Shortly after 3pm on September 29, 31-year-old Olivier Rousteing strode through the shimmering, fleshy backstage area at Balmain's Spring 2017 Paris Fashion Week show. Along the marble hallway of a hôtel particulier in the 8th arrondissement, long-limbed clusters of supermodels were gamely tolerating final applications of leg-moisturiser, make-up touch-ups and minutely precise hair interventions from squads of specialists as fast and accurate as any Formula 1 pit-stop team. The crowd parted as Rousteing swept through.

Wearing a belted, black silk tuxedo and a focused expression that accentuated his razor-sharp cheekbones, Rousteing resembled a sensuous hit man. Target identified, he led us to the board upon which photographs of every outfit were tacked.

We asked him to tell us about the collection (for that's what fashion editors always ask). "There is no theme," said Rou­steing in his fast, French-accented lilt. "No inspiration from travel or time. The inspiration is what I feel, and what I feel now is peace, light and serenity. I feel like in my six years here before this, I have tried to fight so many battles. Because there is no point anymore in fighting about boundaries and limits in fashion. Balmain has its place in fashion."

And the clothes? "There is a lot of fluidity. A lot of knitwear, lightness, ponchos. No body-con dresses. But whatever I do, even if I cover up my girls, it is like people can say I am ******. So this is what it is. I think there is nothing ******. I think it is really chic. I think it is really French. It is how I see Paris. And I have had too many haters during the last three years to defend myself again. So, this is Balmain." And then the show began.

Star endorsements

Under Rousteing, Balmain has become the most controversial fashion house in Paris. Rousteing has attracted (but not bought, as other, far bigger houses do) patronage from contemporary culture's most significant influencers. Rihanna, all the Kardashians, Kanye West, Taylor Swift, Miley Cyrus, Beyoncé, Justin Bieber – a royal flush of modern celebrity aristocracy – all champion him.

Immediately after this show, in that backstage hubbub, Kim Kardashian told me: "I thought it was very powerful…I loved the sequins, and I loved all the big chain mail belts – that was probably my favourite."

Yet for every famous fan there is a member of the fashion establishment who will sniff over coffee in Le Castiglione that Rousteing's crowd is declassé and his aesthetic best described by that V-word. The New York Times' fashion critic Vanessa Friedman reckoned this collection appropriate for "dressing for the captain's dinners on a cruise ship to Fantasy Island". At least she did not use the V-word. When I once deployed it – as a compliment – in a 2015 Vogue menswear review that declared "Rousteing is confidently negotiating a fine line between extravagance and vulgarity", I was told that Rous­teing was aggrieved.

The fashion world's ambivalence towards Rousteing is a measure of its conflicted feelings towards much in contemporary culture. Last year Robin Givhan of the Washington Post wrote of Balmain: "The French fashion house is always ostentatious and sometimes ******. It feeds a voracious appetite for attention. It is anti-intellectual. Antagonistic. Emotional. It is shocking. It is perfect for this era of social media, which means it is powerfully, undeniably relevant."

Since joining Instagram four years ago Rousteing has posted 4000 images and won 4 million followers. The combined reach of his audience members and models at this Balmain show was greater than the population of Britain and France combined. Balmain was the first French fashion house to gain more than 1 million followers, and currently has 5.5 million of them.

Loving his haters

As digital technology disrupts fashion, Balmain's seemingly effortless mastery of the medium galls some. Last year, the designer posted an image of a comment from a ****** follower to his feed. It read: "Olivier Rousteing spends more times taking selfies for Instagram than designing clothes for Balmain." Underneath, in block capitals, he commented "i love my haters".

Rousteing can be funny and flip – doing a video interview after the show, I opened by asking, tritely, how he felt. He replied: "Now I feel like some Chicken McNuggets with barbecue sauce, and then some M&M;'s ice cream."

When at work, however, that flipness flips to entirely unflip. The previous evening, at a final fitting for the collection, Rousteing had paced his studio, his face a scowl of concentration, applying final edits to the outfits to be worn by models Doutzen Kroes and Alessandra Ambrosio. The 30-strong team of couturiers working in the adjoining atelier delivered a steady stream of altered dresses.

"We are ready," he said from behind a glass desk in a rare moment of downtime. "This a big show – 80 looks – and I want a collection that is full of both the commercial and couture. But it's smooth too. All of the girls are excited about the after-party and interested in the music. And eating pizza." In the corridor outside Gigi Hadid – this season's apex supermodel – was indeed eating pizza, with gusto.

The fitting went on until far beyond midnight; Rousteing, fiercely focused, demonstrated the work ethic for which he is famous. When he was studio manager for Christophe Decarnin, his predecessor at Balmain, the young then-unknown was always the first in and last out of the studio. Emmanuel Diemoz, who joined Balmain as finance controller in 2001 and became chief executive in 2011, says that his hard graft was one of the reasons he was chosen to succeed Decarnin.

"For sure it was quite a gamble," says Diemoz. "But we could see the talent of Olivier. Plus he understood the work of Christophe – who had helped the brand recover – so he represented continuity. He was a hard worker, clearly a leader, with a lot of creativity. Plus the size of the turnover at that time was not so huge. So we were able to take the risk."

Clear leader

Which is why, aged 24, Rousteing became the creative director of one of Paris's best known – but indubitably faded – fashion houses. In 2004 it had been close to bankruptcy. In 2012, Rousteing's first full year in charge, Balmain's sales were €30.4 million and its profit €3.1 million. In 2015, sales were €121.5 million and its profit €33 million. Vulgarity is subjective; numbers are not.

Rousteing, who is of mixed race, was adopted at five months by white parents and enjoyed an affluent and loving upbringing in Bordeaux. "My mum is an optician and my dad was running the port. They are both really scientific – not artistic. So I had that kind of life. Bordeaux is really bourgeois and really conservative, I have to say."

After an ill-starred three-month stint at law school – "I was doing international law. And I was like, 'oh my God, that is so boring'" – he did a fashion course that he managed to tolerate for five months.

"I found that really boring as well. I just don't like actually people who are trying to **** your dream. And I felt that is what my teachers were trying to do."

Obsessed with Gucci

Following a three-month internship in Rome – "also boring" – Rousteing became fascinated with Tom Ford's work at Gucci. "I was obsessed, obsessed, obsessed. Sometimes the press did not get it but I thought 'this is like genius, the new **** chic'. Obsessed, full stop."

He wanted to work there – "that was my dream" – but applied to every fashion house he could, and found an opportunity to intern at Roberto Cavalli. "They took me in from the beginning. I met Peter Dundas [then womenswear designer at the brand] and he said you are going to be my right hand – and start in four days."

Rousteing counts his five years in Italy as formative both creatively and commercially, but when the opportunity came to return to France in 2009 he leapt at it. "Christophe said he liked my work and that he needed someone to manage the studio. So two weeks later I was here. I loved Balmain at the time, when Christophe was in charge. It was all about rock 'n' roll chic, ****, Parisian. And he was appealing to a younger generation. You can see when brands become old but Balmain was touching this new audience. I always say Christophe's Balmain was Kate Moss but mine is Rihanna."

