This English Thames is holier far than Rome,
Those harebells like a sudden flush of sea
Breaking across the woodland, with the foam
Of meadow-sweet and white anemone
To fleck their blue waves,—God is likelier there
Than hidden in that crystal-hearted star the pale monks bear!

Those violet-gleaming butterflies that take
Yon creamy lily for their pavilion
Are monsignores, and where the rushes shake
A lazy pike lies basking in the sun,
His eyes half shut,—he is some mitred old
Bishop in partibus! look at those gaudy scales all green and gold.

The wind the restless prisoner of the trees
Does well for Palaestrina, one would say
The mighty master’s hands were on the keys
Of the Maria *****, which they play
When early on some sapphire Easter morn
In a high litter red as blood or sin the Pope is borne

From his dark House out to the Balcony
Above the bronze gates and the crowded square,
Whose very fountains seem for ecstasy
To toss their silver lances in the air,
And stretching out weak hands to East and West
In vain sends peace to peaceless lands, to restless nations rest.

Is not yon lingering orange after-glow
That stays to vex the moon more fair than all
Rome’s lordliest pageants! strange, a year ago
I knelt before some crimson Cardinal
Who bare the Host across the Esquiline,
And now—those common poppies in the wheat seem twice as fine.

The blue-green beanfields yonder, tremulous
With the last shower, sweeter perfume bring
Through this cool evening than the odorous
Flame-jewelled censers the young deacons swing,
When the grey priest unlocks the curtained shrine,
And makes God’s body from the common fruit of corn and vine.

Poor Fra Giovanni bawling at the mass
Were out of tune now, for a small brown bird
Sings overhead, and through the long cool grass
I see that throbbing throat which once I heard
On starlit hills of flower-starred Arcady,
Once where the white and crescent sand of Salamis meets sea.

Sweet is the swallow twittering on the eaves
At daybreak, when the mower whets his scythe,
And stock-doves murmur, and the milkmaid leaves
Her little lonely bed, and carols blithe
To see the heavy-lowing cattle wait
Stretching their huge and dripping mouths across the farmyard gate.

And sweet the hops upon the Kentish leas,
And sweet the wind that lifts the new-mown hay,
And sweet the fretful swarms of grumbling bees
That round and round the linden blossoms play;
And sweet the heifer breathing in the stall,
And the green bursting figs that hang upon the red-brick wall,

And sweet to hear the cuckoo mock the spring
While the last violet loiters by the well,
And sweet to hear the shepherd Daphnis sing
The song of Linus through a sunny dell
Of warm Arcadia where the corn is gold
And the slight lithe-limbed reapers dance about the wattled fold.

And sweet with young Lycoris to recline
In some Illyrian valley far away,
Where canopied on herbs amaracine
We too might waste the summer-tranced day
Matching our reeds in sportive rivalry,
While far beneath us frets the troubled purple of the sea.

But sweeter far if silver-sandalled foot
Of some long-hidden God should ever tread
The Nuneham meadows, if with reeded flute
Pressed to his lips some Faun might raise his head
By the green water-flags, ah! sweet indeed
To see the heavenly herdsman call his white-fleeced flock to feed.

Then sing to me thou tuneful chorister,
Though what thou sing’st be thine own requiem!
Tell me thy tale thou hapless chronicler
Of thine own tragedies! do not contemn
These unfamiliar haunts, this English field,
For many a lovely coronal our northern isle can yield

Which Grecian meadows know not, many a rose
Which all day long in vales AEolian
A lad might seek in vain for over-grows
Our hedges like a wanton courtesan
Unthrifty of its beauty; lilies too
Ilissos never mirrored star our streams, and cockles blue

Dot the green wheat which, though they are the signs
For swallows going south, would never spread
Their azure tents between the Attic vines;
Even that little **** of ragged red,
Which bids the robin pipe, in Arcady
Would be a trespasser, and many an unsung elegy

Sleeps in the reeds that fringe our winding Thames
Which to awake were sweeter ravishment
Than ever Syrinx wept for; diadems
Of brown bee-studded orchids which were meant
For Cytheraea’s brows are hidden here
Unknown to Cytheraea, and by yonder pasturing steer

There is a tiny yellow daffodil,
The butterfly can see it from afar,
Although one summer evening’s dew could fill
Its little cup twice over ere the star
Had called the lazy shepherd to his fold
And be no prodigal; each leaf is flecked with spotted gold

As if Jove’s gorgeous leman Danae
Hot from his gilded arms had stooped to kiss
The trembling petals, or young Mercury
Low-flying to the dusky ford of Dis
Had with one feather of his pinions
Just brushed them! the slight stem which bears the burden of its suns

Is hardly thicker than the gossamer,
Or poor Arachne’s silver tapestry,—
Men say it bloomed upon the sepulchre
Of One I sometime worshipped, but to me
It seems to bring diviner memories
Of faun-loved Heliconian glades and blue nymph-haunted seas,

Of an untrodden vale at Tempe where
On the clear river’s marge Narcissus lies,
The tangle of the forest in his hair,
The silence of the woodland in his eyes,
Wooing that drifting imagery which is
No sooner kissed than broken; memories of Salmacis

Who is not boy nor girl and yet is both,
Fed by two fires and unsatisfied
Through their excess, each passion being loth
For love’s own sake to leave the other’s side
Yet killing love by staying; memories
Of Oreads peeping through the leaves of silent moonlit trees,

Of lonely Ariadne on the wharf
At Naxos, when she saw the treacherous crew
Far out at sea, and waved her crimson scarf
And called false Theseus back again nor knew
That Dionysos on an amber pard
Was close behind her; memories of what Maeonia’s bard

With sightless eyes beheld, the wall of Troy,
Queen Helen lying in the ivory room,
And at her side an amorous red-lipped boy
Trimming with dainty hand his helmet’s plume,
And far away the moil, the shout, the groan,
As Hector shielded off the spear and Ajax hurled the stone;

Of winged Perseus with his flawless sword
Cleaving the snaky tresses of the witch,
And all those tales imperishably stored
In little Grecian urns, freightage more rich
Than any gaudy galleon of Spain
Bare from the Indies ever! these at least bring back again,

For well I know they are not dead at all,
The ancient Gods of Grecian poesy:
They are asleep, and when they hear thee call
Will wake and think ‘t is very Thessaly,
This Thames the Daulian waters, this cool glade
The yellow-irised mead where once young Itys laughed and played.

If it was thou dear jasmine-cradled bird
Who from the leafy stillness of thy throne
Sang to the wondrous boy, until he heard
The horn of Atalanta faintly blown
Across the Cumnor hills, and wandering
Through Bagley wood at evening found the Attic poets’ spring,—

Ah! tiny sober-suited advocate
That pleadest for the moon against the day!
If thou didst make the shepherd seek his mate
On that sweet questing, when Proserpina
Forgot it was not Sicily and leant
Across the mossy Sandford stile in ravished wonderment,—

Light-winged and bright-eyed miracle of the wood!
If ever thou didst soothe with melody
One of that little clan, that brotherhood
Which loved the morning-star of Tuscany
More than the perfect sun of Raphael
And is immortal, sing to me! for I too love thee well.

Sing on! sing on! let the dull world grow young,
Let elemental things take form again,
And the old shapes of Beauty walk among
The simple garths and open crofts, as when
The son of Leto bare the willow rod,
And the soft sheep and shaggy goats followed the boyish God.

Sing on! sing on! and Bacchus will be here
Astride upon his gorgeous Indian throne,
And over whimpering tigers shake the spear
With yellow ivy crowned and gummy cone,
While at his side the wanton Bassarid
Will throw the lion by the mane and catch the mountain kid!

Sing on! and I will wear the leopard skin,
And steal the mooned wings of Ashtaroth,
Upon whose icy chariot we could win
Cithaeron in an hour ere the froth
Has over-brimmed the wine-vat or the Faun
Ceased from the treading! ay, before the flickering lamp of dawn

Has scared the hooting owlet to its nest,
And warned the bat to close its filmy vans,
Some Maenad girl with vine-leaves on her breast
Will filch their beech-nuts from the sleeping Pans
So softly that the little nested thrush
Will never wake, and then with shrilly laugh and leap will rush

Down the green valley where the fallen dew
Lies thick beneath the elm and count her store,
Till the brown Satyrs in a jolly crew
Trample the loosestrife down along the shore,
And where their horned master sits in state
Bring strawberries and bloomy plums upon a wicker crate!

Sing on! and soon with passion-wearied face
Through the cool leaves Apollo’s lad will come,
The Tyrian prince his bristled boar will chase
Adown the chestnut-copses all a-bloom,
And ivory-limbed, grey-eyed, with look of pride,
After yon velvet-coated deer the ****** maid will ride.

Sing on! and I the dying boy will see
Stain with his purple blood the waxen bell
That overweighs the jacinth, and to me
The wretched Cyprian her woe will tell,
And I will kiss her mouth and streaming eyes,
And lead her to the myrtle-hidden grove where Adon lies!

Cry out aloud on Itys! memory
That foster-brother of remorse and pain
Drops poison in mine ear,—O to be free,
To burn one’s old ships! and to launch again
Into the white-plumed battle of the waves
And fight old Proteus for the spoil of coral-flowered caves!

O for Medea with her poppied spell!
O for the secret of the Colchian shrine!
O for one leaf of that pale asphodel
Which binds the tired brows of Proserpine,
And sheds such wondrous dews at eve that she
Dreams of the fields of Enna, by the far Sicilian sea,

Where oft the golden-girdled bee she chased
From lily to lily on the level mead,
Ere yet her sombre Lord had bid her taste
The deadly fruit of that pomegranate seed,
Ere the black steeds had harried her away
Down to the faint and flowerless land, the sick and sunless day.

O for one midnight and as paramour
The Venus of the little Melian farm!
O that some antique statue for one hour
Might wake to passion, and that I could charm
The Dawn at Florence from its dumb despair,
Mix with those mighty limbs and make that giant breast my lair!

Sing on! sing on!  I would be drunk with life,
Drunk with the trampled vintage of my youth,
I would forget the wearying wasted strife,
The riven veil, the Gorgon eyes of Truth,
The prayerless vigil and the cry for prayer,
The barren gifts, the lifted arms, the dull insensate air!

Sing on! sing on!  O feathered Niobe,
Thou canst make sorrow beautiful, and steal
From joy its sweetest music, not as we
Who by dead voiceless silence strive to heal
Our too untented wounds, and do but keep
Pain barricadoed in our hearts, and ****** pillowed sleep.

Sing louder yet, why must I still behold
The wan white face of that deserted Christ,
Whose bleeding hands my hands did once enfold,
Whose smitten lips my lips so oft have kissed,
And now in mute and marble misery
Sits in his lone dishonoured House and weeps, perchance for me?

