup truck. The man was headed towards Dallas, and agreed o take Walker that far, an offer that Walker graciously accepted.
“We rode for **** near five and a half hours on the highway to Dallas,” Walker would later tell me. “We didn’t stop for food, or drink or nuthin’. At one point the driver had to stop for a pisscall, that is, to use the bathroom, or at least that’s why I reckon we stopped; he didn’t speak but maybe three words the whole ride. He just stopped at this roadside gas station, went in for a few minutes and then back into the car and back on the road we went again. Real funny character the driver was, big bearded fellow with a mean look on his brow, but I never would have made it to Dallas if not for him, so I guess he can’t have been all that mean, huh?”
Walker finally arrived in Dallas as the nighttime reached the peak of its darkness. The driver of the pickup truck dropped him off without a word, at a corner bus stop in the middle of the city. Walker had no place to stay, nobody to call, and worst of all, no idea where he was at all. He walked from the corner bus stop to a run-down inn on the side of the road, and got himself a room for the night for $5. The beds were hard and the sheets were *****, and the room itself had no bathroom, but it served its purpose and it kept Walker out of the streets for the night.
The next morning, Texas Walker Norris woke up to a growl. It was his stomach, and suddenly, Walker remembered that he hadn’t eaten in almost two days. He checked out of the inn he had slept in, and stepped into the streets of Dallas, wearing the same clothes as he wore the day before, and carrying the same canvas bag with the soap and the knife in it. After about an hour or so of walking around the city, Walker came up to a small ***** restaurant that served food within his price range. He ordered Chicken Fried Steak with a side of home fries, and devoured them in seconds flat. After that, Walker took a stroll around the city, so as to take in the sights before he left. Eventually, he found his way to the city bus station, where he boarded a Greyhound bus to Tallahassee. It took him 26 hours to get there, and at the end of everything he vowed to never take a bus like that again.
“See I’m from Texas, and in Texas, everything is real big and free and stuff. So I ain’t used to being cooped up in nothin’ for a stended period of time. I tell you, I came off that bus shaking, sweating, you name it. The poor woman sitting next to me thought I was gunna have a heart attack.” Walker laughed.
When Walker laughed, you understood why Texans are so proud of where they live. His was a low, rumbling bellow that built up into a thunderous, booming laugh, finally fizzling into the raspy chuckle of a man who had spent his whole life smoking, yet in perfect health. When Walker laughed, you felt something inside you shake and vibrate, both in fear and utter admiration of the giant Texan man in front of you. If men were measured by their laughs, Walker would certainly be hailed as king amongst men; but he wasn’t. No, he was just another man, a lowly man with a perpetual childish grin, despite the godliness of his bellowing laughter.
“When I finally got to Tallahassee I didn’t know what to do. I sure as hell didn’t have my wits about me, so I just stumbled all around the city like a chick without its head on. I swear, people must a thought I was a madman with the way I was walkin’, all wide-eyed and frazzled and stuff. One guy even tried to mug me, ‘till he saw I didn’t have no money on me. Well that and I got my knife out of my bag right on time.” Another laugh. “You know I knew one thing though, which was I needed to find a place to stay the night.”
So Walker found himself a little pub in Tallahassee, where he ordered one beer and a shot of tequila. To go with that, he got himself a burger, which he remembered as being one of the better burgers he’d ever had. Of course, this could have just been due to the fact that he hadn’t eaten a real meal in so long. At some point during this meal, Walker turned to the bartender, an Irish man with short red hair and muttonchops, and asked him if he knew where someone could find a place to spend the night in town.
“Well there are a few hotels in the downtown area but ah wouldn’t recommend stayin’ in them. That is unless ye got enough money to jus’ throw away like that, which ah know ye don’t because ah jus’ saw ye take yer money out to pay for the burger. That an’ the beer an’ shot. Anyway, ye could always stay in one of the cheap motels or inns in Tallahassee. That’ll only cost ye a few dollars for the night, but ye might end up with bug bites or worse. Frankly, I don’t see many an option for ye, less you wanna stay here for the night, which’ll only cost ye’, oh, about nine-dollars-whattaya-say?”
Walker was stunned by the quickness of the Irishman’s speech. He had never heard such a quick tongue in Texas, and everyone knew Texas was auction-ville. He didn’t know whether to trust the Irishman or not, but he didn’t have the energy or patience to do otherwise, and so Walker Norris paid nine dollars to spend the night in the back room of a Tallahassee pub.
As it turns out, the Irishman’s name was Jeremy O’Neill, and he had just come to America about a year and a half ago. He had left his hometown in Dublin, where he owned a bar very similar to the one he owned now, in search of a girl he had met that said she lived in Florida. As it turns out, Florida was a great deal larger than Jeremy had expected, and so he spent the better part of that first year working odd jobs and drinking his pay away. He had worked in over 25 different cities in Florida, and on well over 55 different jobs, before giving up his search and moving to Tallahassee. Jeremy wrote home to his brother, who had been manning his bar in Dublin the whole time Jeremy was away, and asked for some money to help start himself off. His brother sent him the money, and after working a while longer as a painter for a local construction company, he raised enough money to buy a small run down bar in central Tallahassee, the bar he now ran and operated. Unfortunately, the purchase had left him in terrible debt, and so Jeremy had set up a bed in the back room, where he often housed overly drunk customers for a price. This way, he could make back the money to pay for the rest of the bar.
Walker sympathized with the Irishman’s story. In Jeremy, he saw a bit of himself; the tired, broken traveler, in search of a runaway love. Jeremy’s story depressed Walker though, who was truly convinced his own would end differently. He knew, he felt, that he would find Lisa in the end.
Walker hardly slept that night, despite having paid nine dollars for a comfortable bed. Instead, he got drunk with Jeremy, as the two of them downed a bottle of whisky together, while sitting on the floor of the pub, talking. They talked about love, and life, and the existence of God. They discussed their childhoods and their respective journeys away from their homes. They laughed as they spoke of the women they loved and they cried as they listened to each other’s stories. By the time Walker had sobered up, it was already morning, and time for a brand new start. Jeremy gave Walker a free bottle of whiskey, which after serious protest, Walker put in his bag, next to his knife and the soap. In exchange, Walker tried to give Jeremy some money, but Jeremy stubbornly refused, like any Irishman would, instead telling Walker to go **** himself, and to send him a postcard when he got to New York. Walker thanked Jeremy for his hospitality, and left the bar, wishing deeply that he had slept, but not regretting a minute of the night.
Little time was spent in Tallahassee that day. As soon as Walker got out on the streets, he asked around to find out where the closest highway was. A kind old woman with a cane and bonnet told him where to go, and Walker made it out to the city limits in no time. He didn’t even stop to look around a single time.
Once at the city limits, Walker went into a small roadside gas station, where he had a microwavable burrito and a large 50-cent slushy for breakfast. He stocked up on chips and peanuts, knowing full well that this may have been his last meal that day, and set out once again, after filling up his water supply. Walker had no idea where to go from Tallahassee, but he knew that if he wanted to reach his girlfriend’s mother’s house, he had to go north. So Walker started walking north, on a road the gas station attendant called FL-61, or Thomasville Road. He walked for something like seven or eight miles, before a group of college kids driving a camper pulled up next to him. They were students at the University of Georgia and were heading back to Athens from a road trip they had taken to New Orleans. The students offered to take Walker that far, and Walker, knowing only that this took him north, agreed.
The students drove a large camper with a mini-bar built into it, which they had made themselves, and stacked with beer and water. They had been down in New Orleans for the Mardi Gras season, and were now returning, thought the party had hardly stopped for them. As they told Walker, they picked a new designated driver every day, and he was appointed the job of driving until he got bored, while all the others downed their beers in the back of the camper. Because their system relied on the driver’s patience, they had almost doubled the time they should have made on their trip, often stopping at roadside motels so that the driver could get his drink on too. These were their “pit-stops”, where they often made the decision to either eat or court some of the local girls drunkenly.
This leg of the trip Walker seemed to glaze over quickly. He didn’t talk much about the ride, the conversation, or the people, but from what I gathered, from his smile and the way his eyes wandered, I could tell it was a fun one. Basically, the college kids, of which I figure there were about five or six, got Walker drunk and drove him all the way to Athens, Georgia, where they took him to their campus and introduced him to all of their friends. The leader of the group, a tall, athletic boy with long brown hair and dimples, let him sleep in his dorm for the night, and set him up with a ride to the train station the next morning. There, Walker bought himself a ticket to Atlanta, and said his goodbyes. Apparently, the whole group of students followed him to the station, where they gave him some food and said goodbye to him. One student gave Walker his parent’s number, telling him to call them when he got to Atlanta, if he needed a place to sleep. Then, from one minute to the next, Walker was on the train and gone.
When Walker got to Atlanta, he did not call his friend’s family right away. Instead, he went to the first place he saw with food, which happened to be a small, rundown place that sold corndogs and coke for a dollar per item. Walker bought himself three corndogs and a coke, and strolled over to a nearby park, where, he sat down on a bench and ate. As Walker sat, dipping his corndogs into a paper plate covered in ketchup, an old woman took the seat directly next to him, and started writing in a paper notepad. He looked over at her, and tried to see what she was writing, but she covered up her pad and his efforts were wasted. Still, Walker kept trying, and eventually the woman got annoyed and mentioned it.
“Sir, I don’t mind if you are curious, but it is terribly, terribly rude to read over another person’s shoulder as they write.” The woman’s voice was rough and beautiful, changed by time, but bettered, like fine wine.
“I’m sorry ma’am, it’s just that I’ve been on the road for a while now, and I reckon I haven’t really read anything in, ****, probably longer than that. See I’m lookin’ to find my girlfriend up north, on account of she took my car and ran away from home and all.”
“Well that is certainly a shame, but I don’t see why that should rid you of your manners.” The woman scolded Walker.
“Yes ma’am, I’m sorry. What I meant to convey was that, I mean, I kind of just forgot I guess. I haven’t had too much time to exercise my manners and all, but I know my mother would have educated me better, so I apologize but I just wanted to read something, because I think that’s something important, you know? I’ll stop though, because I don’t want to annoy you, so sorry.”
The woman seemed amused by Walker, much as a parent finds amusement in the cuteness of another’s children. His childish, simple smile bore through her like a sword, and suddenly, her own smile softened, and she opened up to him.
“Oh, don’t be silly. All you had to do was ask, and not be so unnervingly discreet about it.” She replied, as she handed her pad over to Walker, so that he could read it. “I’m a poet, see, or rather, I like to write poetry, on my own time. It relaxes me, and makes me feel good about myself. Take a look.”
Walker took the pad from the woman’s hands. They were pale and wrinkly, but were held steady as a rock, almost as if the age displayed had not affected them at all. He opened the pad to a random page, and started reading one of the woman’s poems. I asked Walker to recite it for me, but he said he couldn’t remember it. He did, however, say that it was one of the most beautiful things he had ever read, a lyrical, flowing, ode to t

let me tell you my friend
about whiskey and ****
a demonic combo
that can lead you to death

whiskey and ****
make you think you are strong
make you feel invincible
you can do no wrong

whiskey and ****
forget all the rules
they were made for weaklings
cowards and fools

whiskey and ****
make night into day
until one is the other
and you lose your way

whiskey and ****
make you anxious for strife
you load your pistols
you sharpen your knife

Whiskey and ****
they cost me my wife
they cost me my children
they cost me a life

whiskey and ****
attract the law
and into it's clutches
you will certainly fall

so that's my story
of whiskey and ****
leave them alone
or prepare for death

The Ballad Of Jack Hammer (Concept by Jay Byrne)
=========================
Jack Hammer-Jay Byrne Black Fang Rob Sandman aka Schizophrenic.

Listen up I got a tale to tell.
About a black jack rabbit known for raisin' hell.
Jack Hammer's his name. Retribution the game.
Out on the plain with his kinfolk he did dwell.
Til that fateful day. No forgettin it.
Loss so painful. Jack was but a leveret.
While playin' out back.
Along the track came Black Fang and the Red River Pack.
And they were lookin, for blood.
Notorious outlaws up to no good.
In the low sun and The Pack started gunnin'.
So Jack started runnin'. The damage was done and it was over.
No time for goodbye. He just stood there.
Lookin' the Devil in the eye.
While his Momma bled.
The wolf walked up and this is what he said.

Are you sore that the Fang took away your Paw?
and the River Run's red with the blood o' your Maw?,
well hop away little blackjack eyes red raw,
-tell the rest o' the prairie what you done saw,
Red River is the Pack,I'm the one with the crown,
I'm the big bad wolf who blew your whole life down!
so cower and quiver little wabbit,have a cry...
you little ******* you took my **** eye!

From out me back pocket, pulled out me slingshot..
..I'm a real crack-shot when it comes to bringin' pain across lots.
Ya never saw it quicker.
Lickety-split I skedaddle into the thicket.
Then he was gone...

Spent the next few years wanderin'. Ponderin' recompense.
Lived paw to mouth honing his defense..
..and offense. Hell bent on atonement.
Twin six-guns blazin', layin' judgement.
While The Pack kept killin'.
Full split, full chisel, goin' the big figure.
Black Fang said it himself.

none bigger none badder than the Pack I'm with,
spit venom that hisses,hogleg never misses,
no-one messes with the red river,do and you die,
cry wolf-get engulfed,leave your colt lie,
whole pack'll rip lead to your head if you try,
but-one thing niggles while I sup down Rye
is to **** that rabbit that took my **** eye,
heard he built some fame,got himself a name,
Jackhammer IS MINE I STAKED MY CLAIM .


Like a freight train runnin' on collision course.
Jacks fate's been comin' like an iron horse.
Tour de force, pent up, fired up ready to blow.
On a stormy night into town he did stroll.


Jack walked into the saloon.
Black as all hell, no light from the moon.
Fang at a table playin' poker.
Soon to be Dead Mans Hand for that joker.
The pack'll pay.
I'll put the red in your river bringin' Judgement Day.
Stormbringer I'll deliver. Got an itchy trigger-finger..
..cos I'm quicker and fitter. Juiced up, not goosed up on hard liquor.
Then he catches me eye.
Takes a sip of his rye and says..

if it ain't the **** nipper that took the fang's eye,
waited all these years to come here and die,
no odds no winnin' no end to my sinnin' ,
Pack back up,fair game fangs winnin
last chance saloon,I'm too old for you,
ain't no-one ever outdrew me and old blue,
Navy Colt revolver,dead problem solver
so 'ware this wolf,you couldn't **** with silver

Black Fang, I've come to collect.
Anybody that don't wanna die better mosey outback.
But the pack can stay.
For what ya done did you're dyin' this day.

as I opened my mouth and slid my paw to old blue,
twas like the heavens opened up on my whole **** crew,
twin revolvers spitting,splittin' open my pack,
last shot ripped ripper my lieutenant in the back
cause I dragged him over me,hit the deck too,
little rabbit thinks its,over cause I  was hit too,
then I let rip,aiming straight for the head,
coulda sworn that shot left Jackhammer dead ... (but did it?)

I hear stories of an ancient land so pure.
I see photographs of bluer than blue skies
over a lake of molten gold.