When Decarnin left and Rousteing replaced him, the response was a resounding "who?". His youth prompted some to anticipate failure.

"It was not easy at all. Every season I had the same questions." Furthermore, Rousteing (who has said he thinks of himself as neither black nor white) was the only non-white chief designer at a Parisian couture house. In a nation in which very few people of colour hold senior positions, his race may have contributed both to the establishment's suspicion of him and to his powerful sense of being an outsider.

'Beautiful spirit'

As he began to build a personal vernacular of close-fitted, heavily jewelled, gleefully grandiose menswear – fantastical uniform for a Rousteing-imagined gilded age – for both women and men, that V-word loomed.

"They asked, 'But is it luxury? Is it chic? Is it modern?' All those kinds of words. But you know there is no one definition [of fashion] even if people in Paris think there is. And, I'm sorry, but I think the crowd in fashion are those who understand the least what is avant-garde today."

In 2013 Rihanna visited the studio, met Rousteing, and reported all with multiple Instagram posts. "You are the most beautiful spirit, so down to earth and kind! @olivier_rousteing I think I'm in love!!! #Balmain." :')"

Rousteing met Kim Kardashian at a party in New York – they were drawn together, he recalls, because they were both shy – and was promptly invited to lunch with her family in Los Angeles.

An outsider in the firmament of old-guard Paris fashion, Rousteing was earning insider status within a new, and much more influential, supranational elite. He points out that Valentino, Saint Laurent and Pierre Balmain himself "were close to the jet set of their time. What I have on my front row is the people who inspire my generation".

From them, he learned a new way of doing business. "I think it was Rihanna and the music industry that first understood how Instagram can be part of the business world as well as the personal. But in fashion? When we started it was 'why do you post selfies? Why do we need to know your life, see you waking up, see you working? Why don't you keep it private'. And I was like 'you will see'."

Rousteing cheerfully declares his love for Facetune – "I don't have Botox but I do have digital Botox!" – an app that helps him airbrush his selfies and tweak those ski-***** cheekbones.

Reaching new population

From his office around the corner from Rousteing's, Diemoz adds: "When Olivier first proposed Balmain use social media, our investment in traditional media was costing a lot. Here was an alternative costing less but bringing huge visibility. It has been successful, quite rapidly…we decided to be less Parisian in a way but to speak to a new population. A brand has to be built around its heritage but we are proposing a new form of communication dedicated to a wider group of customers."

The impact of that strategy became apparent in 2015, when Rousteing and Balmain were invited to design a collection for the Swedish fast-fashion retailer H&M.; Within minutes of going on sale – and this is not hyperbole – the collection, available at vastly cheaper prices than Balmain-proper, had completely sold out. In London, customers fought on the pavement outside H&M;'s Regent Street branch. "Balmainia!" blared the headlines.

You have to move fast to get backstage after a Balmain show. I was out of my seat and trotting with purpose even before the string-heavy orchestra at the end of the catwalk had quite stopped playing Adele.

Rousteing had taken his bow merely seconds before. Still, too slow: I ended up in a clot of Rousteing well-wishers stuck in a corridor blocked by security guards. A Middle Eastern woman against whom I was indelicately jammed looked at me, laughed, shook her head, then said: "We pay millions for a fashion house – and then this happens!"

In June, Balmain was bought for a reported €485 million by Mayhoola, a Qatar-based wealth fund said to be controlled by the nation's ruling family. As so often with Rousteing-related revelations, some declared themselves nonplussed. "Why Would Mayhoola Pay Such a High Price for Balmain?", one headline asked. Yet Mayhoola, which acquired Valentino four years previously for $US858 million, might have scored a bargain.

Clothes key to revenue

Despite its huge, Instagram-enhanc­ed footprint, Balmain is a small, lean and relatively undeveloped business. Most luxury fashion houses today – Chanel, Burberry, Dior, et al – will emphasise their catwalk collections for marketing purposes but make most of their money from the sale of accessories, fragrances and small leather goods like handbags and shoes. One of the big fashion companies makes a mere 5 per cent from its catwalk clothes.

At Balmain, by contrast, clothes bring in almost all the revenues. If Balmain had the same clothes-to-accessories ratio as its competitors, its overall annual income could be more than €1 billion ($1.4 billion).

The company is moving in that direction. New accessory lines are in the pipeline. "Now we have to transform that desire into business activity," said Diemoz. "Sunglasses, belts, fragrances, the kind of products that can be more affordable."

The first bags should be available in January, as will a wider range of shoes, and then more, more, more.

Six days after his show, on the last day of Paris Fashion Week, I returned to the Balmain atelier. Apart from two assistants, Rousteing was the only person there – everybody else had gone on holiday to recover from the frenzy of preparing the show, or was busy selling the collection at the showroom around the corner.

Rousteing sat behind his desk in the empty room, wearing slingback leopard-print slippers, sweatpants and shades. "I am not even tired! I am excited. Because there are so many things happening – and I can't wait."Read more at:www.marieaustralia.com/red-carpet-celebrity-dresses | http://www.marieaustralia.com/formal-dresses-adelaide

Éloge de Monsieur de Montaigne

(Dédié à Jean-Pierre)

Toi seigneur de Montaigne, au si beau nom d'Eyquem
que nul amateur de Bordeaux ne saurait négliger.
Tu fus l'ami de La Boétie et un sage joyeux,
Tu vécus en ton château, dont l'une des tours rondes,
contenait une bibliothèque fournie.
Toi, qui faisait cultiver ce vin de Bordeaux,
qui sied au palais et plait tant aux anglais.
Cher Montaigne ayant étudié à Bordeaux,
au collège de Guyenne,
Tu vécus en un temps empoisonné
par les guerres de religion et ses sombres fureurs.
Temps affreux ou l'homme égorgeait l'homme,
qui ne partageait pas sa même lecture de la  Bible.
Et dire que nous avions cru, ces temps-là, révolus !
C'est peut-être ce qui te poussa à choisir l'école stoïcienne,
Bien que par ton tempérament et ta vie.
Tu fus beaucoup plus proche des bonheurs de Lucrèce.
Tu fus, un long temps, magistrat au Parlement de Bordeaux,
bien que les chicaneries du Droit t'eussent vite lassées,
et plus encore, la cruauté de ses modes de preuve.
et cet acharnement infini des plaideurs,
à n'en jamais finir, à faire rebondir les procès
que tant d’énergie vaine te semblait pure perte.
Mais tu voulais être utile et l'égoïsme étroit de l' «otium»,
choquait ta conscience.
Tu eus un ami cher, Prince de Liberté et de distinction,
Etienne de la Boétie, qui réfléchit avec profondeur,
sur les racines de la tyrannie en nos propres faiblesses.
Et de cette amitié, en recherchant les causes,
Tu conclus et répondit ainsi :
«Parce que c’était lui, parce que c’était moi»
Révélant ainsi que la quintessence du bonheur de  vivre
luit au cœur  de cette amitié dont nous sommes,
à la fois, le réceptacle et l’offrande.
Cher Michel de Montaigne, je voulais,
te saluer ici et te faire savoir en quelle estime
Je te tiens avec  tes «Essais» d’une bienveillante sagesse
Qui font songer aux meilleurs vins mûris en barriques de chêne
Et à ces cognacs qui éveillent l’Esprit et les sens,
Même lorsque l’hiver nous pèse et nous engourdit
Je voulais aussi te dire que de ton surnom
J’ai nommé Jean-Pierre qui te ressemble si fort
Et apporte une douce ironie à mes passions tumultueuses.
Paul Arrighi

