Cassian

 

Temptation

Call yourself alive? Look, I promise you

that for the first time you’ll feel your pores opening

like fish mouths, and you’ll actually be able to hear

your blood surging through all those lanes, and

you’ll feel light gliding across the cornea

like the train of a dress. For the first time

you’ll be aware of gravity

like a thorn in your heel, and your shoulder blades will ache 

for want of wings. Call yourself alive? I promise you

you’ll be deafened by

dust falling on the furniture,

you’ll feel your eyebrows turning to two gashes,

and every memory you have

will begin at Genesis.

 

Call yourself alive? Love Poems Nina Cassian (edited by Andrea Deletant and Brenda Walker) 1988

 

Carol Ann Duffy

The Windows

How do you earn a life going on

Behind yellow windows, writing at night

The Latin names of plants for a garden,

Opening the front door to a wet dog?

Those you love forgive you, clearly,

With steaming casseroles and red wine.

It’s the same film down all the suburban streets,

It’s a Wonderful Life. How do you learn it?

What you hear – the doorbell’s familiar chime.

What you touch – the clean, warm towels.

What you see what you smell what you taste

All tangible to the stranger passing your gate.

There you are again, in a room where those early hyacinths

Surely sweeten the air, and the right words wait

In the dictionaries, on the tip of the tongue you touch

In a kiss, drawing your crimson curtains now

Against dark hours. And again, in a kitchen,

The window ajar, sometimes the sound of your radio

Or the scent of your food, and a cat in your arms, a child in your arms, a lover. Such vivid flowers.

In New Selected Poems by Carol Ann Duffy, Picador 2004

Eavan Boland

The Pomegranate

The only legend I have ever loved is
the story of a daughter lost in hell.
And found and rescued there.
Love and blackmail are the gist of it.
Ceres and Persephone the names.
And the best thing about the legend is
I can enter it anywhere. And have.
As a child in exile in
a city of fogs and strange consonants,
I read it first and at first I was
an exiled child in the crackling dusk of
the underworld, the stars blighted. Later
I walked out in a summer twilight
searching for my daughter at bed-time.
When she came running I was ready
to make any bargain to keep her.
I carried her back past whitebeams
and wasps and honey-scented buddleias.
But I was Ceres then and I knew
winter was in store for every leaf
on every tree on that road.
Was inescapable for each one we passed.
And for me.
It is winter
and the stars are hidden.
I climb the stairs and stand where I can see
my child asleep beside her teen magazines,
her can of Coke, her plate of uncut fruit.
The pomegranate! How did I forget it?
She could have come home and been safe
and ended the story and all
our heart-broken searching but she reached
out a hand and plucked a pomegranate.
She put out her hand and pulled down
the French sound for apple and
the noise of stone and the proof
that even in the place of death,
at the heart of legend, in the midst
of rocks full of unshed tears
ready to be diamonds by the time
the story was told, a child can be
hungry. I could warn her. There is still a chance.
The rain is cold. The road is flint-coloured.
The suburb has cars and cable television.
The veiled stars are above ground.
It is another world. But what else
can a mother give her daughter but such
beautiful rifts in time?
If I defer the grief I will diminish the gift.
The legend will be hers as well as mine.
She will enter it. As I have.
She will wake up. She will hold
the papery flushed skin in her hand.
And to her lips. I will say nothing.

Eavan Boland 

Neruda Ode to My Socks

Mara Mori brought me
a pair of socks
which she knitted herself
with her sheepherder's hands,
two socks as soft as rabbits.
I slipped my feet into them
as if they were two cases
knitted with threads of twilight and goatskin,
Violent socks,
my feet were two fish made of wool,
two long sharks
sea blue, shot through
by one golden thread,
two immense blackbirds,
two cannons,
my feet were honored in this way
by these heavenly socks.
They were so handsome for the first time
my feet seemed to me unacceptable
like two decrepit firemen,
firemen unworthy of that woven fire,
of those glowing socks.

Nevertheless, I resisted the sharp temptation
to save them somewhere as schoolboys
keep fireflies,
as learned men collect
sacred texts,
I resisted the mad impulse to put them
in a golden cage and each day give them
birdseed and pieces of pink melon.
Like explorers in the jungle
who hand over the very rare green deer
to the spit and eat it with remorse,
I stretched out my feet and pulled on
the magnificent socks and then my shoes.

