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In The Old Theatre, Fiesole

I traced the Circus whose gray stones incline
Where Rome and dim Etruria interjoin,
Till came a child who showed an ancient coin
That bore the image of a Constantine.

She lightly passed; nor did she once opine
How, better than all books, she had raised for me
In swift perspective Europe's history
Through the vast years of Caesar's sceptred line.

For in my distant plot of English loam
'Twas but to delve, and straightway there to find
Coins of like impress. As with one half blind

In the Old Theatre, Fiesole April, 1887

I traced the Circus whose gray stones incline
Where Rome and dim Etruria interjoin,
Till came a child who showed an ancient coin
That bore the image of a Constantine.

She lightly passed; nor did she once opine
How, better than all books, she had raised for me
In swift perspective Europe's history
Through the vast years of Caesar's sceptred line.

For in my distant plot of English loam
'Twas but to delve, and straightway there to find
Coins of like impress. As with one half blind

In the Next Street

there’s only ever one argument: his,
bawling out whoever punctuates
the brief intervals his cussing
| interrupts, something unheard, reason perhaps.

What you never get is silence,
always some groan on the horizon
out on the borders of attention
where would be quiet if they let it.

Always some conversation far away,
foreign, banal. dramatic, translated
it means my wife’s name is Judit.
I am an engineer from Spidertown.

What to reply? Your Majesty,
my name is Smith. All lies anyway,

In The Kalahari Desert

The sun rose like a tarnished
looking-glass to catch the sun

and flash His hot message
at the missionaries below--

Isabella and the Rev. Roger Price,
and the Helmores with a broken axle

left, two days behind, at Fever Ponds.
The wilderness was full of home:

a glinting beetle on its back
struggled like an orchestra

with Beethoven. The Hallé,
Isabella thought and hummed.

Makololo, their Zulu guide,
puzzled out the Bible, replacing

words he didn't know with Manchester.

In The Harbor

Emis - young, twenty-eight-
reached this Syrian harbor in a Tenian ship,
his plan to learn the incense trade.
But ill during the voyage,
he died as soon as he was put ashore.
His burial, the poorest possible, took place here.
A few hours before dying he whispered something
about 'home', about 'very old parents.'
But nobody he called home
in the great pan Hellenic world.
Better that way; because as it is,
though he lies buried in this harbor,
his parents will always have the hope he's still alive.

In The Fields

Lord when I look at lovely things which pass,
Under old trees the shadow of young leaves
Dancing to please the wind along the grass,
Or the gold stillness of the August sun on the August sheaves;
Can I believe there is a heavenlier world than this?
And if there is
Will the heart of any everlasting thing
Bring me these dreams that take my breath away?
They come at evening with the home-flying rooks and the scent
of hay,
Over the fields. They come in spring.

In the Baggage Room at Greyhound

I

In the depths of the Greyhound Terminal
sitting dumbly on a baggage truck looking at the sky
waiting for the Los Angeles Express to depart
worrying about eternity over the Post Office roof in
the night-time red downtown heaven
staring through my eyeglasses I realized shuddering
these thoughts were not eternity, nor the poverty
of our lives, irritable baggage clerks,
nor the millions of weeping relatives surrounding the
buses waving goodbye,
nor other millions of the poor rushing around from

In Springtime

My garden blazes brightly with the rose-bush and the peach,
And the koil sings above it, in the siris by the well,
From the creeper-covered trellis comes the squirrel's chattering speech,
And the blue jay screams and flutters where the cheery sat-bhai dwell.
But the rose has lost its fragrance, and the koil's note is strange;
I am sick of endless sunshine, sick of blossom-burdened bough.
Give me back the leafless woodlands where the winds of Springtime range --
Give me back one day in England, for it's Spring in England now!

In Praise of Songs that Die

AFTER HAVING READ A GREAT DEAL OF GOOD CURRENT POETRY IN THE MAGAZINES AND NEWSPAPERS


Ah, they are passing, passing by,
Wonderful songs, but born to die!
Cries from the infinite human seas,
Waves thrice-winged with harmonies.
Here I stand on a pier in the foam
Seeing the songs to the beach go home,
Dying in sand while the tide flows back,
As it flowed of old in its fated track.
Oh, hurrying tide that will not hear
Your own foam children dying near
Is there no refuge-house of song,
No home, no haven where songs belong?