O Memory cast down thy wreathed shell!
Break thy hoarse lute O sad Melpomene!
O Sorrow, Sorrow keep thy cloistered cell
Nor dim with tears this limpid Castaly!
Cease, Philomel, thou dost the forest wrong
To vex its sylvan quiet with such wild impassioned song!

Cease, cease, or if ‘t is anguish to be dumb
Take from the pastoral thrush her simpler air,
Whose jocund carelessness doth more become
This English woodland than thy keen despair,
Ah! cease and let the north wind bear thy lay
Back to the rocky hills of Thrace, the stormy Daulian bay.

A moment more, the startled leaves had stirred,
Endymion would have passed across the mead
Moonstruck with love, and this still Thames had heard
Pan plash and paddle groping for some reed
To lure from her blue cave that Naiad maid
Who for such piping listens half in joy and half afraid.

A moment more, the waking dove had cooed,
The silver daughter of the silver sea
With the fond gyves of clinging hands had wooed
Her wanton from the chase, and Dryope
Had ****** aside the branches of her oak
To see the ***** gold-haired lad rein in his snorting yoke.

A moment more, the trees had stooped to kiss
Pale Daphne just awakening from the swoon
Of tremulous laurels, lonely Salmacis
Had bared his barren beauty to the moon,
And through the vale with sad voluptuous smile
Antinous had wandered, the red lotus of the Nile

Down leaning from his black and clustering hair,
To shade those slumberous eyelids’ caverned bliss,
Or else on yonder grassy ***** with bare
High-tuniced limbs unravished Artemis
Had bade her hounds give tongue, and roused the deer
From his green ambuscade with shrill halloo and pricking spear.

Lie still, lie still, O passionate heart, lie still!
O Melancholy, fold thy raven wing!
O sobbing Dryad, from thy hollow hill
Come not with such despondent answering!
No more thou winged Marsyas complain,
Apollo loveth not to hear such troubled songs of pain!

It was a dream, the glade is tenantless,
No soft Ionian laughter moves the air,
The Thames creeps on in sluggish leadenness,
And from the copse left desolate and bare
Fled is young Bacchus with his revelry,
Yet still from Nuneham wood there comes that thrilling melody

So sad, that one might think a human heart
Brake in each separate note, a quality
Which music sometimes has, being the Art
Which is most nigh to tears and memory;
Poor mourning Philomel, what dost thou fear?
Thy sister doth not haunt these fields, Pandion is not here,

Here is no cruel Lord with murderous blade,
No woven web of ****** heraldries,
But mossy dells for roving comrades made,
Warm valleys where the tired student lies
With half-shut book, and many a winding walk
Where rustic lovers stray at eve in happy simple talk.

The harmless rabbit gambols with its young
Across the trampled towing-path, where late
A troop of laughing boys in jostling throng
Cheered with their noisy cries the racing eight;
The gossamer, with ravelled silver threads,
Works at its little loom, and from the dusky red-eaved sheds

Of the lone Farm a flickering light shines out
Where the swinked shepherd drives his bleating flock
Back to their wattled sheep-cotes, a faint shout
Comes from some Oxford boat at Sandford lock,
And starts the moor-hen from the sedgy rill,
And the dim lengthening shadows flit like swallows up the hill.

The heron passes homeward to the mere,
The blue mist creeps among the shivering trees,
Gold world by world the silent stars appear,
And like a blossom blown before the breeze
A white moon drifts across the shimmering sky,
Mute arbitress of all thy sad, thy rapturous threnody.

She does not heed thee, wherefore should she heed,
She knows Endymion is not far away;
’Tis I, ’tis I, whose soul is as the reed
Which has no message of its own to play,
So pipes another’s bidding, it is I,
Drifting with every wind on the wide sea of misery.

Ah! the brown bird has ceased:  one exquisite trill
About the sombre woodland seems to cling
Dying in music, else the air is still,
So still that one might hear the bat’s small wing
Wander and wheel above the pines, or tell
Each tiny dew-drop dripping from the bluebell’s brimming cell.

And far away across the lengthening wold,
Across the willowy flats and thickets brown,
Magdalen’s tall tower tipped with tremulous gold
Marks the long High Street of the little town,
And warns me to return; I must not wait,
Hark! ’Tis the curfew booming from the bell at Christ Church gate.

Here is a primer on the history of poetry

Features of Modernism

To varying extents, writing of the Modernist period exhibits these features:

1. experimentation

belief that previous writing was stereotyped and inadequate
ceaseless technical innovation, sometimes for its own sake
originality: deviation from the norm, or from usual reader expectations
ruthless rejection of the past, even iconoclasm

2. anti-realism

sacralisation of art, which must represent itself, not something beyond preference for allusion (often private) rather than description
world seen through the artist's inner feelings and mental states
themes and vantage points chosen to question the conventional view
use of myth and unconscious forces rather than motivations of conventional plot

3. individualism

promotion of the artist's viewpoint, at the expense of the communal
cultivation of an individual consciousness, which alone is the final arbiter
estrangement from religion, nature, science, economy or social mechanisms
maintenance of a wary intellectual independence
artists and not society should judge the arts: extreme self-consciousness
search for the primary image, devoid of comment: stream of consciousness
exclusiveness, an aristocracy of the avant-garde

4. intellectualism

writing more cerebral than emotional
work is tentative, analytical and fragmentary, more posing questions more than answering them
cool observation: viewpoints and characters detached and depersonalized
open-ended work, not finished, nor aiming at formal perfection
involuted: the subject is often act of writing itself and not the ostensible referent

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Expressionism

Expressionism was a phase of twentieth-century writing that rejected naturalism and romanticism to express important inner truths. The style was generally declamatory or even apocalyptic, endeavoring to awaken the fears and aspirations that belong to all men, and which European civilization had rendered effete or inauthentic. The movement drew on Rimbaud and Nietzsche, and was best represented by German poetry of the 1910-20 period. Benn, Becher, Heym, Lasker-Schüler, Stadler, Stramm, Schnack and Werfel are its characteristic proponents, {1} though Trakl is the best known to English readers. {2} {3}

Like most movements, there was little of a manifesto, or consensus of beliefs and programmes. Many German poets were distrustful of contemporary society — particularly its commercial and capitalist attitudes — though others again saw technology as the escape from a perceived "crisis in the old order". Expressionism was very heterogeneous, touching base with Imagism, Vorticism, Futurism, Dadaism and early Surrealism, many of which crop up in English, French, Russian and Italian poetry of the period. Political attitudes tended to the revolutionary, and technique was overtly experimental. Nonetheless, for all the images of death and destruction, sometimes mixed with messianic utopianism, there was also a tone of resignation, a sadness of "the evening lands" as Spengler called them.

Expressionism also applies to painting, and here the characteristics are more illuminating. The label refers to painting that uses visual gestures to transmit emotions and emotionally charged messages. In the expressive work of Michelangelo and El Greco, for example, the content remains of first importance, but content is overshadowed by technique in such later artists as van Gogh, Ensor and Munch. By the mid twentieth-century even this attenuated content had been replaced by abstract painterly qualities — by the sheer scale and dimensions of the work, by colour and shape, by the verve of the brushwork and other effects.

Expressionism often coincided with rapid social change. Germany, after suffering the horrors of the First World War, and ineffectual governments afterwards, fragmented into violently opposed political movements, each with their antagonistic coteries and milieu. The painting of these groups was very variable, but often showed a mixture of aggression and naivety. Understandably unpopular with the establishment  — denounced as degenerate by the Nazis — the style also met with mixed reactions from the picture-buying public. It seemed to question what the middle classes stood for: convention, decency, professional expertise. A great sobbing child had been let loose in the artist's studio, and the results seemed elementally challenging. Perhaps German painting was returning to its Nordic roots, to small communities, apocalyptic visions, monotone starkness and anguished introspection.

What could poetry achieve in its turn? Could it use some equivalent to visual gestures, i.e. concentrate on aspects of the craft of poetry, and to the exclusion of content? Poetry can never be wholly abstract, a pure poetry bereft of content. But clearly there would be a rejection of naturalism. To represent anything faithfully requires considerable skill, and such skill was what the Expressionists were determined to avoid. That would call on traditions that were not Nordic, and that were not sufficiently opposed to bourgeois values for the writer's individuality to escape subversion. Raw power had to tap something deeper and more universal.

Hence the turn inward to private torments. Poets became the judges of poetry, since only they knew the value of originating emotions. Intensity was essential.  Artists had to believe passionately in their responses, and find ways of purifying and deepening those responses — through working practices, lifestyles, and philosophies. Freud was becoming popular, and his investigations into dreams, hallucinations and paranoia offered a rich field of exploration. Artists would have to glory in their isolation, moreover, and turn their anger and frustration at being overlooked into a belief in their own genius. Finally, there would be a need to pull down and start afresh, even though that contributed to a gradual breakdown in the social fabric and the apocalypse of the Second World War.

Expressionism is still with us. Commerce has invaded bohemia, and created an elaborate body of theory to justify, support and overtake what might otherwise appear infantile and irrational. And if traditional art cannot be pure emotional expression, then a new art would have to be forged. Such poetry would not be an intoxication of life (Nietzsche's phrase) and still less its sanctification.  Great strains on the creative process were inevitable, moreover, as they were in Georg Trakl's case, who committed suicide shortly after writing the haunting and beautiful piece given below

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SYMBOLIST POETS
symbolism in poetry

Symbolism in literature was a complex movement that deliberately extended the evocative power of words to express the feelings, sensations and states of mind that lie beyond everyday awareness. The open-ended symbols created by Charles Baudelaire (1821-67) brought the invisible into being through the visible, and linked the invisible through other sensory perceptions, notably smell and sound. Stéphane Mallarmé (1842-98), the high priest of the French movement, theorized that symbols were of two types. One was created by the projection of inner feelings onto the world outside. The other existed as nascent words that slowly permeated the consciousness and expressed a state of mind initially unknown to their originator.

None of this came about without cultivation, and indeed dedication. Poets focused on the inner life. They explored strange cults and countries. They wrote in allusive, enigmatic, musical and ambiguous styles. Rimbaud deranged his senses and declared "Je est un autre". Von Hofmannstahl created his own language. Valéry retired from the world as a private secretary, before returning to a mastery of traditional French verse. Rilke renounced wife and human society to be attentive to the message when it came.

Not all were great theoreticians or technicians, but the two interests tended to go together, in Mallarmé most of all. He painstakingly developed his art of suggestion, what he called his "fictions". Rare words were introduced, syntactical intricacies, private associations and baffling images. Metonymy replaced metaphor as symbol, and was in turn replaced by single words which opened in imagination to multiple levels of signification. Time was suspended, and the usual supports of plot and narrative removed. Even the implied poet faded away, and there were then only objects, enigmatically introduced but somehow made right and necessary by verse skill. Music indeed was the condition to which poetry aspired, and Verlaine, Jimenez and Valéry were among many who concentrated efforts to that end.