The moral of my ode is this:
beauty is twice beauty
and what is good is doubly good
when it is a matter of two socks
made of wool in winter.

Pablo Neruda

Donne

A Nocturnal Upon St Lucy's Day

'Tis the year's midnight, and it is the day's,

Lucy's, who scarce seven hours herself unmasks;

         The sun is spent, and now his flasks

         Send forth light squibs, no constant rays;

                The world's whole sap is sunk;

The general balm th' hydroptic earth hath drunk,

Whither, as to the bed's feet, life is shrunk,

Dead and interr'd; yet all these seem to laugh,

Compar'd with me, who am their epitaph.

Study me then, you who shall lovers be

At the next world, that is, at the next spring;

         For I am every dead thing,

         In whom Love wrought new alchemy.

                For his art did express

A quintessence even from nothingness,

From dull privations, and lean emptiness;

He ruin'd me, and I am re-begot

Of absence, darkness, death: things which are not.

All others, from all things, draw all that's good,

Life, soul, form, spirit, whence they being have;

         I, by Love's limbec, am the grave

         Of all that's nothing. Oft a flood

                Have we two wept, and so

Drown'd the whole world, us two; oft did we grow

To be two chaoses, when we did show

Care to aught else; and often absences

Withdrew our souls, and made us carcasses.

But I am by her death (which word wrongs her)

Of the first nothing the elixir grown;

         Were I a man, that I were one

         I needs must know; I should prefer,

                If I were any beast,

Some ends, some means; yea plants, yea stones detest,

And love; all, all some properties invest;

If I an ordinary nothing were,

As shadow, a light and body must be here.

But I am none; nor will my sun renew.

You lovers, for whose sake the lesser sun

         At this time to the Goat is run

         To fetch new lust, and give it you,

                Enjoy your summer all;

Since she enjoys her long night's festival,

Let me prepare towards her, and let me call

This hour her vigil, and her eve, since this

Both the year's, and the day's deep midnight is.

What else could I possibly post on this day? A favourite poem by a favourite poet.  And a piece that proved to me that I couldn't write an academic essay about poems or books that I really love.  If it speaks to my heart, I can't put it through the intellectual mincer that grinds and sucks the life out of beautiful writing.  

The photo was taken this evening on a walk through the gardens of Villa Celimontana, not far from where I live in Rome.

Dorothea Grossman

It is not so much that I miss you

as the remembering

which I suppose is a form of missing

except more positive,

like the time of the blackout

when fear was my first response

followed by love of the dark.

Milton

who shall silence all the airs and madrigals, that whisper softness in chambers?

from Areopagitica, 1643

Margaret Atwood

Variations on the Word Love

This is a word we use to plug
holes with. It's the right size for those warm
blanks in speech, for those red heart-
shaped vacancies on the page that look nothing
like real hearts. Add lace
and you can sell
it. We insert it also in the one empty
space on the printed form
that comes with no instructions. There are whole
magazines with not much in them
but the word love, you can
rub it all over your body and you
can cook with it too. How do we know
it isn't what goes on at the cool
debaucheries of slugs under damp
pieces of cardboard? As for the weed-
seedlings nosing their tough snouts up
among the lettuces, they shout it.
Love! Love! sing the soldiers, raising
their glittering knives in salute.

Then there's the two
of us. This word
is far too short for us, it has only
four letters, too sparse
to fill those deep bare
vacuums between the stars
that press on us with their deafness.
It's not love we don't wish
to fall into, but that fear.
this word is not enough but it will
have to do. It's a single
vowel in this metallic
silence, a mouth that says
O again and again in wonder
and pain, a breath, a finger
grip on a cliffside. You can
hold on or let go.

Kathleen Jamie

Moon

Last night, when the moon

slipped into my attic room

as an oblong of light,

I sensed she’d come to commiserate.

It was August. She traveled

with a small valise

of darkness, and the first few stars

returning to the northern sky,

and my room, it seemed,

had missed her. She pretended

an interest in the bookcase

while other objects

stirred, as in a rock pool,

with unexpected life:

strings of beads in their green bowl gleamed,

the paper-crowded desk;

the books, too, appeared inclined

to open and confess.

