Love has gone a-rocketing.
That is not the worst;
I could do without the thing,
And not be the first.
Joy has gone the way it came.
That is nothing new;
I could get along the same, --
Many people do.
Dig for me the narrow bed,
Now I am bereft.
All my pretty hates are dead,
And what have I left?
WHEN thou must home to shades of underground,
And there arrived, a new admired guest,
The beauteous spirits do engirt thee round,
White Iope, blithe Helen, and the rest,
To hear the stories of thy finish'd love
From that smooth tongue whose music hell can move;
Then wilt thou speak of banqueting delights,
Of masques and revels which sweet youth did make,
Of tourneys and great challenges of knights,
And all these triumphs for thy beauty's sake:
When thou hast told these honours done to thee,
I love all things that pass: their briefness is
Music that fades on transient silences.
Winds, birds, and glittering leaves that flare and fall—
They fling delight across the world; they call
To rhythmic-flashing limbs that rove and race...
A moment in the dawn for Youth’s lit face;
A moment’s passion, closing on the cry—
‘O Beauty, born of lovely things that die!’
I care not that one listen if he lives
For aught but life's romance, nor puts above
All life's necessities the need to love,
Nor counts his greatest wealth what Beauty gives.
But sometime on an afternoon in spring,
When dandelions dot the fields with gold,
And under rustling shade a few weeks old
'Tis sweet to stroll and hear the bluebirds sing,
Do you, blond head, whom beauty and the power
Of being young and winsome have prepared
For life's last privilege that really pays,
Make the companion of an idle hour
We said farewell, my youth and I,
When all fair dreams were gone or going,
And Love’s red lips were cold and dry.
When white blooms fell from tree-tops high—
Our Austral winter’s way of snowing—
We said farewell, my youth and I.
We did not sigh—what use to sigh
When Death passed as a mower mowing,
And Love’s red lips were cold and dry?
But hearing Life’s stream thunder by,
That sang of old through flowers flowing,
We said farewell, my youth and I.
Katie could put her feet behind her head
Or do a grand plié, position two,
Her suppleness magnificent in bed.
I strained my lower back, and Katie bled,
Only a little, doing what we could do
When Katie tucked her feet behind her head.
Her torso was a C-cup'd figurehead,
Wearing below its navel a tattoo
That writhed in suppleness upon the bed.
As love led on to love, love's goddess said,
"No lovers ever fucked as fucked these two!
Katie could put her feet behind her head!"
Verse-making was least of my virtues: I viewed with despair
Wealth that never yet was but might be--all that verse-making were
If the life would but lengthen to wish, let the mind be laid bare.
So I said, "To do little is bad, to do nothing is worse"--
And made verse.
Love-making,--how simple a matter! No depths to explore,
No heights in a life to ascend! No disheartening Before,
No affrighting Hereafter,--love now will be love ever more.
So I felt "To keep silence were folly:"--all language above,
Pierre Bonnard would enter
the museum with a tube of paint
in his pocket and a sable brush.
Then violating the sanctity
of one of his own frames
he'd add a stroke of vermilion
to the skin of a flower.
Just so I stopped you
at the door this morning
and licking my index finger, removed
an invisible crumb
from your vermilion mouth. As if
at the ritual moment of departure
I had to show you still belonged to me.
As if revision were
the purest form of love.
Down the long hall she glistens like a star,
The foam-born mother of Love, transfixed to stone,
Yet none the less immortal, breathing on.
Time's brutal hand hath maimed but could not mar.
When first the enthralled enchantress from afar
Dazzled mine eyes, I saw not her alone,
Serenely poised on her world-worshipped throne,
As when she guided once her dove-drawn car,--
But at her feet a pale, death-stricken Jew,
Her life adorer, sobbed farewell to love.
Here Heine wept! Here still he weeps anew,
Sarcophagi, urns, were all covered with lifelike scenes,
fauns dancing with girls from a Bacchanalian choir,
paired-off, goat-footed creatures puffing their cheeks,
forcing ear-splitting notes from the blaring horns.
Cymbals and drumbeats, the marble is seen and is heard.
How delightful the fruit in the beaks of fluttering birds!
No startling noise can scare them, or scare away love,
Amor, whose torch waves more gladly in this happy throng.
So fullness overcomes death, and the ashes within
