but yet the body is his book

It's my birthday! We went to NASA (Space Center Houston!) because I am 41 and still a space kid at heart. I was thinking about space poems to post (or moon poems, or poems about planets), and that got me to a not-super-surprising metaphysical place and then I thought, "I miss inflicting John Donne on people my birthday." So here is a deeply weird Donne poem that I have not posted before. (I posted "The Sun Rising" in 2008, otherwise you'd obviously be getting that one.) But what is this bonkers poem about, you may ask. The body? Sex? Death? Plato? Soul bonds? Being drift compatible with a possibly dead person while sharing a grave? All of the above, probably. It also has one of my favorite and most quintessentially "this is disgusting, bro, what are you doing" Donne couplets, which is the one about the eye-stalks.

Where, like a pillow on a bed
A pregnant bank swell'd up to rest
The violet's reclining head,
Sat we two, one another's best;
Our hands were firmly cemented
With a fast balm, which thence did spring,
Our eye-beams twisted, and did thread
Our eyes upon one double string;
So to'intergraft our hands, as yet
Was all the means to make us one,
And pictures in our eyes to get
Was all our propagation.
As 'twixt two equal armies, fate
Suspends uncertain victory,
Our souls (which to advance their state
Were gone out) hung 'twixt her and me.
And whilst our souls negotiate there,
We like sepulchral statues lay;
All day, the same our postures were,
And we said nothing, all the day.
If any, so by love refin'd
That he soul's language understood,
And by good love were grown all mind,
Within convenient distance stood,
He (though he knew not which soul spake,
Because both meant, both spake the same)
Might thence a new concoction take
And part far purer than he came.
This ecstasy doth unperplex,
We said, and tell us what we love;
We see by this it was not sex,
We see we saw not what did move;
But as all several souls contain
Mixture of things, they know not what,
Love these mix'd souls doth mix again
And makes both one, each this and that.
A single violet transplant,
The strength, the colour, and the size,
(All which before was poor and scant)
Redoubles still, and multiplies.
When love with one another so
Interinanimates two souls,
That abler soul, which thence doth flow,
Defects of loneliness controls.
We then, who are this new soul, know
Of what we are compos'd and made,
For th' atomies of which we grow
Are souls, whom no change can invade.
But oh alas, so long, so far,
Our bodies why do we forbear?
They are ours, though not we; we are
The intelligences, they the spheres.
We owe them thanks, because they thus
Did us, to us, at first convey,
Yielded their senses' force to us,
Nor are dross to us, but allay.
On man heaven's influence works not so,
But that it first imprints the air;
So soul into the soul may flow,
Though it to body first repair.
As our blood labors to beget
Spirits, as like souls as it can,
Because such fingers need to knit
That subtle knot which makes us man,
So must pure lovers' souls descend
T' affections, and to faculties,
Which sense may reach and apprehend,
Else a great prince in prison lies.
To'our bodies turn we then, that so
Weak men on love reveal'd may look;
Love's mysteries in souls do grow,
But yet the body is his book.
And if some lover, such as we,
Have heard this dialogue of one,
Let him still mark us, he shall see
Small change, when we'are to bodies gone.

—John Donne (1572-1631), "The Ecstasy" (or "The Extasie"), from Songs and Sonnets, originally published in print in 1633, although it certainly circulated in manuscript before then. This is obviously neither a song nor a sonnet.

the improbable lady

I'm slightly more organized this year than I have been for the last few years of National Poetry Month, which means I have some real bangers coming up in the last week of the month. But I'm starting this week here, with Saeed Jones; I saw someone describe this poem as "heartbreakingly lovely," and it really is—I've had it on my list since I first read it at poetryisnotaluxury in 2023.

In this field of thistle, I am the improbable
lady. How I wear the word: sequined weight
snagging my saunter into overgrown grass, blonde
split-end blades. I waltz in an acre of bad wigs.

