time

The sunlight on the garden
Hardens and grows cold,
We cannot cage the minute
Within its nets of gold;
When all is told
We cannot beg for pardon.

Our freedom as free lances
Advances towards its end;
The earth compels, upon it
Sonnets and birds descend;
And soon, my friend,
We shall have no time for dances.

The sky was good for flying
Defying the church bells
And every evil iron
Siren and what it tells:
The earth compels,
We are dying, Egypt, dying

The ivy o'er the mouldering wall
Spreads like a tree, the growth of years:
The wild wind through the doorless hall
A melancholy music rears,
A solitary voice, that sighs
O'er man's forgotten pageantries.
Above the central gate, the clock,
Through clustering ivy dimly seen,
Seems, like the ghost of Time, to mock
The wrecks of power that once has been.
The hands are rusted on its face;
Even where they ceased, in years gone by,
To keep the flying moments pace;
Fixing, in Fancy's thoughtful eye,

A sonnet is a moment's monument, --
Memorial from the Soul's eternity
To one dead deathless hour. Look that it be,
Whether for lustral rite or dire portent,
Of its own arduous fulness reverent:
Carve it in ivory or in ebony,
As Day or Night may rule; and let Time see
Its flowering crest impearled and orient.

A Sonnet is a coin: its face reveals
The soul, -- its converse, to what Power 'tis due: --
Whether for tribute to the august appeals
Of Life, or dower in Love's high retinue,

Other loves may sink and settle, other loves may loose and slack,
But I wander like a minstrel with a harp upon my back,
Though the harp be on my bosom, though I finger and I fret,
Still, my hope is all before me; for I cannot play it yet.

In your strings is hid a music that no hand hath e'er let fall,
In your soul is sealed a pleasure that you have not known at all;
Pleasure subtle as your spirit, strange and slender as your frame,
Fiercer than the pain that folds you, softer than your sorrow's name.

No matter why, nor whence, nor when she came,
There was her place. No matter what men said,
No matter what she was; living or dead,
Faithful or not, he loved her all the same.
The story was as old as human shame,
But ever since that lonely night she fled,
With books to blind him, he had only read
The story of the ashes and the flame.

There she was always coming pretty soon
To fool him back, with penitent scared eyes
That had in them the laughter of the moon
For baffled lovers, and to make him think --

I take you looking at the statue
the smile is yours and the stone is you
the stone is simple and the smile is playful
the smile is stolen and the stone is fallen
I ask you to stand and smile like that until
thinking you stone, time has forgotten you.
They say but really I forget

however picturesque
however figurative
whether so often and so quizzical
whoever it was crying in another voice ...
Let us sit like tailors. At least 1 am sure of this:
man or woman or beast I recall no face.

Horace: Epode 14

"Mollis inertia cur tantam diffuderit imis"


Maecenas, you fret me, you worry me
Demanding I turn out a rhyme;
Insisting on reasons, you hurry me;
You want my Iambics on time.
You say my ambition's diminishing;
You ask why my poem's not done.
The god it is keeps me from finishing
The stuff I've begun.

Be not so persistent, so clamorous.
Anacreon burned with a flame
Candescently, crescently amorous.
You rascal, you're doing the same!

Sure of the spring that warms them into birth,
The golden seeds thou trustest to the earth;
And dost thou doubt the eternal spring sublime,
For deeds--the seeds which wisdom sows in time.

There in the fringe of trees between
the upper field and the edge of the one
below it that runs above the valley
one time I heard in the early
days of summer the clear ringing
six notes that I knew were the opening
of the Fingal's Cave Overture
I heard them again and again that year
and the next summer and the year
afterward those six descending
notes the same for all the changing
in my own life since the last time
I had heard them fall past me from
the bright air in the morning of a bird

Rose, you majesty-once, to the ancients, you were
just a calyx with the simplest of rims.
But for us, you are the full, the numberless flower,
the inexhaustible countenance.

In your wealth you seem to be wearing gown upon gown
upon a body of nothing but light;
yet each seperate petal is at the same time the negation
of all clothing and the refusal of it.

Your fragrance has been calling its sweetest names
in our direction, for hundreds of years;
suddenly it hangs in the air like fame.