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*Poem of the day thread

Hope this one hasn't been done already

The Second Coming

Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.

Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?

William Butler Yeats
 
The Image of Corpses Lit Red, White and Blue (anti-war poem)

The war plans painted are novel and new
In the image of corpses lit red, white and blue.
“Freedom of Speech, Freedom of Speech”,
and the ribs of a dead ones in the desert to bleach.

Once a year, at the State of Confusion
Bush serves up war for Holy Communion.
Something like this our guide had to tell,
Breath offensive it wreaked of death’s smell.

Shouting “God, God” from upon the Congress high
As the Devil’s own Sabbath train whirled on by
President, preacher, reverend, Dr. Death
What are you high on, could it be crystal meth?

He chooses his text in the book divine
Tenth verse of the Preacher in Chapter Nine.
All in attendance seemed to hold their breath
Lest they lose the least word of dear Dr. Death.

Whatever he preached, he gave you his word,
the meaning was empty for all those who heard.
Famous preachers there have been and be,
But never one unconvincing as he.

As for Saddam’s sins, Bush knows just whose
But sinners are plenty, you selectively choose.
War by tomorrow, a nervous nation he led,
And we feared he was digging a trench for our bed.

Throughout the great hall,
Become a death ball
The call for service world-wide was heard
From the raspy throat of the little man nerd.

Howling to congressional shapes as they pass
Soon will be Arabs breaking like glass
And you know who his real listeners be?
People, who are frightened, just like you and me.

As Bush rides on, the road grows strange,
All the milestones into headstones change.
The wreckage of war, so plain to see,
Is endorsed by the son with an awful glee!

by Vince • Wednesday January 29, 2003 at 09:57 PM
 
RIDERS TO THE BLOOD-RED WRATH: Gwendolyn Brooks

My proper prudence toward his proper probe
Astonished their ancestral seemliness.
It was a not-nice risk, a wrought risk, was
An indelicate risk, they thought. And an excess.
Howas I handled my discordances
And prides and apoplectic ice, howas
I reined my charger, channeled the fit fume
Of his most splendid and honorable jazz
Escaped the closing and averted sight
Waiving all witnesses except rotted flowers
Framed in maimed velvet. That mad demi-art
Of ancient and irrevocable hours.
Waiving all witnesses except of dimness
From which extrude beloved and pennant arms
Of a renegade death impatient at his shrine
And keen to share the gases of his charms.
They veer to vintage. Careening from tomorrows.
Blaring away at my just genesis.
They loot Last Night. They hug old graves, root up
Decomposition, warm it with a kiss.

The National Anthem vampires at the blood.
I am a uniform. Not brusque. I bray
Through blur and blunder in a little voice!
This is a tender grandeur, a tied fray!
Under macabres, stratagem and fair
Fine smiles upon the face of holocaust,
My scream! unedited, unfrivolous.
My laboring unlatched braid of heat and frost.
I hurt. I keep that scream in at what pain :
At what repeal of salvage and eclipse.
Army unhonored, meriting the gold, I
Have sewn my guns inside my burning lips.
*

Did they detect my parleys and replies?
My Revolution pushed his twin the mare,
The she-thing with the soft eyes that conspire
To lull off men, before him everywhere.
Perhaps they could not see what wheedling bent
Her various heart in mottles of submission
And sent her into a firm skirmish which
Has tickled out the enemy's sedition.

They do not see how deftly I endure.
Deep down the whirlwind of good rage I store
Commemorations in an utter thrall
Although I need not eat them anymore.

I remember kings.
A blossoming palace. Silver. Ivory.
The conventional wealth of stalking Africa.
All bright, all Bestial. Snarling marvelously.
I remember my right to roughly run and roar.
My right to raid the sun, consult the moon,
Nod to my princesses or split them open,
To flay my lions, eat blood with a spoon.
You never saw such running and such roaring!--
Nor heard a burgeoning heart so craze and pound!--
Nor sprang to such a happy rape of heaven!
Nor sanctioned such a kinship with the ground!

And I remember blazing dementias
Aboard such trade as maddens any man.
. . . The mate and captain fragrantly reviewed
The fragrant hold and presently began
Their retching rampage among their luminous
Black pudding, among the guttural chained slime :
Half fainting from their love affairs with fetors
That pledged a haughty allegiance for all time.

