‘Nam Sibyllam quidem Cumis ego ipse oculis meis
vidi in ampulla pendere, et *** illi pueri dicerent:
Sibylla ti theleis; respondebat illa: apothanein thelo.’

                For Ezra Pound
                il miglior fabbro


I. The Burial of the Dead

April is the cruellest month, breeding
Lilacs out of the dead land, mixing
Memory and desire, stirring
Dull roots with spring rain.
Winter kept us warm, covering
Earth in forgetful snow, feeding
A little life with dried tubers.
Summer surprised us, coming over the Starnbergersee
With a shower of rain; we stopped in the colonnade,
And went on in sunlight, into the Hofgarten,
And drank coffee, and talked for an hour.
Bin gar keine Russin, stamm’ aus Litauen, echt deutsch.
And when we were children, staying at the archduke’s,
My cousin’s, he took me out on a sled,
And I was frightened. He said, Marie,
Marie, hold on tight. And down we went.
In the mountains, there you feel free.
I read, much of the night, and go south in the winter.

What are the roots that clutch, what branches grow
Out of this stony *******? Son of man,
You cannot say, or guess, for you know only
A heap of broken images, where the sun beats,
And the dead tree gives no shelter, the cricket no relief,
And the dry stone no sound of water. Only
There is shadow under this red rock,
(Come in under the shadow of this red rock),
And I will show you something different from either
Your shadow at morning striding behind you
Or your shadow at evening rising to meet you;
I will show you fear in a handful of dust.
            Frisch weht der Wind
            Der Heimat zu
            Mein Irisch Kind,
            Wo weilest du?
‘You gave me hyacinths first a year ago;
‘They called me the hyacinth girl.’
—Yet when we came back, late, from the Hyacinth garden,
Your arms full, and your hair wet, I could not
Speak, and my eyes failed, I was neither
Living nor dead, and I knew nothing,
Looking into the heart of light, the silence.
Oed’ und leer das Meer.

Madame Sosostris, famous clairvoyante,
Had a bad cold, nevertheless
Is known to be the wisest woman in Europe,
With a wicked pack of cards. Here, said she,
Is your card, the drowned Phoenician Sailor,
(Those are pearls that were his eyes. Look!)
Here is Belladonna, the Lady of the Rocks,
The lady of situations.
Here is the man with three staves, and here the Wheel,
And here is the one-eyed merchant, and this card,
Which is blank, is something he carries on his back,
Which I am forbidden to see. I do not find
The Hanged Man. Fear death by water.
I see crowds of people, walking round in a ring.
Thank you. If you see dear Mrs. Equitone,
Tell her I bring the horoscope myself:
One must be so careful these days.

Unreal City,
Under the brown fog of a winter dawn,
A crowd flowed over London Bridge, so many,
I had not thought death had undone so many.
Sighs, short and infrequent, were exhaled,
And each man fixed his eyes before his feet.
Flowed up the hill and down King William Street,
To where Saint Mary Woolnoth kept the hours
With a dead sound on the final stroke of nine.
There I saw one I knew, and stopped him, crying ‘Stetson!
‘You who were with me in the ships at Mylae!
‘That corpse you planted last year in your garden,
‘Has it begun to sprout? Will it bloom this year?
‘Or has the sudden frost disturbed its bed?
‘Oh keep the Dog far hence, that’s friend to men,
‘Or with his nails he’ll dig it up again!
‘You! hypocrite lecteur!—mon semblable,—mon frère!’

