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I
Her Courtesy

WITH the old kindness, the old distinguished grace,
She lies, her lovely piteous head amid dull red hair
propped upon pillows, rouge on the pallor of her face.
She would not have us sad because she is lying there,
And when she meets our gaze her eyes are laughter-lit,
Her speech a wicked tale that we may vie with her,
Matching our broken-hearted wit against her wit,
Thinking of saints and of petronius Arbiter.

II
Curtain Artist bring her Dolls and Drawings
Bring where our Beauty lies
A new modelled doll, or drawing,
With a friend's or an enemy's
Features, or maybe showing
Her features when a tress
Of dull red hair was flowing
Over some silken dress
Cut in the Turkish fashion,
Or, it may be, like a boy's.
We have given the world our passion,
We have naught for death but toys.

III
She turns the Dolls' Faces to the Wall
Because to-day is some religious festival
They had a priest say Mass, and even the Japanese,
Heel up and weight on toe, must face the wall
-- Pedant in passion, learned in old courtesies,
Vehement and witty she had seemed -- ; the Venetian lady
Who had seemed to glide to some intrigue in her red shoes,
Her domino, her panniered skirt copied from Longhi;
The meditative critic; all are on their toes,
Even our Beauty with her Turkish trousers on.
Because the priest must have like every dog his day
Or keep us all awake with baying at the moon,
We and our dolls being but the world were best away.

IV
The End of Day
She is playing like a child
And penance is the play,
Fantastical and wild
Because the end of day
Shows her that some one soon
Will come from the house, and say --
Though play is but half done --
"Come in and leave the play.'

V
Her Race
She has not grown uncivil
As narrow natures would
And called the pleasures evil
Happier days thought good;
She knows herself a woman,
No red and white of a face,
Or rank, raised from a common
Vnreckonable race;
And how should her heart fail her
Or sickness break her will
With her dead brother's valour
For an example still?

VI
Her Courage
When her soul flies to the predestined dancing-place
(I have no speech but symbol, the pagan speech I made
Amid the dreams of youth) let her come face to face,
Amid that first astonishment, with Grania's shade,
All but the terrors of the woodland flight forgot
That made her Diatmuid dear, and some old cardinal
Pacing with half-closed eyelids in a sunny spot
Who had murmured of Giorgione at his latest breath --
Aye, and Achilles, Timor, Babar, Barhaim, all
Who have lived in joy and laughed into the face of Death.

VII
Her Friends bring her a Christmas Tree
pardon, great enemy,
Without an angry thought
We've carried in our tree,
And here and there have bought
Till all the boughs are gay,
And she may look from the bed
On pretty things that may
please a fantastic head.
Give her a little grace,
What if a laughing eye
Have looked into your face?
It is about to die.
John Darnielle Jun 2020
I hear you starting up again
I see you standing on the deck
I hear your voice start to carry
I see the veins throbbing in your neck

And I know what you're saying
And I know what you're saying it for
But I'm not listening
I'm not listening anymore

And I see you come toward me
I see the sun climb down the sky
I hear your voice getting faster and louder
I see a stranger in your eyes

And I know what you're saying
And I know what you're saying it for
But I'm not listening
I'm not listening anymore
John Darnielle May 2020
You're a strong one
You're a lion
You're brave
And death defying

You're in your car
Crossing town
And I can feel you
Coming down

You're so pretty
I could burst
And I wonder
Who's gonna talk first?