I drink kahwa flavoured with almond and saffron
and add honey, sweetened by bees from the valley,
my hips swaying in a crewel work on wool skirt.

I hear songs of freedom, I know people who fled.
The muezzin prays for peace over bloodstains and tears
while children still play under walnut trees.

Clouds gather to pray at Shankaracharya Temple
on a mountain dipping its toes into water
while empty shikaras speak of visiting ghosts.

Mothers whose eyes never tire, looking over the sunset
for long lost sons; wives who still lay out their husband’s
slippers on a carpet with frayed edges.

Postmen deliver letters to addresses long abandoned;
a generation of elders, eyes of agate, gnarled fingers, brew tea
surrounded by memories of children killed, daughters *****.

I write for all people who live in war.
I write for the age of innocence to return.
I write for soft rain to wash away sin.

I write for the return to reason.
I write for peace to flutter gently through groves
of apricot, almond, apple and walnut.

Feel the pain. Hear the refrain. Smell the emptiness.
This is now. This is now. This is not in the pages
of a fading history text. This is now. This is now.

<Loud as you can say it>
I am Outlaw!
         -call me Pirate!
I live such freedom,
         all souls admire it!
The awful God,
        has judged my soul,
Weighs his measure,
          I'll pay my toll!

<In a high-pitched voice>
The sailor's way,
        path unknown,
Stars are clouded,
        nothing shown?
The sea's are high,
        a storm is here,
Davey Jones' Locker,
        my home is near.

<Loud again, yell it>
There is no heaven,
        there is no hell,
Life on seas,
        the seas they swell,
Fish scales on arms,
         scales on my legs,
Heart born free,
         dread-locked and dregs!

I am Outlaw!
          -call me Pirate!
Lost lives redeemed,
          some should admire it,
The ship upended,
          all hands to drown,
In Davey Jones' Locker,
          a peaceful sound...

<In a high-pitched voice>
The sailor's way,
        path unknown,
Stars are clouded,
        nothing shown?
My time has ended,
        fate is near,
Davey Jones' Locker,
        my death is here.

<Loud again, yell it>
I am Outlaw!
         -call me Pirate!
A man of valor,
          some do admire it.

I am Outlaw!
          -call me Pirate!
A dreadful life,
           though some desire it.

I am Outlaw!
          -call me Pirate!
To Davey Jones' Locker,
          my deeds require it.

I am Outlaw!
          -call me Pirate!

I AM OUTLAW!
          -CALL ME PIRATE!

I am Outlaw!!
          -call me Pirate!
My life on the ocean,
          my God inside it.

With the wind under my wings I soar
I see the west Canadian shore
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
Nuu-chan-nulth – A caring and nurturing people are thee
Small families among the mountains, rivers, and sea
Vancouver Island’s west coast is where you reside
Awaiting your canoes on evenings incoming tide

Your men are fishing in the ocean’s secret places
Worry and hope etched in their weathered faces
Each man knowing the days hunting success must provide
For many wives, children, and elders the spoils they must divide

Your rhythm and harmony with the ocean is strong
Whale hunts and oceans spirits intertwined through your song
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
I hear the east call, and open my wings to take flight
The distant drum’s heartbeat calls from the suns rising light
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
Coast Salish – You know how the sea dances and quivers
As you watch the expanse from your inlets, and rivers
Vigilance is needed in case a Storm approaches
To mount a defence if an enemy encroaches.

Your wise headmen lead with such divine humility
Your family life embodies true equality
Your features are defined by a broad face and flat brow
Your girls with plucked brows, braided hair prepare for their vow

You seasonally harvest your rivers resources
Spawning Eulachon and sturgeon complete their courses
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
As I leave your forests of tall cedars and aged fir
The drumming beckons me up the wild Fraser River
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war


Okanagan – You survive in the Valley and slopes
In a legend of a coyote you set your hopes
He educated you how to live off the hard land
Your very own lives you bestowed in his paw like hand

Your offspring, your joy, your future you know must be taught
So at an early age, to the elders they were brought
Your youths are handpicked and taught the roll they shall assume
If a warrior shall fall another shall resume

Your seasonal harvest of forest meadows and marsh
Will insure you survival when the winters are harsh
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
With the updrafts I glide over the dry desert plains
I hear the drum call from a land where it hardly rains
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
Secwépemc – your men come out through the eastern sunrise’s door
Your women’s entrance faces the stream to ease her chore
In seasonal cozy houses built into the ground
In a secret place your spoils and possessions are found

Your request for spawning salmon grows louder each day
The messenger crickets announce salmons on their way
You hunt with arrows and spears you crafted from strong stone
Needles and jewelry you made from animal bone

You patiently, wait in the winter’s silent brisk eve  
For the deer’s stealthy approach from the snow covered trees  
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
The drum it beckons from the land of river crossroads
The land where men come to bring and trade their canoes loads
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war


Dakelh – You are the people who learned how to barter
You are known as the people who travel on water
With gathered roots you weave fish weirs in the evening air
And you set your high hopes in the chanted salmon prayer

Your children learn from the oral traditions you tell
Chinlac massacres, caves where dwarves shooting arrows dwell
Your widows carry ashes of the husband they held dear
Their Mourning and sadness that will last over a year

The respect for the land for everything you have gain
Though much, and bountiful your harvest some shall remain
The drum it echoes, echoes, echoess, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
A plume of smoke and drum beat come from the distant Northwest
Echoing from the place where the Skeena River rests
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war

Gitxsan –Your Home is surrounded by snow tipped glaciers
Forests of spruce, hemlock, cedars, and subalpine firs
Your chieftain name and duties you hold for a short time
Other Wilp members are only ‘children’ in their prime

Like the rivers your families closely intertwine
Each account told is a lesson that is sublime
Each Wilp has your story told by a tall totem pole
Your History affects and moves you deep in your soul

Deer, Moose, and small mammal in the wild woodlands you stalk
You pursue the Mountain goat through rugged peaks of rock
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
The drums incessantly pounds as I take to the sky
Urgently calling from remote islands of Haida Gwaii
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war

Haida - You live in the pacific northern islands
Your fam’lies Belong to the eagle or raven clans
You watch the tide rise and fall over the rocks and sand
Great mighty sculptures you have created with your hand

With strong healthy cedar trees you made your long dwellings
The entrance way totem your history is telling
Your warrior canoes glide through the rolling waves
Through victories and battles you have prisoner slaves


The sound of the drum beat is mixed in saltwater spray
To Vancouver Island’s west shore I must fine my way
The drum it echo, echo, echo’s, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
As I leave your vast, and memorable territory
In the soft twilight air I watch the sunset’s glory
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war

Kwakwakawakw- So proud you are of your mother tongue
Born in this beautiful land your ancestors came from
Noblemen, Aristocrats, commoners and your slaves
Your narrative exists among your forefathers graves

Your canoes bow is carved into animal features
The whale, otter, salmon and other sea creatures
You hunt with such heroic assurance all year round
In the shapes of well carved masks their likeness will abound

Your long homes are protected by the oceans embrace
First nations, my people, you are a amazing race
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
I leave your land of legends in a misty gray veil
And on the horizons comes change’s white sail
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
The Europeans came into your isolated lands
Dividing your people into tribes, reserves, and bands
Before their arrival you lived mighty, strong, and free
Now your children fight to reclaim their identity

The drum will echo, echo, echo through time’s core
It will whisper a rhythm of time, change, and war
The drum will echo, echo, echo through your core
It will whisper a rhythm of time, change, and war

Meeting in the canteen at lunchtime
Laughing at our immature jokes
The girls in room five
They know how to jive
You know they were the most unusual folks

Lord you know we were lucky
You know blessed we were
The way we were happy
Oh sweetest Lucia

Went to college in different cities
Mind disorders ate me alive
Lucy P called to say
I hope you're okay
You look like you forgot how to jive

Lord you know we were lucky
You know blessed we were
The way we were happy
Oh sweetest Lucia

Got the train to Kent to see Lucy
Lady enrolled in the arts
If we weren't friends
I'd go round the bend
Jealous of her marvellous smarts

Lord you know we are lucky
You know blessed we are
The way we are happy
Oh sweetest Lucia

Grown up now we rare see each other
Buried in our separate lives
But when we meet up
We swig from the cup
Yeah soon we remember to jive

Lord you know we are lucky
You know how blessed we are
The way we are happy
Oh sweetest Lucia

When we are old we'll be married
Maybe having tea in the day
Those girls from room five
Who knew how to jive
Yeah I think they really turned out okay

Lord you know we are lucky
You know how blessed we are
The way we are happy
Oh sweetest Lucia

I am slowly learning to disregard the insatiable desire to be special. I think it began, the soft piano ballad of epiphanic freedom that danced in my head, when you mentioned that “Van Gogh was her thing” while I stood there in my overall dress, admiring his sunflowers at the art museum. And then again on South Street, while we thumbed through old records and I picked up Morrissey and you mentioned her name like it was stuck in your teeth. Each time, I felt a paintbrush on my cheeks, covering my skin in grey and fading me into a quiet, concealed background that hummed “everything you’ve ever loved has been loved before, and everything you are has already been,” on an endless loop. It echoed in your wrists that I stared at, walking (home) in the middle of the street, and I felt like a ghost moving forward in an eternal line, waiting to haunt anyone who thought I was worth it. But no one keeps my name folded in their wallet. Only girls who are able to carve their names into paintings and vinyl live in pockets and dust bunnies and bathroom mirrors. And so be it, that I am grey and humming in the background. I am forgotten Sundays and chipped fingernail polish and borrowed sheets. I’m the song you’ll get stuck in your head, but it will remind you of someone else. I am 2 in the afternoon, I am the last day of winter, I am a face on the sidewalk that won’t show up in your dreams. And I am everywhere, and I am nothing at all.

Upon this wizened, ancient lyre
I'll sing the ballad of the Roses, till I tire
Each one of them a blessing true
Working diligently for the life of every one of you
A true Rose is a beating heart
In which lust for justice bubbles, brews

In Parliament, they call them Labour
But a Rose is anybody whose heart harbours
A love of life and all it's creatures
Considering the workers to be teachers
Imparting the wisdom of their experience
Marx, the most exquisite of their preachers

His words shine bright and cast a light
Upon the path of destiny, he predicts workers delight
But not before the struggle, toil
The quest for righteousness embroils
All human hearts in earnest endeavour
Across the worlds sands and soils

O rustic Roses, I worship and adore you
If you have time, allow me to implore you
To see yourselves the way I see
Creatures of brilliance and majesty
Who devote themselves to the truest fight
For workers wage and workers right
Long may your light shine at me

It's Friday evening from life's cares we'll have a brief leave taking
And lets go to the Basy Pub for hour of merry making
In confines of the Settlers Bar the voice of mirth is ringing
And Pete Atkinson from Dublin Town an Irish song is singing.

The Mckelvey men father and son are talking of horse racing
They know the horses inside out from form and race card tracing
Has Vo rogue gone over the hill, can Horlicks race to glory
Can Almaarad come bouncing back and go down in history?

Phil Cronin go back down the years he flick back through life pages
To friends he knew in Millstreet Town he has not seen for ages
Big Jerry Shea and Mister O, James Manley hale and hearty
And Johnny Sing from Millview Lane the life of every party.

Brave Harry the brave English man the one as tough as leather
You'll only see that man in shorts no matter what the weather
A man of elephantine strength yet gentle and kind hearted
And he has taken life's hardest blow since his son this world departed.

Big **** Kissane the Kerry man he doesn't like Maggie Thatcher
And he feels that for Union bashing that few in history could match her
Still he won't go back to Kenmare to weather wet and hazy
He'd much prefer Mt Evelyn it's nearer to the Baysy.

**** Kelleher and Phil Schofield well into greyhound breeding
They talk of how greyhounds should be schooled and for them proper feeding
Two greyhound trainers and of late their reputations growing
And Millstreet Town keep racing on when others dogs are slowing.

Vin Schofield a Manchester Man he does love Man United
And every time United win he feel proud and delighted
But United not doing well of late of late they're not impressing
And this too much for him to take he find it all depressing.

Galway's Matt Duggan and Westmeath's Sean Fay the hurling game debating
On the first sunday of September who will be celebrating
Can Westmeath make the big break through or will Galway flags be waving
Or will Tipperary still be champs their reputation saving?

And Marty Kerins from Mayo a good and happy fellow
I've never met him in bad mood I've always found him mellow
He love the Bayswater Hotel he say there is none better
And to be kept from Settlers Bar he'd have to be in fetter.

And **** O Shea from Dublin his friends are in the many
And he doesn't have one enemy and he doesn't deserve any
He's given homes to Homeless souls and he's easily moved to pity
And good a man as ever came to live in this great City.

The amazing J D Ellis his name and fame keep spreading
And he has bounced back from the floor and for the top he's heading
Still he is easily stirred up and Garry Carter does the stirring
And el tigre he begins to growl the cat's no longer purring.

It's friday evening from life's cares we'll have a brief leave taking
And where better than the Basy Pub for hour of merry making
In Confines of the Settlers Bar the voice of mirth is ringing
And Pete Atkinson from Dublin Town an Irish song is singing.

The end of the affair is always death.
She's my workshop. Slippery eye,
out of the tribe of myself my breath
finds you gone. I horrify
those who stand by. I am fed.
At night, alone, I marry the bed.

Finger to finger, now she's mine.
She's not too far. She's my encounter.
I beat her like a bell. I recline
in the bower where you used to mount her.
You borrowed me on the flowered spread.
At night, alone, I marry the bed.

Take for instance this night, my love,
that every single couple puts together
with a joint overturning, beneath, above,
the abundant two on sponge and feather,
kneeling and pushing, head to head.
At night, alone, I marry the bed.

I break out of my body this way,
an annoying miracle. Could I
put the dream market on display?
I am spread out. I crucify.
My little plum is what you said.
At night, alone, I marry the bed.

Then my black-eyed rival came.
The lady of water, rising on the beach,
a piano at her fingertips, shame
on her lips and a flute's speech.
And I was the knock-kneed broom instead.
At night, alone, I marry the bed.

She took you the way a women takes
a bargain dress off the rack
and I broke the way a stone breaks.
I give back your books and fishing tack.
Today's paper says that you are wed.
At night, alone, I marry the bed.

The boys and girls are one tonight.
They unbutton blouses. They unzip flies.
They take off shoes. They turn off the light.
The glimmering creatures are full of lies.
They are eating each other. They are overfed.
At night, alone, I marry the bed.

You wrote songs for me,
You’d give everything for my heart.
A month went by,
We could no longer stand being apart.

You made the trip to see me,
And took my breath with your kiss.
We were so in love,
How the hell did it come to this?

You knew I was weak,
And couldn’t stand being alone.
Without you nothings right,
You were my only home.

I got scared when the night came,
I needed you so bad, and you weren’t there.
Sitting here tearing myself apart.
Screaming prayers but I knew you wouldn’t care.

You weren’t there and it broke my heart,
You promised me you’d always be.
You said you were going to get me out of here.
You said you still loved me but I couldn’t see.

I thought love was supposed to heal,
And for a while it did.
If this is love, how could it hurt so bad?
I told you to leave, you said “take care of yourself kid”.