I can make anybody pretty
I can make you believe any lie
I can make you pick a fight
With somebody twice your size

I been known to cause a few break ups
I been known to cause a few births
I can make you new friends
Or get you fired from Work


And since the day I left Milwaukee
Lynchburg and Bordeaux France
Been making the bars lots of big money
And helping white people dance
I got you in trouble in high school
But college, now that was a ball
You had some of the best times
You'll never remember with me
Alcohol
Alcohol

I got blamed at your wedding reception
For your best man's embarrassing speech
And also for those
Naked pictures of you at the beach

I've influenced kings and world leaders
I helped Hemmingway write like he did
And I'll bet you a drink or two that I can make you
Put that lampshade on your head


'Cause since the day I left Milwaukee
Lynchburg and Bordeaux France
Been making a fool out of folks just like you
And helping white people dance
I'm medicine and I am poison
I can help you up or make you fall
You had some of the best times
You'll never remember with me
Alcohol
Alcohol

I picked up a wine glass
not because you told me to
I just had to
pick one up to get back at you

you picked up a wine bottle
but that's not for me
as a lady I must stay classy

I sit here waiting for you
to tell me you want me
I sit here sipping my wine
hoping you will call on me this time

it takes me a few drops to be drunk
drunk off of my feeling
drunk to my core
drunk on
lust
care
want

chasing a silly little dream of you
taking care of me
as i sip my
bordeaux blanc
taking care of myself
in the harsh reality that is my life

We held hands as time's sand
passed between. Night chocked
the last sun beams. Our conversation
was pertinent to the dwindling
red wine bottle. As the moon glazed
shore began to roar, she whispered
"Let's cuddle." I dropped you, holding her,
and thought "Oh" and began to coddle.

I wrapped myself around her like a shell to a turtle
and she began to nestle on my chest. I guessed
the indigestion came from the Bordeaux bottom.
Boy, was I wrong. See, as I lay with her,
forgetting about you, I remembered
blood is thicker than water. The loves
we choose are stronger than ones
We've fallen into. I wasn't falling there,
underneath the stars, next to the parked car.
I was laying. I was contemplating
as the wind was spraying the lake
into the air.

I came to the conclusion
I was in an illusion of  love.
Confounded by smoke and reflections
from movie magicians. She looked up
to me and I guess she could see
my reality crumbling in the breeze.
She asked if I was ok. My slight smile alluded
I was and we laid in love
until the sun's intrusion.

She was Bordeaux;
full bodied with a dark
fruity scent, fermenting
more each day as
life pressed out
her sweet essence.

Her mouth, a worn out
label of words, never
deciphered , silenced
by ordinary men; she
had always been
their best kept secret.

The hourglass girl
keeping time
in measured gulps;
drop dead red
had always been her color.

i’ve learned all my trickling tricks of puppeteering from philip augustus of france early on in my schooling, richard the lionheart never came close, i was in similitude with philip augustus, that i even bought jim bradbury’s book to read and essay with.*

never become the alcoholic that denies his alcoholism,
you can’t hide an addiction, better embrace it,
when addiction enters the stage as the acted upon acting
there’s no point hiding it,
enter the realm of the full embrace, hiding it will only make it worse
than it actually is, i embraced it, and i think
the piggish commons are getting their tax payers’ money’s worth
with my poems, if you think otherwise... you stand
happy-idle at the supermarket check-out and tell me
the football scores from the big weekend
when a northern monkey team took a thrashing
from a southern fairy team.
the question is different thought - forget the beginning and end
planned - we already have the diapers and the coffin,
make what the middle ought to be, clueless narration, spontaneity,
off the streak of the river currents not expecting change
but having to accept change...
michael greilsammer’s la ville blanche
cream’s white room
or cat stevens’ into white?
none of them... moody blues’ nights in white satin...
but a funny emerged from trying to sing greilsammer’s la ville blanche,
i speak no french,
and in my mumble i managed to see the other imagination,
the skeletal one, not the technicolor one of images and walt
and the housewives sleeping beauty and snow white
(although i appreciate the other walt, the whitman),
i mean, through my “un-imaginative” mumbles i tried
to skewer the words of the song, i couldn’t,
i could usher in a single perfect word
but beyond this i was trying to imagine the god awful spelling excesses
of the french tongue... i mean bordeaux when you only say bore’s door /
boarded up door - no x oh... xylophone, yes, no? no...
oh no wonder dyslexia and spelling mistakes...
these letterings are phonetic approximates,
anyone can make the visuals complicated
and retain power... but few to own up and say:
1 + 1 = 2, but the priestly order said: e + ' = é
as jumpstart ready on the trampoline... but e + ' = è
means you get a sudden attack of the mute & mime.
that’s what happens with a missing diacritic that’s blatant in english,
you get to spell a french word like bordeaux with a zed and look at it and qualify
the tongue to say: yep, bored door... needs oiling... oil up oil up!
then spontaneously play a harp of unconscious snorkelling
(also known as snoring... boor hiccup shush... bore hiccup sheen):
it’s the last stronghold of the imagination, this invested in english
from mother tongue slavic... it’s like trying to sing to a song
without spelling glaring at you...
so you start imagining this blessed primitivity...snakes and matchsticks
to flare up... turn it all into a 1970s disco...
it makes sense to mumble then... for ****’s sake... bordeaux?!
who adds so many letters in between definite lettered sounds
to make it look more uglier than the pretty riviera? huh?!
monaco? oh... well that explains it: why vaduz (capital of liechtenstein)
doesn’t have a grand prix.

DEAR PENPAL PEOPLE, have a great July!


goodness is virtue
rage is essence when realization is new
hearts entrenched
them those called sensations melted a bench

memories tainted in dark
reminiscent somewhere in the background park
violins ached for the winter sky
on a hope it would just snow the ghosted July

their flesh burnt
mercurial whispers churned a hurt
dilapidates already fallen
feels of away returned from the stolen

wise in me I confess
to not believe a belong is a bless
visions confuse
perplexed deprived of a twinkle muse

my pen writes
then paper welcomes once and thrice
orchestra chimes
in time to spill the wine

                                                                                           ------ravenfeels

Le ciel... prodigue en leur faveur les miracles.
La postérité de Joseph rentre dans la terre de Gessen ;
Et cette conquête, due aux larmes des vainqueurs,
Ne coûte pas une larme aux vaincus.
Chateaubriand, Martyrs.