Sir who is no one, sir who is yet to come, I need you
to undo this zipped back, trace the chiffon
body I've borrowed. See how I switch my hips

for you, dry grass cracking under my pretend
high heels? Call me and I'm at your side,
one wildflower behind my ear. Ask me
and I'll slip out of this softness, the dress

a black cloud at my feet. I could be the boy
wearing nothing, a negligee of gnats.

—Saeed Jones, "Boy in a Stolen Evening Gown," from Prelude to Bruise (Coffee House Press, 2014).

islands and lemons

This is a summer poem, and it's not actually that summery today. But it's also a New York City poem, and a love poem, and I've been wanting to post it while in New York for a while. We'll be down on Bleecker later tonight to see a show at the Lucille Lortel.

Summer for prose and lemons, for nakedness and languor,
for the eternal idleness of the imagined return,
for rare flutes and bare feet, and the August bedroom
of tangled sheets and the Sunday salt, ah violin!

When I press summer dusks together, it is
a month of street accordions and sprinklers
laying the dust, small shadows running from me.

It is music opening and closing, Italia mia, on Bleecker,
ciao, Antonio, and the water-cries of children
tearing the rose-coloured sky in streams of paper;
it is dusk in the nostrils and the smell of water
down littered streets that lead you to no water,
and gathering islands and lemons in the mind.

There is the Hudson, like the sea aflame.
I would undress you in the summer heat,
and laugh and dry your damp flesh if you came.

—Derek Walcott (1930-2017), "Bleecker Street, Summer," from Collected Poems: 1948-1984 (Farrar, Straus and Giroux, 1986).

practice my art

I took a couple of years off from posting John Donne, both because I have already posted many of my top Donne poems and because sometimes you need a break from your favorite poets. In the years since I left grad school in 2016, I've also moved away—in some ways—from my early modernist roots. But I will always love the metaphysical poets for their absolutely bonkers weirdness as much as for the occasionally sublime, so here's a deeply weird poem about oral sex.

Who ever loves, if he do not propose
The right true end of love, he's one that goes
To sea for nothing but to make him sick.
Love is a bear-whelp born: if we o'er lick
Our love, and force it new strange shapes to take,
We err, and of a lump a monster make.
Were not a calf a monster that were grown
Faced like a man, though better than his own?
Perfection is in unity: prefer
One woman first, and then one thing in her.
I, when I value gold, may think upon
The ductileness, the application,
The wholesomeness, the ingenuity,
From rust, from soil, from fire ever free;
But if I love it, 'tis because 'tis made
By our new nature (Use) the soul of trade.
    All these in women we might think upon
(If women had them) and yet love but one.
Can men more injure women than to say
They love them for that, by which they're not they?
Makes virtue woman? Must I cool my blood
Till I both be, and find one, wise and good?
May barren angels love so! But if we
Make love to woman, virtue is not she,
As beauty's not, nor wealth. He that strays thus
From her to hers, is more adulterous,
Then if he took her maid. Search every sphere
And firmament, our Cupid is not there;
He's an infernal god, and under ground
With Pluto dwells, where gold and fire abound;
Men to such gods their sacrificing coals
Did not in altars lay, but pits and holes.
Although we see celestial bodies move
Above the earth, the earth we till and love:
So we her airs contemplate, words and heart
And virtues, but we love the centrique part.
    Nor is the soul more worthy, or more fit,
For love, then this, as infinite as it.
But in attaining this desired place
How much they err, that set out at the face.
The hair a forest is of ambushes,
Of springs, snares, fetters and manacles;
The brow becalms us when 'tis smooth and plain,
And when 'tis wrinkled shipwrecks us again—
Smooth, 'tis a paradise, where we would have
Immortal stay, and wrinkled 'tis our grave.
The nose (like to the first meridian) runs
Not 'twixt an East and West, but 'twixt two suns;
It leaves a cheek, a rosy hemisphere,
On either side, and then directs us where
Upon the islands fortunate we fall,
(Not faint Canaries, but Ambrosial),
Her swelling lips; to which when we are come,
We anchor there, and think ourselves at home,
For they seem all: there Sirens' songs, and there
Wise Delphic Oracles do fill the ear;
There in a creek where chosen pearls do swell,
The remora, her cleaving tongue doth dwell.
These, and the glorious promontory, her chin,
O'erpassed, and the straight Hellespont between
The Sestos and Abydos of her breasts,
(Not of two lovers, but two loves the nests)
Succeeds a boundless sea, but yet thine eye
Some island moles may scattered there descry;
And sailing towards her India, in that way
Shall at her fair Atlantic navel stay;
Though thence the current be thy pilot made,
Yet ere thou be where thou wouldst be embayed
Thou shalt upon another forest set,
Where many shipwreck and no further get.
When thou art there, consider what this chase
Misspent by thy beginning at the face.
    Rather set out below; practice my art,
Some symmetry the foot hath with that part
Which thou dost seek, and is thy map for that,
Lovely enough to stop, but not stay at;
Least subject to disguise and change it is—
Men say the Devil never can change his.
It is the emblem that hath figured
Firmness; 'tis the first part that comes to bed.
Civility we see refined; the kiss
Which at the face began, transplanted is,
Since to the hand, since to the imperial knee,
Now at the papal foot delights to be:
If kings think that the nearer way, and do
Rise from the foot, lovers may do so too;
For as free spheres move faster far than can
Birds, whom the air resists, so may that man
Which goes this empty and ethereal way,
Then if at beauty's elements he stay.
Rich nature hath in women wisely made
Two purses, and their mouths aversely laid:
They then, which to the lower tribute owe
That way which that exchequer looks, must go:
He which doth not, his error is as great
As who by clyster gave the stomach meat.