And you’re probably right,
It wasn’t our time.
But how could I “take care”
When you weren’t mine?

It came down to the fact
Being with you hurt just as bad
As being without you.
I’m trying to forget everything we had.

Because the memories are what hurt the most,
We were kids high from love, some stupid kid.
I need to forget so I can live again,
But life won’t be the same, if we end up like this.

You made me say “forever”,
When you said “always”.
I still hope forever will happen,
I really thought it would end up that way.

Maybe I’ve been stupid,
Just some heartbroken fool.
A naïve idiot,
But now I cry at school.
I can’t get through a day,
Without wishing you were here.
Without feeling so lost I can’t breathe.
I know I ****** it up with my fear.

“Don’t beat yourself up”,
But I’m overcome with guilt.
Beating myself up is what I do best.
I thought I could stop it with the wall I built.

But you got in my veins,
I don’t know how it happened.
I was so careful,
But this is the end.

Isn’t it?
Or will you be back?
Please keep your promise,
I need it so bad.

I need stability,
But this love is ******* crazy.
Euphoria and pain,
But it’ll be okay, maybe?

Open up your eyes realize
Everybody out to get you sin through
Ya body mind and soul take control
Don't let the ******* bury you
Take a sip of this tangeray
To calm you
Picture your adversaries buried
Restin' with the rest of the dead
Puffin' **** clock Gs til.my eyes bloodshed
Look in my eyes tell.me what you see?
Ya see a nigguh down for the Revolutionary
Most see an early cemetery I never worry
God's on my side but I was put on this earth for suicide
Can't hide from the pressure
Since I'm.human I'm.prone to feelings
I mentally prepare myself Cuz I'll be murdered in cold blood
From a bunch of thugs
Naw! not street thugs I'm.talkin' DC thugs
They stay lurkin' in the dark
And there I was
Chillin' suddenly I seen a spark
Eyes flash quickly death roads ahead
Will I struggle and toggle to survive?
Or will I let the crossover thrive?
On me my soul wants to be free
Damage is done so theres no more saving me
Its time to go done being bounded on hells shoulder
Tryna find a heaven but I'm.stuck in this boulder as my body grows colder
I'm shell shocked
I thought I told ya this is the ballad of a dead souljaaaaaaaa!!
Ballad of a dead souljaaaaaa!!

Ballad of a Dream

I hear the rain on my window pane
And I see your love that's hiding all your pain
I'm not sure anymore
What it means to be alive
But I know in my heart
It means you by my side
Because you're my shooting star
And you shot right through my heart

I hear your laugh before all the strife
And I see your eyes, they bring me to life
I'm not sure anymore
Whether I'm in love or just a fool
Then again what's the difference
But I've been happier ever since

Why do birds not just fly away
It seemed so easy for you
Why do I even stay
In love, in pieces, over you
I have to wonder
Like nieve young boys do
Are you alone on that greener grass
Are you in love, in pieces, over me too

I smell your perfume in my head
And I see your smile when I'm in bed
I can't get over
What we had
And I know that you
You felt it too
We were young, and we were dumb
And ******, we were in love

Why do birds not just fly away
It seemed so easy for you
Why do I even stay
In love, in pieces, over you
I have to wonder
Like nieve young boys do
Are you alone on that greener grass
Are you in love, in pieces, over me too


I'll wake up in the middle of the night
And I'll fumble around for the light
I dream of her
It happens every night
Maybe one day
I'll figure out why
And who the girl is inside my head
And why she haunts my every dream
Maybe I'm lonely, and she's my raven
Begging me, guiding me, to sleep

Poems about Icarus

These are poems about Icarus, flying and flights of fancy...



Southern Icarus
by Michael R. Burch

Windborne, lover of heights,
unspooled from the truck’s wildly lurching embrace,
you climb, skittish kite...

What do you know of the world’s despair,
gliding in vast... solitariness... there,
so that all that remains is to
fall?

Only a little longer the wind invests its sighs;
you
stall,
spread-eagled, as the canvas snaps

and *****
its white rebellious wings,
and all

the houses watch with baffled eyes.



Flight 93
by Michael R. Burch

I held the switch in trembling fingers, asked
why existence felt so small, so purposeless,
like a minnow wriggling feebly in my grasp...

vibrations of huge engines thrummed my arms
as, glistening with sweat, I nudged the switch
to OFF... I heard the klaxon's shrill alarms

like vultures’ shriekings... earthward, in a stall...
we floated... earthward... wings outstretched, aghast
like Icarus... as through the void we fell...

till nothing was so beautiful, so blue...
so vivid as that moment... and I held
an image of your face, and dreamed I flew

into your arms. The earth rushed up. I knew
such comfort, in that moment, loving you.



I AM!
by Michael R. Burch

I am not one of ten billion―I―
sunblackened Icarus, chary fly,
staring at God with a quizzical eye.

I am not one of ten billion, I.

I am not one life has left unsquashed―
scarred as Ulysses, goddess-debauched,
pale glowworm agleam with a tale of panache.

I am not one life has left unsquashed.

I am not one without spots of disease,
laugh lines and tan lines and thick-callused knees
from begging and praying and girls sighing "Please!"

I am not one without spots of disease.

I am not one of ten billion―I―
scion of Daedalus, blackwinged fly
staring at God with a sedulous eye.

I am not one of ten billion, I
AM!



Finally to Burn
(the Fall and Resurrection of Icarus)
by Michael R. Burch

Athena takes me
sometimes by the hand

and we go levitating
through strange Dreamlands

where Apollo sleeps
in his dark forgetting

and Passion seems
like a wise bloodletting

and all I remember
, upon awaking,

is: to Love sometimes
is like forsaking

one’s Being―to glide

heroically beyond thought,

forsaking the here
for the There and the Not.



O, finally to Burn,
gravity beyond escaping!

To plummet is Bliss
when the blisters breaking

rain down red scabs
on the earth’s mudpuddle...

Feathers and wax
and the watchers huddle...

Flocculent sheep,
O, and innocent lambs!,

I will rock me to sleep
on the waves’ iambs.



To sleep's sweet relief
from Love’s exhausting Dream,

for the Night has Wings
gentler than Moonbeams―

they will flit me to Life
like a huge-eyed Phoenix

fluttering off
to quarry the Sphinx.



Riddlemethis,
riddlemethat,

Rynosseross,
throw out the Welcome Mat.

Quixotic, I seek Love
amid the tarnished

rusted-out steel
when to live is varnish.

To Dream―that’s the thing!

Aye, that Genie I’ll rub,

soak by the candle,
aflame in the tub.



Riddlemethis,
riddlemethat,

Rynosseross,
throw out the Welcome Mat.

Somewhither, somewhither
aglitter and strange,

we must moult off all knowledge
or perish caged.

*

I am reconciled to Life
somewhere beyond thought―

I’ll Live the Elsewhere,
I’ll Dream of the Naught.

Methinks it no journey;
to tarry’s a waste,

so fatten the oxen;
make a nice baste.

I’m coming, Fool Tom,
we have Somewhere to Go,

though we injure noone,
ourselves wildaglow.

This odd poem invokes and merges with the anonymous medieval poem “Tom O’Bedlam’s Song” and W. H. Auden’s modernist poem “Musee des Beaux Arts,” which in turn refers to Pieter Breughel’s painting “The Fall of Icarus.” In the first stanza Icarus levitates with the help of Athena, the goddess or wisdom, through “strange dreamlands” while Apollo, the sun god, lies sleeping. In the second stanza, Apollo predictably wakes up and Icarus plummets to earth, or back to mundane reality, as in Breughel’s painting and Auden’s poem. In the third stanza the grounded Icarus can still fly, but only in flights of imagination through dreams of love. In the fourth and fifth stanzas Icarus joins Tom Rynosseross of the Bedlam poem in embracing madness by deserting “knowledge” and its cages (ivory towers, etc.). In the final stanza Icarus agrees with Tom that it is “no journey” to wherever they’re going together and also agrees with Tom that they will injure no one along the way, no matter how intensely they glow and radiate. The poem can be taken as a metaphor for the death and rebirth of Poetry, and perhaps as a prophecy that Poetry will rise, radiate and reattain its former glory...



Free Fall (II)
by Michael R. Burch

I have no earthly remembrance of you, as if
we were never of earth, but merely white clouds adrift,
swirling together through Himalayan serene altitudes―
no more man and woman than exhaled breath―unable to fall
back to solid existence, despite the air’s sparseness: all
our being borne up, because of our lightness,
toward the sun’s unendurable brightness...

But since I touched you, fire consumes each wing!

We who are unable to fly, stall
contemplating disaster. Despair like an anchor, like an iron ball,
heavier than ballast, sinks on its thick-looped chain
toward the earth, and soon thereafter there will be sufficient pain
to recall existence, to make the coming darkness everlasting.



Fledglings
by Michael R. Burch

With her small eyes, pale and unforgiving,
she taught me―December is not for those
unweaned of love, the chirping nestlings
who bicker for worms with dramatic throats

still pinkly exposed, who have not yet learned
the first harsh lesson of survival: to devour
their weaker siblings in the high-leafed ferned
fortress and impregnable bower

from which men must fly like improbable dreams
to become poets. They have yet to learn that,
before they can soar starward, like fanciful archaic machines,
they must first assimilate the latest technology, or

lose all in the sudden realization of gravity,
following Icarus’s, sun-unwinged, singed trajectory.



The Higher Atmospheres
by Michael R. Burch

Whatever we became climbed on the thought
of Love itself; we floated on plumed wings
ten thousand miles above the breasted earth
that had vexed us to such Distance; now all things
seem small and pale, a girdle’s handsbreadth girth...

I break upon the rocks; I break; I fling
my human form about; I writhe; I writhe.
Invention is not Mastery, nor wings
Salvation. Here the Vulture cruelly chides
and plunges at my eyes, and coos and sings...

Oh, some will call the sun my doom, but Love
melts callow wax the higher atmospheres
leave brittle. I flew high: not high enough
to melt such frozen resins... thus, Her jeers.



Notes toward an Icarian philosophy of life...
by Michael R. Burch

If the mind’s and the heart’s quests were ever satisfied,
what would remain, as the goals of life?

If there was only light, with no occluding matter,
if there were only sunny mid-afternoons but no mysterious midnights,
what would become of the dreams of men?

What becomes of man’s vision, apart from terrestrial shadows?

And what of man’s character, formed
in the seething crucible of life and death,
hammered out on the anvil of Fate, by Will?

What becomes of man’s aims in the end,
when the hammer’s anthems at last are stilled?

If man should confront his terrible Creator,
capture him, hogtie him, hold his ***** feet to the fire,
roast him on the spit as yet another blasphemous heretic
whose faith is suspect, derelict...
torture a confession from him,
get him to admit, “I did it!...

what then?

Once man has taken revenge
on the Frankenstein who created him
and has justly crucified the One True Monster, the Creator...

what then?

Or, if revenge is not possible,
if the appearance of matter was merely a random accident,
or a group illusion (and thus a conspiracy, perhaps of dunces, us among them),
or if the Creator lies eternally beyond the reach of justice...

what then?

Perhaps there’s nothing left but for man to perfect his character,
to fly as high as his wings will take him toward unreachable suns,
to gamble everything on some unfathomable dream, like Icarus,
then fall to earth, to perish, undone...

or perhaps not, if the mystics are right
about the true nature of darkness and light.

Is there a source of knowledge beyond faith,
a revelation of heaven, of the Triumph of Love?

The Hebrew prophets seemed to think so,
and Paul, although he saw through a glass darkly,
and Julian of Norwich, who heard the voice of God say,
“All shall be well,
and all manner of things shall be well...”

Does hope spring eternal in the human breast,
or does it just blindly *****?



Icarus Bickerous
by Michael R. Burch

for the Religious Right

Like Icarus, waxen wings melting,
white tail-feathers fall, bystanders pelting.

They look up amazed
and seem rather dazed―

was it heaven’s or hell’s furious smelting

that fashioned such vulturish wings?
And why are they singed?―

the higher you “rise,” the more halting?



Earthbound, a Vision of Crazy Horse
by Michael R. Burch

Tashunka Witko, a Lakota Sioux better known as Crazy Horse, had a vision of a red-tailed hawk at Sylvan Lake, South Dakota. In his vision he saw himself riding a spirit horse, flying through a storm, as the hawk flew above him, shrieking. When he awoke, a red-tailed hawk was perched near his horse.

Earthbound,
and yet I now fly
through the clouds that are aimlessly drifting...
so high
that no sound
echoing by
below where the mountains are lifting
the sky
can be heard.

Like a bird,
but not meek,
like a hawk from a distance regarding its prey,
I will shriek,
not a word,
but a screech,
and my terrible clamor will turn them to clay―
the sheep,
the earthbound.

Published by American Indian Pride and Boston Poetry Magazine



Flight
by Michael R. Burch

It is the nature of loveliness to vanish
as butterfly wings, batting against nothingness
seek transcendence...

Originally published by Hibiscus (India)



The Wonder Boys
by Michael R. Burch

(for Leslie Mellichamp, the late editor of The Lyric,
who was a friend and mentor to many poets, and
a fine poet in his own right)

The stars were always there, too-bright cliches:
scintillant truths the jaded world outgrew
as baffled poets winged keyed kites―amazed,
in dream of shocks that suddenly came true...

but came almost as static―background noise,
a song out of the cosmos no one hears,
or cares to hear. The poets, starstruck boys,
lay tuned in to their kite strings, saucer-eared.

They thought to feel the lightning’s brilliant sparks
electrify their nerves, their brains; the smoke
of words poured from their overheated hearts.
The kite string, knotted, made a nifty rope...

You will not find them here; they blew away―
in tumbling flight beyond nights’ stars. They clung
by fingertips to satellites. They strayed
too far to remain mortal. Elfin, young,

their words are with us still. Devout and fey,
they wink at us whenever skies are gray.

Originally published by The Lyric



American Eagle, Grounded
by Michael R. Burch

Her predatory eye,
the single feral iris,
scans.

Her raptor beak,
all jagged sharp-edged ******,
juts.

Her hard talon,
clenched in pinched expectation,
waits.

Her clipped wings,
preened against reality,
tremble.

Published as “Tremble” by The Lyric, Verses Magazine, Romantics Quarterly, Journeys, The Raintown Review, Poetic Ponderings, Poem Kingdom (All-Star Tribute), The Fabric of a Vision, NPAC―Net Poetry and Art Competition, Poet’s Haven, Listening To The Birth Of Crystals(Anthology), Poetry Renewal, Inspirational Stories, Poetry Life & Times, MahMag (Iranian/Farsi), The Eclectic Muse (Canada)



Album
by Michael R. Burch

I caress them―trapped in brittle cellophane―
and I see how young they were, and how unwise;
and I remember their first flight―an old prop plane,
their blissful arc through alien blue skies...

And I touch them here through leaves which―tattered, frayed―
are also wings, but wings that never flew:
like insects’ wings―pinned, held. Here, time delayed,
their features never merged, remaining two...

And Grief, which lurked unseen beyond the lens
or in shadows where It crept on furtive claws
as It scritched Its way into their hearts, depends
on sorrows such as theirs, and works Its jaws...

and slavers for Its meat―those young, unwise,
who naively dare to dream, yet fail to see
how, lumbering sunward, Hope, ungainly, flies,
clutching to Her ruffled breast what must not be.



