Today I return to the Classic Poets, with this by Percy Bysshe Shelley (1792-1822).

Nothing lasts - except change!

MUTABILITY

We are the clouds that veil the midnight moon;
How restlessly they speed, and gleam, and quiver,
Streaking the darkness radiantly!--yet soon
Night closes round, and they are lost forever:

Or like forgotten lyres, whose dissonant strings
Give various response to each varying blast,
To whose frail frame no second motion brings
One mood or modulation like the last.

We rest.--A dream has power to poison sleep;
We rise.--One wandering thought pollutes the day;
We feel, conceive or reason, laugh or weep;
Embrace fond foe, or cast our cares away:

It is the same!--For, be it joy or sorrow,
The path of its departure still is free:
Man's yesterday may ne'er be like his morrow;
Nought may endure but Mutability.

Percy Bysshe Shelley

Summer will soon be drawing to its close and here is a poem by Robert Francis that charmingly captures that event.

FARM BOY AFTER SUMMER

A seated statue of himself he seems.
A bronze slowness becomes him. Patently
The page he contemplates he doesn't see.

The lesson, the long lesson, has been summer.
His mind holds summer, as his skin holds sun.
For once the homework, all of it, was done.

What were the crops, where were the fiery fields
Where for so many days so many hours
The sun assaulted him with glittering showers.

Expect a certain absence in his presence.
Expect all winter long a summer scholar,
For scarcely all its snows can cool that color.

Robert Francis

I have recently come across Robert Francis (1874-1958), a poet that I only vaguely remember from the past.

I begin with "Summons" and will try to post some more of his poems over the next few days.

Keep me from going to sleep too soon
Or if I go to sleep too soon
Come wake me up. Come any hour
Of night. Come whistling up the road.
Stomp on the porch. Bang on the door.
Make me get out of bed and come
And let you in and light a light.
Tell me the northern lights are on
And make me look. Or tell me clouds
Are doing something to the moon
They never did before, and show me.
See that I see. Talk to me till
I'm half as wide awake as you
And start to dress wondering why
I ever went to bed at all.
Tell me the walking is superb.
Not only tell me but persuade me.
You know I'm not too hard persuaded.

Robert Francis

Back to the Poets Laureate.

This poem describes happier times.

LOVESONG

He loved her and she loved him.
His kisses sucked out her whole past and future or tried to
He had no other appetite
She bit him she gnawed him she sucked
She wanted him complete inside her
Safe and sure forever and ever
Their little cries fluttered into the curtains

Her eyes wanted nothing to get away
Her looks nailed down his hands his wrists his elbows
He gripped her hard so that life
Should not drag her from that moment
He wanted all future to cease
He wanted to topple with his arms round her
Off that moment's brink and into nothing
Or everlasting or whatever there was

Her embrace was an immense press
To print him into her bones
His smiles were the garrets of a fairy palace
Where the real world would never come
Her smiles were spider bites
So he would lie still till she felt hungry
His words were occupying armies
Her laughs were an assassin's attempts
His looks were bullets daggers of revenge
His glances were ghosts in the corner with horrible secrets
His whispers were whips and jackboots
Her kisses were lawyers steadily writing
His caresses were the last hooks of a castaway
Her love-tricks were the grinding of locks
And their deep cries crawled over the floors
Like an animal dragging a great trap
His promises were the surgeon's gag
Her promises took the top off his skull
She would get a brooch made of it
His vows pulled out all her sinews
He showed her how to make a love-knot
Her vows put his eyes in formalin
At the back of her secret drawer
Their screams stuck in the wall

Their heads fell apart into sleep like the two halves
Of a lopped melon, but love is hard to stop

In their entwined sleep they exchanged arms and legs
In their dreams their brains took each other hostage

In the morning they wore each other's face

Ted Hughes

FLEAS

Adam
Had'em

Ogden Nash

Today, a poem from Edgar Allan Poe, about a place many people have sought.

Will you ever find your personal Eldorado?

Gaily bedight,
A gallant knight,
In sunshine and in shadow,
Had journeyed long,
Singing a song,
In search of Eldorado.

But he grew old--
This knight so bold--
And o'er his heart a shadow
Fell as he found
No spot of ground
That looked like Eldorado.