I.

Savez-vous, voyageur, pourquoi, dissipant l'ombre,
D'innombrables clartés brillent dans la nuit sombre ?
Quelle immense vapeur rougit les cieux couverts ?
Et pourquoi mille cris, frappant la nue ardente,
Dans la ville, au **** rayonnante,
Comme un concert confus, s'élèvent dans les airs ?

II.

Ô joie ! ô triomphe ! ô mystère !
Il est né, l'enfant glorieux,
L'ange que promit à la terre
Un martyr partant pour les cieux :
L'avenir voilé se révèle.
Salut à la flamme nouvelle
Qui ranime l'ancien flambeau !
Honneur à ta première aurore,
Ô jeune lys qui viens d'éclore,
Tendre fleur qui sors d'un tombeau !

C'est Dieu qui l'a donné, le Dieu de la prière.
La cloche, balancée aux tours du sanctuaire,
Comme aux jours du repos, y rappelle nos pas.
C'est Dieu qui l'a donné, le Dieu de la victoire !
Chez les vieux martyrs de la gloire
Les canons ont tonné, comme au jour des combats.

Ce bruit, si cher à ton oreille,
Joint aux voix des temples bénis,
N'a-t-il donc rien qui te réveille,
Ô toi qui dors à Saint-Denis ?
Lève-toi ! Henri doit te plaire
Au sein du berceau populaire ;
Accours, ô père triomphant !
Enivre sa lèvre trompée,
Et viens voir si ta grande épée
Pèse aux mains du royal enfant.

Hélas ! il est absent, il est au sein des justes.
Sans doute, en ce moment, de ses aïeux augustes
Le cortège vers lui s'avance consolé :
Car il rendit, mourant sous des coups parricides,
Un héros à leurs tombes vides,
Une race de rois à leur trône isolé.

Parmi tous ces nobles fantômes,
Qu'il élève un front couronné,
Qu'il soit fier dans les saints royaumes,
Le père du roi nouveau-né !
Une race longue et sublime
Sort de l'immortelle victime ;
Tel un fleuve mystérieux,
Fils d'un mont frappé du tonnerre,
De son cours fécondant la terre,
Cache sa source dans les cieux.

Honneur au rejeton qui deviendra la tige !
Henri, nouveau Joas, sauvé par un prodige,
À l'ombre de l'autel croîtra vainqueur du sort ;
Un jour, de ses vertus notre France embellie,
À ses sœurs, comme Cornélie,
Dira : « Voilà mon fils, c'est mon plus beau trésor. »

III.

Ô toi, de ma pitié profonde
Reçois l'hommage solennel,
Humble objet des regards du monde
Privé du regard paternel !
Puisses-tu, né dans la souffrance,
Et de ta mère et de la France
Consoler la longue douleur !
Que le bras divin, t'environne,
Et puisse, ô Bourbon ! la couronne
Pour toi ne pas être un malheur !

Oui, souris, orphelin, aux larmes de ta mère !
Ecarte, en te jouant, ce crêpe funéraire
Qui voile ton berceau des couleurs du cercueil ;
Chasse le noir passé qui nous attriste encore ;
Sois à nos yeux comme une aurore !
Rends le jour et la joie à notre ciel en deuil !

Ivre d'espoir, ton roi lui-même,
Consacrant le jour où tu nais,
T'impose, avant le saint baptême,
Le baptême du Béarnais.
La veuve t'offre à l'orpheline ;
Vers toi, conduit par l'héroïne,
Vient ton aïeul en cheveux blancs ;
Et la foule, bruyante et fière,
Se presse à ce Louvre, où naguère,
Muette, elle entrait à pas lents.

Guerriers, peuple, chantez ; Bordeaux, lève ta tête,
Cité qui, la première, aux jours de la conquête,
Rendue aux fleurs de lys, as proclamé ta foi.
Et toi, que le martyr aux combats eût guidée,
Sors de ta douleur, ô Vendée !
Un roi naît pour la France, un solda naît pour toi.

IV.

Rattachez la nef à la rive :
La veuve reste parmi nous,
Et de sa patrie adoptive
Le ciel lui semble enfin plus doux.
L'espoir à la France l'enchaîne ;
Aux champs où fut frappé le chêne
Dieu fait croître un frêle roseau.
L'amour retient l'humble colombe ;
Il faut prier sur une tombe,
Il faut veiller sur un berceau.

Dis, qu'irais-tu chercher au lieu qui te vit naître,
Princesse ? Parthénope outrage son vieux maître :
L'étranger, qu'attiraient des bords exempts d'hivers
Voit Palerme en fureur, voit Messine en alarmes,
Et, plaignant la Sicile en armes,
De ce funèbre éden fuit les sanglantes mers.

Mais que les deux volcans s'éveillent !
Que le souffle du Dieu jaloux
Des sombres géants qui sommeillent
Rallume enfin l'ardent courroux ;
Devant les flots brûlants des laves
Que seront ces hautains esclaves,
Ces chefs d'un jour, ces grands soldats ?
Courage ! ô vous, vainqueurs sublimes !
Tandis que vous marchez aux crimes,
La terre tremble sous vos pas !

Reste au sein des français, ô fille de Sicile !
Ne fuis pas, pour des bords d'où le bonheur s'exile,
Une terre où le lys se relève immortel ;
Où du peuple et des rois l'union salutaire
N'est point cet ***** adultère
Du trône et des partis, des camps et de l'autel.

V.

Nous, ne craignons plus les tempêtes !
Bravons l'horizon menaçant !
Les forfaits qui chargeaient nos têtes
Sont rachetés par l'innocent !
Quand les nochers, dans la tourmente,
Jadis, voyaient l'onde écumante
Entr'ouvrir leurs frêle vaisseau,
Sûrs de la clémence éternelle,
Pour sauver la nef criminelle
Ils y suspendaient un berceau.

