Are sounds blown by a blower into shapes,
The blower squeezed to the thinnest mi of falsetto.
The hunters run to and fro. The heavy trees,
The grunting, shuffling branches, the robust,
The nocturnal, the antique, the blue-green pines
Deepen the feelings to inhuman depths.
These are the forest. This health is holy,
This halloo, halloo, halloo heard over the cries
Of those for whom a square room is a fire,
Of those whom the statues torture and keep down.
This health is holy, this descant of a self,
This barbarous chanting of what is strong, this blare.
But salvation here? What about the rattle of sticks
On tins and boxes? What about horses eaten by wind?
When spring comes and the skeletons of the hunters
Stretch themselves to rest in their first summer’s sun,
The spring will have a health of its own, with none
Of autumn’s halloo in its hair. So that closely, then,
Health follows after health. Salvation there:
There’s no such thing as life; or if there is,
It is faster than the weather, faster than
Any character. It is more than any scene:
Of the guillotine or of any glamorous hanging.
Piece the world together, boys, but not with your hands.
POETRY IS A DESTRUCTIVE FORCE
That’s what misery is,
Nothing to have at heart.
It is to have or nothing.
It is a thing to have,
A lion, an ox in his breast.
To feel it breathing there.
Corazon, stout dog,
Young ox, bow-legged bear,
He tastes its blood, not spit.
He is like a man
In the body of a violent beast.
Its muscles are his own…
The lion sleeps in the sun.
Its nose is on its paws.
It can kill a man.
THE POEMS OF OUR CLIMATE
I
Clear water in a brilliant bowl,
Pink and white carnations. The light
In the room more like a snowy air,
Reflecting snow. A newly-fallen snow
At the end of winter when afternoons return.
Pink and white carnations—one desires
So much more than that. The day itself
Is simplified: a bowl of white,
Cold, a cold porcelain, low and round,
With nothing more than the carnations there.
II
Say even that this complete simplicity
Stripped one of all one’s torments, concealed
The evilly compounded, vital I
And made it fresh in a world of white,
A world of clear water, brilliant-edged,
Still one would want more, one would need more,
More than a world of white and snowy scents.
III
There would still remain the never-resting mind,
So that one would want to escape, come back
To what had been so long composed.
The imperfect is our paradise.
Note that, in this bitterness, delight,
Since the imperfect is so hot in us,
Lies in flawed words and stubborn sounds.
PRELUDE TO OBJECTS
I
If he will be heaven after death,
If, while he lives, he hears himself
Sounded in music, if the sun,
Stormier, is the color of a self
As certainly as night is the color
Of a self, if, without sentiment,
He is what he hears and sees and if,
Without pathos, he feels what he hears
And sees, being nothing otherwise,
Having nothing otherwise, he has not
To go to the Louvre to behold himself.
Granted each picture is a glass,
That the walls are mirrors multiplied,
That the marbles are gluey pastiches, the stairs
The sweep of an impossible elegance,
And the notorious views from the windows
Wax wasted, monarchies beyond
The S.S. Normandie, granted
One is always seeing and feeling oneself,
That’s not by chance. It comes to this:
That the guerilla I should be booked
And bound. Its nigger mystics should change
Foolscap for wigs. Academies
As of a tragic science should rise.
II
Poet, patting more nonsense foamed
From the sea, conceive for the courts
Of these academies, the diviner health
Disclosed in common forms. Set up
The rugged black, the image. Design
The touch. Fix quiet. Take the place
Of parents, lewdest of ancestors.
We are conceived in your conceits.
STUDY OF TWO PEARS
I
Opusculum paedagogum.
The pears are not viols,
Nudes or bottles.
They resemble nothing else.
II
They are yellow forms
Composed of curves
Bulging toward the base.
They are touched red.
III
They are not flat surfaces
Having curved outlines.
They are round
Tapering toward the top.
IV
In the way they are modelled
There are bits of blue.
A hard dry leaf hangs
From the stem.
V
The yellow glistens.
It glistens with various yellows,
Citrons, oranges and greens
Flowering over the skin.