II. A Game of Chess

The Chair she sat in, like a burnished throne,
Glowed on the marble, where the glass
Held up by standards wrought with fruited vines
From which a golden Cupidon peeped out
(Another hid his eyes behind his wing)
Doubled the flames of sevenbranched candelabra
Reflecting light upon the table as
The glitter of her jewels rose to meet it,
From satin cases poured in rich profusion;
In vials of ivory and coloured glass
Unstoppered, lurked her strange synthetic perfumes,
Unguent, powdered, or liquid—troubled, confused
And drowned the sense in odours; stirred by the air
That freshened from the window, these ascended
In fattening the prolonged candle-flames,
Flung their smoke into the laquearia,
Stirring the pattern on the coffered ceiling.
Huge sea-wood fed with copper
Burned green and orange, framed by the coloured stone,
In which sad light a carved dolphin swam.
Above the antique mantel was displayed
As though a window gave upon the sylvan scene
The change of Philomel, by the barbarous king
So rudely forced; yet there the nightingale
Filled all the desert with inviolable voice
And still she cried, and still the world pursues,
‘Jug Jug’ to ***** ears.
And other withered stumps of time
Were told upon the walls; staring forms
Leaned out, leaning, hushing the room enclosed.
Footsteps shuffled on the stair.
Under the firelight, under the brush, her hair
Spread out in fiery points
Glowed into words, then would be savagely still.

‘My nerves are bad to-night. Yes, bad. Stay with me.
‘Speak to me. Why do you never speak. Speak.
‘What are you thinking of? What thinking? What?
‘I never know what you are thinking. Think.’

I think we are in rats’ alley
Where the dead men lost their bones.

‘What is that noise?
                          The wind under the door.
‘What is that noise now? What is the wind doing?’
                    Nothing again nothing.
                                                    ‘Do
‘You know nothing? Do you see nothing? Do you remember
‘Nothing?’

    I remember
Those are pearls that were his eyes.
‘Are you alive, or not? Is there nothing in your head?’
                                                     But
O O O O that Shakespeherian Rag—
It’s so elegant
So intelligent
‘What shall I do now? What shall I do?’
I shall rush out as I am, and walk the street
‘With my hair down, so. What shall we do to-morrow?
‘What shall we ever do?’
                             The hot water at ten.
And if it rains, a closed car at four.
And we shall play a game of chess,
Pressing lidless eyes and waiting for a knock upon the door.

When Lil’s husband got demobbed, I said—
I didn’t mince my words, I said to her myself,
hurry up please its time
Now Albert’s coming back, make yourself a bit smart.
He’ll want to know what you done with that money he gave you
To get yourself some teeth. He did, I was there.
You have them all out, Lil, and get a nice set,
He said, I swear, I can’t bear to look at you.
And no more can’t I, I said, and think of poor Albert,
He’s been in the army four years, he wants a good time,
And if you don’t give it him, there’s others will, I said.
Oh is there, she said. Something o’ that, I said.
Then I’ll know who to thank, she said, and give me a straight look.
hurry up please its time
If you don’t like it you can get on with it, I said.
Others can pick and choose if you can’t.
But if Albert makes off, it won’t be for lack of telling.
You ought to be ashamed, I said, to look so antique.
(And her only thirty-one.)
I can’t help it, she said, pulling a long face,
It’s them pills I took, to bring it off, she said.
(She’s had five already, and nearly died of young George.)
The chemist said it would be alright, but I’ve never been the same.
You are a proper fool, I said.
Well, if Albert won’t leave you alone, there it is, I said,
What you get married for if you don’t want children?
hurry up please its time
Well, that Sunday Albert was home, they had a hot gammon,
And they asked me in to dinner, to get the beauty of it hot—
hurry up please its time
hurry up please its time
Goonight Bill. Goonight Lou. Goonight May. Goonight.
Ta ta. Goonight. Goonight.
Good night, ladies, good night, sweet ladies, good night, good night.

III. The Fire Sermon

The river’s tent is broken: the last fingers of leaf
Clutch and sink into the wet bank. The wind
Crosses the brown land, unheard. The nymphs are departed.
Sweet Thames, run softly, till I end my song.
The river bears no empty bottles, sandwich papers,
Silk handkerchiefs, cardboard boxes, cigarette ends
Or other testimony of summer nights. The nymphs are departed.
And their friends, the loitering heirs of city directors;
Departed, have left no addresses.
By the waters of Leman I sat down and wept . . .
Sweet Thames, run softly till I end my song,
Sweet Thames, run softly, for I speak not loud or long.
But at my back in a cold blast I hear
The rattle of the bones, and chuckle spread from ear to ear.