Springtime Prayer
by Michael R. Burch

They’ll have to grow like crazy,
the springtime baby geese,
if they’re to fly to balmier climes
when autumn dismembers the leaves...

And so I toss them loaves of bread,
then whisper an urgent prayer:
“Watch over these, my Angels,
if there’s anyone kind, up there.”

Originally published by The HyperTexts



Learning to Fly
by Michael R. Burch

We are learning to fly
every day...

learning to fly―
away, away...

O, love is not in the ephemeral flight,
but love, Love! is our destination―

graced land of eternal sunrise, radiant beyond night!
Let us bear one another up in our vast migration.



In the Whispering Night
by Michael R. Burch

for George King

In the whispering night, when the stars bend low
till the hills ignite to a shining flame,
when a shower of meteors streaks the sky
while the lilies sigh in their beds, for shame,
we must steal our souls, as they once were stolen,
and gather our vigor, and all our intent.
We must heave our bodies to some famished ocean
and laugh as they vanish, and never repent.
We must dance in the darkness as stars dance before us,
soar, Soar! through the night on a butterfly's breeze...
blown high, upward-yearning, twin spirits returning
to the heights of awareness from which we were seized.

Published by Songs of Innocence, Romantics Quarterly, The Chained Muse and Poetry Life & Times. This is a poem I wrote for my favorite college English teacher, George King, about poetic kinship, brotherhood and romantic flights of fancy.



For a Palestinian Child, with Butterflies
by Michael R. Burch

Where does the butterfly go
when lightning rails,
when thunder howls,
when hailstones scream,
when winter scowls,
when nights compound dark frosts with snow...
Where does the butterfly go?

Where does the rose hide its bloom
when night descends oblique and chill
beyond the capacity of moonlight to fill?
When the only relief's a banked fire's glow,
where does the butterfly go?

And where shall the spirit flee
when life is harsh, too harsh to face,
and hope is lost without a trace?
Oh, when the light of life runs low,
where does the butterfly go?

Published by Tucumcari Literary Review, Romantics Quarterly, Poetry Life & Times, Victorian Violet Press (where it was nominated for a “Best of the Net”), The Contributor (a Nashville homeless newspaper), Siasat (Pakistan), and set to music as a part of the song cycle “The Children of Gaza” which has been performed in various European venues by the Palestinian soprano Dima Bawab



Sioux Vision Quest
by Crazy Horse, Oglala Lakota Sioux (circa 1840-1877)
loose translation/interpretation by Michael R. Burch

A man must pursue his Vision
as the eagle explores
the sky's deepest blues.

Published by Better Than Starbucks, A Hundred Voices



in-flight convergence
by Michael R. Burch

serene, almost angelic,
the lights of the city ―― extend ――
over lumbering behemoths
shrilly screeching displeasure;
they say
that nothing is certain,
that nothing man dreams or ordains
long endures his command

here the streetlights that flicker
and those blazing steadfast
seem one: from a distance;
descend,
they abruptly
part ―――――― ways,

so that nothing is one
which at times does not suddenly blend
into garish insignificance
in the familiar alleyways,
in the white neon flash
and the billboards of Convenience

and man seems the afterthought of his own Brilliance
as we thunder down the enlightened runways.

Originally published by The Aurorean and subsequently nominated for the Pushcart Prize



Squall
by Michael R. Burch

There, in that sunny arbor,
in the aureate light
filtering through the waxy leaves
of a stunted banana tree,

I felt the sudden monsoon of your wrath,
the clattery implosions
and copper-bright bursts
of the bottoms of pots and pans.

I saw your swollen goddess’s belly
wobble and heave
in pregnant indignation,
turned tail, and ran.

Published by Chrysanthemum, Poetry Super Highway, Barbitos and Poetry Life & Times



Flight
by Michael R. Burch

Eagle, raven, blackbird, crow...
What you are I do not know.
Where you go I do not care.
I’m unconcerned whose meal you bear.
But as you mount the sunlit sky,
I only wish that I could fly.
I only wish that I could fly.

Robin, hawk or whippoorwill...
Should men care that you hunger still?
I do not wish to see your home.
I do not wonder where you roam.
But as you scale the sky's bright stairs,
I only wish that I were there.
I only wish that I were there.

Sparrow, lark or chickadee...
Your markings I disdain to see.
Where you fly concerns me not.
I scarcely give your flight a thought.
But as you wheel and arc and dive,
I, too, would feel so much alive.
I, too, would feel so much alive.

This is a poem that I believe I wrote as a high school sophomore. But it could have been written a bit later. I seem to remember the original poem being influenced by William Cullen Bryant's "To a Waterfowl."



Flying
by Michael R. Burch

I shall rise
and try the ****** wings of thought
ten thousand times
before I fly...

and then I'll sleep
and waste ten thousand nights
before I dream;
but when at last...

I soar the distant heights of undreamt skies
where never hawks nor eagles dared to go,
as I laugh among the meteors flashing by
somewhere beyond the bluest earth-bound seas...

if I'm not told
I’m just a man,
then I shall know
just what I am.

This is one of my early poems, written around age 16-17. According to my notes, I may have revised the poem later, in 1978, but if so the changes were minor because the poem remains very close to the original.



Stage Craft-y
by Michael R. Burch

There once was a dromedary
who befriended a crafty canary.
Budgie said, "You can’t sing,
but now, here’s the thing―
just think of the tunes you can carry!"



Clyde Lied!
by Michael R. Burch

There once was a mockingbird, Clyde,
who bragged of his prowess, but lied.
To his new wife he sighed,
"When again, gentle bride?"
"Nevermore!" bright-eyed Raven replied.



Less Heroic Couplets: ****** Most Fowl!
by Michael R. Burch

“****** most foul!”
cried the mouse to the owl.

“Friend, I’m no sinner;
you’re merely my dinner!”
the wise owl replied
as the tasty snack died.

Published by Lighten Up Online and in Potcake Chapbook #7

NOTE: In an attempt to demonstrate that not all couplets are heroic, I have created a series of poems called “Less Heroic Couplets.” I believe even poets should abide by truth-in-advertising laws! ― MRB



Lance-Lot
by Michael R. Burch

Preposterous bird!
Inelegant! Absurd!

Until the great & mighty heron
brandishes his fearsome sword.



Kissin’ ’n’ buzzin’
by Michael R. Burch

Kissin’ ’n’ buzzin’ the bees rise
in a dizzy circle of two.
Oh, when I’m with you,
I feel like kissin’ ’n’ buzzin’ too.



Delicacy
by Michael R. Burch

for all good mothers

Your love is as delicate
as a butterfly cleaning its wings,
as soft as the predicate
the hummingbird sings
to itself, gently murmuring―
“Fly! Fly! Fly!”
Your love is the string
soaring kites untie.



Lone Wild Goose
by Du Fu (712-770)
loose translation/interpretation by Michael R. Burch

The abandoned goose refuses food and drink;
he cries querulously for his companions.

Who feels kinship for that strange wraith
as he vanishes eerily into the heavens?

You watch it as it disappears;
its plaintive calls cut through you.

The indignant crows ignore you both:
the bickering, bantering multitudes.

Du Fu (712-770) is also known as Tu Fu. The first poem is addressed to the poet's wife, who had fled war with their children. Ch'ang-an is an ironic pun because it means "Long-peace."



The Red Cockatoo
by Po Chu-I (772-846)
loose translation/interpretation by Michael R. Burch

A marvelous gift from Annam―
a red cockatoo,
bright as peach blossom,
fluent in men's language.

So they did what they always do
to the erudite and eloquent:
they created a thick-barred cage
and shut it up.

Po Chu-I (772-846) is best known today for his ballads and satirical poems. Po Chu-I believed poetry should be accessible to commoners and is noted for his simple diction and natural style. His name has been rendered various ways in English: Po Chu-I, Po Chü-i, Bo Juyi and Bai Juyi.



The Migrant Songbird
Li Qingzhao aka Li Ching-chao (c. 1084-1155)
loose translation/interpretation by Michael R. Burch

The migrant songbird on the nearby yew
brings tears to my eyes with her melodious trills;
this fresh downpour reminds me of similar spills:
another spring gone, and still no word from you...



Lines from Laolao Ting Pavilion
by Li Bai (701-762)
loose translation/interpretation by Michael R. Burch

The spring breeze knows partings are bitter;
The willow twig knows it will never be green again.



The Day after the Rain
Lin Huiyin (1904-1955)
loose translation/interpretation by Michael R. Burch

I love the day after the rain
and the meadow's green expanses!
My heart endlessly rises with wind,
gusts with wind...
away the new-mown grasses and the fallen leaves...
away the clouds like smoke...
vanishing like smoke...



Untitled Translations

Cupid, if you incinerate my soul, touché!
For like you she has wings and can fly away!
―Meleager, loose translation by Michael R. Burch

As autumn deepens,
a butterfly sips
chrysanthemum dew.
―Basho, loose translation/interpretation by Michael R. Burch

Come, butterfly,
it’s late
and we’ve a long way to go!
―Basho, loose translation/interpretation by Michael R. Burch

Up and at ’em! The sky goes bright!
Let’***** the road again,
Companion Butterfly!
―Matsuo Basho, loose translation/interpretation by Michael R. Burch

Ah butterfly,
what dreams do you ply
with your beautiful wings?
―Chiyo-ni, loose translation by Michael R. Burch

Oh, dreamlike winter butterfly:
a puff of white snow
cresting mountains
―Kakio Tomizawa, loose translation by Michael R. Burch

Dry leaf flung awry:
bright butterfly,
goodbye!
―Michael R. Burch, original haiku

Will we remain parted forever?
Here at your grave:
two flowerlike butterflies
―Matsuo Basho, loose translation by Michael R. Burch

a soaring kite flits
into the heart of the sun?
Butterfly & Chrysanthemum
―Michael R. Burch, original haiku

The cheerful-chirping cricket
contends gray autumn's gay,
contemptuous of frost
―Matsuo Basho, loose translation by Michael R. Burch

Whistle on, twilight whippoorwill,
solemn evangelist
of loneliness
―Matsuo Basho, loose translation by Michael R. Burch

The sea darkening,
the voices of the wild ducks:
my mysterious companions!
―Matsuo Basho, loose translation by Michael R. Burch

Lightning
shatters the darkness―
the night heron's shriek
―Matsuo Basho, loose translation by Michael R. Burch

This snowy morning:
cries of the crow I despise
(ah, but so beautiful!)
―Matsuo Basho, loose translation by Michael R. Burch

A crow settles
on a leafless branch:
autumn nightfall.
―Matsuo Basho, loose translation/interpretation by Michael R. Burch

Hush, cawing crows; what rackets you make!
Heaven's indignant messengers,
you remind me of wordsmiths!
―O no Yasumaro (circa 711), loose translation by Michael R. Burch

Higher than a skylark,
resting on the breast of heaven:
this mountain pass.
―Matsuo Basho, loose translation/interpretation by Michael R. Burch

An exciting struggle
with such a sad ending:
cormorant fishing.
―Matsuo Basho, loose translation/interpretation by Michael R. Burch

Does my soul abide in heaven, or hell?
Only the sea gull
in his high, lonely circuits, may tell.
―Glaucus, translation by Michael R. Burch

The eagle sees farther
from its greater height―
our ancestors’ wisdom
―Michael R. Burch, original haiku

A kite floats
at the same place in the sky
where yesterday it floated...
―Yosa Buson, loose translation/interpretation by Michael R. Burch



Critical Mass
by Michael R. Burch

I have listened to the rain all this morning
and it has a certain gravity,
as if it knows its destination,
perhaps even its particular destiny.
I do not believe mine is to be uplifted,
although I, too, may be flung precipitously
and from a great height.

"Gravity" and "particular destiny" are puns, since rain droplets are seeded by minute particles of dust adrift in the atmosphere and they fall due to gravity when they reach "critical mass." The title is also a pun, since the poem is skeptical about heaven-lauding Masses, etc.



Ultimate Sunset
by Michael R. Burch

for my father, Paul Ray Burch, Jr.

he now faces the Ultimate Sunset,
his body like the leaves that fray as they dry,
shedding their vital fluids (who knows why?)
till they’ve become even lighter than the covering sky,
ready to fly...



Free Fall
by Michael R. Burch

for my father, Paul Ray Burch, Jr.

I see the longing for departure gleam
in his still-keen eye,
and I understand his desire
to test this last wind, like those late autumn leaves
with nothing left to cling to...



Leaf Fall
by Michael R. Burch

Whatever winds encountered soon resolved
to swirling fragments, till chaotic heaps
of leaves lay pulsing by the backyard wall.
In lieu of rakes, our fingers sorted each
dry leaf into its place and built a high,
soft bastion against earth's gravitron―
a patchwork quilt, a trampoline, a bright
impediment to fling ourselves upon.

And nothing in our laughter as we fell
into those leaves was like the autumn's cry
of also falling. Nothing meant to die
could be so bright as we, so colorful―
clad in our plaids, oblivious to pain
we'd feel today, should we leaf-fall again.

Originally published by The Neovictorian/Cochlea



The Folly of Wisdom
by Michael R. Burch

She is wise in the way that children are wise,
looking at me with such knowing, grave eyes
I must bend down to her to understand.
But she only smiles, and takes my hand.

We are walking somewhere that her feet know to go,
so I smile, and I follow...

And the years are dark creatures concealed in bright leaves
that flutter above us, and what she believes―
I can almost remember―goes something like this:
the prince is a horned toad, awaiting her kiss.

She wiggles and giggles, and all will be well
if only we find him! The woodpecker’s knell
as he hammers the coffin of some dying tree
that once was a fortress to someone like me

rings wildly above us. Some things that we know
we are meant to forget. Life is a bloodletting, maple-syrup-slow.

Originally published by Romantics Quarterly



Kin
by Michael R. Burch

for Richard Moore

1.
Shrill gulls,
how like my thoughts
you, struggling, rise
to distant bliss―
the weightless blue of skies
that are not blue
in any atmosphere,
but closest here...

2.
You seek an air
so clear,
so rarified
the effort leaves you famished;
earthly tides
soon call you back―
one long, descending glide...

3.
Disgruntledly you ***** dirt shores for orts
you pull like mucous ropes
from shells’ bright forts...
You eye the teeming world
with nervous darts―
this way and that...

Contentious, shrewd, you scan―
the sky, in hope,
the earth, distrusting man.



Songstress
by Michael R. Burch

Within its starkwhite ribcage, how the heart
must flutter wildly, O, and always sing
against the pressing darkness: all it knows
until at last it feels the numbing sting
of death. Then life's brief vision swiftly passes,
imposing night on one who clearly saw.
Death held your bright heart tightly, till its maw―
envenomed, fanged―could swallow, whole, your Awe.
And yet it was not death so much as you
who sealed your doom; you could not help but sing
and not be silenced. Here, behold your tomb's
white alabaster cage: pale, wretched thing!
But you'll not be imprisoned here, wise wren!
Your words soar free; rise, sing, fly, live again.

