if and and but

Yesterday was Shakespeare's (alleged) birthday, so here (a day late, because yesterday was a little bit of a doozy) is a Shakespeare poem! It is also a poem about horses, since I haven't posted one of those yet this year, and is obviously a sonnet.

He was a man knew horses, so we moved
As wills were one, and all was won at will,
In hand with such sleight handling as improved
Those parks and parcels where we're racing still,

Pounding like pairs of hooves or pairs of hearts
Through woodland scenes and lush, dramatic spaces,
With all our parts in play to play all parts
In pace with pace to put us through his paces.

Ages have passed. All channels channel what
Imagined these green plots and gave them names
Down to the smallest role, if and and but,
What flies the time (the globe gone up in flames),

What thunders back to ring the ringing course
And runs like the streaking will, like Shakespeare's horse.

—Joseph Harrison, "Shakespeare's Horse," from Shakespeare's Horse (Waywiser Press, 2015) but in this case actually from Poem-A-Day on April 10, 2014, where I believe it was originally published.

imp my wing

Every time I post a George Herbert poem on or around Easter I think to myself, "but what if I posted 'Easter Wings' instead?!" The problem with "Easter Wings" is that it's a pattern poem, so the way it's displayed on the page is essential, and that is very annoying to code here in a way that reads effectively. Conveniently, however, the Wikipedia entry about the poem has some images of both manuscript and early print editions, and the text of the poem can be read at Poetry Foundation. So for Easter, go read "Easter Wings," if you care to, and feel some type of way!

And here's a bonus poem, because I was reading through The Temple (it's devotional poetry season) and I really love this one. I missed a day earlier in the month, so I think we can double up on Herbert—it has been a few years.

Who sayes that fictions onely and false hair
Become a verse? Is there in truth no beautie?
Is all good structure in a winding stair?
May no lines passe, except they do their dutie
            Not to a true, but painted chair?

Is it no verse, except enchanted groves
And sudden arbours shadow course-spunne lines?
Must purling streams refresh a lovers loves?
Must all be vail'd, while he that reades, divines,
            Catching the sense at two removes?

Shepherds are honest people; let them sing:
Riddle who list, for me, and pull for Prime:
I envie no mans nightingale or spring;
Nor let them punish me with losse of ryme,
            Who plainly say, My God, My King.

—George Herbert (1593-1633), "Jordan (I)" from The Temple, 1633. I took it from the Helen Wilcox edition of The English Poems of George Herbert (Cambridge University Press, 2007). This isn't exactly a sonnet (it's fifteen lines), but it follows a lot of sonnet rules, including the turn after line ten. And it's very much in conversation with Sidney and Donne, especially. I love how cranky Herbert is about other poetry, like, "COME ON, GUYS, I CAN WRITE TOTALLY STRAIGHTFORWARD LOVE POETRY ABOUT GOD, OKAY?" (Spoilers: he cannot, he's still a metaphysical poet.)

define life

Every single one of Terrance Hayes' American Sonnets for My Past and Future Assassin is absolutely fucking stellar. I posted one last year, and I'm posting another one this year, but I really recommend the whole book. I like posting sonnets with other sonnets because I love looking at all the things the form can do. Sonnets are magic!! Hayes' sonnet (which I'm posting for today) also directly references the Rilke sonnet I'm posting as a make-up poem for April 16. And if you've been around here at basically any point in the past 18 (?!?!) years of poetry posts, you know I love poetry in conversation with other poetry.

Rilke ends his sonnet "Archaic Torso of Apollo" saying
"You must change your life." James Wright ends "Lying
In a Hammock at William Duffy's Farm in Pine Island,
Minnesota" saying "I have wasted my life." Ruth Stone ends
"A Moment" saying "You do not want to repeat my life."
A minute seed with a giant soul kicking inside it at the end
And beginning of life. After the opening scene where
A car bomb destroys the black detective's family, there are
Several scenes of our hero at the edge of life. A shootout
In an African American Folk Museum, a shootout
In the middle of an interstate rest stop parking lot,
A barn shootout endangering the farm life. I live a life
That burns a hole through life, that leaves a scar for life,
That makes me weep for another life. Define life.

—Terrance Hayes, "American Sonnet for My Past and Future Assassin" ["Rilke ends his sonnet"] from American Sonnets for My Past and Future Assassin (Penguin, 2018).