I recollect the latter lease and lash
And labor that defiled bone, that thinned
My blood and blood-line. All my climate my
Foster designers designed and disciplined.

But my detention and my massive strain,
And my distortion and my Calvary
I grind into a little light lorgnette
Most sly : to read man's inhumanity.
And I remark my matter is not all.
Man's chopped in China, in India indented.
From Israel what's Arab is resented.
Europe candies custody and war.

Behind my expose
I formalize my pity : "I shall cite,
Star, and esteem all that which is of woman,
Human and hardly human."

Democracy and Christianity
Recommence with me.

And I ride ride I ride on to the end--
Where glowers my continuing Calvary.
I,
My fellows, and those canny consorts of
Our spread hands in this contretemps-for-love
Ride into wrath, wraith, and menagerie

To fail, to flourish, to wither or to win.
We lurch, distribute, we extend, begin.

_______________________________________
This is a favorite poem of mine, a poem by one of my literary/journalistic influences, Black American Poet Gwendolyn Brooks. The poem is a tribute to the Freedom Riders, protestors during the Civil Rights Movement here in the States.

*According to Collier's Encyclopedia, this section is where the speaker/writer declares her "ability to control emotion through technique." Think Rosa Parks.
 
Are there children

Robert Priest

are there children somewhere
waiting for wounds
eager for the hiss of napalm
in their flesh –
the mutilating thump of shrapnel
do they long for amputation
and disfigurement
incinerate themselves in ovens
eagerly
are there some who try to sense
the focal points of bullets
or who sprawl on bomb grids
hopefully
do they still line up in queues
for noble deaths

i must ask:
are soul and flesh uneasy fusions
longing for the cut –
the bloody leap to ether
are all our words a shibboleth for silence –
a static crackle
to ignite the blood
and detonate the self-corroding
heart
does each man in his own way
plot a pogrom for the species
or are we all, always misled
to war

from Blue Pyramids:
New and Selected Poems (ECW Press 2002)
 
This appeared in the Guardian a few weeks ago. It seemed apposite, but can anybody identify it?

My country? Who says I've a country
I live in another man's flat
That hasn't as much as a door yard
And why should I battle for that?
 
Prisoners
Yusef Komunyakaa

Usually at the helipad
I see them stumble-dance
across the hot asphalt
with crokersacks over their heads,
moving toward the interrogation huts,
thin-framed as box kites
of sticks & black silk
anticipating a hard wind
that'll tug & snatch them
out into space. I think
some must be laughing
under their dust-colored hoods,
knowing rockets are aimed
at Chu Lai—that the water's
evaporating & soon the nail
will make contact with metal.
How can anyone anywhere love
these half-broken figures
bent under the sky's brightness?
The weight they carry
is the soil we tread night & day.
Who can cry for them?
I've heard the old ones
are the hardest to break.
An arm twist, a combat boot
against the skull, a .45
jabbed into the mouth, nothing
works. When they start talking
with ancestors faint as camphor
smoke in pagodas, you know
you'll have to kill them
to get an answer.
Sunlight throws
scythes against the afternoon.
Everything's a heat mirage; a river
tugs at their slow feet.
I stand alone & amazed,
with a pill-happy door gunner
signaling for me to board the Cobra.
I remember how one day
I almost bowed to such figures
walking toward me, under
a corporal's ironclad stare.
I can't say why.
From a half-mile away
trees huddle together,
& the prisoners look like
marionettes hooked to strings of light.
 
Me
Spike Milligan

Born screaming small into this world-
Living I am.
Occupational therapy twixt birth and death-
What was I before?
What will I be next?
What am I now?
Cruel answer carried in the jesting mind
of a careless God
I will not bend and grovel
When I die. If He says my sins are myriad
I will ask why He made me so imperfect
And he will say 'My chisels were blunt'
I will say 'Then why did you make so
many of me'.
 