Octobre 1820.

before that,
we sat pinned
and winded
on steel hands
and plated masks
near the crimson
jade pools
by the killing fields
of bordeaux

we did not look
we could not look
our eyes blinded
and seared
by the charred remains
and shallow graves
the battered birch
and caliginous path

drifters and vagabonds
and kings of kings
held witness
to the pounding
and overkill
the blades
cauldrons
and burning sweet-grass
all brought forth by healers

rammers, sages
and holy front men
glance behind
(watching them sort
through the rubble
and *****)
the blood flow
spilling its warmth
throughout the
festering scene

they pulled the stops out
on this one ~
those sweated woodlands
and churned meadows
now framed
by a burned
and broken cross

autumn like winds
begin to chill
(casting spells over ground cover)
night lights flicker
beyond
the fallen trees

the first thing i did
when i got a new car
was drive past your place.
muttering that there was
no other way to go,
no route better,
to get me where i want to go.

i refused to look to the side,
keeping my eyes on the road,
and a lie in my throat.
but i felt your apartment slide by.
like a blade of a finger sliding down
a long stretch of thigh.

you haven't lived there in ages
and i haven't sat on that balcony in twice the number,
but driving by brings you closer somehow.
brings your blurred memory into focus.

you're happy with a someone,
i'm content with a whomever,
and we haven't been us in ages,
but,
despite all,
i tell myself,
there is no better way to go,
no better route to take,
to get me where i want to go.

you're flaming. little specks of crimson burn like fire in your heart. your physique melts like *** on a fire and sparks of amber make you glow like a candle in the darkness. magenta lines cross your lips and your skin mocks the setting street lamps and the burning sun.

you're a mountain to me. dwarfing cities below you with peaks that stride above the heavens, attempting to graze the planets if even so slightly.

you are worth becoming the enemy of hell. you are worth every friend you've ever lost to file yourself. you are worth it, because i've never met anyone who loves as perfectly and passionately as you.

Crispin as hermit, pure and capable,
Dwelt in the land. Perhaps if discontent
Had kept him still the pricking realist,
Choosing his element from droll confect
Of was and is and shall or ought to be,
Beyond Bordeaux, beyond Havana, far
Beyond carked Yucatan, he might have come
To colonize his polar planterdom
And jig his chits upon a cloudy knee.
But his emprize to that idea soon sped.
Crispin dwelt in the land and dwelling there
Slid from his continent by slow recess
To things within his actual eye, alert
To the difficulty of rebellious thought
When the sky is blue. The blue infected will.
It may be that the yarrow in his fields
Sealed pensive purple under its concern.
But day by day, now this thing and now that
Confined him, while it cosseted, condoned,
Little by little, as if the suzerain soil
Abashed him by carouse to humble yet
Attach. It seemed haphazard denouement.
He first, as realist, admitted that
Whoever hunts a matinal continent
May, after all, stop short before a plum
And be content and still be realist.
The words of things entangle and confuse.
The plum survives its poems. It may hang
In the sunshine placidly, colored by ground
Obliquities of those who pass beneath,
Harlequined and mazily dewed and mauved
In bloom. Yet it survives in its own form,
Beyond these changes, good, fat, guzzly fruit.
So Crispin hasped on the surviving form,
For him, of shall or ought to be in is.

Was he to bray this in profoundest brass
Arointing his dreams with fugal requiems?
Was he to company vastest things defunct
With a blubber of tom-toms harrowing the sky?
Scrawl a tragedian's testament? Prolong
His active force in an inactive dirge,
Which, let the tall musicians call and call,
Should merely call him dead? Pronounce amen
Through choirs infolded to the outmost clouds?
Because he built a cabin who once planned
Loquacious columns by the ructive sea?
Because he turned to salad-beds again?
Jovial Crispin, in calamitous crape?
Should he lay by the personal and make
Of his own fate an instance of all fate?
What is one man among so many men?
What are so many men in such a world?
Can one man think one thing and think it long?
Can one man be one thing and be it long?
The very man despising honest quilts
Lies quilted to his poll in his despite.
For realists, what is is what should be.
And so it came, his cabin shuffled up,
His trees were planted, his duenna brought
Her prismy blonde and clapped her in his hands,
The curtains flittered and the door was closed.
Crispin, magister of a single room,
Latched up the night. So deep a sound fell down
It was as if the solitude concealed
And covered him and his congenial sleep.
So deep a sound fell down it grew to be
A long soothsaying silence down and down.
The crickets beat their tambours in the wind,
Marching a motionless march, custodians.

In the presto of the morning, Crispin trod,
Each day, still curious, but in a round
Less prickly and much more condign than that
He once thought necessary. Like Candide,
Yeoman and grub, but with a fig in sight,
And cream for the fig and silver for the cream,
A blonde to tip the silver and to taste
The ***** gouts. Good star, how that to be
Annealed them in their cabin ribaldries!
Yet the quotidian saps philosophers
And men like Crispin like them in intent,
If not in will, to track the knaves of thought.
But the quotidian composed as his,
Of breakfast ribands, fruits laid in their leaves,
The tomtit and the cassia and the rose,
Although the rose was not the noble thorn
Of crinoline spread, but of a pining sweet,
Composed of evenings like cracked shutters flung
Upon the rumpling bottomness, and nights
In which those frail custodians watched,
Indifferent to the tepid summer cold,
While he poured out upon the lips of her
That lay beside him, the quotidian
Like this, saps like the sun, true fortuner.
For all it takes it gives a ****** return
Exchequering from piebald fiscs unkeyed.

Nota: man is the intelligence of his soil,
The sovereign ghost. As such, the Socrates
Of snails, musician of pears, principium
And lex. Sed quaeritur: is this same wig
Of things, this nincompated pedagogue,
Preceptor to the sea? Crispin at sea
Created, in his day, a touch of doubt.
An eye most apt in gelatines and jupes,
Berries of villages, a barber's eye,
An eye of land, of simple salad-beds,
Of honest quilts, the eye of Crispin, hung
On porpoises, instead of apricots,
And on silentious porpoises, whose snouts
Dibbled in waves that were mustachios,
Inscrutable hair in an inscrutable world.

One eats one pate, even of salt, quotha.
It was not so much the lost terrestrial,
The snug hibernal from that sea and salt,
That century of wind in a single puff.
What counted was mythology of self,
Blotched out beyond unblotching. Crispin,
The lutanist of fleas, the knave, the thane,
The ribboned stick, the bellowing breeches, cloak
Of China, cap of Spain, imperative haw
Of hum, inquisitorial botanist,
And general lexicographer of mute
And maidenly greenhorns, now beheld himself,
A skinny sailor peering in the sea-glass.
What word split up in clickering syllables
And storming under multitudinous tones
Was name for this short-shanks in all that brunt?
Crispin was washed away by magnitude.
The whole of life that still remained in him
Dwindled to one sound strumming in his ear,
Ubiquitous concussion, slap and sigh,
Polyphony beyond his baton's ******.