So appeared a dichotomy between the inner and outer lives. In actuality, poets led humdrum existences, but what they described was rich and often illicit: the festering beauties of courtesans and dance-hall entertainers; far away countries and their native peoples; a world-weariness that came with drugs, isolation, alcohol and bought ***. Much was mixed up in this movement — decadence, aestheticism, romanticism, and the occult — but its isms had a rational purpose, which is still pertinent. In what way are these poets different from our own sixties generation? Or from the young today: clubbing, experimenting with relationships and drugs, backpacking to distant parts? And was the mixing of sensory perceptions so very novel or irrational? Synaesthesia was used by the Greek poets, and indeed has a properly documented basis in brain physiology.

What of the intellectual bases, which are not commonly presented as matters that should engage the contemporary mind, still less the writing poet? Symbolism was built on nebulous and somewhat dubious notions: it inspired beautiful and historically important work: it is now dead: that might be the blunt summary. But Symbolist poetry was not empty of content, indeed expressed matters of great interest to continental philosophers, then and now. The contents of consciousness were the concern of Edmund Husserl (1859-1938), and he developed a terminology later employed by Heidegger (1889-1976), the Existentialists and hermeneutics. Current theories on metaphor and brain functioning extend these concepts, and offer a rapprochement between impersonal science and irrational literary theory.

So why has the Symbolism legacy dwindled into its current narrow concepts? Denied influence in the everyday world, poets turned inward, to private thoughts, associations and the unconscious. Like good Marxist intellectuals they policed the area they arrogated to themselves, and sought to correct and purify the language that would evoke its powers. Syntax was rearranged by Mallarmé. Rhythm, rhyme and stanza patterning were loosened or rejected. Words were purged of past associations (Modernism), of non-visual associations (Imagism), of histories of usage (Futurism), of social restraint (Dadaism) and of practical purpose (Surrealism). By a sort of belated Romanticism, poetry was returned to the exploration of the inner lands of the irrational. Even Postmodernism, with its bric-a-brac of received media images and current vulgarisms, ensures that gaps are left for the emerging unconscious to engage our interest

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.
IMAGIST POETRY
imagist poetry

Even by twentieth-century standards, Imagism was soon over. In 1912 Ezra Pound published the Complete Poetical Works of its founder, T.E. Hulme (five short poems) and by 1917 the movement, then overseen by Amy Lowell, had run its course. {1} {2} {3} {4} {5} The output in all amounted to a few score poems, and none of these captured the public's heart. Why the importance?

First there are the personalities involved — notably Ezra Pound, James Joyce, William Carlos Williams {6} {7} {8} {9} — who became famous later. If ever the (continuing) importance to poets of networking, of being involved in movements from their inception, is attested, it is in these early days of post-Victorian revolt.

Then there are the manifestos of the movement, which became the cornerstones of Modernism, responsible for a much taught in universities until recently, and for the difficulties poets still find themselves in. The Imagists stressed clarity, exactness and concreteness of detail. Their aims, briefly set out, were that:

1. Content should be presented directly, through specific images where possible.
2. Every word should be functional, with nothing included that was not essential to the effect intended.
3. Rhythm should be composed by the musical phrase rather than the metronome.

Also understood — if not spelled out, or perhaps fully recognized at the time — was the hope that poems could intensify a sense of objective reality through the immediacy of images.

Imagism itself gave rise to fairly negligible lines like:

You crash over the trees,
You crack the live branch…  (Storm by H.D.)

Nonetheless, the reliance on images provided poets with these types of freedom:

1. Poems could dispense with classical rhetoric, emotion being generated much more directly through what Eliot called an objective correlate: "The only way of expressing emotion in the form of art is by finding an 'objective correlative'; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked." {10}

2. By being shorn of context or supporting argument, images could appear with fresh interest and power.

3. Thoughts could be treated as images, i.e. as non-discursive elements that added emotional colouring without issues of truth or relevance intruding too mu
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PROSE BASED POETRY
prose based poetry

When free verse lacks rhythmic patterning, appearing as a lineated prose stripped of unnecessary ornament and rhetoric, it becomes the staple of much contemporary work. The focus is on what the words are being used to say, and their authenticity. The language is not heightened, and the poem differs from prose only by being more self-aware, innovative and/or cogent in its exposition.

Nonetheless, what looks normal at first becomes challenging on closer reading — thwarting expectations, and turning back on itself to make us think more deeply about the seemingly innocuous words used. And from there we are compelled to look at the world with sharper eyes, unprotected by commonplace phrases or easy assumptions. Often an awkward and fighting poetry, therefore, not indulging in ceremony or outmoded traditions.
What is Prose?

If we say that contemporary free verse is often built from what was once regarded as mere prose, then we shall have to distinguish prose from poetry, which is not so easy now. Prose was once the lesser vehicle, the medium of everyday thought and conversation, what we used to express facts, opinions, humour, arguments, feelings and the like. And while the better writers developed individual styles, and styles varied according to their purpose and social occasion, prose of some sort could be written by anyone. Beauty was not a requirement, and prose articles could be rephrased without great loss in meaning or effectiveness.

Poetry, though, had grander aims. William Lyon Phelps on Thomas Hardy's work: {1}

"The greatest poetry always transports us, and although I read and reread the Wessex poet with never-lagging attention — I find even the drawings in "Wessex Poems" so fascinating that I wish he had illustrated all his books — I am always conscious of the time and the place. I never get the unmistakable spinal chill. He has too thorough a command of his thoughts; they never possess him, and they never soar away with him. Prose may be controlled, but poetry is a possession. Mr. Hardy is too keenly aware of what he is about. In spite of the fact that he has written verse all his life, he seldom writes unwrinkled song. He is, in the last analysis, a master of prose who has learned the technique of verse, and who now chooses to express his thoughts and his observations in rime and rhythm."

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OPEN FORMS IN POETRY
open forms in poetry

Poets who write in open forms usually insist on the form growing out of the writing process, i.e. the poems follow what the words and phrase suggest during the composition

As the years go by, give me but peace,
Freedom from ten thousand matters.
I ask myself and always answer:
What can be better than coming home?
A wind from the pine-trees blows my sash,
And my lute is bright with the mountain moon.
You ask me about good and evil fortune?....
Hark, on the lake there's a fisherman singing!

"A leisurely breakfast" their mother would admonish, "aids digestion and builds strong bones..." so what with the imposed inactivity every morning, boredom broken only by Sockeye the family Spaniel, whose want of table manners coincided very conveniently with mealtimes... as he paced restlessly under the table, slobbering indiscriminately in his daily scramble to devour every dangling morsel before supply and demand shut up shop for the night and went home, far tastier... he gobbled down the latest offering of egg white, than the remnants of his own dietary allowance, they just had to get the timing right that was all, or risk loosing a finger, or gaining one depending upon who was doing the dangling, or who was doing the gobbling... he gave an indignant sneeze, not so much a hint but more of a... 'what's with the pepper malarky...'  So that it was only with a good deal of snappy hand coordination, lengthy digestion and sturdy bone building that Rocky was finally able to extricate himself from the table and make the most of what little time remained until lunchtime, meagre time indeed for the Rocky's of this world to hang around with their dogs, leaving their little sisters to help mums do, whatever it was that girls usually did when they should have scooted out of the kitchen faster, when it would have been all so much simpler just to grab a handful of biscuits instead...  Meanwhile, laying in wait in the room above, flat out upon the bedroom counterpane, having recently had their insides stuffed to bursting with a full English breakfast's worth of beach and holiday apparal... and that was just the luggage.    

     The contents of which, up until a week last washday had been snoozing fitfully behind 'Do Not Disturb' signs, cautiously peeping out from the gloomier, more remote recesses of the bedroom dresser, or carefully concealed in cupboards and closets... and being in every other respect by no means readily accessible to public scrutiny of any kind... had been left to their own devices some twelve months earlier with a clear understanding to skip bath nights from that moment on and henceforth immerse themselves in the heady, camphorated pungency of mothball, vowing once and for all never to darken portmanteau lids again... but now, after many hours of arduous laundering and de-fumigation... were now being squeezed and unceremoniously shoe-horned into what had recently become nothing short of an overcrowded sanctuary for the dispossessed.  
              
     Meanwhile, all the luggage asked from life other than be detained under section four of the Mental Health Act, 1983 and be found cosy padded accommodation elsewhere... was to have their interiors vacated, their tranquility reinstated... and with a questionable wink from a dodgy Customs official, have their travel permits invalidated... irrevocably, for despite throwing a double six for a spot of well earned convalescence back on top of the wardrobe some twelve months ago, basking in the shade of a warm Summer Sun, striking up the occasional conversation with the floral decor, third bloom from the left currently answering to the name of Petunia, the still over extended luggage, seemingly with little hope of R & R this side of the letter Q, faced the perennial disquiet of vacational therapy, of being knelt on, sat and bounced upon and be specifically manhandled in ways that matching sets of co-ordinated luggage should not...
                                        
     Tina could be heard quite distinctly in the next street concerning her husbands lack of competence, whilst Red it appeared had become just as outspoken as his wife in that particular direction... as the local self appointed busybody, who lived well within earshot of the address in question would bear witness to as she put feverish pen to paper, writing to what had become a regular... and some would say hot bed of intrigue in the local tabloid concerning how vociferous the once tranquil neighbourhood had become of recent and how certain undesirable elements within the community were to be heard carrying on alarmingly at all hours, day and night... and as she diligently weighed her civic duty against simple household economics as to whether to send this latest block busting eye opener by first or second class post, their parents could now be heard broadcasting, if anything to a wider listening audience than the previous newsflash, some of the more sensational episodes of the previous twenty-four hours as to who was pulling whose suitcase zipper now... although in which direction it should be pulled, they both agreed, wasn't for public disclosure at that time... vowing to draw blood well before the day was out, as three lacerated fingers would later testify and that it was only because of the children that they were going at all... but God willing, they would be setting off very shortly with rosy smiles on their faces for the sole benefit of the neighbours, even if it killed them. 

     Spurred to fever pitch  by this latest 'stop-the-press' newsflash, the same public spirited busybody now threw herself wholeheartedly into further award winning journalism and for the second time that morning took to pen and paper, only now directed to the gossip column in the local Parish Gazette, followed by grievous lamentations of impending bloodshed to the incumbent Chief Constable as to how they'd all be murdered in their beds ere long before nightfall.

     By devouring his water bowl, thereby dispensing with the need for it to be washed and by its abrupt and mysterious absence, disposing of all further incriminating evidence as to where the abundant supply of liquid, now surging copiously across the kitchen floor had sprung from... the flash-flood was hastily making its own getaway beneath the kitchen units, leaving Sockeye to his own devices to carry the can on his own, ankle deep in what up until earlier that morning had been sloshing around quite contentedly in Eccup reservoir.