A rat crept softly through the vegetation
Dragging its slimy belly on the bank
While I was fishing in the dull canal
On a winter evening round behind the gashouse
Musing upon the king my brother’s wreck
And on the king my father’s death before him.
White bodies naked on the low damp ground
And bones cast in a little low dry garret,
Rattled by the rat’s foot only, year to year.
But at my back from time to time I hear
The sound of horns and motors, which shall bring
Sweeney to Mrs. Porter in the spring.
O the moon shone bright on Mrs. Porter
And on her daughter
They wash their feet in soda water
Et O ces voix d’enfants, chantant dans la coupole!

Twit twit twit
Jug jug jug jug jug jug
So rudely forc’d.
Tereu

Unreal City
Under the brown fog of a winter noon
Mr. Eugenides, the Smyrna merchant
Unshaven, with a pocket full of currants
C.i.f. London: documents at sight,
Asked me in demotic French
To luncheon at the Cannon Street Hotel
Followed by a weekend at the Metropole.

At the violet hour, when the eyes and back
Turn upward from the desk, when the human engine waits
Like a taxi throbbing waiting,
I Tiresias, though blind, throbbing between two lives,
Old man with wrinkled female *******, can see
At the violet hour, the evening hour that strives
Homeward, and brings the sailor home from sea,
The typist home at teatime, clears her breakfast, lights
Her stove, and lays out food in tins.
Out of the window perilously spread
Her drying combinations touched by the sun’s last rays,
On the divan are piled (at night her bed)
Stockings, slippers, camisoles, and stays.
I Tiresias, old man with wrinkled dugs
Perceived the scene, and foretold the rest—
I too awaited the expected guest.
He, the young man carbuncular, arrives,
A small house agent’s clerk, with one bold stare,
One of the low on whom assurance sits
As a silk hat on a Bradford millionaire.
The time is now propitious, as he guesses,
The meal is ended, she is bored and tired,
Endeavours to engage her in caresses
Which still are unreproved, if undesired.
Flushed and decided, he assaults at once;
Exploring hands encounter no defence;
His vanity requires no response,
And makes a welcome of indifference.
(And I Tiresias have foresuffered all
Enacted on this same divan or bed;
I who have sat by Thebes below the wall
And walked among the lowest of the dead.)
Bestows one final patronising kiss,
And gropes his way, finding the stairs unlit . . .

She turns and looks a moment in the glass,
Hardly aware of her departed lover;
Her brain allows one half-formed thought to pass:
‘Well now that’s done: and I’m glad it’s over.’
When lovely woman stoops to folly and
Paces about her room again, alone,
She smoothes her hair with automatic hand,
And puts a record on the gramophone.

‘This music crept by me upon the waters’
And along the Strand, up Queen Victoria Street.
O City city, I can sometimes hear
Beside a public bar in Lower Thames Street,
The pleasant whining of a mandoline
And a clatter and a chatter from within
Where fishmen lounge at noon: where the walls
Of Magnus Martyr hold
Inexplicable splendour of Ionian white and gold.

      The river sweats
      Oil and tar
      The barges drift
      With the turning tide
      Red sails
      Wide
      To leeward, swing on the heavy spar.
      The barges wash
      Drifting logs
      Down Greenwich reach
      Past the Isle of Dogs.
                  Weialala leia
                  Wallala leialala

      Elizabeth and Leicester
      Beating oars
      The stern was formed
      A gilded shell
      Red and gold
      The brisk swell
      Rippled both shores
      Southwest wind
      Carried down stream
      The peal of bells
      White towers
                  Weialala leia
                  Wallala leialala

‘Trams and dusty trees.
Highbury bore me. Richmond and Kew
Undid me. By Richmond I raised my knees
Supine on the floor of a narrow canoe.’
‘My feet are at Moorgate, and my heart
Under my feet. After the event
He wept. He promised ‘a new start’.
I made no comment. What should I resent?’
‘On Margate Sands.
I can connect
Nothing with nothing.
The broken fingernails of ***** hands.
My people humble people who expect
Nothing.’
              la la

To Carthage then I came

Burning burning burning burning
O Lord Thou pluckest me out
O Lord Thou pluckest

burning

IV. Death by Water

Phlebas the Phoenician, a fortnight dead,
Forgot the cry of gulls, and the deep sea swell
And the profit and loss.
                                A current under sea
Picked his bones in whispers. As he rose and fell
He passed the stages of his age and youth
Entering the whirlpool.
                               Gentile or Jew
O you who turn the wheel and look to windward,
Consider Phlebas, who was once handsome and tall as you.