Being sure the moon

harbored some intention,

I waited; watched for an age

her cool gaze shift

first toward a flower sketch

pinned on the far wall

then glide down to recline

along the pinewood floor,

before I’d had enough. Moon,

I said, We’re both scarred now.

Are they quite beyond you,

the simple words of love? Say them.

You are not my mother;

with my mother, I waited unto death.

Source: Poetry (October 2012)

Louise Labé

Long-felt desires, hopes as long as vain--
sad sighs--slow tears accustomed to run sad
into as many rivers as two eyes could add,
pouring like fountains, endless as the rain--
cruelty beyond humanity, a pain
so hard it makes compassionate stars go mad
with pity: these are the first passions I've had.
Do you think love could root in my soul again?
If it arched the great bow back again at me,
licked me again with fire, and stabbed me deep
with the violent worst, as awful as before,
the wounds that cut me everwhere would keep
me shielded, so there would be no place free
for love. It covers me. It can pierce no more.


published in Euvres de Louize Labe Lionnoize 1555.

Imtiaz Dharker

Women Bathing

All our lives, in every city, 
out of every landscape
the waters of the Alhambra
have been murmuring to us.
From fountains, from watercourses,
from the secret pools in courtyards,
voices calling across centuries.

The other women are bathing
in the moonlight.

‘Come,’ they say, ‘Come out of the day’s heat,
out of shaded rooms, let’s escape and slip away,
let the veils fall, one by one.
Slide into the pools that lie like mirrors of the sky,
and let the moon wash over our bodies.’

Bodies lush, generously-hipped.
Bodies like pomegranates,
bursting with promises.

 from The Terrorist At My Table (Tarset: Bloodaxe, 2006)

Louise Bogan

Leave-Taking

I do not know where either of us can turn

Just at first, waking from the sleep of each other.

I do not know how we can bear

The river struck by the gold plummet of the moon,

Or many trees shaken together in the darkness.

We shall wish not to be alone

And that love were not dispersed and set free—

Though you defeat me,

And I be heavy upon you.

But like earth heaped over the heart

Is love grown perfect.

Like a shell over the beat of life

Is love perfect to the last.

So let it be the same

Whether we turn to the dark or to the kiss of another;

Let us know this for leavetaking,

That I may not be heavy upon you,

That you may blind me no more.

Originally published in Poetry, August 1922.

Tennyson

Tennyson's poetry is not popular nowadays, but I am a bit of a fan of things Victorian - as well as Tennyson, I like William Morris, the Pre-Raphaelites and Julia Margaret Cameron, but Tennyson is almost the archetypal Victorian with his literary career spanning much of the nineteenth century. So far, so bourgeois! 

Published in Tennyson's Poems, Chiefly Lyrical in 1830 Mariana is not strictly speaking a Victorian poem. For context, in 1830 Coleridge and Wordsworth were still alive but Keats, Shelley and Byron had all flamed into fame and died during the previous decade. Victoria herself wouldn't come to the throne for another seven years, and the other Behemoths of Victorian literature (Dickens, Thackeray, the Brontes) were in the future.  For me there are echoes of Donne's Nocturnal Upon St Lucy's Day  - another poem full of lost love, cold and darkness.

It is often linked to Millais painting of the same name (painted in 1851), which certainly conveys the ennui of Tennyson's Mariana, but I think the feel of the poem is much more like some of the works by Samuel Palmer, like this one held in Tate Britain, an ink and gouache on card made around the same time. The world is monochromatic, darkening, the mood is solitary and wistful.

Samuel Palmer, Landscape Girl Standing, c1826 

©Tate Photo ©Tate CC-BY-NC-ND 3.0 (Unported)

Mariana in the Moated Grange

With blackest moss the flower-plots

Were thickly crusted, one and all:

The rusted nails fell from the knots

That held the pear to the gable-wall.

The broken sheds look'd sad and strange:

Unlifted was the clinking latch;

Weeded and worn the ancient thatch

Upon the lonely moated grange.

She only said, "My life is dreary,

He cometh not," she said;

She said, "I am aweary, aweary,

I would that I were dead!"

Her tears fell with the dews at even;

Her tears fell ere the dews were dried;

She could not look on the sweet heaven,

Either at morn or eventide.