And, as his strength
Failed him at length,
He met a pilgrim shadow--
"Shadow," said he,
"Where can it be--
This land of Eldorado?"

"Over the Mountains
Of the Moon,
Down the Valley of the Shadow,
Ride, boldly ride,"
The shade replied,--
"If you seek for Eldorado!"

After a short break in the Isle of Wight, I have returned with this poem by A.S.J. Tessimond

THE BRITISH

We are a people living in shells and moving
Crablike; reticent, awkward, deeply suspicious;
Watching the world from a corner of half-closed eyelids,
Afraid lest someone show that he hates or loves us,
Afraid lest someone weep in the railway train.

We are coiled and clenched like a foetus clad in armour.
We hold our hearts for fear they fly like eagles.
We grasp our tongues for fear they cry like trumpets.
We listen to our own footsteps. We look both ways
Before we cross the silent empty road.

We are a people easily made uneasy,
Especially wary of praise, of passion, of scarlet
Cloaks, of gesturing hands, of the smiling stranger
In the alien hat who talks to all or the other
In the unfamiliar coat who talks to none.

We are afraid of too-cold thought or too-hot
Blood, of the opening of long-shut shafts or cupboards,
Of light in caves, of X-rays, probes, unclothing
Of emotion, intolerable revelation
Of lust in the light, of love in the palm of the hand.

We are afraid of, one day on a sunny morning,
Meeting ourselves or another without the usual
Outer sheath, the comfortable conversation,
And saying all, all, all we did not mean to,
All, all, all we did not know we meant.

I AM AWAY FOR A FEW DAYS.

COLIN

Here is a poem from the second lady poet recommended to me by "fionacecilia".

This poem is about the difficulty of the poet in writing verse and the critic's delight in trying to demolish it.

CRITICS NIGHTWATCH

Once more he tried, before he slept,
to rule his ranks of words. They broke
from his planned choir, lolled, slouched and kept
their tone, their pitch, their meaning crude;
huddled in cliches; when pursued
turned with mock elegance to croak

his rival's tunes. They would not sing.
The scene that nagged his sleep away
flashed clear again: the local king
of verse, loose-collared and loose-lipped.
read from a sodden manuscript,
drinking with anyone who'd pay,

drunk, in the critic's favourite bar.
"Hear the voice of the bard!" he bellowed,
"Poets are lovers. Critics are
mean, solitary masturbators.
Come here, and join the warm creators."
The critic, whom no drink had mellowed,

turned on his heel. Rough laughter scoured
his reddening neck. The poet roared
"Run home, and take that face that soured
your mother's lovely milk from spite.
Piddle on what you cannot write."
At home alone the critic poured

gall on the poet's work in polished
careful prose. He tore apart
meaning and metaphor, demolished
diction, syntax, metre, rhyme;
called his entire works a crime
against the integrity of art,

and lay down grinning, quick, he thought,
with a great poem that would make plain
his power to all. Once more he fought
with words. Sleep came. He dreamed he turned
to a light vapour, seeped and burned
in wordless cracks where grain on grain

of matter grated; reassumed
his human shape, and called by name
each grain to sing, conducting, plumed
in lightning, their obedient choir.
Dressed as a bride for his desire
towards him, now meek, the poet came.

Light sneaked beside his bed. The birds
began their insistent questioning
of silence, and the poet's words
prompted by daylight rasped his raw
nerves, and the waking world he saw
was flat with prose and would not sing.

Gwen Harwood

Thanks to "fionacecilia" for referring me to the Australian poet, Rosemary Dobson, who wrote in the preface to her 'Selected poems':

I suppose I shall have to buy the book!

A FINE THING

To be a scarecrow
To lean all day in a bright field
With a hat full
Of bird's song
And a heart of gold straw;
With a sly wink for the farmer's daughter,
When no one sees, and small excursions;
Returning after
To a guiltless pose of indolence.

A fine thing
to be a figurehead
with a noble brow
On a ship's prow
And a look to the end of the world;
With the sad sounds of wind and water
And only a stir of air for thinking;
The timber cutting
The green waves, and the foam flashing.