V. What the Thunder Said

After the torchlight red on sweaty faces
After the frosty silence in the gardens
After the agony in stony places
The shouting and the crying
Prison and palace and reverberation
Of thunder of spring over distant mountains
He who was living is now dead
We who were living are now dying
With a little patience

Here is no water but only rock
Rock and no water and the sandy road
The road winding above among the mountains
Which are mountains of rock wi

1

Lo di che han detto a' dolci amici addio.    (Dante)
Amor, con quanto sforzo oggi mi vinci!    (Petrarca)

Come back to me, who wait and watch for you:--
    Or come not yet, for it is over then,
    And long it is before you come again,
So far between my pleasures are and few.
While, when you come not, what I do I do
    Thinking "Now when he comes," my sweetest when:"
    For one man is my world of all the men
This wide world holds; O love, my world is you.
Howbeit, to meet you grows almost a pang
    Because the pang of parting comes so soon;
    My hope hangs waning, waxing, like a moon
        Between the heavenly days on which we meet:
Ah me, but where are now the songs I sang
    When life was sweet because you call'd them sweet?

    2

Era gia 1′ora che volge il desio.    (Dante)
Ricorro al tempo ch' io vi vidi prima.    (Petrarca)

I wish I could remember that first day,
    First hour, first moment of your meeting me,
    If bright or dim the season, it might be
Summer or winter for aught I can say;
So unrecorded did it slip away,
    So blind was I to see and to foresee,
    So dull to mark the budding of my tree
That would not blossom yet for many a May.
If only I could recollect it, such
    A day of days! I let it come and go
    As traceless as a thaw of bygone snow;
It seem'd to mean so little, meant so much;
If only now I could recall that touch,
    First touch of hand in hand--Did one but know!

    3

O ombre vane, fuor che ne l'aspetto!    (Dante)
Immaginata guida la conduce.    (Petrarca)

I dream of you to wake: would that I might
    Dream of you and not wake but slumber on;
    Nor find with dreams the dear companion gone,
As summer ended summer birds take flight.
In happy dreams I hold you full in sight,
    I blush again who waking look so wan;
    Brighter than sunniest day that ever shone,
In happy dreams your smile makes day of night.
Thus only in a dream we are at one,
    Thus only in a dream we give and take
        The faith that maketh rich who take or give;
    If thus to sleep is sweeter than to wake,
        To die were surely sweeter than to live,
Though there be nothing new beneath the sun.

    4

Poca favilla gran fliamma seconda.    (Dante)
Ogni altra cosa, ogni pensier va fore,
E sol ivi con voi rimansi amore.    (Petrarca)

I lov'd you first: but afterwards your love
    Outsoaring mine, sang such a loftier song
As drown'd the friendly cooings of my dove.
    Which owes the other most? my love was long,
    And yours one moment seem'd to wax more strong;
I lov'd and guess'd at you, you construed me--
And lov'd me for what might or might not be
    Nay, weights and measures do us both a wrong.
For verily love knows not "mine" or "thine;"
    With separate "I" and "thou" free love has done,
        For one is both and both are one in love:
Rich love knows nought of "thine that is not mine;"
        Both have the strength and both the length thereof,
Both of us, of the love which makes us one.

    5

Amor che a nullo amato amar perdona.    (Dante)
Amor m'addusse in si gioiosa spene.    (Petrarca)

O my heart's heart, and you who are to me
    More than myself myself, God be with you,
    Keep you in strong obedience leal and true
To Him whose noble service setteth free,
Give you all good we see or can foresee,
    Make your joys many and your sorrows few,
    Bless you in what you bear and what you do,
Yea, perfect you as He would have you be.
So much for you; but what for me, dear friend?
    To love you without stint and all I can
Today, tomorrow, world without an end;
    To love you much and yet to love you more,
    As Jordan at his flood sweeps either shore;
        Since woman is the helpmeet made for man.