After the flitting of the bats,

When thickest dark did trance the sky,

She drew her casement-curtain by,

And glanced athwart the glooming flats.

She only said, "The night is dreary,

He cometh not," she said;

She said, "I am aweary, aweary,

I would that I were dead!"

Upon the middle of the night,

Waking she heard the night-fowl crow:

The cock sung out an hour ere light:

From the dark fen the oxen's low

Came to her: without hope of change,

In sleep she seem'd to walk forlorn,

Till cold winds woke the gray-eyed morn

About the lonely moated grange.

She only said, "The day is dreary,

He cometh not," she said;

She said, "I am aweary, aweary,

I would that I were dead!"

About a stone-cast from the wall

A sluice with blacken'd waters slept,

And o'er it many, round and small,

The cluster'd marish-mosses crept.

Hard by a poplar shook alway,

All silver-green with gnarled bark:

For leagues no other tree did mark

The level waste, the rounding gray.

She only said, "My life is dreary,

He cometh not," she said;

She said "I am aweary, aweary

I would that I were dead!"

All day within the dreamy house,

The doors upon their hinges creak'd;

The blue fly sung in the pane; the mouse

Behind the mouldering wainscot shriek'd,

Or from the crevice peer'd about.

Old faces glimmer'd thro' the doors

Old footsteps trod the upper floors,

Old voices called her from without.

She only said, "My life is dreary,

He cometh not," she said;

She said, "I am aweary, aweary,

I would that I were dead!"

The sparrow's chirrup on the roof,

The slow clock ticking, and the sound

Which to the wooing wind aloof

The poplar made, did all confound

Her sense; but most she loathed the hour

When the thick-moted sunbeam lay

Athwart the chambers, and the day

Was sloping toward his western bower.

Then said she, "I am very dreary,

He will not come," she said;

She wept, "I am aweary, aweary,

Oh God, that I were dead!"

Neruda

Sonnet XVII
I don't love you as if you were the salt-rose, topaz
or arrow of carnations that propagate fire:
I love you as certain dark things are loved,
secretly, between the shadow and the soul.

I love you as the plant that doesn't bloom and carries
hidden within itself the light of those flowers,
and thanks to your love, darkly in my body
lives the dense fragrance that rises from the earth.

I love you without knowing how, or when, or from where,
I love you simply, without problems or pride:
I love you in this way because I don't know any other way of loving

but this, in which there is no I or you,
so intimate that your hand upon my chest is my hand,
so intimate that when I fall asleep it is your eyes that close.

Pablo Neruda (translated by Stephen Mitchell)

HD

Eurydice

I

So you have swept me back,

I who could have walked with the live souls

above the earth,

I who could have slept among the live flowers

at last;

so for your arrogance

and your ruthlessness

I am swept back

where dead lichens drip

dead cinders upon moss of ash;

so for your arrogance

I am broken at last,

I who had lived unconscious,

who was almost forgot;

if you had let me wait

I had grown from listlessness

into peace,

if you had let me rest with the dead,

I had forgot you

and the past.

II

Here only flame upon flame

and black among the red sparks,

streaks of black and light

grown colourless;

why did you turn back,

that hell should be reinhabited

of myself thus

swept into nothingness?

why did you glance back?

why did you hesitate for that moment?

why did you bend your face

caught with the flame of the upper earth,

above my face?

what was it that crossed my face

with the light from yours

and your glance?

what was it you saw in my face?

the light of your own face,

the fire of your own presence?

What had my face to offer

but reflex of the earth,

hyacinth colour

caught from the raw fissure in the rock

where the light struck,

and the colour of azure crocuses

and the bright surface of gold crocuses

and of the wind-flower,

swift in its veins as lightning

and as white.

                               III

Saffron from the fringe of the earth,

wild saffron that has bent

over the sharp edge of earth,

all the flowers that cut through the earth,

all, all the flowers are lost;

everything is lost,

everything is crossed with black,

black upon black

and worse than black,

this colourless light.