      Having inadvertently released the handbrake in a boyish gesture of bravado, thereby placing himself in sole charge of a runaway vehicle, Sockeye it appeared was not the only member of the Salmon family to have dropped himself right in it that day as Rocky, having unwittingly placed the following ten years pocket money well out of reach and back into the pockets of his parents dwindling resources, had to a far greater extent nominated himself for the same Earth moving experience as the one his mum would shortly be giving Sockeye...

      Having just been granted licence to do whatsoever it pleased, the vehicle began its leisurely rearwards perambulation down the long garden driveway and by way of small thanks for its new found independence took Rocky along for the ride where due to a certain lack of stature on Rocky's part, at no point had he ever been in the slightest position to influence the Holiday threatening train of events which now engulfed him, never thinking to reapply the handbrake... that would be too easy, he perched on the edge of the seat clutching the steering wheel and stretched out his sturdy little legs in an heroic, but futile attempt to reach the pedals as the family car, which up until any second now had been his fathers pride and joy, pitched backwards at what seemed to Rocky, breakneck speed and directly into a very severe and unforgiving brick wall.

     Almost missing this latest round of entertainment above that of her parents most recent exchange, River accompanied by Sockeye scampered outdoors and slap into what could only be described as the most fun she'd had all year as an unsuspecting "what was that noise" muscled its way through the open bedroom window and fell flat on its face in the garden below and which, if that morning to date was anything to go by, then the neighbourhood would soon be tuning in to the latest Salmon family's 'hot-off-the-press' breaking news bulletin.

     Opening her mouth River hesitated as she fine-tuned the speech centres of her young and delicate synapse into full vocal alignment, then adjusting shutter speed from f8 to automatic she closed her mouth... then opened it once again and informed her brother that if the tip of dads size 9 was an Olympic gold, then Rocky would be sure to take first in the 110 metre hurdling event with 'team GB...' and could she have his autograph... with those words of solid encouragement rattling around his ears like the last biscuit in an otherwise empty tin box, River went skipping back into the house to announce the latest newsflash of her parents next financial happening... which she felt certain would prompt further rounds of thought provoking front page journalism.

     A steady two hours drive away, over on the east coast, the inhabitants of a sleepy fishing community were gainfully employed, pretty much as any other, going about their daily business, one such denizen... a baby crustacean, currently marooned by the tide had taken up temporary accommodation in a beachfront rock-pool property of certain distinction, was as yet unaware of a completely different and obscure set of circumstances that would shortly be rearing his slobbering jowls and bring all four paws, the size of dinner plates, crashing down upon the unsuspecting seashore fauna... was determined while she waited to catch the next high tide home, that until such time that the right wave rolled along, would potter about in the little rock-pool, perhaps indulge herself in a leisurely bathe... and catch up on a spot of therapeutic knitting.

     So, placing the days events since breakfast into perspective...  [i]  the vehicle indemnity provider, henceforth to be named 'the party of the first part', who currently weren't cognisant of an impending claim to date, would shortly be laying eggs attempting to squirm out of all liability, due to  [ii]  the automobile, driven by a minor, fortunately for Salmon senior on private land and henceforth, the aforementioned to be called 'the third party, to the party of the second part...' which urgently needed rigorous cosmetic attention to the rear tail light cluster and surrounding bodywork so as to maintain a favourable resale mark-up price.  [iii]  Having been dragged kicking and screaming from the top of the wardrobe, the luggage had rapidly developed cold feet and cried sudden illness in the family, but were being taken to the Wake anyway.  [iv]  Wrapped around the hot water cylinder since the previous Summer, the various sundry items of holiday apparel stood united, resolute as a Union Picket line not be seen dead looking as though they'd never so much as seen the bottom of a flat-iron.  [v]  Both Red and his wife, Tina, despite wearing the same anaemic smile as the one show to the neighbours as they departed, travelling counter clockwise along the crescent so as not to unduly advertise their recent misadventure with the garage wall, were only going for the sake of the children, whilst  [vi]  River and her errant brother didn't want to go anyway dismayed at leaving the television set behind, were already missing their favourite programs, which only really left  [vii]  'mans-best-friend' who, when he wasn't actually hanging over the front seat giving dad big sloppy licks as though... 'are we nearly there yet' or perhaps... 'I need to stop and spend a penny... or you'll all know about it if you don't,' was more than content to be taking up the majority of the rear seating arrangements and with a delinquent wag of his tail, was deliriously happy to be wherever his family were.**

                                                        ­                             ...   ...   ...

a work in progress.                                                        ­                                                                 ­  1862

My lips stroll along sultry soft skin
I close my eyes , and see your curves with my kisses,
fingers caressing your belly in infante swirls as if polishing the porcelain surface of a statue,
You lay entranced beneath my gentle stroking , your tummy stimulating the rest if your senses, ******* yearning for attention ,
Strings of a harp waiting to make music, my canvas , your desirable body,
****** finger painting
I meet your lips with mine , for your stamp of approval, my hands answer the call ,
My warm breath ,
Brushes your neck with the stroking of ****** feathers ,
Intensifying the raging desire within your ***** ,
Remnants saliva painted with my tongue evaporates into more of a magnetism, you open yourself to me,
The weight of my passion envelops you
Our tongues dance to the rhythm of our beating hearts
Blood flows through our veins at an increasing temperature
Ignited only by the meeting of our lips.
Intensified
My hands continue to brush your body ,
Answering all the yearning calls ,
I watch you lose yourself in the heat of the moment,
And I continue to stoke the fire
And with a burning wave of passion,
Enfolded bodies
I simply love you off to sleep .......

its a blue Monday
after Super Sunday
Americas 45th funday
yesterdays spectacle

the dip is done
the broken bones
of buffalo wings
fill giant glad bags

the ridged ripples
of broken Doritos
scattered on the floor
wait for a vacuums hum

dead soldiers rattle
a melodious cascade
the aroma of flat Bud
plunge into recycle bins

ribbed Trojans
dripping bagged ****
rim plastic trash cans
confirm an ****'s frenzy

the game forgotten
commercial reveries remain
seared into the briney mush
of compliant olfactories

collective hallucinations
successfully branded
a new and improved
global consciousness

Madmen Shamans
ebulliently channel
transactional zeitgeists
from the ripped boxes of
Best Buy plasma screens

Monday morning
water cool scuttlebutt
the planet is buzzing about...

Google's cool slap
of iPod clad automatons
the vanquishers of IBM's evil empire
Apple's brave new world is next
("meet the new boss,
same as the old boss?")

we all dug
rolling with Eminem
through the glitzy
streets of Motown

How cool is 8 Mile?
The hoods lookin good
angelic chorus lifts spirits
Swing Low Sweet Chrysler

The artistic types
faun over
the graphic beauty
illustrious aestheticism

moving story line
the epic journey
of the worlds
greatest brand

heroic product marketing pros
rival Jason and the Argonauts
sojourning trans-formative odysseys
of clever packaging and fat tail shelf life

holding precious real estate
of living imaginations
infecting hearts and minds
of future generations

realizing
everything
ends better
with coke

The State Farm Pre-Game
Jimmy Johnson's new coif
jawed away with his old boss
rattlesnake booted Jerry Jones

A poignant embrace captured in
living color on grand jumbo trons
lording over a cavernous palace
a new stadium for Homeboys

Jimmy J asks Jerry J
"Why you overpaid
for The Boys New
Crib?"

"A billion 4,
a palace for the masses".
Jerry breaks some news
with an impish wink.
"No expense is spared
for the peeps."

"I always make out,
get a good return. I
make a profit. Ain't
America great."

This year Super Bowl
went Hollywood
and installed
a long red carpet.

Mike Strahan, collared
Harrison Ford.
Bagging his greatest sack
on a dazzling red rug.

"How many Super Bowls
is this for you?"
Strahan whistles
through his gaped teeth.

The aging Indiana Jones
came to promote his new flick,
"Cowboys and Aliens"
(I'm told an early Cannes
favorite. And it should be. Spoiler alert,
the movie is a moving story of an American tragedy.
Romo blows another one
throwing an interception in overtime.
The Aliens return it 95 yards for a touchdown.
Boy's lose again. America's Team vanquished by bubble headed Martians.
All of Texas weeps.)

Indy
coolly quips an answer
whipping with sarcasm,
"after today, one."
yuck yuck
lol

Strahan continues
to stalk Ford like a
scrambling quarterback,
"where will you be sitting?"

Ford shrugs
"dunno,
somewhere
up-there,
I guess",
he points to
the lofty
luxury boxes.
Royalty sits
next to God
in Jerry Jones
house of the
people.

Ford dons a green scarf.
He's down with the Pack.
Another sunshine *****
in the seat.

Michael Douglas and Zeta Jones
arrive in time to hear
Keith Urban sing
"Who Wouldn't Want to be Me?"

"He's alive
He's free
Who wouldn't
want to be me?"

Indeed who?

The parade
of heroes
continue.

The walking,talking
little S Corp, LLC's
dance their way
into the stadium
on resplendent
cushions of red.

Terrific brands
all earnestly
questing to
urgently
deliver
messages
to promote
themselves
and plug
shameful
products.

A Black Eye Peas
teaser
blinks onto
my giant
flat screen.

Will I Am
a black man
in a blacker mask
marches down the street
zapping people
with a ray gun.
(fascist culture is so cool, a
little light on liberation,
but **** does he look bad as all get out
in that leather rumble don't **** with me
outfit)

Jamie Foxx on the royal carpet leaks
that he yodeled three tunes
at a pregame party for Jerry's Kids;
T Boone and the Big W among them.

Quick cut
to Jamie's
new movie
Rio.
(I wonder if its
about Mexicano's
crossing the river?)

Wealth
Power
the perfect
image of ourselves
take a pill

I am Limitless
a new movie?
I've seen this one before.
I think I'm watching it now.

Just Go With It
Adam *******,
Jennifer Aniston
Americas sweetheart
teamed with Americas
kosher jokester.

He looks hot
in his droopy
pretend
don't give a ****
orange sweatshirt
and acid washed jeans.

Jennifer's ****, legs
what can you say
about America's sweetheart?
I think Brad Pitt
made a big mistake.

Bill O
is next.
Posturing,
arm wrestles
with the Prez,
shadow boxes
with the Big O.

"Muslim Brotherhoods
Rendition
Mubarack goes off the reservation
knows where the bodies are buried"
***!
***!

(Do we really need a dose of Fox Fear?
Is there no escape from the pernicious harangue?
Don't they know its Super Bowl Sunday?)

Bill O's drive by continues,
"Obamacare,
why do Americans hate you?"
Great journalism by this Fox ****.

Bill O is
haughty,
arrogant,
disrespectful
a despicable bully
and a self serving blow hard.