Could Crispin stem verboseness in the sea,
The old age of a watery realist,
Triton, dissolved in shifting diaphanes
Of blue and green? A wordy, watery age
That whispered to the sun's compassion, made
A convocation, nightly, of the sea-stars,
And on the cropping foot-ways of the moon
Lay grovelling. Triton incomplicate with that
Which made him Triton, nothing left of him,
Except in faint, memorial gesturings,
That were like arms and shoulders in the waves,
Here, something in the rise and fall of wind
That seemed hallucinating horn, and here,
A sunken voice, both of remembering
And of forgetfulness, in alternate strain.
Just so an ancient Crispin was dissolved.
The valet in the tempest was annulled.
Bordeaux to Yucatan, Havana next,
And then to Carolina. Simple jaunt.
Crispin, merest minuscule in the gates,
Dejected his manner to the turbulence.
The salt hung on his spirit like a frost,
The dead brine melted in him like a dew
Of winter, until nothing of himself
Remained, except some starker, barer self
In a starker, barer world, in which the sun
Was not the sun because it never shone
With bland complaisance on pale parasols,
Beetled, in chapels, on the chaste bouquets.
Against his pipping sounds a trumpet cried
Celestial sneering boisterously. Crispin
Became an introspective voyager.

Here was the veritable ding an sich, at last,
Crispin confronting it, a vocable thing,
But with a speech belched out of hoary darks
Noway resembling his, a visible thing,
And excepting negligible Triton, free
From the unavoidable shadow of himself
That lay elsewhere around him. Severance
Was clear. The last distortion of romance
Forsook the insatiable egotist. The sea
Severs not only lands but also selves.
Here was no help before reality.
Crispin beheld and Crispin was made new.
The imagination, here, could not evade,
In poems of plums, the strict austerity
Of one vast, subjugating, final tone.
The drenching of stale lives no more fell down.
What was this gaudy, gusty panoply?
Out of what swift destruction did it spring?
It was caparison of mind and cloud
And something given to make whole among
The ruses that were shattered by the large.

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Skin as White as Winter Snow
Legs as Boundless as the Sea,
Stationed in Venice or Bordeaux
From Blue-collar to Bourgeois.
Hair is Chic, Yet not Pristine
Soft and Cropped and Fine,
Cheekbones High a Distinct Ravine
Embellished by a High Neckline.
Undefined Peaks and Troughs  
Cumbersome and Lank,
Garnished in the Finest Cloth
Awash with Unassuming Swank.

Miss Androgynous hear my call
For I've Become a Virile Gent,
I Yearn for your Unwieldy Frame
That God in Heaven Sent

February 2011

How can I fall out of favor
With your
Soulful need
For me
And my own selfish need for you
I mean
Tomorrow night
I may be with something more productive
(Like my thoughts and dreams)
But there is a destructive
Force inside of these
Pressuring  this unforgivable union
Of sorts
I mean
Monogamy is *******
Right up there with altruism
Right?
But then there is you and I.
Is it just the two of us,
That can defy the laws of
Rational reason, logic aside?
yes, I feel as though it must…be
so here is my ode
to a bottle of ’03 Bordeaux.

last night was spent with my five friends;
my five best friends in the whole wide world.
their names are Cabernet,
Pinot,
Merlot,
Bordeaux
and Shiraz.

they are always there when I need them;
they relax me
and soothe me.
they help me through my problems,
dull my pain,
and help me sleep at night.

they will never ignore me,
avoid me,
desert me,
deceive me,
lie to me
or steal from me.

we were all together late last night,
my five friends and I.
when we started the night,
they were full of body
and color.
before I knew it,
four of my five friends
were gone.
the only one left
was Merlot.

it was late
and I was tired.
they’re good at that,
my five friends.
they’re good at
making me feel tired
and sleepy.
they’re good at playing tricks on me too.

“how do you feel?” asked Merlot.

“I feel good,” I replied.

“well,” said Merlot,
“just wait until morning…”

Wanderer.
From window to window.
Seeking
             something
in different glass scenes
from offices and trains and restaurants.
Like she'll see something or someone
or somebody.
And the world will no longer be
a tilted painting.

Clear spring cold
papers over
the scene of the city of her world.
She's freezing.

There is a cafe at the end of the
road
where sidewalk snow has mingled
with trod-on mud
from commuter's shoes.
It's called
'Les yeux qui voient tout'

She can smell coffee and cigarettes and paper and words
and smiles and wine all the way from Bordeaux.
She sits by the window.

Tendrils of hair cut
across her cheek
as she lowers.
The seat is cold.
Legs crossed,
                       arms clasped,
high-heeled shoes with straps
that cross,
head bent
over a crossword.

'Un cafe au lait, s'il vous plait.'

Last four-letter word pencilled in so
she crumples up the paper.
The eyes don't notice
origami birds dangling above her.
Somehow
they're all angled
towards the glass window
like sunflowers reaching for the sun.
Perhaps the casual
shuttered-open winds
are the birds' oxygen;
reminders that
                          something
like
sky,
air,
wind,
exist, beyond
coffee-smoked counters.
Reminders that
they could breathe, live, fly
in some other city of some other world.

Cup and saucer on a silver platter
hover over.
Idle fingers
and then a clatter.
She stares down into
the white porcelain pit,
teeming with hot brown
                                           alarms.
It isn't a portal
into
       something.
Just a cup of coffee.
Now that is an alarm.

Slow and
                shaking,
drip,
         drip,
                  drip.
The milk is poured.
Curling, italic, Persian carpet spread
from the cup's centre into warm-cream brown.
She imagines it is
blood in her heart.

She raises the little silver teaspoon
napping on the saucer and
stirs.

'Le sucre?'
Does she want it all
to be
sweeter?

Two packets, long like
Marlboros,
hastily, desperately dumped
into the mix.
Quick and
                  shaking,
she raises the little silver teaspoon and
stirs.
Little sugar grains ******
into a vortex,
dissolved and melted into
the city of the world of the cup.

With her little finger, she
dabs
stray sugar grains
on the table
and tries to bring sweetness
to her sleep-thick tongue.

Slow and
                shaking,
sip,
      sip,
            sip.

She's­ tricked herself
into feeling warmth.
Ticker-tape banner
pops up in her head:
'All of this will not
fix you.'

Porcelain clatter
as cup meets saucer.
Again.
She arms herself with
a cigarette case and a book.
Maybe now she will belong
amongst these people
with sad eyes and burning lips,
clinging on to cups and drinks.
So desperately-lit smoke
trails out of
her warm mouth,
steaming up her face
like a window on a cold winter day.
And meanwhile Camus perches
in her hand.

Her eyes swim
in the choppy seas
of French.
The cigarette dangles,
painting the air grey, grey,
tilting, tilting, tilting.
Slow and
                shaking,
she weeps.

Half-aglow in the white sunshine filter
from the glass window,
a woman is wondering.
She drinks her coffee,
wipes her smudged mouth
and leaves.

Nobody notices the wobble
in her high-heeled gait.
She's just a part of
another tilting painting,
another glass scene.

These simple acts,
           simple things,
define
the speaking soul.
In a scene of the city of the world.

The trap was set by the light of the winter blue moon ;
just a simple blank sheet of paper and a pen
The Antique Cherry carved poster bed stood alone ,
adorning four Bordeaux colored silk pillowcases ,
fluffed feather pillows impatiently laying in wait
The stone cold down comforter that blanketed the loneliness
was neatly turned down from where it lay tucked and rolled ...