To be a snowman
Lost all day in deep thought
With a head full
Of snowflakes
And no troubles at all,
With an old pipe and six buttons,
And sometimes children in woollen gaiters;
But mostly lonely,
A simple fellow, with no troubles at all.

Rosemary Dobson

I don't think I have featured here the work of any Australian poets.

His war poems do not particularly impress me, but I do like this invitation from Sleep.

SLEEP

Do you give yourself to me utterly,
Body and no-body, flesh and no-flesh
Not as a fugitive, blindly or bitterly,
But as a child might, with no other wish?
Yes, utterly.

Then I shall bear you down my estuary,
Carry you and ferry you to burial mysteriously,
Take you and receive you,
Consume you, engulf you,
In the huge cave, my belly, love you
With huge waves continually.

And you shall cling and clamber there
And slumber there, in that dumb chamber,
Beat with my blood's beat, hear my heart move
Blindly in bones that ride above you,
Delve in my flesh, dissolved and bedded,

Through viewless valves embodied so –
Till daylight, the expulsion and awakening,
The riving and the driving forth,
Life with remorseless forceps beckoning –
Pangs and betrayal of harsh birth.

Today I continue Tessimond's theme of personal isolation - the unwillingness or inability of people to relate to others, or to themselves.

MEETING

Dogs take new friends abruptly and by smell,
Cats' meetings are neat, tactual, caressive.
Monkeys exchange their fleas before they speak.
Snakes, no doubt, coil by coil reach mutual knowledge.

We then, at first encounter, should be silent;
Not court the cortex but the epidermis;
Not work from inside out but outside in;
Discover each other's flesh, its scent and texture;
Familiarize the sinews and the nerve-ends,
The hands, the hair - before the inept lips open.

Instead of which we are resonant, explicit.
Our words like windows intercept our meaning.
Our four eyes fence and flinch and awkwardly
Wince into shadow, slide oblique to ambush.
Hands stir, retract. The pulse is insulated.
Blood is turned inwards, lonely; skin unhappy ...
While always under all, but interrupted,
Antennae stretch ... waver ... and almost ... touch.

A.S.J. Tessimond

HOUSES

People who are afraid of themselves
Multiply themselves into families
And so divide themselves
And so become less afraid.

People who might have to go out
Into clanging strangers' laughter,
Crowd under roofs, make compacts
To no more than smile at each other.

People who might meet their own faces
Or surprise their own voices in doorways
Build themselves rooms without mirrors
And live between walls without echoes.

People who might meet other faces
And unknown voices round corners
Build themselves rooms all mirrors
And live between walls all echoes.

People who are afraid to go naked
Clothe themselves in families, houses,
But are still afraid of death
Because death one day will undress them.

A.S.J. Tessimond

DAY DREAM

One day people will touch and talk perhaps
easily,
And loving be natural as breathing and warm as
sunlight,
And people will untie themselves, as string is unknotted,
Unfold and yawn and stretch and spread their fingers,
Unfurl, uncurl like seaweed returned to the sea,
And work will be simple and swift
as a seagull flying,
And play will be casual and quiet
as a seagull settling,
And the clocks will stop, and no one will wonder
or care or notice,
And people will smile without reason,
Even in winter, even in the rain.

A.S.J. Tessimond

In the summer
I stretch out on the shore
And think of you
Had I told the sea
What I felt for you,
It would have left its shores,
Its shells,
Its fish,
And followed me.

Nizar Qabbani

LIGHT IS MORE IMPORTANT THAN THE LANTERN

Light is more important than the lantern,
The poem more important than the notebook,
And the kiss more important than the lips.
My letters to you
Are greater and more important than both of us.
They are the only documents
Where people will discover
Your beauty
And my madness.

Nizar Qabbani

Nizar Qabbani was a Syrian poet who was revered by generations of Arabs for his sensual and romantic verse.

The following romantic poem, in English translation, is typical of his work.

WHEN I LOVE

When I love
I feel that I am the king of time
I possess the earth and everything on it
and ride into the sun upon my horse.

When I love
I become liquid light
invisible to the eye
and the poems in my notebooks
become fields of mimosa and poppy.

When I love
the water gushes from my fingers
grass grows on my tongue
when I love
I become time outside all time.