(My bladder is busting.
Its a great time to take a ****.)

We escape to
the freshness
of Owen Wilson's
smiling face,
playing two hand touch.

His bent nose
shining
he trots about
Jerry's field
carefree as a child.
(Is this a pitch, pass and punt
contest for A Listers?)

Other stars
join the light fun;
goose cheerleaders
give the cabana boys
hand-jobs
and themselves
a well earned blow-job.

Its an **** of photo ops
product placement
a sizzling collection
of dancing brands
prancing on the gridiron
of the New Cowboy field.

Ashton Kutcher
peeks over the shoulder
of a tweeting W.
I'm impressed
W knew
how to use
his thumbs.

Mrs. W's
permanent smile
was clearly visible
from the stadiums
cheapest seats.

Condie sat
way to the right
quietly stewing
lamenting
lost opportunities
of a gig as NFL
Commissioner.

On the stadiums floor
the frenetic dancing
of the
bumping
brands
fast
approaches
ecstatic elation.

Hollywood's version of
Whirling Dervishes; is
immediately stilled
as the solemn portion
of the program
commences.

The Declaration of Independence
is read by a bright galaxy of stars
accompanying armed service personnel
and other diligent American's.

"We hold these truths
to be self evident"

"United colonies
levee war,
dissolve bounds,
our day of allegiance
lives, fortunes and sacred honor
freedom is common sense,
free, equal, united"

CEO's
imprisoned
in Jerry's
luxury boxes
overcome
with
emotion
pound fists
on the glass
smearing
cocktail sauce
on the windows
of the suites.

Illegal
Chicano's
bravely
step forward
with rolls
of Bravo
and Windex
to wipe
it clean.

The focal point
of festivities
seismically
shifts like a
tectonic plate
almost as large
as Jerry's Stadium.

The stampede
of cheers
thunder like
canon shots,
the patriotic
ramparts of
militant
free market
capitalism
supplants the
shallow frivolity
of consumer slavery.

We are
compelled
to kneel
to celebrate a
Eucharist of
nationalism.

My partner explodes,
"Can't watch a football game
and view it for what it is,
a ******* football game."

The Fox
broadcasters
dedicate
this segment
of the show
to our military.

I squirm in my seat.
Sorry,
but the declaration is about
free people in free societies
not militarism.

Next up
dis old cowboy
Sam Elliot.
He knows
how to speak
the language
of real football fans.
Finally, a man of the people.

Sam introduced the cities.
He starts with Pittsburgh.

"Built on steel
a place where
terrible is good
these are the
enduring qualities
of this great American City."

The Steelers
make a timely entrance
onto the floor of the stadium,
as millionaires erupt
shaking their terrible towels.

Sam's
fuax
folkism
for
Fox Sports
continued.

"Green Bay is Title Town
the people never quit.
Crafty veterans are winners
exhorting all to greatness"

Images
of Lombardi's
toothy grin
fills my 72 inch screen.
A visitation by
America's Saint,
the sanctifier
of all competition
anoints the proceeding,
the quest to claim
the trophy named
for the games
very own
Archangel
of the
Gridiron.

The extended gig of
Lombardi's ghost
has haunted America
for over half a century;
has reportedly been seen
stalking the stage
on Broadway.

The anointed
Packers sprint
onto the field and
millionaire cheese heads
taking big bites out of life
erupt in cheers.

My hi def wide screen
made by Sharp reports
Battle of Los Angeles
opens 3/11/11.
The Chicago Code
premiers on Fox
sometime in March.

Walter Payton
Man of The Year Award
is presented
to an NFL Player
watching the game
with the troops
in Iraq.

The millionaires
don't cheer,
but the Fox announcers
are verklempt
overcome with patriotism.

Michelle Lee,
star
of Fox'***** show
Glee,
poses in front of a
sanitized choir
in blue uniforms to sing
America the Beautiful.

The beautiful song
is but an opening act
for the musical centerpiece
Star Spangled Banner.

The cameras cut
to a smiling W.
He can't get into Switzerland
but ******, he won't be turned out
of JJ's OK Corral.

Christina Aguilera
takes center stage.
She mounts
the silver football
crowning the
Holy Logo of the NFL
to sing the hallowed
Star Spangled Banner.

She fumbles her lines!
She forgot the rockets red glare!
The Steelers are crying.
The Packers are angry.
Ice melts from the stadiums roof.
The foundations of Jerry Jones
new stadium shakes.

A fly over of 4 fighters in formation
appears to be unaffected by the flub.
The planes do not crash.
They stay in formation.

The pilots spare Christina
a strafing and drone strike.
The republic remains
secure for now.

An unfamiliar announcer
addresses TV land.
He offers an apology to the fans
who cannot be seated.

The fire marshals
have revoked
Jerry's seating plan.
Greed got the better
of this man of the people.
Cowboy Stadium
is overbooked!

What is happening?
Is this America?
An ATT commercial
arrives just in time.

ATT has a new plan for America.
They encourage us to live social
with the new ATT AG.
Free market solutions
always work best.

Michael Douglas
reads another
patriotic exhortation.

"United we,
see the journey
of Acme Packers
as our journey."

"We see the resolve
of US Steel
as our resolve.
Big dreams
believe the best
journeys are
celebrated together."
(I'm down with that.
Whats good for Jerry Jones
is still good for me.
Right On! Check this stadium.
Power to the people!
It may not apply to the people who
will not be seated but tough nuggies.
This is America ******. Everybody
can't be seated at the table.
Even if they paid for their seat.
This ain't Red China.)

Neon Dion and other inductees
into the Football Hall of Fame
tosses the coin.
Steelers' call tails.
Heads it is.

At half time
The Black Eyed Peas
descend from
an upper Valhalla.

Still attired in
black fascist threads
The Righteous Peas
start wailing as
white metallic minions
dressed as
Imperial Storm Troopers
gallop to surround
their idols.

Precise formations
goose steppin bops
choreographic steps
the visceral *****
perfect counter-point
to swabbles of wiggling Peas.

Slash,
Guns and Roses
guitar hero
gunslinger
strode on stage
winging
this gal of mine
in choreographed
unison with
the leggy
Fergie.

Pumping it louder
the spectacle incites
the dancing
Imperial minions
quick steppin
and fetchin it
as Usher descends
in white unison
to leap and dance
over nasty
black peas.

The Gods
are descending
upon us.
Their words
have become
flesh.

The BEP's bleat
"kids are dying
wheres the love?"
Art does mirror life.

The neon hearts
of cheap
glow sticks
light up
the time
of our lives.

We are
cubed box heads
happily dancing along
the 50 yard line
answering China's
resounding drum
of frantic proletarians
bashing away
neocolonial disgrace
during the opening
ceremony of the worlds
greatest Olympian
display of
the pounding will
of an emerging nation
arriving on the world stage
with urgent insistence.

In America
we party on
every night
swiping
revoked
credit cards
for express lane
exits at the
local Walmart.

We are proud
highly personal
bar codes!

We refuse to be
marked down and flung
into discount bins at a
Tupelo Dollar Store.

Our light of life
flashes across screens
directing the trading pits
at the Chicago Board of Trade.

Each Super Bowl Sunday
souper bowl beggars
collect canned soup
for hungry Americans
at the local Shop and Drop

begging for larmen
boxes of Kraft
freeze dried noodles
and cans of Progresso
the feast of kings

A triumph
of the
Will I Am
BOOM BOOM
Says
Will I Am

I finish my bag of
Cool Ranch Doritos
and lick my partners
fingers clean.

You Tube Music Video:
Black Eyed Peas
Joints and Jam

2/7/11
Oakland
jbm
(WIP)

It is full winter now:  the trees are bare,
Save where the cattle huddle from the cold
Beneath the pine, for it doth never wear
The autumn’s gaudy livery whose gold
Her jealous brother pilfers, but is true
To the green doublet; bitter is the wind, as though it blew

From Saturn’s cave; a few thin wisps of hay
Lie on the sharp black hedges, where the wain
Dragged the sweet pillage of a summer’s day
From the low meadows up the narrow lane;
Upon the half-thawed snow the bleating sheep
Press close against the hurdles, and the shivering house-dogs creep

From the shut stable to the frozen stream
And back again disconsolate, and miss
The bawling shepherds and the noisy team;
And overhead in circling listlessness
The cawing rooks whirl round the frosted stack,
Or crowd the dripping boughs; and in the fen the ice-pools crack

Where the gaunt bittern stalks among the reeds
And ***** his wings, and stretches back his neck,
And hoots to see the moon; across the meads
Limps the poor frightened hare, a little speck;
And a stray seamew with its fretful cry
Flits like a sudden drift of snow against the dull grey sky.

Full winter:  and the ***** goodman brings
His load of ******* from the chilly byre,
And stamps his feet upon the hearth, and flings
The sappy billets on the waning fire,
And laughs to see the sudden lightening scare
His children at their play, and yet,—the spring is in the air;

Already the slim crocus stirs the snow,
And soon yon blanched fields will bloom again
With nodding cowslips for some lad to mow,
For with the first warm kisses of the rain
The winter’s icy sorrow breaks to tears,
And the brown thrushes mate, and with bright eyes the rabbit peers

From the dark warren where the fir-cones lie,
And treads one snowdrop under foot, and runs
Over the mossy knoll, and blackbirds fly
Across our path at evening, and the suns
Stay longer with us; ah! how good to see
Grass-girdled spring in all her joy of laughing greenery

Dance through the hedges till the early rose,
(That sweet repentance of the thorny briar!)
Burst from its sheathed emerald and disclose
The little quivering disk of golden fire
Which the bees know so well, for with it come
Pale boy’s-love, sops-in-wine, and daffadillies all in bloom.

Then up and down the field the sower goes,
While close behind the laughing younker scares
With shrilly whoop the black and thievish crows,
And then the chestnut-tree its glory wears,
And on the grass the creamy blossom falls
In odorous excess, and faint half-whispered madrigals

Steal from the bluebells’ nodding carillons
Each breezy morn, and then white jessamine,
That star of its own heaven, snap-dragons
With lolling crimson tongues, and eglantine
In dusty velvets clad usurp the bed
And woodland empery, and when the lingering rose hath shed

Red leaf by leaf its folded panoply,
And pansies closed their purple-lidded eyes,
Chrysanthemums from gilded argosy
Unload their gaudy scentless merchandise,
And violets getting overbold withdraw
From their shy nooks, and scarlet berries dot the leafless haw.

O happy field! and O thrice happy tree!
Soon will your queen in daisy-flowered smock
And crown of flower-de-luce trip down the lea,
Soon will the lazy shepherds drive their flock
Back to the pasture by the pool, and soon
Through the green leaves will float the hum of murmuring bees at noon.