A poet like Nadia Anjuman can be likened to a caged bird, deprived of flight, who somehow finds it within herself to sing of love and beauty. But when the world finally robs her of both flight and song, what is left for her but to leave the world, thus bereaving the world of herself and her song?



Performing Art
by Michael R. Burch

Who teaches the wren
in its drab existence
to explode into song?

What parodies of irony
does the jay espouse
with its sharp-edged tongue?

What instinctual memories
lend stunning brightness
to the strange dreams

of the dull gray slug
―spinning its chrysalis,
gluing rough seams―

abiding in darkness
its transformation,
till, waving damp wings,

it applauds its performance?
I am done with irony.
Life itself sings.



Lean Harvests
by Michael R. Burch

for T.M.

the trees are shedding their leaves again:
another summer is over.
the Christians are praising their Maker again,
but not the disconsolate plover:
i hear him berate
the fate
of his mate;
he claims God is no body’s lover.

Published by The Rotary Dial and Angle



My Forty-Ninth Year
by Michael R. Burch

My forty-ninth year
and the dew remembers
how brightly it glistened
encrusting September,...
one frozen September
when hawks ruled the sky
and death fell on wings
with a shrill, keening cry.

My forty-ninth year,
and still I recall
the weavings and windings
of childhood, of fall...
of fall enigmatic,
resplendent, yet sere,...
though vibrant the herald
of death drawing near.

My forty-ninth year
and now often I've thought on
the course of a lifetime,
the meaning of autumn,
the cycle of autumn
with winter to come,
of aging and death
and rebirth... on and on.

Originally published by Romantics Quarterly as “My Twenty-Ninth Year”



Myth
by Michael R. Burch

Here the recalcitrant wind
sighs with grievance and remorse
over fields of wayward gorse
and thistle-throttled lanes.

And she is the myth of the scythed wheat
hewn and sighing, complete,
waiting, lain in a low sheaf―
full of faith, full of grief.

Here the immaculate dawn
requires belief of the leafed earth
and she is the myth of the mown grain―
golden and humble in all its weary worth.



What Works
by Michael R. Burch

for David Gosselin

What works―
hewn stone;
the blush the iris shows the sun;
the lilac’s pale-remembered bloom.

The frenzied fly: mad-lively, gay,
as seconds tick his time away,
his sentence―one brief day in May,
a period. And then decay.

A frenzied rhyme’s mad tip-toed time,
a ballad’s languid as the sea,
seek, striving―immortality.

When gloss peels off, what works will shine.
When polish fades, what works will gleam.
When intellectual prattle pales,
the dying buzzing in the hive
of tedious incessant bees,
what works will soar and wheel and dive
and milk all honey, leap and thrive,

and teach the pallid poem to seethe.



Desdemona
by Michael R. Burch

Though you possessed the moon and stars,
you are bound to fate and wed to chance.
Your lips deny they crave a kiss;
your feet deny they ache to dance.
Your heart imagines wild romance.

Though you cupped fire in your hands
and molded incandescent forms,
you are barren now, and―spent of flame―
the ashes that remain are borne
toward the sun upon a storm.

You, who demanded more, have less,
your heart within its cells of sighs
held fast by chains of misery,
confined till death for peddling lies―
imprisonment your sense denies.

You, who collected hearts like leaves
and pressed each once within your book,
forgot. None―winsome, bright or rare―
not one was worth a second look.
My heart, as others, you forsook.

But I, though I loved you from afar
through silent dawns, and gathered rue
from gardens where your footsteps left
cold paths among the asters, knew―
each moonless night the nettles grew

and strangled hope, where love dies too.

Published by Penny Dreadful, Carnelian, Romantics Quarterly, Grassroots Poetry and Poetry Life & Times



Transplant
by Michael R. Burch

You float, unearthly angel, clad in flesh
as strange to us who briefly knew your flame
as laughter to disease. And yet you laugh.
Behind your smile, the sun forfeits its claim
to earth, and floats forever now the same―
light captured at its moment of least height.

You laugh here always, welcoming the night,
and, just a photograph, still you can claim
bright rapture: like an angel, not of flesh―
but something more, made less. Your humanness
this moment of release becomes a name
and something else―a radiance, a strange
brief presence near our hearts. How can we stand
and chain you here to this nocturnal land
of burgeoning gray shadows? Fly, begone.
I give you back your soul, forfeit all claim
to radiance, and welcome grief’s dark night
that crushes all the laughter from us. Light
in someone Else’s hand, and sing at ease
some song of brightsome mirth through dawn-lit trees
to welcome morning’s sun. O daughter! these
are eyes too weak for laughter; for love’s sight,
I welcome darkness, overcome with light.



Prodigal
by Michael R. Burch

This poem is dedicated to Kevin Longinotti, who died four days short of graduation from Vanderbilt University, the victim of a tornado that struck Nashville on April 16, 1998.

You have graduated now,
to a higher plane
and your heart’s tenacity
teaches us not to go gently
though death intrudes.

For eighteen days
―jarring interludes
of respite and pain―
with life only faintly clinging,
like a cashmere snow,
testing the capacity
of the blood banks
with the unstaunched flow
of your severed veins,
in the collapsing declivity,
in the sanguine haze
where Death broods,
you struggled defiantly.

A city mourns its adopted son,
flown to the highest ranks
while each heart complains
at the harsh validity
of God’s ways.

On ponderous wings
the white clouds move
with your captured breath,
though just days before
they spawned the maelstrom’s
hellish rift.

Throw off this mortal coil,
this envelope of flesh,
this brief sheath
of inarticulate grief
and transient joy.

Forget the winds
which test belief,
which bear the parchment leaf
down life’s last sun-lit path.

We applaud your spirit, O Prodigal,
O Valiant One,
in its percussive flight into the sun,
winging on the heart’s last madrigal.



Breakings
by Michael R. Burch

I did it out of pity.
I did it out of love.
I did it not to break the heart of a tender, wounded dove.

But gods without compassion
ordained: Frail things must break!
Now what can I do for her shattered psyche’s sake?

I did it not to push.
I did it not to shove.
I did it to assist the flight of indiscriminate Love.

But gods, all mad as hatters,
who legislate in all such matters,
ordained that everything irreplaceable shatters.



An Illusion
by Michael R. Burch

The sky was as hushed as the breath of a bee
and the world was bathed in shades of palest gold
when I awoke.

She came to me with the sound of falling leaves
and the scent of new-mown grass;
I held out my arms to her and she passed

into oblivion...

This is one of my early poems, written around age 16 and published in my high school literary journal, The Lantern.



Lines for My Ascension
by Michael R. Burch

I.

If I should die,
there will come a Doom,
and the sky will darken
to the deepest Gloom.

But if my body
should not be found,
never think of me
in the cold ground.

II.

If I should die,
let no mortal say,
“Here was a man,
with feet of clay,

or a timid sparrow
God’s hand let fall.”
But watch the sky darken
to an eerie pall

and know that my Spirit,
unvanquished, broods,
and cares naught for graves,
prayers, coffins, or roods.

And if my body
should not be found,
never think of me
in the cold ground.

III.

If I should die,
let no man adore
his incompetent Maker:
Zeus, Jehovah, or Thor.

Think of Me as One
who never died―
the unvanquished Immortal
with the unriven side.

And if my body
should not be found,
never think of me
in the cold ground.

IV.

And if I should “die,”
though the clouds grow dark
as fierce lightnings rend
this bleak asteroid, stark...

If you look above,
you will see a bright Sign―
the sun with the moon
in its arms, Divine.

So divine, if you can,
my bright meaning, and know―
my Spirit is mine.
I will go where I go.

And if my body
should not be found,
never think of me
in the cold ground.



The Locker
by Michael R. Burch

All the dull hollow clamor has died
and what was contained,
removed,

reproved
adulation or sentiment,
left with the pungent darkness

as remembered as the sudden light.

Originally published by The Raintown Review



Keywords/Tags: Sports, locker, lockerroom, clamor, adulation, acclaim, applause, sentiment, darkness, light, retirement, athlete, team, trophy, award, acclamation


Keywords/Tags: Icarus, Daedalus, flight, fly, flying, wind, wings, sun, height, heights, fall, falling, ascent, descent, imagination, bird, birds, butterfly, butterflies, hawk, eagle, geese, plane, kite, kites, mrbfly, mrbflight, mrbicarus

Step 1 get money Step 2 repeat the first never get high on your own supply that'll buy you a hearse it hurts to have to hit the corner till dawn feed death to my people but I've never been underneath a steeple I couldn't afford the time only church I know is where I lay these rhymes I'll split the Indonesia with the dude who had a seizure I believe ya but the gat don't, so to insure my profits your brains will splat don't take it personal I'm just trying to survive until the sunrise I'm not legal but the streets always advertise I advise you to stay away from my path the ballad of a Hustler cut up into halves

Feels like plain
and
peaceful all at once
ocean scent lingers
through my skin
emotions scribbled
and leaves are falling
skies darkens and
soul is weary
unfolding bliss
as I continue walking

There's gods all around that pound you
While the men in high heels surround you
How much longer 'til they've found you?
Suzy, do you know what you've done?

She had her ways of seduction
A femme fatale if there ever was one
A high class killer and a smart one
But everyone fails once or twice

You spent the night in the hacienda
Curled up on the white veranda
To kingdom come they'd like to send ya
Suzy, do you know you're on your own?

The sun will rise tomorrow
Do you need some time to borrow?
Listen to the morning swallow
You've got to come up with something quick

How does it feel to be a rebel?
To wake up dead next to the devil?
You've got one more deal left to settle
Suzy, I hope your aim is good

Is that smoke in the distance?
Is it a campfire or an instance?
Is there anyone out here to witness,
Whatever Suzy has up her sleeve?

The gun that she carries
Belongs to the man she married
And tonight, along this lonesome prairie
Suzy will meet him once more

walk into the room
With your pencil in your hand
You see somebody naked
And you say, who is that man?
You try so hard
But you dont understand
Just what youll say
When you get home

Because something is happening here
But you dont know what it is
Do you, mister jones?

You raise up your head
And you ask, is this where it is?
And somebody points to you and says
Its his
And you say, whats mine?
And somebody else says, where what is?
And you say, oh my god
Am I here all alone?

Because something is happening here
But you dont know what it is
Do you, mister jones?

You hand in your ticket
And you go watch the geek
Who immediately walks up to you
When he hears you speak
And says, how does it feel
To be such a freak?
And you say, impossible
As he hands you a bone

Because something is happening here
But you dont know what it is
Do you, mister jones?

You have many contacts
Among the lumberjacks
To get you facts
When someone attacks your imagination
But nobody has any respect
Anyway they already expect you
To just give a check
To tax-deductible charity organizations

Youve been with the professors
And theyve all liked your looks
With great lawyers you have
Discussed lepers and crooks
Youve been through all of
F. scott fitzgeralds books
Youre very well read
Its well known

Because something is happening here
But you dont know what it is
Do you, mister jones?

Well, the sword swallower, he comes up to you
And then he kneels
He crosses himself
And then he clicks his high heels
And without further notice
He asks you how it feels
And he says, here is your throat back
Thanks for the loan

Because something is happening here
But you dont know what it is
Do you, mister jones?

Now you see this one-eyed ******
Shouting the word now
And you say, for what reason?
And he says, how?
And you say, what does this mean?
And he screams back, youre a cow
Give me some milk
Or else go home

Because something is happening here
But you dont know what it is
Do you, mister jones?

Well, you walk into the room
Like a camel and then you frown
You put your eyes in your pocket
And your nose on the ground
There ought to be a law
Against you comin around
You should be made
To wear earphones

Because something is happening here
But you dont know what it is
Do you, mister jones?

Comin Thro the Rye
by Robert Burns
modern English translation by Michael R. Burch

Oh, Jenny's all wet, poor body,
Jenny's seldom dry;
She's draggin' all her petticoats
Comin' through the rye.

Comin' through the rye, poor body,
Comin' through the rye.
She's draggin' all her petticoats
Comin' through the rye.

Should a body meet a body
Comin' through the rye,
Should a body kiss a body,
Need anybody cry?

Comin' through the rye, poor body,
Comin' through the rye.
She's draggin' all her petticoats
Comin' through the rye.

Should a body meet a body
Comin' through the glen,
Should a body kiss a body,
Need all the world know, then?

Comin' through the rye, poor body,
Comin' through the rye.
She's draggin' all her petticoats
Comin' through the rye.

The poem "Comin Thro the Rye" by Robert Burns may be best-known today because of Holden Caulfield's misinterpretation of it in "The Catcher in the Rye." In the book, Caulfield relates his fantasy to his sister, Phoebe: he's the "catcher in the rye," rescuing children from falling from a cliff. Phoebe corrects him, pointing out that poem is not about a "catcher" in the rye, but about a girl who has met someone in the rye for a kiss (or more), got her underclothes wet (not for the first time), and is dragging her way back to a polite (i.e., Puritanical) society that despises girls who are "easy." Robert Burns, an honest man, was exhibiting empathy for girls who were castigated for doing what all the boys and men longed to do themselves. Keywords/Tags: Robert Burns, Jenny, rye, petticoats, translation, modernization, update, interpretation, modern English, song, wet, body, kiss, gossip, puritanism, prudery


Translations of Scottish Poems

Sweet Rose of Virtue
by William Dunbar [1460-1525]
loose translation/interpretation by Michael R. Burch

Sweet rose of virtue and of gentleness,
delightful lily of youthful wantonness,
richest in bounty and in beauty clear
and in every virtue that is held most dear―
except only that you are merciless.

Into your garden, today, I followed you;
there I saw flowers of freshest hue,
both white and red, delightful to see,
and wholesome herbs, waving resplendently―
yet everywhere, no odor but rue.

I fear that March with his last arctic blast
has slain my fair rose of pallid and gentle cast,
whose piteous death does my heart such pain
that, if I could, I would compose her roots again―
so comforting her bowering leaves have been.



Ballad
by William Soutar
translation/modernization by Michael R. Burch

O, surely you have seen my love
Down where the waters wind:
He walks like one who fears no man
And yet his eyes are kind!

O, surely you have seen my love
At the turning of the tide:
For then he gathers in his nets
Down by the waterside!

Yes, lassie we have seen your love
At the turning of the tide:
For he was with the fisher folk
Down by the waterside.

The fisher folk worked at their trade
No far from Walnut Grove:
They gathered in their dripping nets
And found your one true love!

Keywords/Tags: William Soutar, Scottish, Scot, Scotsman, ballad, water, waterside, tide, nets, nets, fisher, fishers, fisher folk, fishermen, love, sea, ocean, lost, lost love, loss



Lament for the Makaris (“Lament for the Makers, or Poets”)
by William Dunbar (c. 1460-1530)
loose translation/interpretation by Michael R. Burch

i who enjoyed good health and gladness
am overwhelmed now by life’s terrible sickness
and enfeebled with infirmity;
the fear of Death dismays me!

our presence here is mere vainglory;
the false world is but transitory;
the flesh is frail; the Fiend runs free;
how the fear of Death dismays me!

the state of man is changeable:
now sound, now sick, now blithe, now dull,
now manic, now devoid of glee;
and the fear of Death dismays me!

no state on earth stands here securely;
as the wild wind waves the willow tree,
so wavers this world’s vanity;
and the fear of Death dismays me!