—John Donne (1572-1631), "Elegy XVIII: Love's Progress," although there is, as is often the case with Donne, some dispute about the title; it could be "An Elegie on Loves Progress" or "Loves Progress" or "On Loves Progress." I made a bunch of choices about the spelling, capitalization, and punctuation that are not really consistent with anything except how I think it should read, so it's a good thing I'm not actually a textual editor. This poem ends with the truly incredible metaphor of a meat enema (that is what clyster means, I am sorry), which sure is a choice.

clear water

In her splendor islanded
This woman burning like a charm of jewels
An army terrifying and asleep
This woman lying within the night
Like clear water lying on closed eyes
In a tree's shadow
A waterfall halted halfway in its flight
A rapid narrow river suddenly frozen
At the foot of a great and seamless rock
At the foot of a mountain
She is lake-water in April as she lies
In her depth binding poplar and eucalyptus
Fishes or stars burning between her thighs
Shadow of birds scarcely hiding her sex
Her breasts two still villages under a peaceful sky
This woman lying here like a white stone
Like water in the moon in a dead crater
Not a sound in the night not moss nor sand
Only the slow budding of my words
At the ear of water at the ear of flesh
Unhurried running
And clear memorial
Here is the moment burning and returned
Drowning itself in itself and never consumed

—Octavio Paz (1914-1998), "In Her Splendor Islanded," translated by Muriel Rukeyser (1913-1980); translation published in Poetry, June 1958.

blessed ground

I don't think there has been enough queer poetry yet this month, but obviously I am going to change that. I first encountered Danez Smith through an entirely different poem—"Tonight, in Oakland," which is wonderful—and then I tracked down some more of their poetry, as one does, and totally fell for this one.

this gin-heavy heaven, blessed ground to think gay & mean we.
bless the fake id & the bouncer who knew
this need to be needed, to belong, to know how
a man taste full on vodka & free of sin. i know not which god to pray to.
i look to christ, i look to every mouth on the dance floor, i order
a whiskey coke, name it the blood of my new savior. he is just.
he begs me to dance, to marvel men with the
                                                                                    dash
of hips i brought, he deems my mouth in some stranger’s mouth necessary.
bless that man’s mouth, the song we sway sloppy to, the beat, the bridge, the length
of his hand on my thigh & back & i know not which country i am of.
i want to live on his tongue, build a home of gospel & gayety
i want to raise a city behind his teeth for all boys of choirs & closets to refuge in.
i want my new god to look at the mecca i built him & call it damn good
or maybe i’m just tipsy & free for the first time, willing to worship anything i can taste.