VI
The shadows of the pears
Are blobs on the green cloth.
The pears are not seen
As the observer wills.
THE GLASS OF WATER
That the glass would melt in heat,
That the water would freeze in cold,
Shows that this object is merely a state,
One of many, between two poles. So,
In the metaphysical, there are these poles.
Here in the centre stands the glass. Light
Is the lion that comes down to drink. There
And in that state, the glass is a pool.
Ruddy are his eyes and ruddy are his claws
When light comes down to wet his frothy jaws
And in the water winding weeds move round.
And there and in another state—the refractions,
The metaphysica, the plastic parts of poems
Crash in the mind—But, fat Jocundus, worrying
About what stands here in the centre, not the glass,
But in the centre of our lives, this time, this day,
It is a state, this spring among the politicians
Playing cards. In a village of the indigenes,
One would have still to discover. Among the dogs and dung,
One would continue to contend with one’s ideas.
ADD THIS TO RHETORIC
It is posed and it is posed.
But in nature it merely grows.
Stones pose in the falling night;
And beggars dropping to sleep,
They pose themselves and their rags.
Shucks … lavender moonlight falls.
The buildings pose in the sky
And, as you paint, the clouds,
Grisaille, impearled, profound,
Pftt.… In the way you speak
You arrange, the thing is posed,
What in nature merely grows.
To-morrow when the sun,
For all your images,
Comes up as the sun, bull fire,
/> Your images will have left
No shadow of themselves.
The poses of speech, of paint,
Of music—Her body lies
Worn out, her arm falls down,
Her fingers touch the ground.
Above her, to the left,
A brush of white, the obscure,
The moon without a shape,
A fringed eye in a crypt.
The sense creates the pose.
In this it moves and speaks.
This is the figure and not
An evading metaphor.
Add this. It is to add.
DRY LOAF
It is equal to living in a tragic land
To live in a tragic time.
Regard now the sloping, mountainous rocks
And the river that batters its way over stones,
Regard the hovels of those that live in this land.
That was what I painted behind the loaf,
The rocks not even touched by snow,
The pines along the river and the dry men blown
Brown as the bread, thinking of birds
Flying from burning countries and brown sand shores,
Birds that came like dirty water in waves
Flowing above the rocks, flowing over the sky,
As if the sky was a current that bore them along,
Spreading them as waves spread flat on the shore,
One after another washing the mountains bare.
It was the battering of drums I heard
It was hunger, it was the hungry that cried
And the waves, the waves were soldiers moving,
Marching and marching in a tragic time
Below me, on the asphalt, under the trees.
It was soldiers went marching over the rocks
And still the birds came, came in watery flocks,
Because it was spring and the birds had to come.
No doubt that soldiers had to be marching
And that drums had to be rolling, rolling, rolling.
IDIOM OF THE HERO
I heard two workers say, “This chaos
Will soon be ended.”
This chaos will not be ended,
The red and the blue house blended,
Not ended, never and never ended,
The weak man mended,
The man that is poor at night
Attended
Like the man that is rich and right.
The great men will not be blended…
I am the poorest of all.
I know that I cannot be mended,
Out of the clouds, pomp of the air,
By which at least I am befriended.
THE MAN ON THE DUMP
Day creeps down. The moon is creeping up.
The sun is a corbeil of flowers the moon Blanche
Places there, a bouquet. Ho-ho … The dump is full
Of images. Days pass like papers from a press.
The bouquets come here in the papers. So the sun,
And so the moon, both come, and the janitor’s poems
Of every day, the wrapper on the can of pears,
The cat in the paper-bag, the corset, the box
From Esthonia: the tiger chest, for tea.
The freshness of night has been fresh a long time.
The freshness of morning, the blowing of day, one says
That it puffs as Cornelius Nepos reads, it puffs
More than, less than or it puffs like this or that.
The green smacks in the eye, the dew in the green
Smacks like fresh water in a can, like the sea
On a cocoanut—how many men have copied dew
For buttons, how many women have covered themselves
With dew, dew dresses, stones and chains of dew, heads
Of the floweriest flowers dewed with the dewiest dew.