    6

Or puoi la quantitate
Comprender de l'amor che a te mi scalda.    (Dante)
Non vo' che da tal nodo mi scioglia.    (Petrarca)

Trust me, I have not earn'd your dear rebuke,
    I love, as you would have me, God the most;
    Would lose not Him, but you, must one be lost,
Nor with Lot's wife cast back a faithless look
Unready to forego what I forsook;
    This say I, having counted up the cost,
    This, though I be the feeblest of God's host,
The sorriest sheep Christ shepherds with His crook.
Yet while I love my God the most, I deem
    That I can never love you overmuch;
        I love Him more, so let me love you too;
    Yea, as I apprehend it, love is such
I cannot love you if I love not Him,
        I cannot love Him if I love not you.

    7

Qui primavera sempre ed ogni frutto.    (Dante)
Ragionando con meco ed io con lui.    (Petrarca)

"Love me, for I love you"--and answer me,
    "Love me, for I love you"--so shall we stand
    As happy equals in the flowering land
Of love, that knows not a dividing sea.
Love builds the house on rock and not on sand,
    Love laughs what while the winds rave desperately;
And who hath found love's citadel unmann'd?
    And who hath held in bonds love's liberty?
My heart's a coward though my words are brave
    We meet so seldom, yet we surely part
    So often; there's a problem for your art!
        Still I find comfort in his Book, who saith,
Though jealousy be cruel as the grave,
    And death be strong, yet love is strong as death.

    8

Come dicesse a Dio: D'altro non calme.    (Dante)
Spero trovar pieta non che perdono.    (Petrarca)

"I, if I perish, perish"--Esther spake:
    And bride of life or death she made her fair
    In all the lustre of her perfum'd hair
And smiles that kindle longing but to slake.
She put on pomp of loveliness, to take
    Her husband through his eyes at unaware;
    She spread abroad her beauty for a snare,
Harmless as doves and subtle as a snake.
She trapp'd him with one mesh of silken hair,
    She vanquish'd him by wisdom of her wit,
        And built her people's house that it should stand:--
        If I might take my life so in my hand,
And for my love to Love put up my prayer,
    And for love's sake by Love be granted it!

    9

O dignitosa coscienza e netta!    (Dante)
Spirto piu acceso di virtuti ardenti.    (Petrarca)

Thinking of you, and all that was, and all
    That might have been and now can never be,
    I feel your honour'd excellence, and see
Myself unworthy of the happier call:
For woe is me who walk so apt to fall,
    So apt to shrink afraid, so apt to flee,
    Apt to lie down and die (ah, woe is me!)
Faithless and hopeless turning to the wall.
And yet not hopeless quite nor faithless quite,
Because not loveless; love may toil all night,
    But take at morning; wrestle till the break
        Of day, but then wield power with God and man:--
        So take I heart of grace as best I can,
    Ready to spend and be spent for your sake.

    10

Con miglior corso e con migliore stella.    (Dante)
La vita fugge e non s'arresta un' ora.    (Petrarca)

Time flies, hope flags, life plies a wearied wing;
    Death following ******* life gains ground apace;
    Faith runs with each and rears an eager face,
Outruns the rest, makes light of everything,
Spurns earth, and still finds breath to pray and sing;
    While love ahead of all uplifts his praise,
    Still asks for grace and still gives thanks for grace,
Content with all day brings and night will bring.
Life wanes; and when love folds his wings above
    Tired hope, and less we feel his conscious pulse,
        Let us go fall asleep, dear friend, in peace:
        A little while, and age and sorrow cease;
    A little while, and life reborn annuls
Loss and decay and death, and all is love.