Soon will the glade be bright with bellamour,
The flower which wantons love, and those sweet nuns
Vale-lilies in their snowy vestiture
Will tell their beaded pearls, and carnations
With mitred dusky leaves will scent the wind,
And straggling traveller’s-joy each hedge with yellow stars will bind.

Dear bride of Nature and most bounteous spring,
That canst give increase to the sweet-breath’d kine,
And to the kid its little horns, and bring
The soft and silky blossoms to the vine,
Where is that old nepenthe which of yore
Man got from poppy root and glossy-berried mandragore!

There was a time when any common bird
Could make me sing in unison, a time
When all the strings of boyish life were stirred
To quick response or more melodious rhyme
By every forest idyll;—do I change?
Or rather doth some evil thing through thy fair pleasaunce range?

Nay, nay, thou art the same:  ’tis I who seek
To vex with sighs thy simple solitude,
And because fruitless tears bedew my cheek
Would have thee weep with me in brotherhood;
Fool! shall each wronged and restless spirit dare
To taint such wine with the salt poison of own despair!

Thou art the same:  ’tis I whose wretched soul
Takes discontent to be its paramour,
And gives its kingdom to the rude control
Of what should be its servitor,—for sure
Wisdom is somewhere, though the stormy sea
Contain it not, and the huge deep answer ‘’Tis not in me.’

To burn with one clear flame, to stand *****
In natural honour, not to bend the knee
In profitless prostrations whose effect
Is by itself condemned, what alchemy
Can teach me this? what herb Medea brewed
Will bring the unexultant peace of essence not subdued?

The minor chord which ends the harmony,
And for its answering brother waits in vain
Sobbing for incompleted melody,
Dies a swan’s death; but I the heir of pain,
A silent Memnon with blank lidless eyes,
Wait for the light and music of those suns which never rise.

The quenched-out torch, the lonely cypress-gloom,
The little dust stored in the narrow urn,
The gentle XAIPE of the Attic tomb,—
Were not these better far than to return
To my old fitful restless malady,
Or spend my days within the voiceless cave of misery?

Nay! for perchance that poppy-crowned god
Is like the watcher by a sick man’s bed
Who talks of sleep but gives it not; his rod
Hath lost its virtue, and, when all is said,
Death is too rude, too obvious a key
To solve one single secret in a life’s philosophy.

And Love! that noble madness, whose august
And inextinguishable might can slay
The soul with honeyed drugs,—alas! I must
From such sweet ruin play the runaway,
Although too constant memory never can
Forget the arched splendour of those brows Olympian

Which for a little season made my youth
So soft a swoon of exquisite indolence
That all the chiding of more prudent Truth
Seemed the thin voice of jealousy,—O hence
Thou huntress deadlier than Artemis!
Go seek some other quarry! for of thy too perilous bliss.

My lips have drunk enough,—no more, no more,—
Though Love himself should turn his gilded prow
Back to the troubled waters of this shore
Where I am wrecked and stranded, even now
The chariot wheels of passion sweep too near,
Hence!  Hence!  I pass unto a life more barren, more austere.

More barren—ay, those arms will never lean
Down through the trellised vines and draw my soul
In sweet reluctance through the tangled green;
Some other head must wear that aureole,
For I am hers who loves not any man
Whose white and stainless ***** bears the sign Gorgonian.

Let Venus go and chuck her dainty page,
And kiss his mouth, and toss his curly hair,
With net and spear and hunting equipage
Let young Adonis to his tryst repair,
But me her fond and subtle-fashioned spell
Delights no more, though I could win her dearest citadel.

Ay, though I were that laughing shepherd boy
Who from Mount Ida saw the little cloud
Pass over Tenedos and lofty Troy
And knew the coming of the Queen, and bowed
In wonder at her feet, not for the sake
Of a new Helen would I bid her hand the apple take.

Then rise supreme Athena argent-limbed!
And, if my lips be musicless, inspire
At least my life:  was not thy glory hymned
By One who gave to thee his sword and lyre
Like AEschylos at well-fought Marathon,
And died to show that Milton’s England still could bear a son!

And yet I cannot tread the Portico
And live without desire, fear and pain,
Or nurture that wise calm which long ago
The grave Athenian master taught to men,
Self-poised, self-centred, and self-comforted,
To watch the world’s vain phantasies go by with unbowed head.

Alas! that serene brow, those eloquent lips,
Those eyes that mirrored all eternity,
Rest in their own Colonos, an eclipse
Hath come on Wisdom, and Mnemosyne
Is childless; in the night which she had made
For lofty secure flight Athena’s owl itself hath strayed.

Nor much with Science do I care to climb,
Although by strange and subtle witchery
She drew the moon from heaven:  the Muse Time
Unrolls her gorgeous-coloured tapestry
To no less eager eyes; often indeed
In the great epic of Polymnia’s scroll I love to read

How Asia sent her myriad hosts to war
Against a little town, and panoplied
In gilded mail with jewelled scimitar,
White-shielded, purple-crested, rode the Mede
Between the waving poplars and the sea
Which men call Artemisium, till he saw Thermopylae

Its steep ravine spanned by a narrow wall,
And on the nearer side a little brood
Of careless lions holding festival!
And stood amazed at such hardihood,
And pitched his tent upon the reedy shore,
And stayed two days to wonder, and then crept at midnight o’er

Some unfrequented height, and coming down
The autumn forests treacherously slew
What Sparta held most dear and was the crown
Of far Eurotas, and passed on, nor knew
How God had staked an evil net for him
In the small bay at Salamis,—and yet, the page grows dim,

Its cadenced Greek delights me not, I feel
With such a goodly time too out of tune
To love it much:  for like the Dial’s wheel
That from its blinded darkness strikes the noon
Yet never sees the sun, so do my eyes
Restlessly follow that which from my cheated vision flies.

O for one grand unselfish simple life
To teach us what is Wisdom! speak ye hills
Of lone Helvellyn, for this note of strife
Shunned your untroubled crags and crystal rills,
Where is that Spirit which living blamelessly
Yet dared to kiss the smitten mouth of his own century!

Speak ye Rydalian laurels! where is he
Whose gentle head ye sheltered, that pure soul
Whose gracious days of uncrowned majesty
Through lowliest conduct touched the lofty goal
Where love and duty mingle!  Him at least
The most high Laws were glad of, he had sat at Wisdom’s feast;

But we are Learning’s changelings, know by rote
The clarion watchword of each Grecian school
And follow none, the flawless sword which smote
The pagan Hydra is an effete tool
Which we ourselves have blunted, what man now
Shall scale the august ancient heights and to old Reverence bow?

One such indeed I saw, but, Ichabod!
Gone is that last dear son of Italy,
Who being man died for the sake of God,
And whose unrisen bones sleep peacefully,
O guard him, guard him well, my Giotto’s tower,
Thou marble lily of the lily town! let not the lour

Of the rude tempest vex his slumber, or
The Arno with its tawny troubled gold
O’er-leap its marge, no mightier conqueror
Clomb the high Capitol in the days of old
When Rome was indeed Rome, for Liberty
Walked like a bride beside him, at which sight pale Mystery

Fled shrieking to her farthest sombrest cell
With an old man who grabbled rusty keys,
Fled shuddering, for that immemorial knell
With which oblivion buries dynasties
Swept like a wounded eagle on the blast,
As to the holy heart of Rome the great triumvir passed.

He knew the holiest heart and heights of Rome,
He drave the base wolf from the lion’s lair,
And now lies dead by that empyreal dome
Which overtops Valdarno hung in air
By Brunelleschi—O Melpomene
Breathe through thy melancholy pipe thy sweetest threnody!

Breathe through the tragic stops such melodies
That Joy’s self may grow jealous, and the Nine
Forget awhile their discreet emperies,
Mourning for him who on Rome’s lordliest shrine
Lit for men’s lives the light of Marathon,
And bare to sun-forgotten fields the fire of the sun!

O guard him, guard him well, my Giotto’s tower!
Let some young Florentine each eventide
Bring coronals of that enchanted flower
Which the dim woods of Vallombrosa hide,
And deck the marble tomb wherein he lies
Whose soul is as some mighty orb unseen of mortal eyes;

Some mighty orb whose cycled wanderings,
Being tempest-driven to the farthest rim
Where Chaos meets Creation and the wings
Of the eternal chanting Cherubim
Are pavilioned on Nothing, passed away
Into a moonless void,—and yet, though he is dust and clay,

He is not dead, the immemorial Fates
Forbid it, and the closing shears refrain.
Lift up your heads ye everlasting gates!
Ye argent clarions, sound a loftier strain
For the vile thing he hated lurks within
Its sombre house, alone with God and memories of sin.

Still what avails it that she sought her cave
That murderous mother of red harlotries?
At Munich on the marble architrave
The Grecian boys die smiling, but the seas
Which wash AEgina fret in loneliness
Not mirroring their beauty; so our lives grow colourless

For lack of our ideals, if one star
Flame torch-like in the heavens the unjust
Swift daylight kills it, and no trump of war
Can wake to passionate voice the silent dust
Which was Mazzini once! rich Niobe
For all her stony sorrows hath her sons; but Italy,

What Easter Day shall make her children rise,
Who were not Gods yet suffered? what sure feet
Shall find their grave-clothes folded? what clear eyes
Shall see them ******?  O it were meet
To roll the stone from off the sepulchre
And kiss the bleeding roses of their wounds, in love of her,

Our Italy! our mother visible!
Most blessed among nations and most sad,
For whose dear sake the young Calabrian fell
That day at Aspromonte and was glad
That in an age when God was bought and sold
One man could die for Liberty! but we, burnt out and cold,

See Honour smitten on the cheek and gyves
Bind the sweet feet of Mercy:  Poverty
Creeps through our sunless lanes and with sharp knives
Cuts the warm throats of children stealthily,
And no word said:- O we are wretched men
Unworthy of our great inheritance! where is the pen

Of austere Milton? where the mighty sword
Which slew its master righteously? the years
Have lost their ancient leader, and no word
Breaks from the voiceless tripod on our ears:
While as a ruined mother in some spasm
Bears a base child and loathes it, so our best enthusiasm

Genders unlawful children, Anarchy
Freedom’s own Judas, the vile prodigal
Licence who steals the gold of Liberty
And yet has nothing, Ignorance the real
One Fraticide since Cain, Envy the asp
That stings itself to anguish, Avarice whose palsied grasp

Is in its extent stiffened, moneyed Greed
For whose dull appetite men waste away
Amid the whirr of wheels and are the seed
Of things which slay their sower, these each day
Sees rife in England, and the gentle feet
Of Beauty tread no more the stones of each unlovely street.

What even Cromwell spared is desecrated
By **** and worm, left to the stormy play
Of wind and beating snow, or renovated
By more destructful hands:  Time’s worst decay
Will wreathe its ruins with some loveliness,
But these new Vandals can but make a rain-proof barrenness.