*

We cannot know his legendary head
with eyes like ripening fruit. And yet his torso
is still suffused with brilliance from inside,
like a lamp, in which his gaze, now turned to low,

gleams in all its power. Otherwise
the curved breast could not dazzle you so, nor could
a smile run through the placid hips and thighs
to that dark center where procreation flared.

Otherwise this stone would seem defaced
beneath the translucent cascade of the shoulders
and would not glisten like a wild beast's fur:

would not, from all the borders of itself,
burst like a star: for here there is no place
that does not see you. You must change your life.

—Rainer Maria Rilke (1875-1926), "Archaic Torso of Apollo," in this case from Ahead of All Parting: Selected Poetry and Prose of Rainer Maria Rilke, translated by Stephen Mitchell and published by Modern Library (1995).

all the golden nights

This one's for all the shows we've seen (one more on Tuesday, or maybe two if we win a lottery for a Wednesday matinee), and especially for Audra McDonald in Gypsy today. And thanks to my wife for the poem suggestion. ♥

This is the quiet hour; the theaters
Have gathered in their crowds, and steadily
The million lights blaze on for few to see,
Robbing the sky of stars that should be hers.
A woman waits with bag and shabby furs,
A somber man drifts by, and only we
Pass up the street unwearied, warm and free,
For over us the olden magic stirs.
Beneath the liquid splendor of the lights
We live a little ere the charm is spent;
This night is ours, of all the golden nights,
The pavement an enchanted palace floor,
And Youth the player on the viol, who sent
A strain of music through an open door.

—Sara Teasdale (1884-1933), "Broadway," from Rivers to the Sea, 1915. I love a sonnet.

forget the epitaph

When we were in New York, I went to see Suffs on Broadway with my mom. It was great—I have notes, of course, but overall I really enjoyed it, and I'm really glad I got to see it—and when I got home (or rather, back to the hotel) I obviously ended up reading up on the historical figures I didn't know as much about. This is how I learned that after Inez Milholland died, her husband married Edna St. Vincent Millay, who then WROTE A POEM about her husband's dead wife. Because, like, obviously. So this is the poem I would have posted on April 19, if I hadn't already been in bed and half-asleep when I learned of its existence.

                        Read in Washington, November eighteenth, 1923, at the unveiling of a statue
                        of three leaders in the cause of Equal Rights for Women

Upon this marble bust that is not I
Lay the round, formal wreath that is not fame;
But in the forum of my silenced cry
Root ye the living tree whose sap is flame.
I, that was proud and valiant, am no more;—
Save as a dream that wanders wide and late,
Save as a wind that rattles the stout door,
Troubling the ashes in the sheltered grate.
The stone will perish; I shall be twice dust.
Only my standard on a taken hill
Can cheat the mildew and the red-brown rust
And make immortal my adventurous will.
Even now the silk is tugging at the staff:
Take up the song; forget the epitaph.

—Edna St. Vincent Millay (1892-1950), "To Inez Milholland," 1923. I wouldn't say it's Edna's best work, but there's still something about it that really does land.

a little room in a house set aflame

The sonnet is my favorite poetic form. I can make a pretty good case for the villanelle, and in general poems that fuck with formalism often speak to me. But there's just nothing like a sonnet, and despite being a very tight form in many ways, it's so adaptable and can do so much. Here are (for April 7 and April 9) two very different sonnets.

I lock you in an American sonnet that is part prison,
Part panic closet, a little room in a house set aflame.
I lock you in a form that is part music box, part meat
Grinder to separate the song of the bird from the bone.
I lock your persona in a dream-inducing sleeper hold
While your better selves watch from the bleachers.
I make you both gym & crow here. As the crow
You undergo a beautiful catharsis trapped one night
In the shadows of the gym. As the gym, the feel of crow-
Shit dropping to your floors is not unlike the stars
Falling from the pep rally posters on your walls.
I make you a box of darkness with a bird in its heart.
Voltas of acoustics, instinct & metaphor. It is not enough
To love you. It is not enough to want you destroyed.

—Terrance Hayes, "American Sonnet for My Past and Future Assassin ["I lock you in an American sonnet that is part prison"]" from American Sonnets for My Past and Future Assassin, 2018, and originally published in Poetry magazine, 2017.

*

Amor, de grano a grano, de planeta a planeta,
la red del viento con sus países sombríos,
la guerra con sus zapatos de sangre,
o bien el día y la noche de la espiga.