    11

Vien dietro a me e lascia dir le genti.    (Dante)
Contando i casi della vita nostra.    (Petrarca)

Many in aftertimes will say of you
    "He lov'd her"--while of me what will they say?
    Not that I lov'd you more than just in play,
For fashion's sake as idle women do.
Even let them prate; who know not what we knew
    Of love and parting in exceeding pain,
    Of parting hopeless here to meet again,
Hopeless on earth, and heaven is out of view.
But by my heart of love laid bare to you,
    My love that you can make not void nor vain,
Love that foregoes you but to claim anew
        Beyond this passage of the gate of death,
    I charge you at the Judgment make it plain
        My love of you was life and not a breath.

    12

Amor, che ne la mente mi ragiona.    (Dante)
Amor vien nel bel viso di costei.    (Petrarca)

If there be any one can take my place
    And make you happy whom I grieve to grieve,
    Think not that I can grudge it, but believe
I do commend you to that nobler grace,
That readier wit than mine, that sweeter face;
    Yea, since your riches make me rich, conceive
    I too am crown'd, while bridal crowns I weave,
And thread the bridal dance with jocund pace.
For if I did not love you, it might be
    That I should grudge you some one dear delight;
        But since the heart is yours that was mine own,
    Your pleasure is my pleasure, right my right,
Your honourable freedom makes me free,
    And you companion'd I am not alone.

    13

E drizzeremo gli occhi al Primo Amore.    (Dante)
Ma trovo peso non da le mie braccia.    (Petrarca)

If I could trust mine own self with your fate,
    Shall I not rather trust it in God's hand?
    Without Whose Will one lily doth not stand,
Nor sparrow fall at his appointed date;
    Who numbereth the innumerable sand,
Who weighs the wind and water with a weight,
To Whom the world is neither small nor great,
    Whose knowledge foreknew every plan we plann'd.
Searching my heart for all that touches you,
    I find there only love and love's goodwill
Helpless to help and impotent to do,
        Of understanding dull, of sight most dim;
        And therefore I commend you back to Him
Whose love your love's capacity can fill.

    14

E la Sua Volontade e nostra pace.    (Dante)
Sol con questi pensier, con altre chiome.    (Petrarca)

Youth gone, and beauty gone if ever there
    Dwelt beauty in so poor a face as this;
    Youth gone and beauty, what remains of bliss?
I will not bind fresh roses in my hair,
To shame a cheek at best but little fair,--
    Leave youth his roses, who can bear a thorn,--
I will not seek for blossoms anywhere,
    Except such common flowers as blow with corn.
Youth gone and beauty gone, what doth remain?
    The longing of a heart pent up forlorn,
        A silent heart whose silence loves and longs;
        The silence of a heart which sang its songs
    While youth and beauty made a summer morn,
Silence of love that cannot sing again.

While you were sleeping,
Lazy eyes wandered across
Mountains and valleys -
Your genetic topography

Ridonsi donne e giovani amorosi
M’ occostandosi attorno, e perche scrivi,
Perche tu scrivi in lingua ignota e strana
Verseggiando d’amor, e conie t’osi ?
Dinne, se la tua speme sia mai vana
E de pensieri lo miglior t’ arrivi;
Cosi mi van burlando, altri rivi
Altri lidi t’ aspettan, & altre onde
Nelle cui verdi sponde
Spuntati ad hor, ad hor a la tua chioma
L’immortal guiderdon d ‘eterne frondi
Perche alle spalle tue soverchia soma?
Canzon dirotti, e tu per me rispondi
Dice mia Donna, e’l suo dir, e il mio cuore
Questa e lingua di cui si vanta Amore.

Silvia, rimembri ancora
quel tempo della tua vita mortale,
quando beltà splendea
negli occhi tuoi ridenti e fuggitivi,
e tu, lieta e pensosa, il limitare
di gioventù salivi?

Sonavan le quiete
stanze, e le vie dintorno,
al tuo perpetuo canto,
allor che all'opre femminili intenta
sedevi, assai contenta
di quel vago avvenir che in mente avevi.
Era il maggio odoroso: e tu solevi
così menare il giorno.

Io gli studi leggiadri
talor lasciando e le sudate carte,
ove il tempo mio primo
e di me si spendea la miglior parte,
d'in su i veroni del paterno ostello
porgea gli orecchi al suon della tua voce,
ed alla man veloce
che percorrea la faticosa tela.
Mirava il ciel sereno,
le vie dorate e gli orti,
e quinci il mar da lungi, e quindi il monte.
Lingua mortal non dice
quel ch'io sentiva in seno.