—Danez Smith, "The 17-Year-Old & the Gay Bar," Poetry magazine, 2017.

a source of water

Yesterday was my last full day of vacation, and it ended up being very busy—very fun, but also busy—and by the end I was so tired that I went straight to bed. We're going out to breakfast in a little bit, and then I head back to the airport. So here is one last love sonnet in Spanish, for the road.

para este amor nunca ha habido sol,
como loca flor, en lo oscuro brota,
es, a la vez, corona de espinas y
guirnalda de primavera en la sien

fuego, herida y amarguísimo fruto,
pero también brisa y manantial,
una mordida al alma: tu aliento,
un tronco en la corriente: tu pecho

hazme caminar sobre el agua turbia,
sé el hacha que rompa este candado,
el rocío que haga llorar los árboles

si mudo quedo al besar tus muslos
es que mi corazón con afán busca
entre tu carne un nuevo amanecer


there has never been sunlight for this love,
like a crazed flower it buds in the dark,
is at once a crown of thorns and
a spring garland around the temples

a fire, a wound, the bitterest of fruit,
but a breeze as well, a source of water,
your breath—a bite to the soul,
your chest—a tree trunk in the current

make me walk on the turbid waters,
be the ax that breaks this lock,
the dew that weeps from trees

if I become mute kissing your thighs,
it’s that my heart eagerly
searches your flesh for a new dawn

—Francisco X. Alarcón (1954-2016), I from "Of Dark Love," from From the Other Side of Night/Del otro lado de la noche, translated by Francisco Aragón, 2002. Not only is this gorgeous, it is also very queer.

carve into me with knives of light

I have been saying for years that one day, someday, I would post Anne Carson's "The Glass Essay," which is a truly exceptional and extraordinary poem. I haven't done so before because it's also a very long poem, but I think today is the day. "The Glass Essay" is a poem about loss and heartbreak and recovery, sex and poetry and family and Emily Brontë, and although it's not quite about grief in the way my April 5th grief poems usually are, I am posting it for both yesterday and today. I think it's long enough, and special enough, to count for two days.

shake the mountains

For Molly, because she is obsessed with the Hush Sound song that is based on this poem. I always end up talking about the song and the poem together -- including today, clearly -- because what I like most about the song is that it's a transformative work. Although I have always been sort of sad that Greta took out the bit about masturbating with dynamite.

the boys i mean are not refined
they go with girls who buck and bite
they do not give a fuck for luck
they hump them thirteen times a night

one hangs a hat upon her tit
one carves a cross on her behind
they do not give a shit for wit
the boys i mean are not refined

they come with girls who bite and buck
who cannot read and cannot write
who laugh like they would fall apart
and masturbate with dynamite

the boys i mean are not refined
they cannot chat of that and this
they do not give a fart for art
they kill like you would take a piss

they speak whatever's on their mind
they do whatever's in their pants
the boys i mean are not refined
they shake the mountains when they dance

—e.e. cummings (1894-1962), 'the boys i mean are not refined'

not the cruelest month

I am late today! Although in my own defense, I was unexpectedly dragged out to see Wicked just as I was sitting down to post something.

voices to voices,lip to lip
i swear(to noone everyone)constitutes
undying;or whatever this and that petal confutes...
to exist being a peculiar form of sleep

what's beyond logic happens beneath will;
nor can these moments be translated:i say
that even after April
by God there is no excuse for May

-bring forth your flowers and machinery:sculpture and prose
flowers guess and miss
machinery is the more accurate, yes
it delivers the goods,Heaven knows

(yet are we mindful,though not as yet awake,
of ourselves which shout and cling,being
for a little while and which easily break
in spite of the best overseeing)

i mean that the blond abscence of any program
except last and always and first to live
makes unimportant what i and you believe;
not for philosophy does this rose give a damn...

bring on your fireworks,which are a mixed
splendor of piston and of pistil;very well
provided an instant may be fixed
so that it will not rub,like any other pastel.