                               IV

Fringe upon fringe

of blue crocuses,

crocuses, walled against blue of themselves,

blue of that upper earth,

blue of the depth upon depth of flowers,

lost;

flowers,

if I could have taken once my breath of them,

enough of them,

more than earth,

even than of the upper earth,

had passed with me

beneath the earth;

if I could have caught up from the earth,

the whole of the flowers of the earth,

if once I could have breathed into myself

the very golden crocuses

and the red,

and the very golden hearts of the first saffron,

the whole of the golden mass,

the whole of the great fragrance,

I could have dared the loss.

                              V

So for your arrogance

and your ruthlessness

I have lost the earth   

and the flowers of the earth,

and the live souls above the earth,

and you who passed across the light

and reached

ruthless;

you who have your own light,

who are to yourself a presence,

who need no presence;

yet for all your arrogance

and your glance,

I tell you this:

such loss is no loss,

such terror, such coils and strands and pitfalls

of blackness,

such terror

is no loss; 

hell is no worse than your earth

above the earth,

hell is no worse,

no, nor your flowers

nor your veins of light

nor your presence,

a loss;

my hell is no worse than yours

though you pass among the flowers and speak

with the spirits above earth.

                               VI

Against the black

I have more fervour

than you in all the splendour of that place,

against the blackness

and the stark grey

I have more light;

and the flowers,

if I should tell you,

you would turn from your own fit paths

toward hell,

turn again and glance back

and I would sink into a place

even more terrible than this.

                              VII

At least I have the flowers of myself,

and my thoughts, no god

can take that;

I have the fervour of myself for a presence

and my own spirit for light;

and my spirit with its loss

knows this;

though small against the black,

small against the formless rocks,

hell must break before I am lost;

before I am lost,

hell must open like a red rose

for the dead to pass.

Rabindranath Tagore

because today is a special day, and because I love and am loved.

I seem to have loved you in numberless forms, numberless times…
In life after life, in age after age, forever.
My spellbound heart has made and remade the necklace of songs,
That you take as a gift, wear round your neck in your many forms,
In life after life, in age after age, forever.

Whenever I hear old chronicles of love, it's age-old pain,
It's ancient tale of being apart or together.
As I stare on and on into the past, in the end you emerge,
Clad in the light of a pole-star piercing the darkness of time:
You become an image of what is remembered forever.

You and I have floated here on the stream that brings from the fount.
At the heart of time, love of one for another.
We have played along side millions of lovers, shared in the same
Shy sweetness of meeting, the same distressful tears of farewell-
Old love but in shapes that renew and renew forever.

Today it is heaped at your feet, it has found its end in you
The love of all man’s days both past and forever:
Universal joy, universal sorrow, universal life.
The memories of all loves merging with this one love of ours –
And the songs of every poet past and forever.

 Rabindranath Tagore

Blake - A Poison Tree

A Poison Tree 

I was angry with my friend; 

I told my wrath, my wrath did end.

I was angry with my foe: 

I told it not, my wrath did grow. 

And I waterd it in fears,

Night & morning with my tears: 

And I sunned it with smiles,

And with soft deceitful wiles. 

And it grew both day and night. 

Till it bore an apple bright. 

And my foe beheld it shine,

And he knew that it was mine. 

And into my garden stole, 

When the night had veild the pole; 

In the morning glad I see; 

My foe outstretched beneath the tree.
William Blake  

Blake is one of my favourite artists - a mystic, a visionary, precise, a wild thinker, a Kipling's cat. I first came across A Poison Tree when I was at school: at seventeen I enjoyed its rhythms, cleverness and glee. But it spoke to me in a different way decades later when I was living a life riven by jealousy, betrayal, anger and despair. And I felt completely powerless.

I hated the corrosive bite of jealousy, hated the weakness, knew I was in the wrong and resented it. My salvation, always but especially then, was art. The colours of my life then were the bilious green of jealousy, the red of passion and anger, the purple of grief for what I had lost, and the black of despair. I put them all into this textile piece, inspired by Blake and by George Eliot who wrote Anger and jealousy can no more bear to lose sight of their objects than love and One of the tortures of jealousy is that it can never turn its eyes away from the thing that pains it.

'Jealousy' is one a few cathartic pieces I made during that spiky time but it is my favourite. Every step of its creation released a different painful aspect of an impossible situation. And while it didn't, couldn't, change that situation it was my shouting into the tempest, my Medusa moment.

Felicity Griffin Clark 'Jealousy' (120x95cm)