Por donde fuimos, islas o puentes o banderas,
violines del fugaz otoño acribillado,
repitió la alegría los labios de la copa,
el dolor nos detuvo con su lección de llanto.

En todas las repúblicas desarrollaba el viento
su pabellón impune, su glacial cabellera,
y luego regresaba la flor a sus trabajos.

Pero en nosotros nunca se calcinó el otoño.
Y en nuestra patria inmóvil germinaba y crecía
el amor con los derechos del rocío.


Love, from seed to seed, from planet to planet,
the wind with its net through the darkening nations,
war with its bloody shoes,
or even the day, with a thorny night.

Wherever we went, islands or bridges or flags,
there were the violins of the fleeting autumn, bullet-laced;
happiness echoing at the rim of the wineglass;
sorrow detaining us, with its lesson of tears.

Through all those republics the wind whipped—
its arrogant pavillions, its glacial hair;
it would return the flowers, later, to their work.

But no withering autumn ever touched us.
In our stable place a love sprouted, grew:
as rightfully empowered as the dew.

—Pablo Neruda (1904-1973), XXVIII from Cien sonetos de amor, or One Hundred Love Sonnets, translated by Stephen Tapscott (Austin: University of Texas Press, 1986).

then love comes

It's definitely cheating to post the same poem today that poetryisnotaluxury posted, but I am such a sucker for sonnets, and Carol Ann Duffy is just so good. I hadn't actually read this one before, and it is really wonderful.

Thought of by you all day, I think of you.
The birds sing in the shelter of a tree.
Above the prayer of rain, unacred blue,
not paradise, goes nowhere endlessly.
How does it happen that our lives can drift
far from our selves, while we stay trapped in time,
queuing for death? It seems nothing will shift
the pattern of our days, alter the rhyme
we make with loss to assonance with bliss.
Then love comes, like a sudden flight of birds
from earth to heaven after rain. Your kiss,
recalled, unstrings, like pearls, this chain of words.
Huge skies connect us, joining here to there.
Desire and passion on the thinking air.

—Carol Ann Duffy, "Rapture," from Rapture, 2005.

down to our roots

Can you guys believe we got all the way to April 26 without me posting Neruda? Yeah, me neither. For L, of course.

Amor, cuántos caminos hasta llegar a un beso,
qué soledad errante hasta tu compañía!
Siguen los trenes solos rodando con la lluvia.
En Taltal no amanece aún la primavera.

Pero tú y yo, amor mío, estamos juntos,
juntos desde la ropa a las raíces,
juntos de otoño, de agua, de caderas,
hasta ser sólo tú, sólo yo juntos.

Pensar que costó tantas piedras que lleva el río,
la desembocadura del agua de Boroa,
pensar que separados por trenes y naciones

tú y yo teníamos que simplemente amarnos,
con todos confundidos, con hombres y mujeres,
con la tierra que implanta y educa los claveles.


Love, what a long way, to arrive at a kiss,
what loneliness-in-motion, toward your company!
Rolling with the rain we follow the tracks alone.
In Taltal there is neither daybreak nor spring.

But you and I, love, we are together
from our clothes down to our roots:
together in the autumn, in water, in hips, until
we can be alone together—only you, only me.

To think of the effort, that the current carried
so many stones, the delta of Boroa water;
to think that you and I, divided by trains and nations,

we had only to love one another:
with all the confusions, the men and the women,
the earth that makes carnations rise, and makes them bloom.

—Pablo Neruda (1904-1973), II from Cien sonetos de amor, or One Hundred Love Sonnets, translated by Stephen Tapscott (Austin: University of Texas Press, 1986).

stars are too twinkly

I haven't posted Shel Silverstein in years and years (actually, not since the very first year), but he came up in the poetry club discord server recently, and as an absolute classic of children's poetry, he's also one of the first poets I ever encountered. Plus, I am feeling this one today—a lot of things have been great today, actually, including going to Brooklyn for brunch to celebrate a friend's birthday—but I also locked myself out of my apartment doing laundry, and broke my shoe, and spent several hours on subways, and all things considered it hasn't been my best day.

Everything's wrong,
Days are too long,
Sunshine's too hot,
Wind is too strong.
Clouds are too fluffy,
Grass is too green,
Ground is too dusty,
Sheets are too clean.
Stars are too twinkly,
Moon is too high,
Water's too drippy,
Sand is too dry.
Rocks are too heavy,
Feathers too light,
Kids are too noisy,
Shoes are too tight.
Folks are too happy,
Singin' their songs.
Why can't they see it?
Everything's wrong!