(While you and i have lips and voices which
are for kissing and to sing with
who cares if some oneyed son for a bitch
invents an instrument to measure Spring with?

each dream nascitur,is not made...)
why then to Hell with that:the other;this,
since the thing perhaps is
to eat flower and not to be afraid.

~ e.e. cummings (1894-1962), XXXIII ("voices to voices,lip to lip").

In case you were wondering, I still ship Elphaba/Glinda/Fiyero, I mostly managed not to be critical of the Front of House, and I like this poem even without The Wasteland.

now with less infanticide

For Zoe.

A thousand martyrs I have made,
All sacrificed to my desire,
A thousand beauties have betray'd
That languish in resistless fire:
The untamed heart to hand I brought,
And fix'd the wild and wand'ring thought.

I never vow'd nor sigh'd in vain,
But both, tho' false, were well received;
The fair are pleased to give us pain,
And what they wish is soon believed:
And tho' I talk'd of wounds and smart,
Love's pleasures only touch'd my heart.

Alone the glory and the spoil
I always laughing bore away;
The triumphs without pain or toil,
Without the hell the heaven of joy;
And while I thus at random rove
Despise the fools that whine for love.

~Aphra Behn (1640-1689), The Libertine.

I really love Aphra Behn, you guys. She is wicked.

saucy pedantic wretch

I. John Donne, "The Sun Rising," Poems, 1633.

Busy old fool, unruly sun,
Why dost thou thus,
Through windows, and through curtains call on us?
Must to thy motions lovers' seasons run?
Saucy pedantic wretch, go chide
Late school boys and sour prentices,
Go tell court huntsmen that the king will ride,
Call country ants to harvest offices,
Love, all alike, no season knows nor clime,
Nor hours, days, months, which are the rags of time.

Thy beams, so reverend and strong
Why shouldst thou think?
I could eclipse and cloud them with a wink,
But that I would not lose her sight so long;
If her eyes have not blinded thine,
Look, and tomorrow late, tell me,
Whether both th' Indias of spice and mine
Be where thou leftst them, or lie here with me.
Ask for those kings whom thou saw'st yesterday,
And thou shalt hear, All here in one bed lay.

She's all states, and all princes, I,
Nothing else is.
Princes do but play us; compared to this,
All honor's mimic, all wealth alchemy.
Thou, sun, art half as happy as we,
In that the world's contracted thus.
Thine age asks ease, and since thy duties be
To warm the world, that's done in warming us.
Shine here to us, and thou art everywhere;
This bed thy center is, these walls, thy sphere.

II. Sir Philip Sidney, Sonnet I, Astrophel and Stella, 1591.

Loving in truth, and fain in verse my love to show,
That she, dear she, might take some pleasure of my pain,--
Pleasure might cause her read, reading might make her know,
Knowledge might pity win, and pity grace obtain,--
I sought fit words to paint the blackest face of woe;
Studying inventions fine her wits to entertain,
Oft turning others' leaves, to see if thence would flow
Some fresh and fruitful showers upon my sunburn'd brain.
But words came halting forth, wanting invention's stay;
Invention, Nature's child, fled step-dame Study's blows;
And others' feet still seem'd but strangers in my way.
Thus great with child to speak and helpless in my throes,
Biting my truant pen, beating myself for spite,
"Fool," said my Muse to me, "look in thy heart, and write."

III. Christopher Marlowe, "The Passionate Shepherd To His Love," 1599.

Come live with me and be my love,
And we will all the pleasures prove,
That valleys, groves, hills, and fields,
Woods, or steepy mountain yields.

And we will sit upon the rocks,
Seeing the shepherds feed their flocks,
By shallow rivers, to whose falls
Melodious birds sing madrigals.

And I will make thee beds of roses,
And a thousand fragrant posies,
A cap of flowers and a kirtle
Embroider'd all with leaves of myrtle:

A gown made of the finest wool,
Which from our pretty lambs we pull;
Fair lined slippers for the cold,
With buckles of the purest gold:

A belt of straw and ivy buds,
With coral clasps and amber studs;
And if these pleasures may thee move,
Come live with me and be my love.