Where is that Art which bade the Angels sing
Through Lincoln’s lofty choir, till the air
Seems from such marble harmonies to ring
With sweeter song than common lips can dare
To draw from actual reed? ah! where is now
The cunning hand which made the flowering hawthorn branches bow

For Southwell’s arch, and carved the House of One
Who loved the lilies of the field with all
Our dearest English flowers? the same sun
Rises for us:  the seasons natural
Weave the same tapestry of green and grey:
The unchanged hills are with us:  but that Spirit hath passed away.

And yet perchance it may be better so,
For Tyranny is an incestuous Queen,
****** her brother is her bedfellow,
And the Plague chambers with her:  in obscene
And ****** paths her treacherous feet are set;
Better the empty desert and a soul inviolate!

For gentle brotherhood, the harmony
Of living in the healthful air, the swift
Clean beauty of strong limbs when men are free
And women chaste, these are the things which lift
Our souls up more than even Agnolo’s
Gaunt blinded Sibyl poring o’er the scroll of human woes,

Or Titian’s little maiden on the stair
White as her own sweet lily and as tall,
Or Mona Lisa smiling through her hair,—
Ah! somehow life is bigger after all
Than any painted angel, could we see
The God that is within us!  The old Greek serenity

Which curbs the passion of that

Come queen of months in company
Wi all thy merry minstrelsy
The restless cuckoo absent long
And twittering swallows chimney song
And hedge row crickets notes that run
From every bank that fronts the sun
And swathy bees about the grass
That stops wi every bloom they pass
And every minute every hour
Keep teazing weeds that wear a flower
And toil and childhoods humming joys
For there is music in the noise
The village childern mad for sport
In school times leisure ever short
That crick and catch the bouncing ball
And run along the church yard wall
Capt wi rude figured slabs whose claims
In times bad memory hath no names
Oft racing round the nookey church
Or calling ecchos in the porch
And jilting oer the weather ****
Viewing wi jealous eyes the clock
Oft leaping grave stones leaning hights
Uncheckt wi mellancholy sights
The green grass swelld in many a heap
Where kin and friends and parents sleep
Unthinking in their jovial cry
That time shall come when they shall lye
As lowly and as still as they
While other boys above them play
Heedless as they do now to know
The unconcious dust that lies below
The shepherd goes wi happy stride
Wi moms long shadow by his side
Down the dryd lanes neath blooming may
That once was over shoes in clay
While martins twitter neath his eves
Which he at early morning leaves
The driving boy beside his team
Will oer the may month beauty dream
And **** his hat and turn his eye
On flower and tree and deepning skye
And oft bursts loud in fits of song
And whistles as he reels along
Cracking his whip in starts of joy
A happy ***** driving boy
The youth who leaves his corner stool
Betimes for neighbouring village school
While as a mark to urge him right
The church spires all the way in sight
Wi cheerings from his parents given
Starts neath the joyous smiles of heaven
And sawns wi many an idle stand
Wi bookbag swinging in his hand
And gazes as he passes bye
On every thing that meets his eye
Young lambs seem tempting him to play
Dancing and bleating in his way
Wi trembling tails and pointed ears
They follow him and loose their fears
He smiles upon their sunny faces
And feign woud join their happy races
The birds that sing on bush and tree
Seem chirping for his company
And all in fancys idle whim
Seem keeping holiday but him
He lolls upon each resting stile
To see the fields so sweetly smile
To see the wheat grow green and long
And list the weeders toiling song
Or short note of the changing thrush
Above him in the white thorn bush
That oer the leaning stile bends low
Loaded wi mockery of snow
Mozzld wi many a lushing thread
Of crab tree blossoms delicate red
He often bends wi many a wish
Oer the brig rail to view the fish
Go sturting by in sunny gleams
And chucks in the eye dazzld streams
Crumbs from his pocket oft to watch
The swarming struttle come to catch
Them where they to the bottom sile
Sighing in fancys joy the while
Hes cautiond not to stand so nigh
By rosey milkmaid tripping bye
Where he admires wi fond delight
And longs to be there mute till night
He often ventures thro the day
At truant now and then to play
Rambling about the field and plain
Seeking larks nests in the grain
And picking flowers and boughs of may
To hurd awhile and throw away
Lurking neath bushes from the sight
Of tell tale eyes till schools noon night
Listing each hour for church clocks hum
To know the hour to wander home
That parents may not think him long
Nor dream of his rude doing wrong
Dreading thro the night wi dreaming pain
To meet his masters wand again
Each hedge is loaded thick wi green
And where the hedger late hath been
Tender shoots begin to grow
From the mossy stumps below
While sheep and cow that teaze the grain
will nip them to the root again
They lay their bill and mittens bye
And on to other labours hie
While wood men still on spring intrudes
And thins the shadow solitudes
Wi sharpend axes felling down
The oak trees budding into brown
Where as they crash upon the ground
A crowd of labourers gather round
And mix among the shadows dark
To rip the crackling staining bark
From off the tree and lay when done
The rolls in lares to meet the sun
Depriving yearly where they come
The green wood pecker of its home
That early in the spring began
Far from the sight of troubling man
And bord their round holes in each tree
In fancys sweet security
Till startld wi the woodmans noise
It wakes from all its dreaming joys
The blue bells too that thickly bloom
Where man was never feared to come
And smell smocks that from view retires
**** rustling leaves and bowing briars
And stooping lilys of the valley
That comes wi shades and dews to dally
White beady drops on slender threads
Wi broad hood leaves above their heads
Like white robd maids in summer hours
Neath umberellas shunning showers
These neath the barkmens crushing treads
Oft perish in their blooming beds
Thus stript of boughs and bark in white
Their trunks shine in the mellow light
Beneath the green surviving trees
That wave above them in the breeze
And waking whispers slowly bends
As if they mournd their fallen friends
Each morning now the weeders meet
To cut the thistle from the wheat
And ruin in the sunny hours
Full many wild weeds of their flowers
Corn poppys that in crimson dwell
Calld ‘head achs’ from their sickly smell
And carlock yellow as the sun
That oer the may fields thickly run
And ‘iron ****’ content to share
The meanest spot that spring can spare
Een roads where danger hourly comes
Is not wi out its purple blooms
And leaves wi points like thistles round
Thickset that have no strength to wound
That shrink to childhoods eager hold
Like hair—and with its eye of gold
And scarlet starry points of flowers
Pimpernel dreading nights and showers
Oft calld ‘the shepherds weather glass’
That sleep till suns have dyd the grass
Then wakes and spreads its creeping bloom
Till clouds or threatning shadows come
Then close it shuts to sleep again
Which weeders see and talk of rain
And boys that mark them shut so soon
will call them ‘John go bed at noon
And fumitory too a name
That superstition holds to fame
Whose red and purple mottled flowers
Are cropt by maids in weeding hours
To boil in water milk and way1
For washes on an holiday
To make their beauty fair and sleak
And scour the tan from summers cheek
And simple small forget me not
Eyd wi a pinshead yellow spot
I’th’ middle of its tender blue
That gains from poets notice due
These flowers the toil by crowds destroys
And robs them of their lowly joys
That met the may wi hopes as sweet
As those her suns in gardens meet
And oft the dame will feel inclind
As childhoods memory comes to mind
To turn her hook away and spare
The blooms it lovd to gather there
My wild field catalogue of flowers
Grows in my ryhmes as thick as showers
Tedious and long as they may be
To some, they never weary me
The wood and mead and field of grain
I coud hunt oer and oer again
And talk to every blossom wild
Fond as a parent to a child
And cull them in my childish joy
By swarms and swarms and never cloy
When their lank shades oer morning pearls
Shrink from their lengths to little girls
And like the clock hand pointing one
Is turnd and tells the morning gone
They leave their toils for dinners hour
Beneath some hedges bramble bower
And season sweet their savory meals
Wi joke and tale and merry peals
Of ancient tunes from happy tongues
While linnets join their fitful songs
Perchd oer their heads in frolic play
Among the tufts of motling may
The young girls whisper things of love
And from the old dames hearing move
Oft making ‘love knotts’ in the shade
Of blue green oat or wheaten blade
And trying simple charms and spells
That rural superstition tells
They pull the little blossom threads
From out the knapweeds button heads
And put the husk wi many a smile
In their white bosoms for awhile
Who if they guess aright the swain
That loves sweet fancys trys to gain
Tis said that ere its lain an hour
Twill blossom wi a second flower
And from her white ******* hankerchief
Bloom as they ne’er had lost a leaf
When signs appear that token wet
As they are neath the bushes met
The girls are glad wi hopes of play
And harping of the holiday
A hugh blue bird will often swim
Along the wheat when skys grow dim
Wi clouds—slow as the gales of spring
In motion wi dark shadowd wing
Beneath the coming storm it sails
And lonly chirps the wheat hid quails
That came to live wi spring again
And start when summer browns the grain
They start the young girls joys afloat
Wi ‘wet my foot’ its yearly note
So fancy doth the sound explain
And proves it oft a sign of rain
About the moor ‘**** sheep and cow
The boy or old man wanders now
Hunting all day wi hopful pace
Each thick sown rushy thistly place
For plover eggs while oer them flye
The fearful birds wi teazing cry
Trying to lead their steps astray
And coying him another way
And be the weather chill or warm
Wi brown hats truckd beneath his arm
Holding each prize their search has won
They plod bare headed to the sun
Now dames oft bustle from their wheels
Wi childern scampering at their heels
To watch the bees that hang and swive
In clumps about each thronging hive
And flit and thicken in the light
While the old dame enjoys the sight
And raps the while their warming pans
A spell that superstition plans
To coax them in the garden bounds
As if they lovd the tinkling sounds
And oft one hears the dinning noise
Which dames believe each swarm decoys
Around each village day by day
Mingling in the warmth of may
Sweet scented herbs her skill contrives
To rub the bramble platted hives
Fennels thread leaves and crimpld balm
To scent the new house of the swarm
The thresher dull as winter days
And lost to all that spring displays
Still mid his barn dust forcd to stand
Swings his frail round wi weary hand
While oer his head shades thickly creep
And hides the blinking owl asleep
And bats in cobweb corners bred
Sharing till night their murky bed
The sunshine trickles on the floor
Thro every crevice of the door
And makes his barn where shadows dwell
As irksome as a prisoners cell
And as he seeks his daily meal
As schoolboys from their tasks will steal
ile often stands in fond delay
To see the daisy in his way
And wild weeds flowering on the wall
That will his childish sports recall
Of all the joys that came wi spring
The twirling top the marble ring
The gingling halfpence hussld up
At pitch and toss the eager stoop
To pick up heads, the smuggeld plays
Neath hovels upon sabbath days
When parson he is safe from view
And clerk sings amen in his pew
The sitting down when school was oer
Upon the threshold by his door
Picking from mallows sport to please
Each crumpld seed he calld a cheese
And hunting from the stackyard sod
The stinking hen banes belted pod
By youths vain fancys sweetly fed
Christning them his loaves of bread
He sees while rocking down the street
Wi weary hands and crimpling feet
Young childern at the self same games
And hears the self same simple names
Still floating on each happy tongue
Touchd wi the simple scene so strong
Tears almost start and many a sigh
Regrets the happiness gone bye
And in sweet natures holiday
His heart is sad while all is gay
How lovly now are lanes and balks
For toils and lovers sunday walks
The daisey and the buttercup
For which the laughing childern stoop
A hundred times throughout the day
In their rude ramping summer play
So thickly now the pasture crowds
In gold and silver sheeted clouds
As if the drops in april showers
Had woo’d the sun and swoond to flowers
The brook resumes its summer dresses
Purling neath grass and water cresses
And mint and flag leaf swording high
Their blooms to the unheeding eye
And taper bowbent hanging rushes
And horse tail childerns bottle brushes
And summer tracks about its brink
Is fresh again where cattle drink
And on its sunny bank the swain
Stretches his idle length again
Soon as the sun forgets the day
The moon looks down on the lovly may
And the little star his friend and guide
Travelling together side by side
And the seven stars and charleses wain
Hangs smiling oer green woods agen
The heaven rekindles all alive
Wi light the may bees round the hive
Swarm not so thick in mornings eye
As stars do in the evening skye
All all are nestling in their joys
The flowers and birds and pasture boys
The firetail, long a stranger, comes
To his last summer haunts and homes
To hollow tree and crevisd wall
And in the grass the rails odd call
That featherd spirit stops the swain
To listen to his note again
And school boy still in vain retraces
The secrets of his hiding places
In the black thorns crowded copse
Thro its varied turns and stops
The nightingale its ditty weaves
Hid in a multitude of leaves
The boy stops short to hear the strain
And ’sweet jug jug’ he mocks again
The yellow hammer builds its nest
By banks where sun beams earliest rest
That drys the dews from off the grass
Shading it from all that pass
Save the rude boy wi ferret gaze
That hunts thro evry secret maze
He finds its pencild eggs agen
All streakd wi lines as if a pen
By natures freakish hand was took
To scrawl them over like a book
And from these many mozzling marks
The school boy names them ‘writing larks’
*** barrels twit on bush and tree
Scarse bigger then a bumble bee
And in a white thorns leafy rest
It builds its curious pudding-nest
Wi hole beside as if a mouse
Had built the little barrel house
Toiling full many a lining feather
And bits of grey tree moss together
Amid the noisey rooky park
Beneath the firdales branches dark
The little golden crested wren
Hangs up his glowing nest agen
And sticks it to the furry leaves
As martins theirs beneath the eaves
The old hens leave the roost betimes
And oer the garden pailing climbs
To scrat the gardens fresh turnd soil
And if unwatchd his crops to spoil
Oft cackling from the prison yard
To peck about the houseclose sward
Catching at butterflys and things
Ere they have time to try their wings
The cattle feels the breath of may
And kick and toss their heads in play
The *** beneath his bags of sand
Oft jerks the string from leaders hand
And on the road will eager stoop
To pick the sprouting thistle up
Oft answering on his weary way
Some distant neighbours sobbing bray
Dining the ears of driving boy
As if he felt a fit of joy
Wi in its pinfold circle left
Of all its company bereft
Starvd stock no longer noising round
Lone in the nooks of foddering ground
Each skeleton of lingering stack
By winters tempests beaten black
Nodds upon props or bolt upright
Stands swarthy in the summer light
And oer the green grass seems to lower
Like stump of old time wasted tower
All that in winter lookd for hay
Spread from their batterd haunts away
To pick the grass or lye at lare
Beneath the mild hedge shadows there
Sweet month that gives a welcome call
To toil and nature and to all
Yet one day mid thy many joys
Is dead to all its sport and noise
Old may day where’s thy glorys gone
All fled and left thee every one
Thou comst to thy old haunts and homes
Unnoticd as a stranger comes
No flowers are pluckt to hail the now
Nor cotter seeks a single bough
The maids no more on thy sweet morn
Awake their thresholds to adorn
Wi dewey flowers—May locks new come
And princifeathers cluttering bloom
And blue bells from the woodland moss
And cowslip cucking ***** to toss
Above the garlands swinging hight
Hang in the soft eves sober light
These maid and child did yearly pull
By many a folded apron full
But all is past the merry song
Of maidens hurrying along
To crown at eve the earliest cow
Is gone and dead and silent now
The laugh raisd at the mocking thorn
Tyd to the cows tail last that morn
The kerchief at arms length displayd
Held up by pairs of swain and maid
While others bolted underneath
Bawling loud wi panting breath
‘Duck under water’ as they ran
Alls ended as they ne’er began
While the new thing that took thy place
Wears faded smiles upon its face
And where enclosure has its birth
It spreads a mildew oer her mirth
The herd no longer one by one
Goes plodding on her morning way
And garlands lost and sports nigh gone
Leaves her like thee a common day
Yet summer smiles upon thee still
Wi natures sweet unalterd will
And at thy births unworshipd hours
Fills her green lap wi swarms of flowers
To crown thee still as thou hast been
Of spring and summer months the queen

