I knew three sisters,--all were sweet;
Wishful to wed was I,
And wondered which would mostly meet
The matrimonial tie.
I asked the first what fate would she
Wish joy of life to bring to her.
She answered: 'I would like to be
A concert singer.'
II
I asked the second, for my mind
Was set on nuptial noosing,
Unto what lot was she inclined
If she could have the choosing?
Said she: 'For woman I can see
No fortune finer,
Than to go in for Art and be

How do you enter that Manila
frame of mind, that woven
mat of noodle house restaurants,

that dawn of tapis tasting women,
that hankering of hourly hauntings?
Drive along Roxas Boulevard

when the moon has just clocked
out of third shift and the sea horses
are returning to their feeding stables.

Walk the afternoon trees of Taft Avenue
and talk to the mechanics of Sunday
medicine. Ask them for recipes

to cure fire-retardant love. Bask
in the baying of mahogany dogs on Mabini
street and pass through the red

Out on the high "bird islands," Ciboux and Hertford,
the razorbill auks and the silly-looking puffins all stand
with their backs to the mainland
in solemn, uneven lines along the cliff's brown grass-frayed edge,
while the few sheep pastured there go "Baaa, baaa."
(Sometimes, frightened by aeroplanes, they stampede
and fall over into the sea or onto the rocks.)
The silken water is weaving and weaving,
disappearing under the mist equally in all directions,
lifted and penetrated now and then
by one shag's dripping serpent-neck,

And then went down to the ship,
Set keel to breakers, forth on the godly sea, and
We set up mast and sail on that swart ship,
Bore sheep aboard her, and our bodies also
Heavy with weeping, and winds from sternward
Bore us onward with bellying canvas,
Crice's this craft, the trim-coifed goddess.
Then sat we amidships, wind jamming the tiller,
Thus with stretched sail, we went over sea till day's end.
Sun to his slumber, shadows o'er all the ocean,
Came we then to the bounds of deepest water,
To the Kimmerian lands, and peopled cities

And then went down to the ship,
Set keel to breakers, forth on the godly sea, and
We set up mast and sail on that swart ship,
Bore sheep aboard her, and our bodies also
Heavy with weeping, and winds from sternward
Bore us onward with bellying canvas,
Crice's this craft, the trim-coifed goddess.
Then sat we amidships, wind jamming the tiller,
Thus with stretched sail, we went over sea till day's end.
Sun to his slumber, shadows o'er all the ocean,
Came we then to the bounds of deepest water,
To the Kimmerian lands, and peopled cities

Just as the name of the Virgin is beautiful to the virtuous,
so against evil doers it is mighty and fearful.
Concerning this, a miracle happened in the land of Catalonia to a minstrel who sang well, with grace and ease, earning a good living, he came to lodge in the house of a greedy knight
Just as the name of the Virgin is beautiful to the virtuous,
…
who gave him all that he needed that night. However, that base and avaricious knight began to covet so greatly the donkey and clothes belonging to that minstrel that he ordered one of his men, evil and cruel,

In most self-portraits it is the face that dominates:
Cezanne is a pair of eyes swimming in brushstrokes,
Van Gogh stares out of a halo of swirling darkness,
Rembrant looks relieved as if he were taking a breather
from painting The Blinding of Sampson.

But in this one Goya stands well back from the mirror
and is seen posed in the clutter of his studio
addressing a canvas tilted back on a tall easel.

He appears to be smiling out at us as if he knew
we would be amused by the extraordinary hat on his head

The doors are shut, the windows fast;
Outside the gust is driving past,
Outside the shivering ivy clings,
While on the hob the kettle sings.
Margery, Margery, make the tea,
Singeth the kettle merrily.

The streams are hushed up where they flowed,
The ponds are frozen along the road,
The cattle are housed in shed and byre,
While singeth the kettle on the fire.
Margery, Margery, make the tea,
Singeth the kettle merrily.

The fisherman on the bay in his boat
Shivers and buttons up his coat;
The traveler stops at the tavern door,

What can I tell you that you don't know
that will make you tremble again?

Forsythia
by the roadside, by
wet rocks, on the embankments
underplanted with hyacinth --

For ten years I was happy.
You were there; in a sence,
you were always with me, the house, the garden
constrantly lit,
not with lights as we have in the sky
but with those emblems of light
which are more powerful, being
implicitly some earthly
thing transformed --

And all of it vanished,
reabsorbed into impassive process. Then

This piece, as many more of Ossian's compositions, is addressed to one of the first Christian missionaries. The story of the poem is handed down by tradition thus:- In the country of the Britons, between the walls, two chiefs lived in the days of Fingal, Dunthalmo, Lord of Teutha, supposed to be the Tweed; and Rathmor, who dwelt at Clutha, well known to be the river Clyde. Rathmor was not more renowned for his generosity and hospitality, than Dunthalmo was infamous for his cruelty and ambition.