—Shel Silverstein (1930-1999), "Mr. Grumpledump's Song," from Where the Sidewalk Ends, which was originally published in 1974, but in this case the poem is from the 2004 30th anniversary edition, by way of poets.org.

a land of kisses and volcanoes

The thing about Pablo Neruda, who remains one of my favorite poets in any language, is that he wrote a lot of really exceptional poetry, but with a couple of exceptions I almost never post anything that isn't from Cien sonetos de amor. This is because I believe strongly that Cien sonetos de amor is one of the greatest sonnet cycles ever written. National Poetry Month isn't something I do only to have an excuse to post one Neruda sonnet per year, but it's not...not that, either.

For Lucy, of course.

No te toque la noche ni el aire ni la aurora,
sólo la tierra, la virtud de los racimos,
las manzanas que crecen oyendo el agua pura,
el barro y las resinas du tu país fragante.

Desde Quinchamalí donde hicieron tus ojos
hasta tus pies creados para mí en la Frontera
eres la greda oscura que conozco:
en tus caderas tuco de nuevo todo el trigo.

Tal vez tú no sabías, araucana,
que cuando antes de amarte me olvidé de tus besos
mi corazón quedó recordando tu boca

y fui como un herido por las calles
hasta que comprendí que había encontrado,
amor, mi territorio de besos y volcanes.


I did not hold your night, or your air, or the dawn:
only the earth, the truth of the fruit in clusters,
the apples that swell as they drink the sweet water,
the clay and the resins of your sweet-smelling land.

From Quinchamalí where your eyes began
to the Frontera where your feet were made for me,
you are my dark familiar clay:
holding your hips, I hold the wheat in its fields again.

Woman from Arauco, maybe you didn't know
how before I loved you I forgot your kisses.
But my heart went on, remembering your mouth—and I went on

and on through the streets like a man wounded,
until I understood, Love: I had found
my place, a land of kisses and volcanoes.

—Pablo Neruda (1904-1973), V from Cien sonetos de amor, or One Hundred Love Sonnets, translated by Stephen Tapscott (Austin: University of Texas Press, 1986).

all men are bad

Yesterday, April 23, was Shakespeare's alleged birthday and death day, and my tradition is to post a poem that is tangentially related to Shakespeare—often referencing one of the plays, as in this case—and one sonnet. Shakespeare wrote a lot of beautiful sonnets, some of which are incredible exercises in craft and poetry, and many of which are very queer and sexy. This is not really one of those.

My shoes are unpolished, my words smudged.
I come to you undressed (the lord, he whispers
Smut; that man, he whispers such). I bend
My thoughts, I submit, but a bird
Keeps flying from my mind, it slippers
My feet and sings—barren world,
I have been a little minx in it, not at all
Domestic, not at all clean, not at all blinking
At my lies. First he thought he had a wife, then
(of course) he thought he had a whore. All
I wanted (if I may speak for myself) was: more.
If only one of you had said, I hold
Your craven breaking soul, I see the pieces,
I feel them in my hands, idle silver, idle gold...
You see I cannot speak without telling what I am.
I disobey the death you gave me, love.
If you must be, then be not with me.

—Meghan O'Rourke, "Ophelia to the Court," 2010.

*

Tis better to be vile than vile esteemed
When not to be receives reproach of being,
And the just pleasures lost, which is so deemed
Not by our feeling, but by others' seeing.
For why should others' false adulterate eyes
Give salutation to my sportive blood?
Or on my frailties why are frailer spies,
Which in their wills count bad what I think good?
No, I am that I am, and they that level
At my abuses reckon up their own;
I may be straight though they themselves be bevel.
By their rank thoughts my deeds must not be shown,
Unless this general evil they maintain:
All men are bad and in their badness reign.

—William Shakespeare (1564-1616), Sonnet 121. All men are bad, thank you, Will.

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.

rendido el corazón

Is it love sonnet time yet? Okay, let's be honest, it's always love sonnet time. I like a sonnet in the very classical tradition of "love fucks me up but I'm into it."

Con el dolor de la mortal herida,
de un agravio de amor me lamentaba;
y por ver si la muerte se llegaba,
procuraba que fuese más crecida.