When I love
all the trees
run barefoot toward me…

Nizar Qabbani (1923-1998)

Algernon Charles Swinburne (1837-1909) was a strange character.

Tell me what you make of it.

FRAGOLETTA

O love! what shall be said of thee?
The son of grief begot by joy?
Being sightless, wilt thou see?
Being sexless, wilt thou be
Maiden or boy?

I dreamed of strange lips yesterday
And cheeks wherein the ambiguous blood
Was like a rose's — yea,
A rose's when it lay
Within the bud.

What fields have bred thee, or what groves
Concealed thee, O mysterious flower,
O double rose of Love's,
With leaves that lure the doves
From bud to bower?

I dare not kiss it, lest my lip
Press harder than an indrawn breath,
And all the sweet life slip
Forth, and the sweet leaves drip,
Bloodlike, in death.

O sole desire of my delight!
O sole delight of my desire!
Mine eyelids and eyesight
Feed on thee day and night
Like lips of fire.

Lean back thy throat of carven pearl,
Let thy mouth murmur like the dove's;
Say, Venus hath no girl,
No front of female curl,
Among her Loves.

Thy sweet low bosom, thy close hair,
Thy strait soft flanks and slenderer feet,
Thy virginal strange air,
Are these not over fair
For Love to greet?

How should he greet thee? what new name,
Fit to move all men's hearts, could move
Thee, deaf to love or shame,
Love's sister, by the same
Mother as Love?

Ah sweet, the maiden's mouth is cold,
Her breast-blossoms are simply red,
Her hair mere brown or gold,
Fold over simple fold
Binding her head.

Thy mouth is made of fire and wine,
Thy barren bosom takes my kiss
And turns my soul to thine
And turns thy lip to mine,
And mine it is.

Thou hast a serpent in thine hair,
In all the curls that close and cling;
And ah, thy breast-flower!
Ah love, thy mouth too fair
To kiss and sting!

Cleave to me, love me, kiss mine eyes,
Satiate thy lips with loving me;
Nay, for thou shalt not rise;
Lie still as Love that dies
For love of thee.

Mine arms are close about thine head,
My lips are fervent on thy face,
And where my kiss hath fed
Thy flower-like blood leaps red
To the kissed place.

O bitterness of things too sweet!
O broken singing of the dove!
Love's wings are over fleet,
And like the panther's feet
The feet of Love.

A.C. Swinburne

Today a sad little poem by Charles Bukowski.

It just shows how the effect of such treatment affects later life and is remembered into adulthood.

a smile to remember

we had goldfish and they circled around and around
in the bowl on the table near the heavy drapes
covering the picture window and
my mother, always smiling, wanting us all
to be happy, told me, "be happy Henry!"
and she was right: it's better to be happy if you
can
but my father continued to beat her and me several times a week while
raging inside his 6-foot-two frame because he couldn't
understand what was attacking him from within.

my mother, poor fish,
wanting to be happy, beaten two or three times a
week, telling me to be happy: "Henry, smile!
why don't you ever smile?"

and then she would smile, to show me how, and it was the
saddest smile I ever saw

one day the goldfish died, all five of them,
they floated on the water, on their sides, their
eyes still open,
and when my father got home he threw them to the cat
there on the kitchen floor and we watched as my mother
smiled

Charles Bukowski

Robert Herrick was a 17th century poet who may be best known for his advice "To the Virgins, to make much of Time", which begins "Gather ye rosebuds while you may."

However, he was also a clergyman and perhaps it is surprising that he wrote this rather erotic poem.

THE VINE

I dreamed this mortal part of mine
Was metamorphosed to a vine,
Which crawling one and every way
Enthralled my dainty Lucia.
Methought her long small legs and thighs
I with my tendrils did surprise;
Her belly, buttocks, and her waist
By my soft nervelets were embraced.
About her head I writhing hung,
And with rich clusters (hid among
The leaves) her temples I behung,
So that my Lucia seemed to me
Young Bacchus ravished by his tree.
My curls about her neck did crawl,
And arms and hands they did enthrall,
So that she could not freely stir
(all parts there made one prisoner).
But when I crept with leaves to hide
Those parts which maids keep unespied,
Such fleeting pleasures there I took
That with the fancy I awoke;
And found (ah me!) this flesh of mine
More like a stock than like a vine.