The shepherd swains shall dance and sing
For thy delight each May morning;
If these delights thy mind may move,
Then live with me and be my love.

IV. Robert Herrick, "Upon The Nipples Of Julia's Breast," Hesperides, 1648

Have ye beheld (with much delight)
A red rose peeping through a white?
Or else a cherry, double grac'd,
Within a lily centre plac'd?
Or ever mark'd the pretty beam
A strawberry shows half-drown'd in cream?
Or seen rich rubies blushing through
A pure smooth pearl and orient too?
So like to this, nay all the rest,
Is each neat niplet of her breast.

V. Andrew Marvell, "To His Coy Mistress," 1651-2, published 1681. I posted this one last year, and I quote it all the time, but it's one of my very favorite poems, and it fit the theme.

Had we but world enough, and time,
This coyness, Lady, were no crime
We would sit down and think which way
To walk and pass our long love's day.
Thou by the Indian Ganges' side
Shouldst rubies find: I by the tide
Of Humber would complain. I would
Love you ten years before the Flood,
And you should, if you please, refuse
Till the conversion of the Jews.
My vegetable love should grow
Vaster than empires, and more slow;
An hundred years should go to praise
Thine eyes and on thy forehead gaze;
Two hundred to adore each breast,
But thirty thousand to the rest;
An age at least to every part,
And the last age should show your heart.
For, Lady, you deserve this state,
Nor would I love at lower rate.

But at my back I always hear
Time's wingèd chariot hurrying near;
And yonder all before us lie
Deserts of vast eternity.
Thy beauty shall no more be found,
Nor, in thy marble vault, shall sound
My echoing song: then worms shall try
That long preserved virginity,
And your quaint honour turn to dust,
And into ashes all my lust:
The grave's a fine and private place,
But none, I think, do there embrace.

Now therefore, while the youthful hue
Sits on thy skin like morning dew,
And while thy willing soul transpires
At every pore with instant fires,
Now let us sport us while we may,
And now, like amorous birds of prey,
Rather at once our time devour
Than languish in his slow-chapt power.
Let us roll all our strength and all
Our sweetness up into one ball,
And tear our pleasures with rough strife
Thorough the iron gates of life:
Thus, though we cannot make our sun
Stand still, yet we will make him run.

The Early Moderns were sexy bastards. QED.

learn from one bird how to sing

While we were on the subject of gay sex -- although actually, this journal is always on the subject of gay sex, so while we were on the subject of poetry about gay sex -- I was going to post some Frank O'Hara. Only then I got distracted by e.e. cummings. Like you do.

you shall above all things be glad and young
For if you're young, whatever life you wear

it will become you; and if you are glad
whatever's living will yourself become.
Girlboys may nothing more than boygirls need:
i can entirely her only love

whose any mystery makes every man's
flesh put space on; and his mind take off time

that you should ever think, may god forbid
and (in his mercy) your true lover spare:
for that way knowledge lies, the foetal grave
called progress, and negation's dead undoom.

I'd rather learn from one bird how to sing
than teach ten thousand stars how not to dance

~e.e. cummings, "you shall above all things be glad and young"

and I can kiss ennui goodbye

Gillian loaned me Marilyn Hacker's Love, Death, and the Changing of the Seasons, so I could use it for National Poetry Month. Also because who doesn't love a 212-page sonnet cycle about a teacher-student lesbian love affair?

After the supper dishes, let us start
where we left off, my knees between your knees,
half in the window seat. O let me, please,
hands in your hair, drink in your mouth. Sweetheart,
your body is a text I need the art
to be constructed by. I halfway kneel
to your lap, propped by your thighs, and feel
burning my hand, your privacy, your part
armor underwear. This time I'll loose
each button from its hole; I'll find the hook,
release promised abundance to this want,
while your hands, please, here and here, exigent
and certain, open this; it is, this book,
made for your hands to read, your mouth to use.