Sonnet 17
Who will believe my verse in time to come
If it were filled with your most high deserts?
Though yet heaven knows it is but as a tomb
Which hides your life, and shows not half your parts:
If I could write the beauty of your eyes,
And in fresh numbers number all your graces,
The age to come would say this poet lies,
Such heavenly touches ne'er touched earthly faces.
So should my papers (yellowed with their age)
Be scorned, like old men of less truth than tongue,
And your true rights be termed a poet's rage,
And stretched metre of an antique song.
But were some child of yours alive that time,
You should live twice in it, and in my rhyme.
 
Pater Noster - Jacques Prevert


Notre Pere qui etes aux cieux,
Restez-y!
Et nous nous resterons sur la terre
Qui est quelquefois si jolie
Avec ses mystères de New York
Et puis ses mystères de Paris
Qui valent bien celui de la Trinite
Avec son petit canal de l'Ourcq
Sa grande muraille de Chine
Sa riviere de Morlaix
Ses betises de Cambrai
Avec son ocean Pacifique
Et ses deux bassins aux Tuileries
Avec ses bons enfants et ses mauvais sujets
Avec toutes les merveilles du monde
Qui sont là
Simplement sur la terre
Offertes a tout le monde
Eparpillees
Emerveillees elles-memes d'etre de telles merveilles
Et qui n'osent se l'avouer
Comme une jolie fille nue qui n'ose pas se montrer
Avec les epouvantables malheurs du monde
Qui sont legion
Avec leurs legionnaires
Avec leurs tortionnaires
Avec les maitres de ce monde
Les maitres avec leurs prêtres leurs traitres et leurs
reitre
Avec les saisons
Avec les annees
Avec les jolies filles et avec les vieux cons
Avec la paille de la misere pourissant l'acier des
canons.

(Prevert, Jacques (1900-1977), poete, parolier et scenariste francais dont l'uvre, composee pour un large public, est une celebration des themes de la justice, de la liberte et du bonheur. )
 
The British

Take some Picts, Celts and Silures
And let them settle,
Then overrun them with Roman conquerors.

Remove the Romans after approximately 400 years
Add lots of Norman French to some
Angles, Saxons, Jutes and Vikings, then stir vigorously.

Mix some hot Chileans, cool Jamaicans, Dominicans,
Trinidadians and Bajans with some Ethiopians, Chinese,
Vietnamese and Sudanese.

Then take a blend of Somalians, Sri Lankans, Nigerians
And Pakistanis,
Combine with some Guyanese
And turn up the heat.

Sprinkle some fresh Indians, Malaysians, Bosnians,
Iraqis and Bangladeshis together with some
Afghans, Spanish, Turkish, Kurdish, Japanese
And Palestinians
Then add to the melting pot.

Leave the ingredients to simmer.

As they mix and blend allow their languages to flourish
Binding them together with English.

Allow time to be cool.

Add some unity, understanding, and respect for the future,
Serve with justice
And enjoy.

Note: All the ingredients are equally important. Treating one ingredient better than another will leave a bitter unpleasant taste.

Warning: An unequal spread of justice will damage the people and cause pain. Give justice and equality to all.

-
Benjamin Zephaniah
 
I'll strike you a strain
from a silver string

I'll do you a dance
that's fit for a king

I'll breath you an air
on a flute of gold

I'll tell you a tale
That's wise and old

I'll fiddle you a jig
that's wild and funny

I'll find you an almond
Dipped in honey

I'll tickle you a rhythm
on a magic drum

I'll show you a taste
of a sugarplum

I'll pipe you a tune
On a whistle of wood

I'll bake you a cake
That's warm and good

I'll sing my song
in a strong, clear voice

I'll give you anything
Take your choice
 
Tony Mitton, as far as I am aware, and its called The Minstrel and the Maid. There may be other versions, which is why I left it untitled. And a please wouldnt hurt.
 
Since no one else has posted I'll put this in, the shortest poem I've got on computer. What I like about it is that it seems to be about finding beauty in anything. It has a slightly ranty tone, too, which is good.

Sunflower Sutra

I walked on the banks of the tincan banana dock and sat down under the huge shade of a Southern Pacific locomotive to look at the sunset over the box house hills and cry.

Jack Kerouac sat beside me on a busted rusty iron pole, companion, we thought the same thoughts of the soul, bleak and blue and sad-eyed, surrounded by the gnarled steel roots of trees of machinery.