I close my eyes with a surrendering sigh ;
the cold touch of solitude brings a breathtaking shiver
Curling up in a fetal ball for a sense of closeness ,
like a tiny abandoned child, waiting for the sandman
to steal away the remains of another lonely day ...

In the imperative silence of the moonlit stillness ,
you could hear the blood running through my veins
The pounding heartbeat is reluctantly softened
quietly drifting off into a dream ...

The first arousing whisper broke the silence ,
as musings tiptoed through the silent reverie
Songs danced throughout the secret places ,
safely kept out of the wilderness' nocturnal voyeurs eyes
Words murmured expose an unsated caged yearning ;
an insatiable thirst that aloneness can not quench ...

Emotions ebb and flow within the twilight depths
of our thickly breathed word play
Intertwined in the infinite beauty
of enchanting moonstruck conjured delights ...

We glide speechlessly in the starlit moon dust,
levitating blissfully like giddy adult playmates
with  an  uninhibited  wanton  glee
Mesmerized by a rousing romantic essence
stirring up an urgent swooning breeze
If only this recurring dreamfulness
could reach out beyond reach a bewitching dream
to tenderly touch another impassioned heart of soul ...  

                                 ~

The sweat soaked sheets are now tangled ,
twisted traces of ecstasy tossed and turned
Awakened flesh trembling with the uncovered morning chill
A body drained and exhausted
as if there were never a moments sleep ...

The trap was set by the light of the winter blue moon ;
perfectly placed to catch the spilled secrets
of a moonstruck midnight spell
Awakening to find a paling illusion’s memory
laid bare in words, stranded on the cotton sheets of dawn ~

In the heat of the night these three simple words 
were clearly scribbled, trapped on the once blank sheet of paper ―
                       to remind me in ink blue ...

                               It  is You !!!

                                    and

               " I breathe you in my dreams "


             harlon rivers ….❤  happy belated St. Valentines day ☽

I used to count the Acers
honed red striped wood,
offering hope in depths of February,
aeons of breakfast wishes
played changes that cannot be backed down
any more than my russet creations,
I long for companionship
as earthy as bottled Bordeaux ,
only if my crocus mia pathway
enfuses with the sound
of the incurious  contendedly arriving

French love
stolen from cobbled
streets at night,
ground up
and stuck in grain.
Below wine, above glass,
and swallowed
(mistakenly).
It’s hard to forget
such great simplicity;
this wine holds my lips
which has more to say
than you and me.
At night I dream
of how the cork
would have smelled,
if only I’d had the strength
to pry it free.

i dag er jeg lavet af grankogler og oktoberbrise
i dag er jeg  pigen, der er iført lyserød
neglelak
hende, der drikker lemonade alene
i dag er den dag, jeg mødte dig på biblioteket med
blå mærker i mange nuancer på dine læber kreeret af
hende
tanker eksploderer som klare stjerneskud
jeg ved ikke, hvad jeg tænker, men pludselig sidder vi
i et mørkt lokale, og din ven køber billige øl til mig
og du får lov til at smage
din mor var din far utro, fordi *** lever i 18 forskellige
universer, og hendes hår er lavet af hjemløse dage,
og på nøgne gader er kærlighed det samme som ***

i dag er jeg klar over, vi ikke er venner længere,
dog vil vi stadig lade som om over lun te i sensommeren
men vores tunger er ikke lavet af samme kviksølv
jeg vil stadig smile til dig, når jeg ser dig i byen
men jeg vil også være dit eneste univers, jeg vil tælle
blomster i Kongens Have med dig, men jeg vil aldrig
se dig igen

i dag er den dag, du lærer, hvad lykke er
den slags, der danser på din hud som aftenregn
den slags, der gnaver i dine lunger, som stikkende
bordeaux ild

August still catches in my head like that Manhattan melody
        when he was my little vial of Novocaine.
        when the moon showed her face and we slept on my floor
and our knees and hips and
shoulders—all the hinges of our bodies—washed with
a twilight of mauve and Bordeaux.
And one night he painted me with
two rows of clenched teeth—dipping in and out of white pools of Selene.
I have a bed now that he has left
        with sheets that billow on the right side,
        with real blankets that aren't hospital blankets.
And he is my little vial of Novocaine
that took a train to states away. And the miles
between have left me with a weight in my chest that I'm sure fell from
his suitcase. I've got
        bones made of buildings,
        and a metropolitan heart,
        and a steady smile
knowing this same moon hangs over him and that borough.

Every so often he
swings through town and makes
his way into my bed,
broad trunk filling the void this empty mattress
reaffirms on the nights I sleep alone,
which is most.

I appreciate the infrequency with which
he comes to visit,
my door kept ajar,
my heart kept  comfortably closed,
as he strolls in in his designer
sneakers or boots,
the noncommittal conversation flowing freely
between us.

Once I recall he rolled over,
his hand sliding up my forearm,
wrapping himself around my
frame as I pulled out my phone
to show him a photo,
and he noticed his number wasn't saved,
guffawing at my nonexistent concern for his
permanence,
or lack thereof.

I like the way he laughs
and the rare moments when we exchange
something deeply
personal about ourselves,
complicated words and phrases transplanting
simplistic nonverbal communication.

He is handsome
without being too ****;
he is smart
without being argumentative;
he is wealthy
without being ostentatious;
he is shy
without being withdrawn;
he is a lot of things,
my finely filed fingernails not even
beginning to scratch the
surface of his otherwise
intriguing layers,
having tied my own
hands
behind my back.

I need the way he doesn't
need me,
and him I.
Sometimes I need his body heat,
the gentle weight of a
man's arm hanging on
my curvy hip.
There are moments when I need
one of our witty but empty
texting conversations,
simple enough to read after
too much Bordeaux.

I need the something that
exists in the nothing
that he brings
me.

Sleek lines curve around the mind, stimulating the imagination.  Here and now she faces me, but who is the mirror?

Tumeric stains on fingertips, reminders of the culinary fun.  A half empty glass of Bordeaux upon the monopoly board: oh yeah, another loss.

Ruby-red shoes seek a home. 
A silver spoon is bent in two.

Johnny Cash plays as the record spins.

Some you lose,
some you win!

I.

« Oh ! disaient les peuples du monde,
Les derniers temps sont-ils venus ?
Nos pas, dans une nuit profonde,
Suivent des chemins inconnus.
Où va-t-on ? dans la nuit perfide,
Quel est ce fanal qui nous guide,
Tous courbés sous un bras de fer ?
Est-il propice ? est-il funeste ?
Est-ce la colonne céleste ?
Est-ce une flamme de l'enfer ?

« Les tribus des chefs se divisent ;
Les troupeaux chassent les pasteurs ;
Et les sceptres des rois se brisent
Devant les faisceaux des préteurs.
Les trônes tombent ; l'auteur croule ;
Les factions naissent en foule
Sur les bords des deux Océans ;
Et les ambitions serviles,
Qui dormaient comme des reptiles,
Se lèvent comme des géants.