~Marilyn Hacker, "Future Conditional," from Love, Death, and the Changing of the Seasons, 1986

I'm also rather fond of this one:

Note to Elaine the speech pathologist:
grief tumbles into lust, a crush can cruise
across some conversations, to, good news,
a choice, and ladies who have gone unkissed
beyond a certain age can get a chance
to demonstrate they've not forgotten how
to do it. I am fully forty-two
--there was no disco when I learned to dance--
but there's some girl left in this old life yet.
I think you've noticed that I'm getting some
brand-old ideas (fifty-seven poems
in seven weeks, Elaine!) and I can kiss
ennui goodbye. Just for the record, this
girl got as much girl as she hoped to get.

~Marilyn Hacker, from Love, Death, and the Changing of the Seasons, 1986

Also worth noting in this book is the couplet: "Achilles hung out in his tent and pouted/until they made the Iliad about it," which, in my opinion, never, ever gets old. I actually really love the whole book. And I think sonnet cycles are one of my very favorite means of storytelling.

and yet god has not said a word

The rain set early in to-night,
The sullen wind was soon awake,
It tore the elm-tops down for spite,
And did its worst to vex the lake:
I listen'd with heart fit to break.
When glided in Porphyria; straight
She shut the cold out and the storm,
And kneel'd and made the cheerless grate
Blaze up, and all the cottage warm;
Which done, she rose, and from her form
Withdrew the dripping cloak and shawl,
And laid her soil'd gloves by, untied
Her hat and let the damp hair fall,
And, last, she sat down by my side
And call'd me. When no voice replied,
She put my arm about her waist,
And made her smooth white shoulder bare,
And all her yellow hair displaced,
And, stooping, made my cheek lie there,
And spread, o'er all, her yellow hair,
Murmuring how she loved me—she
Too weak, for all her heart's endeavour,
To set its struggling passion free
From pride, and vainer ties dissever,
And give herself to me for ever.
But passion sometimes would prevail,
Nor could to-night's gay feast restrain
A sudden thought of one so pale
For love of her, and all in vain:
So, she was come through wind and rain.
Be sure I look'd up at her eyes
Happy and proud; at last I knew
Porphyria worshipp'd me; surprise
Made my heart swell, and still it grew
While I debated what to do.
That moment she was mine, mine, fair,
Perfectly pure and good: I found
A thing to do, and all her hair
In one long yellow string I wound
Three times her little throat around,
And strangled her. No pain felt she;
I am quite sure she felt no pain.
As a shut bud that holds a bee,
I warily oped her lids: again
Laugh'd the blue eyes without a stain.
And I untighten'd next the tress
About her neck; her cheek once more
Blush'd bright beneath my burning kiss:
I propp'd her head up as before,
Only, this time my shoulder bore
Her head, which droops upon it still:
The smiling rosy little head,
So glad it has its utmost will,
That all it scorn'd at once is fled,
And I, its love, am gain'd instead!
Porphyria's love: she guess'd not how
Her darling one wish would be heard.
And thus we sit together now,
And all night long we have not stirr'd,
And yet God has not said a word!

~Robert Browning, Porphyria's Lover, 1836

I was going to post this without any explanation, but Sarah tells me that would be a poor choice. I love this poem, and wrote my one and only, much beloved Alias story with it in mind. It's creepy, and fantastic, and very, very Browning. Although when I think about Browning I mostly think about Elizabeth Barrett Browning and how difficult it would be to elope with dogs.

odi et amo

In honor of the chapter on The Maid's Tragedy that I am currently writing, here is a small handful of Catullus. Mostly sublime Catullus, really, because despite The Maid's Tragedy, I'm not in the right mood for the mean (or the mean-and-sexy) stuff. I'm also too exhausted to look up the Latin, or make up my mind about much of anything. And...back to the writing, now.