The oily water on the river mirrored the red sky, sun sank on top of final Frisco peaks, no fish in that stream, no hermit in those mounts, just ourselves rheumy-eyed and hungover like old bums on the riverbank, tired and wily.

Look at the Sunflower, he said, there was a dead gray shadow against the sky, big as a man, sitting dry on top of a pile of ancient sawdust--
--I rushed up enchanted--it was my first sunflower, memories of Blake--my visions--Harlem
and Hells of the Eastern rivers, bridges clanking Joes Greasy Sandwiches, dead baby carriages, black treadless tires forgotten and unretreaded, the poem of the riverbank, condoms & pots, steel knives, nothing stainless, only the dank muck and the razor-sharp artifacts passing into the past--

and the gray Sunflower poised against the sunset, crackly bleak and dusty with the smut and smog and smoke of olden locomotives in its eye--

corolla of bleary spikes pushed down and broken like a battered crown, seeds fallen out of its face, soon-to-be-toothless mouth of sunny air, sunrays obliterated on its hairy head like a dried wire spiderweb,

leaves stuck out like arms out of the stem, gestures from the sawdust root, broke pieces of plaster fallen out of the black twigs, a dead fly in its ear,

Unholy battered old thing you were, my sunflower O my soul, I loved you then!

The grime was no man's grime but death and human locomotives,

all that dress of dust, that veil of darkened railroad skin, that smog of cheek, that eyelid of black mis'ry, that sooty hand or phallus or protuberance of artificial worse-than-dirt--industrial-- modern--all that civilization spotting your crazy golden crown--

and those blear thoughts of death and dusty loveless eyes and ends and withered roots below, in the home-pile of sand and sawdust, rubber dollar bills, skin of machinery, the guts and innards of the weeping coughing car, the empty lonely tincans with their rusty tongues alack, what more could I name, the smoked ashes of some cock cigar, the cunts of wheelbarrows and the milky breasts of cars, wornout asses out of chairs & sphincters of dynamos--all these

entangled in your mummied roots--and you there standing before me in the sunset, all your glory in your form!

A perfect beauty of a sunflower! a perfect excellent lovely sunflower existence! a sweet natural eye to the new hip moon, woke up alive and excited grasping in the sunset shadow sunrise golden monthly breeze!

How many flies buzzed round you innocent of your grime, while you cursed the heavens of the railroad and your flower soul?

Poor dead flower? when did you forget you were a flower? when did you look at your skin and decide you were an impotent dirty old locomotive? the ghost of a locomotive? the specter and shade of a once powerful mad American locomotive?

You were never no locomotive, Sunflower, you were a sunflower!

And you Locomotive, you are a locomotive, forget me not!

So I grabbed up the skeleton thick sunflower and stuck it at my side like a scepter,

and deliver my sermon to my soul, and Jack's soul too, and anyone who'll listen,

--We're not our skin of grime, we're not our dread bleak dusty imageless locomotive, we're all beautiful golden sunflowers inside, we're blessed by our own seed & golden hairy naked accomplishment-bodies growing into mad black formal sunflowers in the sunset, spied on by our eyes under the shadow of the mad locomotive riverbank sunset Frisco hilly tincan evening sitdown vision.

Allen Ginsberg
Berkeley, 1955
 
There's too much of this to cut and paste in its entirety - but here's the powerful opening section.

As I lay asleep in Italy
There came a voice from over the Sea,
And with great power it forth led me
To walk in the visions of Poesy.

I met Murder on the way--
He had a mask like Castlereagh--
Very smooth he looked, yet grim;
Seven blood-hounds followed him:

All were fat; and well they might
Be in admirable plight,
For one by one, and two by two,
He tossed them human hearts to chew
Which from his wide cloak he drew.

Next came Fraud, and he had on,
Like Eldon, an ermined gown;
His big tears, for he wept well,
Turned to mill-stones as they fell.

And the little children, who
Round his feet played to and fro,
Thinking every tear a gem,
Had their brains knocked out by them.

Clothed with the Bible, as with light,
And the shadows of the night,
Like Sidmouth, next, Hypocrisy
On a crocodile rode by.