One grows to hate these things except on the dump.
Now, in the time of spring (azaleas, trilliums,
Myrtle, viburnums, daffodils, blue phlox),
Between that disgust and this, between the things
That are on the dump (azaleas and so on)
And those that will be (azaleas and so on),
One feels the purifying change. One rejects
The trash.
That’s the moment when the moon creeps up
To the bubbling of bassoons. That’s the time
One looks at the elephant-colorings of tires.
Everything is shed; and the moon comes up as the moon
(All its images are in the dump) and you see
As a man (not like an image of a man),
You see the moon rise in the empty sky.
One sits and beats an old tin can, lard pail.
One beats and beats for that which one believes.
That’s what one wants to get near. Could it after all
Be merely oneself, as superior as the ear
To a crow’s voice? Did the nightingale torture the ear,
Pack the heart and scratch the mind? And does the ear
Solace itself in peevish birds? Is it peace,
Is it a philosopher’s honeymoon, one finds
On the dump? Is it to sit among mattresses of the dead,
Bottles, pots, shoes and grass and murmur aptest eve:
Is it to hear the blatter of grackles and say
Invisible priest; is it to eject, to pull
The day to pieces and cry stanza my stone?
Where was it one first heard of the truth? The the.
ON THE ROAD HOME
It was when I said,
“There is no such thing as the truth,”
That the grapes seemed fatter.
The fox ran out of his hole.
You … You said,
“There are many truths,
But they are not parts of a truth.”
Then the tree, at night, began to change,
Smoking through green and smoking blue.
We were two figures in a wood.
We said we stood alone.
It was when I said,
“Words are not forms of a single word.
In the sum of the parts, there are only the parts.
The world must be measured by eye”;
It was when you said,
“The idols have seen lots of poverty,
Snakes and gold and lice,
But not the truth”;
It was at that time, that the silence was largest
And longest, the night was roundest,
The fragrance of the autumn warmest,
Closest and strongest.
THE LATEST FREED MAN
Tired of the old descriptions of the world,
The latest freed man rose at six and sat
On the edge of his bed. He said,
“I suppose there is
A doctrine to this landscape. Yet, having just
Escaped from the truth, the morning is color and mist,
Which is enough: the moment’s rain and sea,
The moment’s sun (the strong man vaguely seen),
Overtaking the doctrine of this landscape. Of him
And of his works, I am sure. He bathes in the mist
Like a man without a doctrine. The light he gives—
It is how he gives his light. It is how he shines,
Rising upon the doctors in their beds
And on their beds.…”
And so the freed man said.
It was how the sun came shining into his room:
To be without a description of to be,
For a moment on rising, at the edge of the bed, to be,
To have the ant of the self changed to an ox
With its organic boomings, to be changed
From a doctor into an ox, before standing up,
To know that the change and that the ox-like struggle
Come from the strength that is the strength of the sun,
Whether it comes directly o
r from the sun.
It was how he was free. It was how his freedom came.
It was being without description, being an ox.
It was the importance of the trees outdoors,
The freshness of the oak-leaves, not so much
That they were oak-leaves, as the way they looked.
It was everything being more real, himself
At the centre of reality, seeing it.
It was everything bulging and blazing and big in itself,
The blue of the rug, the portrait of Vidal,
Qui fait fi des joliesses banales, the chairs.
UNITED DAMES OF AMERICA
Je tâche, en restant exact, d’être poète.
JULES RENARD
There are not leaves enough to cover the face
It wears. This is the way the orator spoke:
“The mass is nothing. The number of men in a mass
Of men is nothing. The mass is no greater than
The singular man of the mass. Masses produce
Each one its paradigm.” There are not leaves
Enough to hide away the face of the man
Of this dead mass and that. The wind might fill
With faces as with leaves, be gusty with mouths,
And with mouths crying and crying day by day.
Could all these be ourselves, sounding ourselves,
Our faces circling round a central face
And then nowhere again, away and away?
Yet one face keeps returning (never the one),
The face of the man of the mass, never the face
That hermit on reef sable would have seen,