Poem 11 (because everyone should have a chance to rewrite Sappho)

Catullus' comrades, wherever he goes,
whether he reaches the Indians' realm,
where the far-resounding eastern wave
pummels the shore,
visits Hyrcani, effeminate Arabs,
Sacae, or Parthians laden with arrows,
or the fields where the floods of the sevenfold Nile
deposit their colors,
or walks across the lofty Alps,
seeing the achievements of Caesar the Great,
the Gallic Rhine, the choppy main,
the faraway Britons,
ready for any adventure, whatever
the will of heaven's inhabitants brings,
say a few words to my girl, a few
unfriendly words.
Let her live and rejoice with her band of adulterers,
embracing three hundred at once, though truly
loving none, and never fail
to rupture their groins,
but not rely on my love as before.
It died by the guilt of that girl, as a flower
falls at the edge of a meadow when touched
by a passing plow.

Poem 48 (because I am writing about boy love)

If somebody gave me permission, Juventius,
to cover with kisses your honeyed eyes,
I'd kiss three hundred thousand times
and never approach the point of satiety,
not if the yield of our osculation
were thicker than billowing waves of grain.

Poem 85

I hate and I love. You ask me why? Who knows?
But I feel it occur and I am tortured.

~Catullus, translations by David Mulroy

like gold to airy thinness beat

It's my birthday today! And, in honor of my birthday, I thought I would post my favorite poem.

I don't generally like to pick favorites, because there are just too many things - particularly literary things - that I love. But every once in awhile there's something that just resonates with me in a unique, different, surprising, exceptional way, and that makes it my favorite.

As virtuous men pass mildly away,
And whisper to their souls, to go,
Whilst some of their sad friends do say,
"The breath goes now," and some say, "No:"

So let us melt, and make no noise,
No tear-floods, nor sigh-tempests move;
'Twere profanation of our joys
To tell the laity our love.

Moving of th' earth brings harms and fears;
Men reckon what it did, and meant;
But trepidation of the spheres,
Though greater far, is innocent.

Dull sublunary lovers' love
(Whose soul is sense) cannot admit
Absence, because it doth remove
Those things which elemented it.

But we by a love so much refin'd,
That ourselves know not what it is,
Inter-assured of the mind,
Care less, eyes, lips, and hands to miss.

Our two souls therefore, which are one,
Though I must go, endure not yet
A breach, but an expansion,
Like gold to airy thinness beat.

If they be two, they are two so
As stiff twin compasses are two;
Thy soul, the fix'd foot, makes no show
To move, but doth, if the' other do.

And though it in the centre sit,
Yet when the other far doth roam,
It leans, and hearkens after it,
And grows erect, as that comes home.

Such wilt thou be to me, who must
Like th' other foot, obliquely run;
Thy firmness makes my circle just,
And makes me end, where I begun.

~John Donne, A Valediction: Forbidding Mourning, first published 1633

So far, I am having a really excellent birthday.

adjectival poets

It seems that April is also Love Your Body Month - or so, at least, a number of glossy posters in the Smith Campus Center tell me. I am of the opinion that every month should be Love Your Body Month (and National Poetry Month, for that matter), but perhaps if we all love our bodies for the entire month of April, something about that will stick around for the rest of the year. I very nearly posted another e.e. cummings poem - "I like my body when it is with your body" - but I was feeling too Byronic.

She walks in beauty, like the night
Of cloudless climes and starry skies;
And all that's best of dark and bright
Meet in her aspect and her eyes:
Thus mellow'd to that tender light
Which heaven to gaudy day denies.

One shade the more, one ray the less,
Had half impair'd the nameless grace
Which waves in every raven tress,
Or softly lightens o'er her face;
Where thought serenely sweet express
How pure, how dear their dwelling place.

And on that cheek, and o'er that brow,
So soft, so calm, yet eloquent,
The smiles that win, the tints that glow,
But tell of days in goodness spent,
A mind at peace with all below,
A heart whose love is innocent!

~George Gordon, Lord Byron, She walks in beauty, 1814

I'm not sure that She walks in beauty really sends the right sort of Love Your Body message, but it's still a nice way to read the poem. I'm also very fond of it, in an "Oh that wacky Byron" sort of way. And I would like to point out that, feeling Byronic as I was, I still managed not to post Darkness. I was tempted, but I couldn't quite deal with the end of the world today. (Also, how cool is it that Byron is an adjective? Seriously.)