And many more Destructions played
In this ghastly masquerade,
All disguised, even to the eyes,
Like Bishops, lawyers, peers, or spies.

Last came Anarchy: he rode
On a white horse, splashed with blood;
He was pale even to the lips,
Like Death in the Apocalypse.

And he wore a kingly crown;
And in his grasp a sceptre shone;
On his brow this mark I saw--
'I AM GOD, AND KING, AND LAW!'

With a pace stately and fast,
Over English land he passed,
Trampling to a mire of blood
The adoring multitude.

And a mighty troop around,
With their trampling shook the ground,
Waving each a bloody sword,
For the service of their Lord.

And with glorious triumph, they
Rode through England proud and gay,
Drunk as with intoxication
Of the wine of desolation.


- The Masque Of Anarchy by Percy Bysshe Shelley
 
Not a classic but amusing nonetheless.



Michael Eavis
is a
greedy little c**t
but
then again
so is
Richard Branson.



Festival
By Ian McKenzie
 
I saw this first on an OHP he had at a gig he did in Luton (without colour, and with narration, which was hillarious):

knowpoem.gif



(The Dog Runs by John Hegley)
 
Fat birds are grateful

by Simon Monkhouse (1954-2001)

Fat birds are grateful
It's true if not P.C.
I've porked a few porkers in my time
So, mate, you can take it from me

I don't care if I'm misconstrued
Or sound rude, lewd or crude
But fuck the tact and just accept the fact
Fat birds exude gratitude

They make lots of noise
With all their squealing and yelping
Which tells all the boys
They want a second helping

Fat birds are grateful
And a tongue 'twixt their meaty thighs
Comes in a close second
To a plate of juicy pies

Fat birds are grateful
They don't deny their appetite
Give 'em a right mouthful
and they'll give you one right back
Oh yeah, fat birds are grateful all right!

I'd far sooner jump someone plump
Than shag a stick insect
Given the choice between a fat or a bony twat
And I know which I'd select

Spotted dick, toad in the hole
Jumbo sausage, Arctic roll
Without doubt fat birds have tried 'em
For they're ready and willing
To accept a filling
Of something warm and substantial inside 'em

They don't agonise over the size of their hips
Or the number of calories passing their lips
Weight watching is not their credo
Though their bum may look big, fat birds don't care a fig
For it's totally eclipsed by their massive libido

So you can keep all your silly supermodels
For the preference I wish to state:
I can't get enough grateful fat birds
Cos, you see, I think fat birds are great.
 
The Day Lady Died
Frank O'Hara


It is 12:20 in New York a Friday
three days after Bastille day, yes
it is 1959 and I go get a shoeshine
because I will get off the 4:19 in Easthampton
at 7:15 and then go straight to dinner
and I don't know the people who will feed me

I walk up the muggy street beginning to sun
and have a hamburger and a malted and buy
an ugly NEW WORLD WRITING to see what the poets
in Ghana are doing these days
I go on to the bank
and Miss Stillwagon (first name Linda I once heard)
doesn't even look up my balance for once in her life
and in the GOLDEN GRIFFIN I get a little Verlaine
for Patsy with drawings by Bonnard although I do
think of Hesiod, trans. Richmond Lattimore or
Brendan Behan's new play or Le Balcon or Les Nègres
of Genet, but I don't, I stick with Verlaine
after practically going to sleep with quandariness

and for Mike I just stroll into the PARK LANE
Liquor Store and ask for a bottle of Strega and
then I go back where I came from to 6th Avenue
and the tobacconist in the Ziegfeld Theatre and
casually ask for a carton of Gauloises and a carton
of Picayunes, and a NEW YORK POST with her face on it

and I am sweating a lot by now and thinking of
leaning on the john door in the 5 SPOT
while she whispered a song along the keyboard
to Mal Waldron and everyone and I stopped breathing
 
Variation On The Word Sleep
Margaret Atwood


I would like to watch you sleeping,
which may not happen.
I would like to watch you,
sleeping. I would like to sleep
with you, to enter
your sleep as its smooth dark wave
slides over my head

and walk with you through that lucent
wavering forest of bluegreen leaves
with its watery sun & three moons
towards the cave where you must descend,
towards your worst fear

I would like to give you the silver
branch, the small white flower, the one
word that will protect you
from the grief at the center
of your dream, from the grief
at the center I would like to follow
you up the long stairway
again & become
the boat that would row you back
carefully, a flame
in two cupped hands
to where your body lies
beside me, and as you enter
it as easily as breathing in

I would like to be the air
that inhabits you for a moment
only. I would like to be that unnoticed
& that necessary.
 