Che pensieri soavi,
che speranze, che cori, o Silvia mia!
Quale allor ci apparia
la vita umana e il fato!
Quando sovviemmi di cotanta speme,
un affetto mi preme
acerbo e sconsolato,
e tornami a doler di mia sventura.
O natura, o natura,
perché non rendi poi
quel che prometti allor? Perché di tanto
inganni i figli tuoi?

Tu pria che l'erbe inaridisse il verno,
da chiuso morbo combattuta e vinta,
perivi, o tenerella. E non vedevi
il fior degli anni tuoi;
non ti molceva il core
la dolce lode or delle negre chiome,
or degli sguardi innamorati e schivi;
né teco le compagne ai dì festivi
ragionavan d'amore.

Anche peria tra poco
la speranza mia dolce: agli anni miei
anche negaro i fati
la giovanezza. Ahi come,
come passata sei,
cara compagna dell'età mia nova,
mia lacrimata speme!
Questo è quel mondo? Questi
i diletti, l'amor, l'opre, gli eventi
onde cotanto ragionammo insieme?
Questa la sorte dell'umane genti?
All'apparir del vero
tu, misera, cadesti: e con la mano
la fredda morte ed una tomba ignuda
mostravi di lontano.

i
From the streets of Dublin
the hordes re-Joyce
as Odysseus waxes lyrical
with colloquial finesse
    his golden tongue spitting fire
steamrolling the jargon wagon
on stairway rails from tube to paper.

Live stream of consciousness
flows from depths below
bellowing out of shadows
an intoxicating wave
breaking the surf on black peaks
of spiked stone keys typed in gonzo.

  ii
Aristotle stood firm
at the pulpit in his symposium
while his quill penned poetics
preaching the genius
of metaphor and metaphysics.

Embryonic parsel-tongue
waving a wand in wizardry
from ink fountains bursting on parchment
delivering the gift
of ribbon wrapped eloquence.

  iii
Unbuttoned rolling flow
in fluid monologue
skipping ropes of jazz speak
unedited
unfiltered rivers
where rough diamonds are crowned king.

Standing on one leg
inspecting the heart
the past fell
growing arachnid telescopes
and digging in every anatomical tract
to extract the distilled essence.

  iv
Musical motif
shining constellation of text tessellation

Lyrical relief
binding formation to flex evocation.

  v
Vineyard winding with jump cut scenes
fermenting fruit
ripe for the picking
inducing intoxication laced reading
    sliced and spliced
a chalice of spice
blinking
weaving
overflowing.

Godard's lens zooms
blooming in district cloud nine
rolling ***** of raw nervous energy
shaking from screen to belly.

  vi
Magician of allusion
pulling Shakespeare out of his hat
peeping from leaves of grass
and Walt's multitude of class.

Join the dots and fill in the blank
to a spectacle
for spectators wearing spectacles
who open their cans of interpretation
worming out and ransacking the sack.

  vii
Unchain the shackles of form
abandoning umbrellas
for free falling
s
n
o
w
f
l
a
k
e
s

  viii
From Greek theater's
staging Freud's favourite play
to a trek with a scarecrow,
a tin man and Dorothy's pet lion
  the hard to swallow
jagged little pill
pulls the wool over hollow eyes.

... the lowest form of wit
... the highest form of intelligence
- the wilde wit-king wrote
wearing a fab fur coat.

  ix
Jigsaw piece of the trivium
with five canons plugged into the auxesis
aimed at the poet
while unfolding inner turmoil
and cleaning out the cobwebs
in the closet of self.

The only thing worth writing about is the human heart in conflict with itself

Silvia, rimembri ancora
quel tempo della tua vita mortale,
quando beltà splendea
negli occhi tuoi ridenti e fuggitivi,
e tu, lieta e pensosa, il limitare
di gioventù salivi?

