Man is a curious animal
who afraid of his own mortality
went and conjured up spirituality.

Which begs a curious question
if religion our fears meant to quell
why then go,
and conjure up hell.

Oh, but it is *****!
--this little filling station,
oil-soaked, oil-permeated
to a disturbing, over-all
black translucency.
Be careful with that match!

Father wears a *****,
oil-soaked monkey suit
that cuts him under the arms,
and several quick and saucy
and greasy sons assist him
(it's a family filling station),
all quite thoroughly *****.

Do they live in the station?
It has a cement porch
behind the pumps, and on it
a set of crushed and grease-
impregnated wickerwork;
on the wicker sofa
a ***** dog, quite comfy.

Some comic books provide
the only note of color-
of certain color.  They lie
upon a big dim doily
draping a taboret
(part of the set), beside
a big hirsute begonia.

Why the extraneous plant?
Why the taboret?
Why, oh why, the doily?
(Embroidered in daisy stitch
with marguerites, I think,
and heavy with gray crochet.)

Somebody embroidered the doily.
Somebody waters the plant,
or oils it, maybe.  Somebody
arranges the rows of cans
so that they softly say:
ESSO--SO--SO--SO
to high-strung automobiles.
Somebody loves us all.

I

Some day I will go to Aarhus
To see his peat-brown head,
The mild pods of his eye-lids,
His pointed skin cap.

In the flat country near by
Where they dug him out,
His last gruel of winter seeds
Caked in his stomach,

Naked except for
The cap, noose and girdle,
I will stand a long time.
Bridegroom to the goddess,

She tightened her torc on him
And opened her fen,
Those dark juices working
Him to a saint's kept body,

Trove of the turfcutters'
Honeycombed workings.
Now his stained face
Reposes at Aarhus.

II

I could risk blasphemy,
Consecrate the cauldron bog
Our holy ground and pray
Him to make germinate

The scattered, ambushed
Flesh of labourers,
Stockinged corpses
Laid out in the farmyards,

Tell-tale skin and teeth
Flecking the sleepers
Of four young brothers, trailed
For miles along the lines.

III

Something of his sad freedom
As he rode the tumbril
Should come to me, driving,
Saying the names

Tollund, Grauballe, Nebelgard,
Watching the pointing hands
Of country people,
Not knowing their tongue.

Out here in Jutland
In the old man-killing parishes
I will feel lost,
Unhappy and at home.

We sit late, watching the dark slowly unfold:
No clock counts this.
When kisses are repeated and the arms hold
There is no telling where time is.

It is midsummer: the leaves hang big and still:
Behind the eye a star,
Under the silk of the wrist a sea, tell
Time is nowhere.

We stand; leaves have not timed the summer.
No clock now needs
Tell we have only what we remember:
Minutes uproaring with our heads

Like an unfortunate King's and his Queen's
When the senseless mob rules;
And quietly the trees casting their crowns
Into the pools.

I sit and look out upon all the sorrows of the world, and upon all
    oppression and shame;
I hear secret convulsive sobs from young men, at anguish with
    themselves, remorseful after deeds done;
I see, in low life, the mother misused by her children, dying,
    neglected, gaunt, desperate;
I see the wife misused by her husband—I see the treacherous seducer
    of young women;
I mark the ranklings of jealousy and unrequited love, attempted to be
    hid—I see these sights on the earth;
I see the workings of battle, pestilence, tyranny—I see martyrs and
    prisoners;
I observe a famine at sea—I observe the sailors casting lots who
    shall be ****’d, to preserve the lives of the rest;
I observe the slights and degradations cast by arrogant persons upon
    laborers, the poor, and upon negroes, and the like;
All these—All the meanness and agony without end, I sitting, look out
    upon,
See, hear, and am silent.