I want to get inside your head...
See the world through your eyes...
Touch the ground with your feet...
Only then can I understand.
Forgive yourself…
For your sins.
Forgive yourself…
For being fragile.
You are only mortal.
Forgive me…
For not answering your burning question.
Forgive me…
For I cannot answer.
Forgive…
I know so little…
I’m trying to understand.

The city is a grid
of lights projected
by man-made mountains
built of glass and steel;
they reflect, distorted
off the glass surface
of Lake Michigan.

Good morning

The sun rises
with heavy-eyed commuters,
homes filling with
the smell of coffee;
yesterday’s events are
brought inside, rolled
up in a blue plastic bag.

Soon the traffic on the Dan Ryan
will turn the stretch of road
into a temporary parking lot.

Life enters the veins
of downtown;
it heads down Michigan Avenue
to the heart of The Loop.

The ferris wheel at Navy Pier
begins to turn hypnotically,
attracting all walks of life.

A Muslim passes a Christian
on the street;
they smile at each other;
their backgrounds don’t matter.

Someone is calling;
someone is answering.
Today is the best day for one,
the worst day for another.

The day does its job to go on

Chicago fills its lungs,
then exhales life back home.
The sun colors buildings,
traces of day
to be soon replaced
by the form of lit office windows.

From a plane passing over,
the grid is a chessboard
waiting for the next day,
the next game.

A Christmas Thought (short story)
by
rgpage

This time of the year,  when once giving from the heart has since melted like the snow in Spring to the meaningless demand for expensive toys and gadgets;  and Santa has waned to no more than the all-giving sugar daddy to each and every child,  and a tireless crutch to the mindless parent during the year; “Santa’s watching so you’d better be good.”

And alas,  there I stood in this huge department store amid a vast forest of toys, colors, and noises, fallen prey to this modern day hypocrisy known as Christmas.  Being of a lower middle economical standard,  and having with such stealth blindness juggled expenses and bills to afford myself the opportunity to plunge even deeper into dept.  I pondered these playful wonders of modern day technology.  All about countless numbers of people were doing as I in efforts to reward their children for their year of good service.

This was when I saw her. As fast as this seasonal frenzy had overtaken me just days earlier,  it vanished for a time as I watched her. It must have been that she seemed so out of place in this hurry-scurry festive scene of Christmas shopping that she caught my eye.  She was very old and her tattered,  worn out clothing all too obviously reflected the fact that she couldn’t afford much.  While others struggled about her almost comically laden with brightly colored  packages, this old woman had nothing more than an old purse dangling from her arm.  Slowly she moved, seemingly pained with the infirmities which accompany old age.  She appeared overweight for her stature which I’m sure added to her discomfort.  When she stopped in front of the doll section  her old, pudgy face glowed with joy.  Undoubtedly a doll for a little granddaughter,  I was  sure no more as she couldn’t possibly afford more.  I watched as she studied each doll
and its price tag,  going from one to the next.  Finally she stopped to give particular attention to one little doll adorned with colorful ribbons and big bright blue eyes.  Then putting the doll back,  she opened her purse and I watched as she counted the small amount of money that she had.  

By this time I had become so unexplainably absorbed with watching the old woman,  who with a smile closed her purse, retrieved the doll and walked slowly and painfully to the checkout counter to wait in line.  Around her the noise of parents and children alike waiting their turn to check out didn’t seem to bother her as she patiently waited, holding the precious little doll for an equally precious granddaughter.  Finally when her turn came, an all to cruel yet human trait appeared in not only the people waiting behind her but the checkout clerk as well. Their impatience to maintain a steady flow of human traffic through the turnstiles came to the forefront almost obliterating this seasonal spirit.  This didn’t seem to deter the old woman from slowly and surely counting out the correct change,  leaving her very little to return to her purse.

With this done and the doll tucked away in a shopping sack,  she proceeded through the large glass doors and out into the cold December night.  A passing thought, “one special gift for one special person,” went through my mind as I continued my own, now more selective tour of annual duty.  Looking over my shoulder for one last glimpse of the old woman, I suddenly felt as if struck by a jolt of electricity as I saw her on her back in the slushy snow, struggling like an over-turned turtle.

Bolting out the door hoping to be the first to reach her,  I almost found myself lying next to her on the slick sidewalk.  Nothing was said as I struggled to lift her up.  Once this was accomplished I asked her if she was alright.  Instead of answering  she started looking around for her package.  I spotted the torn, soaked paper sack some ten feet away in a slushy puddle and went to retrieve it.  The doll had come half way out of the sack and her little blonde curls were now filled with water and slush; and as I handed it back I searched the old woman’s face for even a trace of sadness, there was none. Instead she looked at me smiled and said, “thank you young man, it’ll dry out, it’ll be alright, Merry Christmas.”  Then holding the doll in both hands, she turned and went on her way, much slower and much more cautiously.  I just stood there and watched her until she finally disappeared in the crowd and darkness and thought to myself, “maybe Santa Claus isn’t a man after all.”

79

Going to Heaven!
I don’t know when—
Pray do not ask me how!
Indeed I’m too astonished
To think of answering you!
Going to Heaven!
How dim it sounds!
And yet it will be done
As sure as flocks go home at night
Unto the Shepherd’s arm!

Perhaps you’re going too!
Who knows?
If you should get there first
Save just a little space for me
Close to the two I lost—
The smallest “Robe” will fit me
And just a bit of “Crown”—
For you know we do not mind our dress
When we are going home—

I’m glad I don’t believe it
For it would stop my breath—
And I’d like to look a little more
At such a curious Earth!
I’m glad they did believe it
Whom I have never found
Since the might Autumn afternoon
I left them in the ground.