Toda en el mal el alma divertida,
pena por pena su dolor sumaba,
y en cada circunstancia ponderaba
quesobrabanmil muertes a una vida.

Y cuando, al golpe de uno y otro tiro,
rendido el corazón daba penoso
señas de dar el último suspiro,

no sé con qué destino prodigioso
volví en mi acuerdo y dije:—¿Qué me admiro?
¿Quién en amor ha sido más dichoso?


Love opened a mortal wound.
In agony, I worked the blade
to make it deeper. Please,
I begged, let death come quick.

Wild, distracted, sick,
I counted, counted
all the ways love hurt me.
One life, I thought—a thousand deaths.

Blow after blow, my heart
couldn't survive this beating.
Then—how can I explain it?

I came to my senses. I said,
Why do I suffer? What lover
ever had so much pleasure?

—Sor Juana Inés de la Cruz (1651-1695), "Love Opened a Mortal Wound," or "Con el Dolor de la Mortal Herida," translated by Joan Larkin and Jaime Manrique. Sor Juana kicks ass.

till then my windows ache

Lucy requested this one, and it's hard to argue with Neruda (or with my wife). Neruda is always fairly miraculous, in both gorgeous whole poems and truly incredible single lines, and this one is no exception.

Matilde, dónde estás? Noté, hacia abajo,
entre corbata y corazón, arriba,
cierta melancolía intercostal:
era que tú de pronto eras ausente.

Me hizo falta la luz de tu energía
y miré devorando la esperanza,
miré el vacío que es sin ti una casa,
no quedan sino trágicas ventanas.

De puro taciturno el techo escucha
caer antiguas lluvias deshojadas,
plumas, lo que la noche aprisionó:

y así te espero como casa sola
y volverás a verme y habitarme.
De otro modo me duelen las ventanas.


Matilde, where are you? Down there I noticed,
under my necktie and just above the heart,
a certain pang of grief between the ribs,
you were gone that quickly.

I needed the light of your energy,
I looked around, devouring hope.
I watched the void without you that is like a house,
nothing left but tragic windows.

Out of sheer taciturnity the ceiling listens
to the fall of the ancient leafless rain,
to feathers, to whatever the night imprisoned:

so I wait for you like a lonely house
till you will see me again and live in me.
Till then my windows ache.

—Pablo Neruda (1904-1973), LXV from Cien sonetos de amor, or One Hundred Love Sonnets, translated by Stephen Tapscott (Austin: University of Texas Press, 1986). I am grateful to Neruda that there are 100 sonnets, so I can never stop doing National Poetry Month.

counter, original, spare, strange

Sometimes, when I'm not sure what poem I'm in the mood for and don't have a plan for the day, I go back through my spreadsheet in search of inspiration and realize that, although I have posted almost all of my favorite Gerard Manley Hopkins poems, there are some I have missed.

Glory be to God for dappled things –
     For skies of couple-colour as a brinded cow;
          For rose-moles all in stipple upon trout that swim;
Fresh-firecoal chestnut-falls; finches’ wings;
     Landscape plotted and pieced – fold, fallow, and plough;

          And áll trádes, their gear and tackle and trim.

All things counter, original, spare, strange;
     Whatever is fickle, freckled (who knows how?)
          With swift, slow; sweet, sour; adazzle, dim;
He fathers-forth whose beauty is past change:
                                   Praise him.

—Gerard Manley Hopkins (1844-1889), "Pied Beauty," Summer 1877. The note on this poem in my edition of Selected Poems of Gerard Manley Hopkins (Dover, 2011, ed. Bob Blaisdell) says, "Curtal Sonnet: sprung paeonic rhythm," because Hopkins is, as always, baller.

new phoenix wings

Happy Shakespeare Day! As is my habit, I try to post one poem by Shakespeare (typically a sonnet; I refuse to excerpt the plays, and the other poetry is mostly either too long or not my favorite) and one poem about Shakespeare on Shakespeare's death day and alleged birthday. Today: two sonnets.

O golden-tongued Romance with serene lute!
Fair plumed Syren! Queen of far away!
Leave melodizing on this wintry day,
Shut up thine olden pages, and be mute:
Adieu! for once again the fierce dispute,
Betwixt damnation and impassion'd clay
Must I burn through; once more humbly assay
The bitter-sweet of this Shakespearian fruit.
Chief Poet! and ye clouds of Albion,
Begetters of our deep eternal theme,
When through the old oak forest I am gone,
Let me not wander in a barren dream,
But when I am consumed in the fire,
Give me new Phoenix wings to fly at my desire.