Robert Herrick (1591-1674)

NOT LOVE PERHAPS

This is not Love, perhaps,
Love that lays down its life,
that many waters cannot quench,
nor the floods drown,
But something written in lighter ink,
said in a lower tone, something, perhaps, especially our own.

A need, at times, to be together and talk,
And then the finding we can walk
More firmly through dark narrow places,
And meet more easily nightmare faces;
A need to reach out, sometimes, hand to hand,
And then find Earth less like an alien land;
A need for alliance to defeat
The whisperers at the corner of the street.

A need for inns on roads, islands in seas,
Halts for discoveries to be shared,
Maps checked, notes compared;
A need, at times, of each for each,
Direct as the need of throat and tongue for speech.

A. S. J. Tessimond

Yesterday I attended the montly meeting of my local poetry group and one of the poets featured was A.J.S. Tessimond.

Perhaps I was the 'unnoticable' man, too busy with living to live. But I like to think that I was also the 'not-quite-fool'.

THE MAN IN THE BOWLER HAT

I am the unnoticed, the unnoticable man:
The man who sat on your right in the morning train:
The man who looked through like a windowpane:
The man who was the colour of the carriage,
The colour of the mounting morning pipe smoke.
I am the man too busy with a living to live,
Too hurried and worried to see and smell and touch:
The man who is patient too long and obeys too much
And wishes too softly and seldom.

I am the man they call the nation's backbone,
Who am boneless - playable castgut, pliable clay:
The Man they label Little lest one day
I dare to grow.

I am the rails on which the moment passes,
The megaphone for many words and voices:
I am the graph diagram,
Composite face.

I am the led, the easily-fed,
The tool, the not-quite-fool,
The would-be-safe-and-sound,
The uncomplaining, bound,
The dust fine-ground,
Stone-for-a-statue waveworn pebble-round.

A.S.J. Tessimond

Here is a short biography:

Some of his poems are conversation-poems and these often capture his tendency towards melancholy.

Oscar Wilde used the word "Helas" in the title of this poem to mean "Alas".

It is a lament that his life is meaningless.

HELAS!

To drift with every passion till my soul
Is a stringed lute on which can winds can play,
Is it for this that I have given away
Mine ancient wisdom and austere control?
Methinks my life is a twice-written scroll
Scrawled over on some boyish holiday
With idle songs for pipe and virelay,
Which do but mar the secret of the whole.
Surely there was a time I might have trod
The sunlit heights, and from life's dissonance
Struck one clear chord to reach the ears of God:
Is that time dead? lo! with a little rod
I did but touch the honey of romance -
And must I lose a soul's inheritance?

Oscar Wilde

I wonder about the trees.
Why do we wish to bear
Forever the noise of these
More than another noise
So close to our dwelling place?
We suffer them by the day
Till we lose all measure of pace,
And fixity in our joys,
And acquire a listening air.
They are that that talks of going
But never gets away;
And that talks no less for knowing,
As it grows wiser and older,
That now it means to stay.
My feet tug at the floor
And my head sways to my shoulder
Sometimes when I watch trees sway,
From the window or the door.
I shall set forth for somewhere,
I shall make the reckless choice
Some day when they are in voice
And tossing so as to scare
The white clouds over them on.
I shall have less to say,
But I shall be gone.

Robert Frost

As a change, I thought I would share with you this very descriptive poem by Oscar Wilde about London as it was more than 100 years ago.

IMPRESSION DU MATIN

The Thames nocturne of blue and gold
Changed to a Harmony in grey:
A barge with ochre-coloured hay
Dropt from the wharf: and chill and cold

The yellow fog came creeping down
The bridges, till the houses' walls
Seemed changed to shadows, and St. Paul's
Loomed like a bubble o'er the town.

Then suddenly arose the clang
Of waking life; the streets were stirred
With country waggons: and a bird
Flew to the glistening roofs and sang.

But one pale woman all alone,
The daylight kissing her wan hair,
Loitered beneath the gas lamps' flare,
With lips of flame and heart of stone.

How different it is today!