Sonavan le quiete
stanze, e le vie dintorno,
al tuo perpetuo canto,
allor che all'opre femminili intenta
sedevi, assai contenta
di quel vago avvenir che in mente avevi.
Era il maggio odoroso: e tu solevi
così menare il giorno.

Io gli studi leggiadri
talor lasciando e le sudate carte,
ove il tempo mio primo
e di me si spendea la miglior parte,
d'in su i veroni del paterno ostello
porgea gli orecchi al suon della tua voce,
ed alla man veloce
che percorrea la faticosa tela.
Mirava il ciel sereno,
le vie dorate e gli orti,
e quinci il mar da lungi, e quindi il monte.
Lingua mortal non dice
quel ch'io sentiva in seno.

Che pensieri soavi,
che speranze, che cori, o Silvia mia!
Quale allor ci apparia
la vita umana e il fato!
Quando sovviemmi di cotanta speme,
un affetto mi preme
acerbo e sconsolato,
e tornami a doler di mia sventura.
O natura, o natura,
perché non rendi poi
quel che prometti allor? Perché di tanto
inganni i figli tuoi?

Tu pria che l'erbe inaridisse il verno,
da chiuso morbo combattuta e vinta,
perivi, o tenerella. E non vedevi
il fior degli anni tuoi;
non ti molceva il core
la dolce lode or delle negre chiome,
or degli sguardi innamorati e schivi;
né teco le compagne ai dì festivi
ragionavan d'amore.

Anche peria tra poco
la speranza mia dolce: agli anni miei
anche negaro i fati
la giovanezza. Ahi come,
come passata sei,
cara compagna dell'età mia nova,
mia lacrimata speme!
Questo è quel mondo? Questi
i diletti, l'amor, l'opre, gli eventi
onde cotanto ragionammo insieme?
Questa la sorte dell'umane genti?
All'apparir del vero
tu, misera, cadesti: e con la mano
la fredda morte ed una tomba ignuda
mostravi di lontano.

Silvia, rimembri ancora
quel tempo della tua vita mortale,
quando beltà splendea
negli occhi tuoi ridenti e fuggitivi,
e tu, lieta e pensosa, il limitare
di gioventù salivi?

Sonavan le quiete
stanze, e le vie dintorno,
al tuo perpetuo canto,
allor che all'opre femminili intenta
sedevi, assai contenta
di quel vago avvenir che in mente avevi.
Era il maggio odoroso: e tu solevi
così menare il giorno.

Io gli studi leggiadri
talor lasciando e le sudate carte,
ove il tempo mio primo
e di me si spendea la miglior parte,
d'in su i veroni del paterno ostello
porgea gli orecchi al suon della tua voce,
ed alla man veloce
che percorrea la faticosa tela.
Mirava il ciel sereno,
le vie dorate e gli orti,
e quinci il mar da lungi, e quindi il monte.
Lingua mortal non dice
quel ch'io sentiva in seno.

Che pensieri soavi,
che speranze, che cori, o Silvia mia!
Quale allor ci apparia
la vita umana e il fato!
Quando sovviemmi di cotanta speme,
un affetto mi preme
acerbo e sconsolato,
e tornami a doler di mia sventura.
O natura, o natura,
perché non rendi poi
quel che prometti allor? Perché di tanto
inganni i figli tuoi?

Tu pria che l'erbe inaridisse il verno,
da chiuso morbo combattuta e vinta,
perivi, o tenerella. E non vedevi
il fior degli anni tuoi;
non ti molceva il core
la dolce lode or delle negre chiome,
or degli sguardi innamorati e schivi;
né teco le compagne ai dì festivi
ragionavan d'amore.

Anche peria tra poco
la speranza mia dolce: agli anni miei
anche negaro i fati
la giovanezza. Ahi come,
come passata sei,
cara compagna dell'età mia nova,
mia lacrimata speme!
Questo è quel mondo? Questi
i diletti, l'amor, l'opre, gli eventi
onde cotanto ragionammo insieme?
Questa la sorte dell'umane genti?
All'apparir del vero
tu, misera, cadesti: e con la mano
la fredda morte ed una tomba ignuda
mostravi di lontano.