—John Keats (1795-1821), "On Sitting Down to Read King Lear Once Again," written (according to the notes in my very battered college edition of Keats), on January 22, 1818. I haven't posted any Keats in a while, and I love him.

Devouring Time, blunt thou the lion's paws,
And make the earth devour her own sweet brood;
Pluck the keen teeth from the fierce tiger's jaws,
And burn the long-liv'd Phoenix in her blood;
Make glad and sorry seasons as thou fleets,
And do whate'er thou wilt, swift-footed Time,
To the wide world and all her fading sweets;
But I forbid thee one more heinous crime:
O, carve not with the hours my love's fair brow,
Nor draw no lines there with thine antique pen!
Him in thy course untainted do allow
For beauty's pattern to succeeding men.
Yet do thy worst, old Time! Despite thy wrong
My love shall in my verse ever live young.

—William Shakespeare (1564-1616), Sonnet 19. I like this one because it is a little bit bloody, pretty queer (they're all pretty queer), and (see also: all of them) about poetry as an eternal monument. Fuck you, time!!

insufficient reason

It's time for a sonnet, don't you think? This is one of my favorites.

I, being born a woman and distressed
By all the needs and notions of my kind,
Am urged by your propinquity to find
Your person fair, and feel a certain zest
To bear your body’s weight upon my breast:
So subtly is the fume of life designed,
To clarify the pulse and cloud the mind,
And leave me once again undone, possessed.
Think not for this, however, the poor treason
Of my stout blood against my staggering brain,
I shall remember you with love, or season
My scorn with pity,—let me make it plain:
I find this frenzy insufficient reason
For conversation when we meet again.

—Edna St. Vincent Millay (1892-1950), "I, being born a woman and distressed," which appears as Sonnet XVIII in The Harp-Weaver and Other Poems (1920).

will in overplus

Today is Shakespeare Day! The tradition in recent years, on Shakespeare Day, has been to post one sonnet and one poem that is not by Shakespeare, but relates in some way to Shakespeare. This year, a pun-filled sonnet (sometimes the sonnets are really ludicrous), and an incredible poem that I was introduced to by a friend, which has some things to say about Hamlet. 

Whoever hath her wish, thou hast thy 'Will,'

And 'Will' to boot, and 'Will' in overplus;

More than enough am I that vex thee still,

To thy sweet will making addition thus.

Wilt thou, whose will is large and spacious,

Not once vouchsafe to hide my will in thine?

Shall will in others seem right gracious,

And in my will no fair acceptance shine?

The sea all water, yet receives rain still

And in abundance addeth to his store;

So thou, being rich in 'Will,' add to thy 'Will'

One will of mine, to make thy large 'Will' more.

Let no unkind, no fair beseechers kill;

Think all but one, and me in that one 'Will.'

—William Shakespeare (1564-1616), Sonnet 135

*

To C.M.

Now that we're alone we can talk prince man to man

though you lie on the stairs and see no more than a dead ant

nothing but black sun with broken rays

I could never think of your hands without smiling

and now that they lie on the stone like fallen nests

they are as defenceless as before The end is exactly this

The hands lie apart The sword lies apart The head apart

and the knight's feet in soft slippers

You will have a soldier's funeral without having been a soldier

the only ritual I am acquainted with a little

There will be no candles no singing only cannon-fuses and bursts

crepe dragged on the pavement helmets boots artillery horses drums

drums I know nothing exquisite

those will be my manoeuvres before I start to rule

one has to take the city by neck and shake it a bit

Anyhow you had to perish Hamlet you were not for life

you believed in crystal notions not in human clay

always twitching as if asleep you hunted chimeras

wolfishly you crunched the air only to vomit

you knew no human thing you did not know even how to breathe

Now you have peace Hamlet you accomplished what you had to

and you have peace The rest is not silence but belongs to me

you chose the easier part an elegant thrust

but what is heroic death compared with eternal watching

with a cold apple in one's hand on a narrow chair

with a view of the ant-hill and the clock’s dial

Adieu prince I have tasks a sewer project

and a decree on prostitutes and beggars

I must also elaborate a better system of prisons

since as you justly said Denmark is a prison

I go to my affairs This night is born

a star named Hamlet We shall never meet

what I shall leave will not be worth a tragedy

It is not for us to greet each other or bid farewell we live on archipelagos

and that water these words what can they do what can they do prince

—Zbigniew Herbert (1924-1998), "Elegy of Fortinbras," translated by Czeslaw Milosz and Peter Dale Scott. Czeslaw Milosz (1911-2004) is also the "C. M." of the dedication. The poem was originally published in 1961, but I couldn't find a date for the translation. Thanks to Clare for this poem.