My muscles all shaking
Blood's turned to foam
It's Tuesday
And you're coming home
First released on Songs for Petronius in 1992
mark fishbein Feb 2018
Trade me for a magic carpet in an ancient tale;
I can be bartered for the lost scrolls of Petronius;
I am worth at least as much as a chunk of comet
That was discovered in the desert;
You can borrow great sums against my library,
Go buy an island and fill it with bonobos
         Who have found the secret of living without prayer;
My fortune allows me to dwell in a vast kingdom
And in my castle is a desk of ocean wood and pearls;  
I own giraffes and peacocks in my gardens
With rouge and scarlet maple trees;
Under them I play arpeggios on my guitar;
I can afford to give a check to saudade
             And not even feel it;
I have holdings in several galaxies
In the exploding cosmos;
I have a full sack of love that I can scatter
Like the apple seeds or the dandelion feathers;
I have my own plane which I call my wings;
I have been called the world’s most valuable player
Every time I score a goal;
I am the hope of all the utopian anarchy
And give my poems away for free;
I store my compassion in maturing cases of wine
From the most expensive of vineyards;  
I cannot even count what sums the brick-a-brac
On my shelves might bring at auction...

But as to my net worth;
Well after you deduct the taxes, debts, and hidden fees,
Brother, can you spare a dream?
Johnny Noiπ Jun 2018
Marcus Aurelius was emperor over the last generation
of classicists and himself a classicist;      In Cruttwell's
view which had not been expressed by Teuffel,
Silver Latin was a "rank, ****-grown garden"
in decline. Cruttwell had already decried what he saw
as a loss of spontaneity             in Golden Latin
[an entirely fictitious phenomena composed               by  
writers of the Latin Silver Age  by fic·ti·tious supposed Golden Latin
authors                            fikˈtiSHəs/adjective

adjective: fictitious
not real or true,                 being imaginary or
having been fabricated.
"she pleaded guilty         to stealing thousands
in taxpayer dollars by having
a fictitious employee on her payroll"
synonyms: false, fake, fabricated,
sham; bogus, spurious,            assumed,
                                  a­ffected,
        adopted, feigned,      invented, made up;
informal:                                 pretend, phony
"a fictitious name"
antonyms: genuine
   relating                     to or denoting the imaginary
characters                     and events found in Silver Age fiction.
"the people in this novel are fictitious;
the background                                      of public events is not" ;
early 17th century:                                     from Latin ficticius
(from fingere ‘contrive, form’)
+ -ous (see also -itious).created
by the Silver Age as a fancied
juxtaposition to the decay of their own times].
That Teuffel                                     should regard the Silver Age as a loss
of natural language                          and therefore of spontaneity,
implies                           that there was a (              ) Golden Age,
                        passing over w/out comment
the discomfiting aspect for time-travelers
being              the impossibility of a Golden Silver Age:           excluding the bronze & Copper                     [cultures whose technologies
had more to do w/               agricultural duties,
leading to astronomy                 .               Instead, Tiberius                     brought  about a sudden collapse of letters.
The idea of a decline               had been dominant in English
society since Edward Gibbon's Decline and Fall
of the Roman Empire. But once again, Cruttwell
evidenced some unease with the stock pronouncements:
"The Natural History                         of Pliny [typical of Dark Age Scholasticism]      shows how much remained to be done in every    
                              field of great interest."
However,       the idea of Pliny as a model is not consistent  
         with any sort of decline; moreover, Pliny did his best
work under emperors at least as tolerant
as Augustus had been. To include some of the best
writings of the Silver Age, (                        ),  Cruttwell
found he had to extend the period through the death
of Marcus Aurelius, 180 AD. The philosophic prose
of that good emperor was in no way compatible
with either [Teuffel's view of unnatural language]
or [Cruttwell's depiction of a decline].
Having created these constructs,   the two erstwhile
philologists found they could not then justify them;
apparently, in the worst implications of their views,
[there was no Classical               Latin by the ancient definition] at all  
                                 .
Some of the very best writing
of any period in world history
is a combination of stilted &
degenerate unnatural language
.
                                 .
The Silver Age also furnishes the only
two extant Latin novels: Apuleius's
The Golden *** and Petronius's      Satyricon.
                                ☉
Per­haps history's best-known example
of fictitious Classical Latin was written by Pontius Pilate
on the placard placed above Jesus' Cross:
IESVS NAZARENVS REX IVDAEORVM,
which translates to Jesus the Nazarean
the King of the Judeans (Jesus of Nazareth
the King of the Jews
).

— The End —