Death leads the knights into the field
(unarmored under helm and shield)
sole Victor of each red mêlée;
and the fear of Death dismays me!

that strange, despotic Beast
tears from its mother’s breast
the babe, full of benignity;
and the fear of Death dismays me!

He takes the champion of the hour,
the captain of the highest tower,
the beautiful damsel in full flower;
how the fear of Death dismays me!

He spares no lord for his elegance,
nor clerk for his intelligence;
His dreadful stroke no man can flee;
and the fear of Death dismays me!

artist, magician, scientist,
orator, debater, theologist,
all must conclude, so too, as we:
“the fear of Death dismays me!”

in medicine the most astute
sawbones and surgeons all fall mute;
they cannot save themselves, or flee,
and the fear of Death dismays me!

i see the Makers among the unsaved;
the greatest of Poets all go to the grave;
He does not spare them their faculty,
and the fear of Death dismays me!

i have seen Him pitilessly devour
our noble Chaucer, poetry’s flower,
and Lydgate and Gower (great Trinity!);
how the fear of Death dismays me!

since He has taken my brothers all,
i know He will not let me live past the fall;
His next victim will be —poor unfortunate me!—
and how the fear of Death dismays me!

there is no remedy for Death;
we must all prepare to relinquish breath,
so that after we die, we may no more plead:
“the fear of Death dismays me!”



To a Mouse
by Robert Burns
modern English translation by Michael R. Burch

Sleek, tiny, timorous, cowering beast,
why's such panic in your breast?
Why dash away, so quick, so rash,
in a frenzied flash
when I would be loath to pursue you
with a murderous plowstaff!

I'm truly sorry Man's dominion
has broken Nature's social union,
and justifies that bad opinion
which makes you startle,
when I'm your poor, earth-born companion
and fellow mortal!

I have no doubt you sometimes thieve;
What of it, friend? You too must live!
A random corn-ear in a shock's
a small behest; it-
'll give me a blessing to know such a loss;
I'll never miss it!

Your tiny house lies in a ruin,
its fragile walls wind-rent and strewn!
Now nothing's left to construct you a new one
of mosses green
since bleak December's winds, ensuing,
blow fast and keen!

You saw your fields laid bare and waste
with weary winter closing fast,
and cozy here, beneath the blast,
you thought to dwell,
till crash! the cruel iron ploughshare passed
straight through your cell!

That flimsy heap of leaves and stubble
had cost you many a weary nibble!
Now you're turned out, for all your trouble,
less house and hold,
to endure the winter's icy dribble
and hoarfrosts cold!

But mouse-friend, you are not alone
in proving foresight may be vain:
the best-laid schemes of Mice and Men
go oft awry,
and leave us only grief and pain,
for promised joy!

Still, friend, you're blessed compared with me!
Only present dangers make you flee:
But, ouch!, behind me I can see
grim prospects drear!
While forward-looking seers, we
humans guess and fear!



To a Louse
by Robert Burns
translation/interpretation by Michael R. Burch

Hey! Where're you going, you crawling hair-fly?
Your impudence protects you, barely;
I can only say that you swagger rarely
Over gauze and lace.
Though faith! I fear you dine but sparely
In such a place.

You ugly, creeping, blasted wonder,
Detested, shunned by both saint and sinner,
How dare you set your feet upon her—
So fine a lady!
Go somewhere else to seek your dinner
On some poor body.

Off! around some beggar's temple shamble:
There you may creep, and sprawl, and scramble,
With other kindred, jumping cattle,
In shoals and nations;
Where horn nor bone never dare unsettle
Your thick plantations.

Now hold you there! You're out of sight,
Below the folderols, snug and tight;
No, faith just yet! You'll not be right,
Till you've got on it:
The very topmost, towering height
Of miss's bonnet.

My word! right bold you root, contrary,
As plump and gray as any gooseberry.
Oh, for some rank, mercurial resin,
Or dread red poison;
I'd give you such a hearty dose, flea,
It'd dress your noggin!

I wouldn't be surprised to spy
You on some housewife's flannel tie:
Or maybe on some ragged boy's
Pale undervest;
But Miss's finest bonnet! Fie!
How dare you jest?

Oh Jenny, do not toss your head,
And lash your lovely braids abroad!
You hardly know what cursed speed
The creature's making!
Those winks and finger-ends, I dread,
Are notice-taking!

O would some Power with vision teach us
To see ourselves as others see us!
It would from many a blunder free us,
And foolish notions:
What airs in dress and carriage would leave us,
And even devotion!



A Red, Red Rose
by Robert Burns
modern English translation by Michael R. Burch

Oh, my love is like a red, red rose
that's newly sprung in June
and my love is like the melody
that's sweetly played in tune.

And you're so fair, my lovely lass,
and so deep in love am I,
that I will love you still, my dear,
till all the seas run dry.

Till all the seas run dry, my dear,
and the rocks melt with the sun!
And I will love you still, my dear,
while the sands of life shall run.  

And fare you well, my only love!
And fare you well, awhile!
And I will come again, my love,
though it were ten thousand miles!



Auld Lange Syne
by Robert Burns
modern English translation by Michael R. Burch

Should old acquaintance be forgot,
And never brought to mind?
Should old acquaintance be forgot,
And days for which we pine?

For times we shared, my darling,
Days passed, once yours and mine,
We’ll raise a cup of kindness yet,
To those fond-remembered times!



Banks o' Doon
by Robert Burns
modern English translation by Michael R. Burch

Oh, banks and hills of lovely Doon,
How can you bloom so fresh and fair;
How can you chant, diminutive birds,
When I'm so weary, full of care!
You'll break my heart, small warblers,
Flittering through the flowering thorn:
Reminding me of long-lost joys,
Departed―never to return!

I've often wandered lovely Doon,
To see the rose and woodbine twine;
And as the lark sang of its love,
Just as fondly, I sang of mine.
Then gaily-hearted I plucked a rose,
So fragrant upon its thorny tree;
And my false lover stole my rose,
But, ah! , he left the thorn in me.

"The Banks o' Doon" is a Scots song written by Robert Burns in 1791. It is based on the story of Margaret (Peggy)Kennedy, a girl Burns knew and the area around the River Doon. Keywords/Tags: Robert Burns, air, song, Doon, banks, Scots, Scottish, Scotland, translation, modernization, update, interpretation, modern English, love, hill, hills, birds, rose, lyric

An Excelente Balade of Charitie (“An Excellent Ballad of Charity”)
by Thomas Chatterton, age 17
modernization/translation by Michael R. Burch

As wroten bie the goode Prieste
Thomas Rowley 1464

In Virgynë the swelt'ring sun grew keen,
Then hot upon the meadows cast his ray;
The apple ruddied from its pallid green
And the fat pear did bend its leafy spray;
The pied goldfinches sang the livelong day;
'Twas now the pride, the manhood of the year,
And the ground was mantled in fine green cashmere.

The sun was gleaming in the bright mid-day,
Dead-still the air, and likewise the heavens blue,
When from the sea arose, in drear array,
A heap of clouds of sullen sable hue,
Which full and fast unto the woodlands drew,
Hiding at once the sun's fair festive face,
As the black tempest swelled and gathered up apace.

Beneath a holly tree, by a pathway's side,
Which did unto Saint Godwin's convent lead,
A hapless pilgrim moaning did abide.
Poor in his sight, ungentle in his ****,
Long brimful of the miseries of need,
Where from the hailstones could the beggar fly?
He had no shelter there, nor any convent nigh.

Look in his gloomy face; his sprite there scan;
How woebegone, how withered, dried-up, dead!
Haste to thy parsonage, accursèd man!
Haste to thy crypt, thy only restful bed.
Cold, as the clay which will grow on thy head,
Is Charity and Love among high elves;
Knights and Barons live for pleasure and themselves.

The gathered storm is ripe; the huge drops fall;
The sunburnt meadows smoke and drink the rain;
The coming aghastness makes the cattle pale;
And the full flocks are driving o'er the plain;
Dashed from the clouds, the waters float again;
The heavens gape; the yellow lightning flies;
And the hot fiery steam in the wide flamepot dies.

Hark! now the thunder's rattling, clamoring sound
Heaves slowly on, and then enswollen clangs,
Shakes the high spire, and lost, dispended, drown'd,
Still on the coward ear of terror hangs;
The winds are up; the lofty elm-tree swings;
Again the lightning―then the thunder pours,
And the full clouds are burst at once in stormy showers.

Spurring his palfrey o'er the watery plain,
The Abbot of Saint Godwin's convent came;
His chapournette was drenchèd with the rain,
And his pinched girdle met with enormous shame;
He cursing backwards gave his hymns the same;
The storm increasing, and he drew aside
With the poor alms-craver, near the holly tree to bide.

His cape was all of Lincoln-cloth so fine,
With a gold button fasten'd near his chin;
His ermine robe was edged with golden twine,
And his high-heeled shoes a Baron's might have been;
Full well it proved he considered cost no sin;
The trammels of the palfrey pleased his sight
For the horse-milliner loved rosy ribbons bright.

"An alms, Sir Priest!" the drooping pilgrim said,
"Oh, let me wait within your convent door,
Till the sun shineth high above our head,
And the loud tempest of the air is o'er;
Helpless and old am I, alas!, and poor;
No house, no friend, no money in my purse;
All that I call my own is this―my silver cross.

"Varlet," replied the Abbott, "cease your din;
This is no season alms and prayers to give;
My porter never lets a beggar in;
None touch my ring who in dishonor live."
And now the sun with the blackened clouds did strive,
And shed upon the ground his glaring ray;
The Abbot spurred his steed, and swiftly rode away.

Once more the sky grew black; the thunder rolled;
Fast running o'er the plain a priest was seen;
Not full of pride, not buttoned up in gold;
His cape and jape were gray, and also clean;
A Limitour he was, his order serene;
And from the pathway side he turned to see
Where the poor almer lay beneath the holly tree.

"An alms, Sir Priest!" the drooping pilgrim said,
"For sweet Saint Mary and your order's sake."
The Limitour then loosen'd his purse's thread,
And from it did a groat of silver take;
The needy pilgrim did for happiness shake.
"Here, take this silver, it may ease thy care;
"We are God's stewards all, naught of our own we bear."

"But ah! unhappy pilgrim, learn of me,
Scarce any give a rentroll to their Lord.
Here, take my cloak, as thou are bare, I see;
'Tis thine; the Saints will give me my reward."
He left the pilgrim, went his way abroad.
****** and happy Saints, in glory showered,
Let the mighty bend, or the good man be empowered!

TRANSLATOR'S NOTE: It is possible that some words used by Chatterton were his own coinages; some of them apparently cannot be found in medieval literature. In a few places I have used similar-sounding words that seem to not overly disturb the meaning of the poem. Keywords/Tags: Chatterton, Romantic, Rowley, fraud, forger, forgery, ballad, charity, alms, almer, varlet, beggar, pilgrim, storm, thunderstorm, tempest, holly, Abbot, Saint, Godwin, priest, Limitour

there once was this guy named oedipus
of whom it was prophesied
that his mother he'd marry, his father he'd ****
at a place where three roads were tied.

his mother and father discovered their fate
and tried to dispose of their son
but he ended up in corinthian lands
and their efforts were all undone.

then a drunk guy ruined his happy facade
and to an oracle oedipus went
who repeated to him the dank prophesy;
he fled corinth, not taking a cent.

while on his sojourn away from his home
he encountered a party royale
which rudely pushed him off of the road,
and angered he slaughtered them all.

then from that blood soaked three-way path
he nonchalantly flew
not knowing that his father was
the man that he just slew.

he continued his journey until he reached thebes
where a sphinx held the city hostage
so oedipus solved the bird-cat's lame rhyme
and released thebes from its *******.

as a reward, the people of thebes
gave oedipus their widowed queen,
unknowingly joining mother and son
in a marriage that was unclean.

after they ruled for twenty good years,
during which four children came,
a plague was induced by the sheltering of
the man by whom was slain

in searching him out, oedipus found
that the murderer was really he,
so long ago. the man he had killed
at the place where were joined roads of three.

but by finding this out, he also discovered
that his wife and his mother were one.
he gouged out his eyes after her suicide;
in her own bedroom she was hung.

as it turned out, oeddy exiled himself
but the seeds of his misery were sewn.
so he went to colonus and wandered around
and this is the end.

The ballad of Nero and Echo

This is the ballad of Nero and Echo two friends had met
In millennium park where we lay our scene
Yes I did make a Shakespearean reference
Not to do so would be obscene

So anyway the friends are by no means typical
Because they possess a talent that's lyrical
When two writers meet odd things happen
We talked with my notebook,

The very same I'm writing this in,
It's simply a few pages back
And though some have us as an OTP
I'm happy echo is my friend personally

The shivering eyeglasses lazily coating the ground
Break way to the budding of the season.
To reincarnate is to live the anomaly,
The evergreen boughs bend in the wind.

Coalescing crystals form dew on our morn
To leave a fresh taste, on lips, on tongue.
The time is imminent, but the dawn is young,
My white Orchid, born to the sun.

Simply, optically, it's to weak to touch
Unworthy digits, to blind to see.
My scarlet levees, to right to feel.
The ivory blossom, to right to be real.

Under the canopies, the shimmering outline
Moves closer until the mirror cracks
And our reflections are polymorphicly one,
Our hearts still polyamorously two.

I yearn to dream of lucid lavender,
The aroma surrounds the dream, still dreamed
The scent so real, or so it seemed
Encapsulating this moment in amber.

Until we sleep, until we fly
Together. Our wings open to embrace the quilted high.
Our mouths embrace to fill the void,
Unleash the magic, bathing us in light

Bricks and mortar overlap my thoughts
But time alone is not a wall.
Time alone, it cannot fall
And it still ticks with the beat of my pendulum.

Oh flower, oh life, vitality aplenty.
Your hideousness, a secret untold,
Withers to your beauty, yet to unmold.
Le voyage fantasme is here for me now.

And now the grains slip between my toes.
The sandcastles caress the glass of our hour.
It's never too late, but always on time,
So before the light fades, kiss me and say

"I'll sleep tonight,
I'll dream of you."
Orchid, my Orchid, love, my love
I'll dream with you forever.

I speak of love that comes to mind:
The moon is faithful, although blind;
She moves in thought she cannot speak.
Perfect care has made her bleak.

I never dreamed the sea so deep,
The earth so dark; so long my sleep,
I have become another child.
I wake to see the world go wild.

Still must I hear?—shall hoarse FITZGERALD bawl
His creaking couplets in a tavern hall,
And I not sing, lest, haply, Scotch Reviews
Should dub me scribbler, and denounce my Muse?
Prepare for rhyme—I’ll publish, right or wrong:
Fools are my theme, let Satire be my song.