« Ah ! malheur ! nous avons fait gloire,
Hélas ! d'attentats inouïs,
Tels qu'en cherche en vain la mémoire
Dans les siècles évanouis.
Malheur ! tous nos forfaits l'appellent,
Tous les signes nous le révèlent,
Le jour des arrêts solennels.
L'homme est digne enfin des abîmes ;
Et rien ne manque à ses longs crimes
Que les châtiments éternels. »

Le Très-Haut a pris leur défense,
Lorsqu'ils craignaient son abandon ;
L'homme peut épuiser l'offense,
Dieu n'épuise pas le pardon.
Il mène au repentir l'impie ;
Lui-même, pour nous, il expie
L'oubli des lois qu'il nous donna ;
Pour lui seul il reste sévère ;
C'est la victime du Calvaire
Qui fléchit le Dieu du Sina !

II.

Par un autre berceau sa main nous sauve encore.
Le monde du bonheur n'ose entrevoir l'aurore,
Quoique Dieu des méchants ait puni les défis,
Et, troublant leurs conseils, dispersant leurs phalanges,
Nous ait donné l'un de ses anges,
Comme aux antiques jours il nous donna son Fils.

Tel, lorsqu'il sort vivant du gouffre de ténèbres,
Le prophète voit fuir les visions funèbres ;
La terre est sous ses pas, le jour luit à ses yeux ;
Mais lui, tout ébloui de la flamme éternelle,
Longtemps à sa vue infidèle
La lueur de l'enfer voile l'éclat des cieux.

Peuples, ne doutez pas ! chantez votre victoire.
Un sauveur naît, vêtu de puissance et de gloire ;
Il réunit le glaive et le sceptre en faisceau ;
Des leçons du malheur naîtront nos jours prospères,
Car de soixante rois, ses pères,
Les ombres sans cercueils veillent sur son berceau.

Son nom seul a calmé nos tempêtes civiles ;
Ainsi qu'un bouclier il a ouvert les villes ;
La révolte et la haine ont déserté nos murs.
Tel du jeune lion, qui lui-même s'ignore,
Le premier cri, paisible encore,
Fait de l'antre royal fuir cent monstres impurs.

III.

Quel est cet enfant débile
Qu'on porte aux sacrés parvis ?
Toute une foule immobile
Le suit de ses yeux ravis ;
Son front est nu, ses mains tremblent,
Ses pieds, que des nœuds rassemblent,
N'ont point commencé de pas ;
La faiblesse encore l'enchaîne ;
Son regard ne voit qu'à peine
Et sa voix ne parle pas.

C'est un roi parmi les hommes ;
En entrant dans le saint lieu,
Il devient ce que nous sommes : -
C'est un homme aux pieds de Dieu.
Cet enfant est notre joie ;
Dieu pour sauveur nous l'envoie ;
Sa loi l'abaisse aujourd'hui.
Les rois, qu'arme son tonnerre,
Sont tout par lui sur la terre,
Et ne sont rien devant lui !

Que tout tremble et s'humilie.
L'orgueil mortel parle en vain ;
Le lion royal se plie
Au joug de l'agneau divin.
Le Père, entouré d'étoiles,
Vers l'Enfant, faible et sans voiles,
Descend, sur les vents porté ;
L'Esprit-Saint de feux l'inonde ;
Il n'est encor né qu'au monde,
Qu'il naisse à l'éternité !

Maire, aux rayons modeste,
Heureuse et priant toujours,
Guide les vierges célestes
Vers son vieux temple aux deux tours,
Toutes les saintes armées,
Parmi les soleils semées,
Suivent son char triomphant ;
La Charité les devance,
La Foi brille, et l'Espérance
S'assied près de l'humble Enfant !

IV.

Jourdain ! te souvient-il de ce qu'ont vu tes rives ?
Naguère un pèlerin près de tes eaux captives
Vint s'asseoir et pleura, pareil en sa ferveur
À ces preux qui jadis, terrible et saint cortège,
Ravirent au joug sacrilège
Ton onde baptismale et le tombeau sauveur.

Ce chrétien avait pu, dans la France usurpée,
Trône, autel, chartes, lois, tomber sous une épée,
Les vertus sans honneur, les forfaits impunis ;
Et lui, des vieux croisés cherchait l'ombre sublime,
Et, s'exilant près de Solime,
Aux lieux ou Dieu mourut pleurait ses rois bannis.

L'eau du saint fleuve emplit sa gourde voyageuse ;
Il partit ; il revit notre rive orageuse,
Ignorant quel bonheur attendait son retour,
Et qu'à l'enfant des rois, du fond de l'Arabie,
Il apportait, nouveau Tobie,
Le remède divin qui rend l'aveugle au jour.

Qu'il soit fier dans ses flots, le fleuve des prophètes !
Peuples, l'eau du salut est présente à nos fêtes ;
Le ciel sur cet enfant a placé sa faveur ;
Qu'il reçoive les eaux que reçut Dieu lui-même ;
Et qu'à l'onde de son baptême,
Le monde rassuré reconnaisse un sauveur.

À vous, comme à Clovis, prince, Dieu se révèle.
Soyez du temple saint la colonne nouvelle.
Votre âme en vain du lys efface la blancheur ;
Quittez l'orgueil du rang, l'orgueil de l'innocence ;
Dieu vous offre, dans sa puissance,
La piscine du pauvre et la croix du pécheur.

V.

L'enfant, quand du Seigneur sur lui brille l'aurore,
Ignore le martyre et sourit à la croix ;
Mais un autre baptême, hélas ! attend encore
Le front infortuné des rois. -
Des jours viendront, jeune homme, où ton âme troublée,
Du fardeau d'un peuple accablée
Frémira d'un effroi pieux,
Quand l'évêque sur toi répandra l'huile austère,
Formidable présent qu'aux maîtres de la terre
La colombe apporta des cieux.

Alors, ô roi chrétien ! au Seigneur sois semblable ;
Sache être grand par toi, comme il est grand par lui ;
Car le sceptre devient un fardeau redoutable
Dès qu'on veut s'en faire un appui.
Un vrai roi sur sa tête unit toutes les gloires ;
Et si, dans ses justes victoires,
Par la mort il est arrêté,
Il voit, comme Bayard, une croix dans son glaive,
Et ne fait, quand le ciel à la terre l'enlève,
Que changer d'immortalité !

À LA MUSE.

Je vais, ô Muse ! où tu m'envoies ;
Je ne sais que verser des pleurs ;
Mais qu'il soit fidèle à leurs joies,
Ce luth fidèle à leurs douleurs !
Ma voix, dans leur récente histoire,
N'a point, sur des tons de victoire,
Appris à louer le Seigneur.
Ô roi, victimes couronnées !
Lorsqu'on chante vos destinées,
On sait mal chanter le bonheur.

Mai 1821.