a deathless, inexhaustible wine

I didn't post a poem yesterday because it has been a hell of a week and I was too exhausted; but yesterday I watched the season finale of The Magicians, and today I went to see Hadestown on Broadway, and you know what that means? That means it's time for Rilke. Here are two sonnets from Sonnets to Orpheus, one for yesterday and one for today; normally I post the German as well as the translation, but I'm tired and I don't want to type it up, so I'm going straight to the excellent Stephen Mitchell translations. (I recommend his editions—they're usually bilingual and very good.) 

A god can do it. But will you tell me how

a man can penetrate through the lyre's strings? 

Our mind is split. And at the shadowed crossing

of heart-roads, there is no temple for Apollo. 

Song, as you have taught it, is not desire, 

not wooing any grace that can be achieved; 

song is reality. Simple, for a god. 

But when can we be real? When does he pour

the earth, the stars, into us? Young man, 

it is not your loving, even if your mouth 

was forced wide open by your own voice—learn

to forget that passionate music. It will end. 

True singing is a different breath, about

nothing. A gust inside the god. A wind. 

*

Praising is what matters! He was summoned for that, 

and came to us like the ore from a stone's 

silence. His mortal heart presses out 

a deathless, inexhaustible wine. 

Whenever he feels the god's paradigm grip

his throat, the voice does not die in his mouth. 

All becomes vineyard, all becomes grape, 

ripened on the hills of his sensuous South. 

Neither decay in the sepulchre of kings

nor any shadow that has fallen from the gods

can ever detract from his glorious praising. 

For he is a herald who is with us always, 

holding far into the doors of the dead

a bowl with ripe fruit worthy of praise. 

—Rainer Maria Rilke, I, 3 and I, 7 from The Sonnets to Orpheus, 1922; translated by Stephen Mitchell.

will it alter my life altogether

Here is a little Auden, late at night on my birthday. I had a good day—caught up on sleep and read a bunch of fic and did laundry and had a very nice dinner with wonderful friends—and here's to a good year.

Some say that love's a little boy,

And some say it's a bird,

Some say it makes the world go round,

And some say that's absurd,

And when I asked the man next-door,

Who looked as if he knew,

His wife got very cross indeed,

And said it wouldn't do.

Does it look like a pair of pyjamas,

Or the ham in a temperance hotel?

Does its odour remind one of llamas,

Or has it a comforting smell?

Is it prickly to touch as a hedge is,

Or soft as eiderdown fluff?

Is it sharp or quite smooth at the edges?

O tell me the truth about love.

Our history books refer to it

In cryptic little notes,

It's quite a common topic on

The Transatlantic boats;

I've found the subject mentioned in

Accounts of suicides,

And even seen it scribbled on

The backs of railway-guides.

Does it howl like a hungry Alsatian,

Or boom like a military band?

Could one give a first-rate imitation

On a saw or a Steinway Grand?

Is its singing at parties a riot?

Does it only like Classical stuff?

Will it stop when one wants to be quiet?

O tell me the truth about love.

I looked inside the summer-house;

It wasn't ever there;

I tried the Thames at Maidenhead,

And Brighton's bracing air.

I don't know what the blackbird sang,

Or what the tulip said;

But it wasn't in the chicken-run,

Or underneath the bed.

Can it pull extraordinary faces?

Is it usually sick on a swing?

Does it spend all its time at the races,

or fiddling with pieces of string?

Has it views of its own about money?

Does it think Patriotism enough?

Are its stories vulgar but funny?

O tell me the truth about love.

When it comes, will it come without warning

Just as I'm picking my nose?

Will it knock on my door in the morning,

Or tread in the bus on my toes?

Will it come like a change in the weather?

Will its greeting be courteous or rough?

Will it alter my life altogether?

O tell me the truth about love.

—W. H. Auden (1907-1973), "O Tell Me the Truth About Love" or XII from "Twelve Songs," according to my Collected Poems, January 1938.