  Oh! Nature’s noblest gift—my grey goose-quill!
Slave of my thoughts, obedient to my will,
Torn from thy parent bird to form a pen,
That mighty instrument of little men!
The pen! foredoomed to aid the mental throes
Of brains that labour, big with Verse or Prose;
Though Nymphs forsake, and Critics may deride,
The Lover’s solace, and the Author’s pride.
What Wits! what Poets dost thou daily raise!
How frequent is thy use, how small thy praise!
Condemned at length to be forgotten quite,
With all the pages which ’twas thine to write.
But thou, at least, mine own especial pen!
Once laid aside, but now assumed again,
Our task complete, like Hamet’s shall be free;
Though spurned by others, yet beloved by me:
Then let us soar to-day; no common theme,
No Eastern vision, no distempered dream
Inspires—our path, though full of thorns, is plain;
Smooth be the verse, and easy be the strain.

  When Vice triumphant holds her sov’reign sway,
Obey’d by all who nought beside obey;
When Folly, frequent harbinger of crime,
Bedecks her cap with bells of every Clime;
When knaves and fools combined o’er all prevail,
And weigh their Justice in a Golden Scale;
E’en then the boldest start from public sneers,
Afraid of Shame, unknown to other fears,
More darkly sin, by Satire kept in awe,
And shrink from Ridicule, though not from Law.

  Such is the force of Wit! I but not belong
To me the arrows of satiric song;
The royal vices of our age demand
A keener weapon, and a mightier hand.
Still there are follies, e’en for me to chase,
And yield at least amusement in the race:
Laugh when I laugh, I seek no other fame,
The cry is up, and scribblers are my game:
Speed, Pegasus!—ye strains of great and small,
Ode! Epic! Elegy!—have at you all!
I, too, can scrawl, and once upon a time
I poured along the town a flood of rhyme,
A schoolboy freak, unworthy praise or blame;
I printed—older children do the same.
’Tis pleasant, sure, to see one’s name in print;
A Book’s a Book, altho’ there’s nothing in’t.
Not that a Title’s sounding charm can save
Or scrawl or scribbler from an equal grave:
This LAMB must own, since his patrician name
Failed to preserve the spurious Farce from shame.
No matter, GEORGE continues still to write,
Tho’ now the name is veiled from public sight.
Moved by the great example, I pursue
The self-same road, but make my own review:
Not seek great JEFFREY’S, yet like him will be
Self-constituted Judge of Poesy.

  A man must serve his time to every trade
Save Censure—Critics all are ready made.
Take hackneyed jokes from MILLER, got by rote,
With just enough of learning to misquote;
A man well skilled to find, or forge a fault;
A turn for punning—call it Attic salt;
To JEFFREY go, be silent and discreet,
His pay is just ten sterling pounds per sheet:
Fear not to lie,’twill seem a sharper hit;
Shrink not from blasphemy, ’twill pass for wit;
Care not for feeling—pass your proper jest,
And stand a Critic, hated yet caress’d.

And shall we own such judgment? no—as soon
Seek roses in December—ice in June;
Hope constancy in wind, or corn in chaff,
Believe a woman or an epitaph,
Or any other thing that’s false, before
You trust in Critics, who themselves are sore;
Or yield one single thought to be misled
By JEFFREY’S heart, or LAMB’S Boeotian head.
To these young tyrants, by themselves misplaced,
Combined usurpers on the Throne of Taste;
To these, when Authors bend in humble awe,
And hail their voice as Truth, their word as Law;
While these are Censors, ’twould be sin to spare;
While such are Critics, why should I forbear?
But yet, so near all modern worthies run,
’Tis doubtful whom to seek, or whom to shun;
Nor know we when to spare, or where to strike,
Our Bards and Censors are so much alike.
Then should you ask me, why I venture o’er
The path which POPE and GIFFORD trod before;
If not yet sickened, you can still proceed;
Go on; my rhyme will tell you as you read.
“But hold!” exclaims a friend,—”here’s some neglect:
This—that—and t’other line seem incorrect.”
What then? the self-same blunder Pope has got,
And careless Dryden—”Aye, but Pye has not:”—
Indeed!—’tis granted, faith!—but what care I?
Better to err with POPE, than shine with PYE.

  Time was, ere yet in these degenerate days
Ignoble themes obtained mistaken praise,
When Sense and Wit with Poesy allied,
No fabled Graces, flourished side by side,
From the same fount their inspiration drew,
And, reared by Taste, bloomed fairer as they grew.
Then, in this happy Isle, a POPE’S pure strain
Sought the rapt soul to charm, nor sought in vain;
A polished nation’s praise aspired to claim,
And raised the people’s, as the poet’s fame.
Like him great DRYDEN poured the tide of song,
In stream less smooth, indeed, yet doubly strong.
Then CONGREVE’S scenes could cheer, or OTWAY’S melt;
For Nature then an English audience felt—
But why these names, or greater still, retrace,
When all to feebler Bards resign their place?
Yet to such times our lingering looks are cast,
When taste and reason with those times are past.
Now look around, and turn each trifling page,
Survey the precious works that please the age;
This truth at least let Satire’s self allow,
No dearth of Bards can be complained of now.
The loaded Press beneath her labour groans,
And Printers’ devils shake their weary bones;
While SOUTHEY’S Epics cram the creaking shelves,
And LITTLE’S Lyrics shine in hot-pressed twelves.
Thus saith the Preacher: “Nought beneath the sun
Is new,” yet still from change to change we run.
What varied wonders tempt us as they pass!
The Cow-pox, Tractors, Galvanism, and Gas,
In turns appear, to make the ****** stare,
Till the swoln bubble bursts—and all is air!
Nor less new schools of Poetry arise,
Where dull pretenders grapple for the prize:
O’er Taste awhile these Pseudo-bards prevail;
Each country Book-club bows the knee to Baal,
And, hurling lawful Genius from the throne,
Erects a shrine and idol of its own;
Some leaden calf—but whom it matters not,
From soaring SOUTHEY, down to groveling STOTT.

  Behold! in various throngs the scribbling crew,
For notice eager, pass in long review:
Each spurs his jaded Pegasus apace,
And Rhyme and Blank maintain an equal race;
Sonnets on sonnets crowd, and ode on ode;
And Tales of Terror jostle on the road;
Immeasurable measures move along;
For simpering Folly loves a varied song,
To strange, mysterious Dulness still the friend,
Admires the strain she cannot comprehend.
Thus Lays of Minstrels—may they be the last!—
On half-strung harps whine mournful to the blast.
While mountain spirits prate to river sprites,
That dames may listen to the sound at nights;
And goblin brats, of Gilpin Horner’s brood
Decoy young Border-nobles through the wood,
And skip at every step, Lord knows how high,
And frighten foolish babes, the Lord knows why;
While high-born ladies in their magic cell,
Forbidding Knights to read who cannot spell,
Despatch a courier to a wizard’s grave,
And fight with honest men to shield a knave.

  Next view in state, proud prancing on his roan,
The golden-crested haughty Marmion,
Now forging scrolls, now foremost in the fight,
Not quite a Felon, yet but half a Knight.
The gibbet or the field prepared to grace;
A mighty mixture of the great and base.
And think’st thou, SCOTT! by vain conceit perchance,
On public taste to foist thy stale romance,
Though MURRAY with his MILLER may combine
To yield thy muse just half-a-crown per line?
No! when the sons of song descend to trade,
Their bays are sear, their former laurels fade,
Let such forego the poet’s sacred name,
Who rack their brains for lucre, not for fame:
Still for stern Mammon may they toil in vain!
And sadly gaze on Gold they cannot gain!
Such be their meed, such still the just reward
Of prostituted Muse and hireling bard!
For this we spurn Apollo’s venal son,
And bid a long “good night to Marmion.”

  These are the themes that claim our plaudits now;
These are the Bards to whom the Muse must bow;
While MILTON, DRYDEN, POPE, alike forgot,
Resign their hallowed Bays to WALTER SCOTT.

  The time has been, when yet the Muse was young,
When HOMER swept the lyre, and MARO sung,
An Epic scarce ten centuries could claim,
While awe-struck nations hailed the magic name:
The work of each immortal Bard appears
The single wonder of a thousand years.
Empires have mouldered from the face of earth,
Tongues have expired with those who gave them birth,
Without the glory such a strain can give,
As even in ruin bids the language live.
Not so with us, though minor Bards, content,
On one great work a life of labour spent:
With eagle pinion soaring to the skies,
Behold the Ballad-monger SOUTHEY rise!
To him let CAMOËNS, MILTON, TASSO yield,
Whose annual strains, like armies, take the field.
First in the ranks see Joan of Arc advance,
The scourge of England and the boast of France!
Though burnt by wicked BEDFORD for a witch,
Behold her statue placed in Glory’s niche;
Her fetters burst, and just released from prison,
A ****** Phoenix from her ashes risen.
Next see tremendous Thalaba come on,
Arabia’s monstrous, wild, and wond’rous son;
Domdaniel’s dread destroyer, who o’erthrew
More mad magicians than the world e’er knew.
Immortal Hero! all thy foes o’ercome,
For ever reign—the rival of Tom Thumb!
Since startled Metre fled before thy face,
Well wert thou doomed the last of all thy race!
Well might triumphant Genii bear thee hence,
Illustrious conqueror of common sense!
Now, last and greatest, Madoc spreads his sails,
Cacique in Mexico, and Prince in Wales;
Tells us strange tales, as other travellers do,
More old than Mandeville’s, and not so true.
Oh, SOUTHEY! SOUTHEY! cease thy varied song!
A bard may chaunt too often and too long:
As thou art strong in verse, in mercy, spare!
A fourth, alas! were more than we could bear.
But if, in spite of all the world can say,
Thou still wilt verseward plod thy weary way;
If still in Berkeley-Ballads most uncivil,
Thou wilt devote old women to the devil,
The babe unborn thy dread intent may rue:
“God help thee,” SOUTHEY, and thy readers too.

  Next comes the dull disciple of thy school,
That mild apostate from poetic rule,
The simple WORDSWORTH, framer of a lay
As soft as evening in his favourite May,
Who warns his friend “to shake off toil and trouble,
And quit his books, for fear of growing double;”
Who, both by precept and example, shows
That prose is verse, and verse is merely prose;
Convincing all, by demonstration plain,
Poetic souls delight in prose insane;
And Christmas stories tortured into rhyme
Contain the essence of the true sublime.
Thus, when he tells the tale of Betty Foy,
The idiot mother of “an idiot Boy;”
A moon-struck, silly lad, who lost his way,
And, like his bard, confounded night with day
So close on each pathetic part he dwells,
And each adventure so sublimely tells,
That all who view the “idiot in his glory”
Conceive the Bard the hero of the story.

  Shall gentle COLERIDGE pass unnoticed here,
To turgid ode and tumid stanza dear?
Though themes of innocence amuse him best,
Yet still Obscurity’s a welcome guest.
If Inspiration should her aid refuse
To him who takes a Pixy for a muse,
Yet none in lofty numbers can surpass
The bard who soars to elegize an ***:
So well the subject suits his noble mind,
He brays, the Laureate of the long-eared kind.

Oh! wonder-working LEWIS! Monk, or Bard,
Who fain would make Parnassus a church-yard!
Lo! wreaths of yew, not laurel, bind thy brow,
Thy Muse a Sprite, Apollo’s sexton thou!
Whether on ancient tombs thou tak’st thy stand,
By gibb’ring spectres hailed, thy kindred band;
Or tracest chaste descriptions on thy page,
To please the females of our modest age;
All hail, M.P.! from whose infernal brain
Thin-sheeted phantoms glide, a grisly train;
At whose command “grim women” throng in crowds,
And kings of fire, of water, and of clouds,
With “small grey men,”—”wild yagers,” and what not,
To crown with honour thee and WALTER SCOTT:
Again, all hail! if tales like thine may please,
St. Luke alone can vanquish the disease:
Even Satan’s self with thee might dread to dwell,
And in thy skull discern a deeper Hell.

Who in soft guise, surrounded by a choir
Of virgins melting, not to Vesta’s fire,
With sparkling eyes, and cheek by passion flushed
Strikes his wild lyre, whilst listening dames are hushed?
’Tis LITTLE! young Catullus of his day,
As sweet, but as immoral, in his Lay!
Grieved to condemn, the Muse must still be just,
Nor spare melodious advocates of lust.
Pure is the flame which o’er her altar burns;
From grosser incense with disgust she turns
Yet kind to youth, this expiation o’er,
She bids thee “mend thy line, and sin no more.”

For thee, translator of the tinsel song,
To whom such glittering ornaments belong,
Hibernian STRANGFORD! with thine eyes of blue,
And boasted locks of red or auburn hue,
Whose plaintive strain each love-sick Miss admires,
And o’er harmonious fustian half expires,
Learn, if thou canst, to yield thine author’s sense,
Nor vend thy sonnets on a false pretence.
Think’st thou to gain thy verse a higher place,
By dressing Camoëns in a suit of lace?
Mend, STRANGFORD! mend thy morals and thy taste;
Be warm, but pure; be amorous, but be chaste:
Cease to deceive; thy pilfered harp restore,
Nor teach the Lusian Bard to copy MOORE.

Behold—Ye Tarts!—one moment spare the text!—
HAYLEY’S last work, and worst—until his next;
Whether he spin poor couplets into plays,
Or **** the dead with purgatorial praise,
His style in youth or age is still the same,
For ever feeble and for ever tame.
Triumphant first see “Temper’s Triumphs” shine!
At least I’m sure they triumphed over mine.
Of “Music’s Triumphs,” all who read may swear
That luckless Music never triumph’d there.

Moravians, rise! bestow some meet reward
On dull devotion—Lo! the Sabbath Bard,
Sepulchral GRAHAME, pours his notes sublime
In mangled prose, nor e’en aspires to rhyme;
Breaks into blank the Gospel of St. Luke,
And boldly pilfers from the Pentateuch;
And, undisturbed by conscientious qualms,
Perverts the Prophets, and purloins the Psalms.

  Hail, Sympathy! thy soft idea brings”
A thousand visions of a thousand things,
And shows, still whimpering thro’ threescore of years,
The maudlin prince of mournful sonneteers.
And art thou not their prince, harmonious Bowles!
Thou first, great oracle of tender souls?
Whether them sing’st with equal ease, and grief,
The fall of empires, or a yellow leaf;
Whether thy muse most lamentably tells
What merry sounds proceed from Oxford bells,
Or, still in bells delighting, finds a friend
In every chime that jingled from Ostend;
Ah! how much juster were thy Muse’s hap,
If to thy bells thou would’st but add a cap!
Delightful BOWLES! still blessing and still blest,
All love thy strain, but children like it best.
’Tis thine, with gentle LITTLE’S moral song,
To soothe the mania of the amorous throng!
With thee our nursery damsels shed their tears,
Ere Miss as yet completes her infant years:
But in her teens thy whining powers are vain;
She quits poor BOWLES for LITTLE’S purer strain.
Now to soft themes thou scornest to confine
The lofty numbers of a harp like thine;
“Awake a louder and a loftier strain,”
Such as none heard before, or will again!
Where all discoveries jumbled from the flood,
Since first the leaky ark reposed in mud,
By more or less, are sung in every book,
From Captain Noah down to Captain Cook.
Nor this alone—but, pausing on the road,
The Bard sighs forth a gentle episode,
And gravely tells—attend, each beauteous Miss!—
When first Madeira trembled to a kiss.
Bowles! in thy memory let this precept dwell,
Stick to thy Sonnets, Man!—at least they sell.
But if some new-born whim, or larger bribe,
Prompt thy crude brain, and claim thee for a scribe:
If ‘chance some bard, though once by dunces feared,
Now, prone in dust, can only be revered;
If Pope, whose fame and genius, from the first,
Have foiled the best of critics, needs the worst,
Do thou essay: each fault, each failing scan;
The first of poets

We laid in the grass
touching, kissing, holding.

In the background there was a song,
you dedicated it to me.

Little did you know that the major chords lift,
and the minor cords show the depths of melancholy.

Maybe you should have dedicated a different melody.

All is not what it seems
Because I was an atheist
Long before I realized I was God,
But that was much, much later
Then, at that time, I succumbed
To the lurid but exciting depths
Of freedom, the joy of love and danger
Of searching and of knowledge,
Embracing every moment;
I surrendered to ungovernable impulses
That invoked within my very existence

Still to realise the true extent of this
It's perhaps best to start before the beginning
Before the earth embalmed me
A time when Cyparisse had not
Yet set root in my belly
Nor made sap of my blood
A time when it was possible to speak
To Panza's donkey when I thought of Zanzibar
A time when the vagrancy of my soul
Had not yet embarked
On its erratic itinerary
Plunging me eventually
Into the bright light
Of tainted and squalid reality

Like oscillating libraries, noise oppressed,
Contradictions of dreams
Suddenly I took flight,
With violent wrenches of imagination
In Persia being worshipped
Beneath the moon by Gods;
Caressed by those impetuous charms
A dazzling vision
I thought of death the only sister of charity
Whose dark night has no malevolence;
Black and white, silences that migrated
In sonorous symbolism took control
Shimmering like a painting of a sorrow

Streaked with unashamed colours
A single tear from a promethean candle
I would move to lick the stain of destiny
That pillar inhaling its black perfumes
Like a communicant on his knees.
Exiled in reality, I saw what I had never saw
Or only thought I saw now condemned
To see what has never been seen

Words corralled themselves in my mind
Writhing maggots on a corpse
Wriggling for position waiting to be pronounced
How they flew, taking wings
Hovering for an instant above the page
Hunting out the detritus of man
To feast upon the putrid flesh of misery
I too went searching
For my ancient feast; for Zanzibar

However hideous pages
From the note book of the ******
Imprisoned the words, stampeded the search
Scattering it in many directions
Shattering blue-white eyes
A castrated country, century, impotent, impure
Like politics, the ******* that can be purchased by coin
Like so much bread in the market,
A thousand profanities became the popular song
But silence is the real language of the fool

For he alone bears witness to what he feels
Misfortunes not understood, weeping the popular ballad
Morality and law, parades of red robed Judges
Carcasses, a circus for carrion crows
Yet like a cannibal the dead were still buried in my belly
The gloss of reason hiding madness
Like so many veneered fronts in a proud precinct

Paraded in full view, silence is demanded and got
The words wither, fake time continues,
To count the unrelieved falsehood the chimera of life;
Reason did not imprison me
My life being not heavy enough
Was allowed to take flight
To float above the reasoned realm
Revelations of the truth realised only by detachment
Devoured my mind increased my errorless purpose
The search for Zanzibar

Accepted values; valued only;
Because of this acceptance
Are accepted as value
Thus accepted in silence
The fools resign themselves
To a false reality
One that nails them to a poisoned cross

In the gardens of the dead
Like rowed tulips that
Gardeners know how to match
I found myself, among those who had gone
Remembered yet forgotten
Whose edifice unlike their lives
Reached not upwards but down.
I smelt the scent of unknown things
The perfumes of eternity that histories bind;
Intensity, a murmur; gurgle, as in a child
Yet extreme its aberrations
Like celluloid hand that
Had never known toil
Or wiped sweat from a brow
Laughed yet grimaced
Its smile a crimson smear
The sorrow that it felt
A burnished hand upon its nakedness
To see its enshrouded presence in such a garden
One well stocked and growing
Caressed my being with its glee
To turn white feel the touch
Of its venomous fingers upon my flesh;
Its purpose, to prevent any search for Zanzibar

The stench of death
Then cast its' new
Yet antediluvian gaze
Upon its purpose
Odour of grave
Faraway nonexistent
Yet it is perfume to those
Who feast upon its scent
Moistures mingling with the air
Its common purpose
Floating like un-forgiveness
Its atmosphere ozone sans holes
Its meaning ever present
Its' outcome to halt
The search for Zanzibar

And so the stencils of oriental scribes
Like black shadows overpowered my reason
Floating high above, adrift on an expanse of darkness
However, presently that azure ink
Raised its curtain before my very eyes
Revealing the stage, the illuminated stage
On which I was to set my drama
Where the phantoms of my imagination
Would enact their mysterious mysteries;
A poetic alchemy

Then a golden spark of pure
Nocturnal light blinded me
In an instant I saw, observed
The sun drown in its deathly sea
Its healing wings spread
Fear would see it rise again
Still searching for that fatal flaw, happiness
How many lives do I need?
How many existences will it take?
Incarnations a hundred times
Searching for Zanzibar.
Awakening to continue to
Live the saddest of my dreams

Furtive footsteps through Cimmerian landscapes
Ah such enchantment, do you understand?
Ah such a charm, listen to its undying echo
Feel its charge, that siren call
Cosmic summons, the vagrancy of mind
That caresses the imagination
Whose tender touch can place you
At the apex of the universe
Can lead to Zanzibar.


And so the subtle and foolish tortures
Inflicted upon me by I, my quest began
One that would ascertain, take centre stage
Make an unheard appearance of a philosophy
That, I am everyone and everyone else is me
Eventually at some point
In time and space we are all one
All linked, for we are condemned
Yes condemned to live these lives
This is why the dead have dreams
Dreams about the tyrants and demons
Of other lives of who they were;
Who they have yet to become.
Nourished on half truths,
Forever pulling at the thread
The rotted rags of reason
Those tattered twines
Unravelling the stitching of reality
Of hallucinations, empty illusions
And tarnished dreams create a constant struggle


Therefore for every conscious thing
That happens in the world
There must be a responding reverberation
Within the human soul
Let us put a halt to the calls
For the death of imagination
And demands for imagination to be silent
Such absurdities
For imagination is the true door to reality
For only in imagination
Can there be a bearable act
Of self examination
It is memory that hurts
More than the imagination
Always prefer the imaginary to the real
Imagination is neither an exit
From our nightmares nor
An escape from reality
But the place we are all trying to get to,
Zanzibar its shared images
Its story, its own life a new reality.


Mysteriously in the midst of unknown
Mazagran landscapes I feel
The full impact of fleeting visions
Without the limitations of space or time
Feel the act of experiencing their reality
This requires no explanation, no proof
Either together or separate
Because simply they are,
Judgement, condemnation
Punishments are gone
There is no cleansing a world
Without consciousness
Landscape devoid of people
'La Lune' growling in the orchard of the sea
Calypso again one or ten
Eucharis, tempest or temptress
Take both the meaning and the experience
Taste the tear drops of the sun
Telemachus searching, searching
Zanzibar

The idol, tentacles undulating
Vibrations of collective knowledge
The blank face, featureless
Touching around the domain of Atlas
Speaking in a thousand different tongues
Moving but still, blocks my path
Disturbs the line of imagination
Makes reality quiver
Dream flowers sway in its cosmic wind.
Yet Alhazers' iridescent arch allows
The steerage of my passage
Without pious pilgrimages to empty silences that
Contain an eternity of tears
Who graciously offers coverage
For the echo of footsteps
Allowing the magic moments to come


Robbed of sunlight, artificial night shines
Its deception attempting to secure knowledge
Of a future unknown, winning only it's unattainably
Offering instead knowledge of the past
Master of silence, offers only knowledge
Of invaded consciousness
Bedlam of paradise where Eros and Pan
In congress sleep, close at Zanzibar.


Lifeless beauty that lives everlasting
Time that reason cannot change, only help.
O enchanted torture you have stolen
The taste from my mouth
Masked I against the spectre of reality
Proclaimed the age of 'hasashin'
The creator of recollections, maker of memories
Possessor of impulse giver of echo
That rings in the ear
Cloud cast its surroccoian shadow
Air tinged with the aftermath of fire
Floating in an Asian wind, so subtle
Like a breath suddenly the sound of song
Of dance rents the solitude
Silence is slashed like a canvass screen
Happiness pours forth unconfined
Unfettered, both faces of Kandinsky as one
I extinguish the light, turn to the wall
Gazing upon its Janis face
My eyes behold the giver of pleasure.

Then I found myself in an extraordinary place
Whose skies where made of crystal glass
Water of the enchanted land was blue-grey
Bridges zig-zagged its shimmering domes
I stared as masts and parapets came to life
Its people, musicians sporting
Tangerine and white livery danced
The air filled with the sound of their music
Then as if from nowhere a light hit my eyes
Blinking, this apparition was gone
Can I not always believe what I see
Just because I see what I believe
The inhabitants at once became spectres
Engulfed in thick clouds of smoke and sulphur
Erinyies roamed, inflicting madness
A circus of the macabre sped past
Its symbols of death fluttering frantically
Around this false and fragile world
Suggested children, like creatures in an imagination
Were made ready for their rebirth
By the touch of the poets pen
A thousand Cheribino

In another, swirling sonorous scenes
Stormed the citadels of my mind
Marched through my imagination
Mab engulfed the long closed
Cemeteries of my thought allowing me
To see the dreams of others
Like precious pearls prised from their shells
Their visualisation so intense
Joy overcame me at once
Then a swarm of kisses descended upon me
Like a regiment of famished men
Feasting for the first time
I freely gave myself as the main course
In the most beautiful of banquets
In another, yielding to these seductions
I was enraptured by portraits of beautiful young men
Which appeared to be on the point of speaking
They were most mysterious their intrinsic
Charm so beautiful, stimulated desire
Whose assuagement was so pleasurable
That it might be called pure ecstasy
A perfect pleasure which had never before existed
Entirely individual and new

Thus upon the horizons of my mind
Had been shed a mysterious light
In which I now saw everything bathed
I was summoned by the Prince
Knowing dreams have no limits
I obeyed his call
For a long time failing to set
Foot on the shores of reality
Drinking from the wells of magic
While angels danced on grassy slopes
Disturbed by flames
The stars shot out their fragrance

Sweet smelling; blue abyss
On I went to the court, the court of the Prince of
Poets, a visitor to life
There I spat out the bit of liberty
Embraced the Prince
Courtesans mocked me, ridiculed
Laughed and taunted me
Their jibes merely part of
Their own deluded reality, not of mine
They did not serve my purpose
Dressed as they were
In meaningless words
Clothed in phrases of falsehood
They tried to make me compromise
There was fire burning in my eyes
Vivid dreams were eating up my mind
They wouldn't let me be
There were dead men lying
By the sides of the road
With daylight in their eyes
I saw villages under the sea
I stood at Galactic central point
Watched the earth burn
They did not know
The way to Zanzibar
Could the Prince show me?

However each morning I awoke
I found myself in a purgatorial fog
I roamed lost the alternative harbour
For my soul still distant
The Prince, I discovered, existed
In a twilight world of mysterious ailments
He denied his feelings
Such denial only immersed him
In maintaining the world of external restraints
It created emptiness, a vacancy
Filled by material concerns
I pleaded with him
The emerald gene came down
Soon the leaves of grass
Whispered another order of existence
Strangeness of sensation
Intoxication of vision
Unhinged for mortals
And as the sound increased one cannot
Describe what else it is that has been
I viewed a world transparent
Devoid of illumination within which
Was never a sea or land
Then the prophets were ******
For they were all liars
And I saw the most beautiful flower
Unfolding out of its own roots
For such a flower cannot
Unfold other than it does
I stood on the threshold of Orcus
I met Abbas Effendi the Gene without a name
Bab, Upanishads spilled music in my ears
Called to me in the most spectacular of colours
It was wonderful for the colours
Were like my dreams, red, black and green
I witnessed the three, sometimes as one
Other times as two, again and again
The self eternal and inseparable sons
Of Shakyamuni caressed me with their thoughts
Their music and colour moved about me
In ecstatic rhythm like the peaceful
Waves of the ocean as upon a shore
I read the sentences of silence
Breathed the perfume of never fading flowers
Walked in cherry blossom snow
Heard Hafiz reciting in the night
I saw for the first time
The unfinished likeness of others.

Then one day the Prince
With a sweeping theatrical and
So to speak, allegorical flourish bowed
Called me an exiled angel
Said the time had come to travel
To leave the images of naked heels
Imprinted in the clay
We wondered
Then as if by magic, suddenly the shadows
Of houses, halls, and a church
Emerged like enchanted islands in a fairy tale
The spiritualised forms of civilisation
I was approached by a graceful youth
Draped in cobweb lawn
He was pale, delicately beautiful
Spanish looking, but his name was Alexis Sonyeuse
Whose family it was said was
Related to the French Emperor Napoleon
It was also rumoured that he had
Had a tempestuous affair with the Bishop of Monaco
And once slept with his half brother Julian Apollinaire
When he spoke he was at once original
Delicious, moving, droll and discreetly melancholy
Listening to him was like breathing
The perfume of wondrous flowers
But the scent of datura hung about him
Paralleling his every movement
  Another youth, Edmond also greeted me
He was a young man with aristocratic features
A complexion pink, like a girls
And a bearing at once charmingly gracious
And audaciously insolent
His shirt was strange, the lining
A peculiarly orange colour
A flame coloured taffeta
Like the petticoats of a *****



They looked at me
Furtive glances emanated from their eyes
Training a profound stare upon my person
The two youths took me to 18 Avenue de Friedland
There two boy servants
Adoum and Outhman greeted us
Spinario's lay about its confines
Frezans caressing them
As they touched their feet
A hundred echansons moved
With dazzling delicacy dispensing dreams
In drops from crystalline cups
Here I witnessed the tragic faces of the population
Urnings, cleaning in the midst of anarchist trials
The room a fiery red, stained with light
The caress of forgotten thought
Like the thickness of a sorrow
Musicians playing on broken strings
Crimson ******, who defied the King of Naples
We moved past wretches
Like Virgil, but Danteian
Saw the usurers heard the rustling
Of lute strings the clinking of grey paper
Observed in this Minatare's lair
The purchase of a twelve penny dagger
Liberty of speech meeting its great reckoning
In a little room, Ingram the poltergeist
Of misfortune was there
Dead Scythian, who ever loved you
Loved you as you might, loved you at first sight.

This was a new and exciting world
Whose environs were populated
By the most mysterious and colourful of people
I was introduced by the two youths
To a suicidal young painter who
Was rebelling against his class
He was a somewhat forced intellectual
With an over quixotic passion for equality
Still he was warm, kind and impulsive
Poetry, he made it known
Had opened his mind to the invisible
Beside him was a painting
Exemplifying a new kind of observation
In a style absolutely faultless
Each structure clear, each brush stroke
Falling exactly into place
Inscribed in the top left
Corner were the words
"Quod me nutrit me destruit"
An introduction to himself of a tall youth
Whose eyes possessed a constant
Vagrancy of desire
Who seemed at once, for one so