Someone had to post this today:

Easter 1916
W. B. Yeats

I

I have met them at close of day
Coming with vivid faces
From counter or desk among grey
Eighteenth-century houses.
I have passed with a nod of the head
Or polite meaningless words,
Or have lingered awhile and said
Polite meaningless words,
And thought before I had done
Of a mocking tale or a gibe
To please a companion
Around the fire at the club,
Being certain that they and I
But lived where motley is worn:
All changed, changed utterly:
A terrible beauty is born.

II

That woman's days were spent
In ignorant good-will,
Her nights in argument
Until her voice grew shrill.
What voice more sweet than hers
When, young and beautiful,
She rode to harriers?
This man had kept a school
And rode our winged horse;
This other his helper and friend
Was coming into his force;
He might have won fame in the end,
So sensitive his nature seemed,
So daring and sweet his thought.
This other man I had dreamed
A drunken, vainglorious lout.
He had done most bitter wrong
To some who are near to my heart,
Yet I number him in the song;
He, too, has resigned his part
In the casual comedy;
He, too, has been changed in his turn,
Transformed utterly:
A terrible beauty is born.

III

Hearts with one purpose alone
Through summer and winter seem
Enchanted to a stone
To trouble the living stream.
The horse that comes from the road,
The rider, the birds that range
From cloud to tumbling cloud,
Minute by minute they change;
A shadow of cloud on the stream
Changes minute by minute;
A horse-hoof slides on the brim,
And a horse plashes within it;
The long-legged moor-hens dive,
And hens to moor-cocks call;
Minute by minute they live:
The stone's in the midst of it all.

IV

Too long a sacrifice
Can make a stone of the heart.
O when may it suffice?
That is Heaven's part, our part
To murmer name upon name,
As a mother names her child
When sleep at last has come
On limbs that had run wild.
What is it but nightfall?
No, no, not night but death;
Was it needless death after all?
For England may keep faith
For all that is done and said.
We know their dream; enough
To know they dreamed and are dead;
And what if excess of love
Bewildered them till they died?
I write it out in a verse--
MacDonagh and MacBride
And Connolly and Pearse
Now and in time to be,
Wherever green is worn,
Are changed, changed utterly:
A terrible beauty is born.


September 25, 1916
 
The Lady's Dressing Room._
By Jonathan Swift.

Five hours, (and who can do it less in?)
By haughty Celia spent in dressing;
The goddess from her chamber issues,
Arrayed in lace, brocades and tissues.
Strephon, who found the room was void,
And Betty otherwise employed,
Stole in, and took a strict survey,
Of all the litter as it lay;
Whereof, to make the matter clear,
An inventory follows here.
And first a dirty smock appeared,
Beneath the armpits well besmeared.
Strephon, the rogue, displayed it wide,
And turned it round on every side.
On such a point few words are best,
And Strephon bids us guess the rest,
But swears how damnably the men lie,
In calling Celia sweet and cleanly.
Now listen while he next produces
The various combs for various uses,
Filled up with dirt so closely fixt,
No brush could force a way betwixt.
A paste of composition rare,
Sweat, dandruff, powder, lead and hair;
A forehead cloth with oil upon't
To smooth the wrinkes on her front;
Here alum flower to stop the steams,
Exhaled from sour unsavory streams,
There night-gloves made of Tripsy's hide,
Bequeathed by Tripsy when she died,
With puppy water, beauty's help
Distilled from Tripsy's darling whelp;
Here gallpots and vials placed,
Some filled with washes, some with paste,
Some with pomatum, paints and slops,
And ointments good for scabby chops.
Hard by a filthy basin stands,
Fouled with the scouring of her hands;
The basin takes whatever comes
The scrapings of her teeth and gums,
A nasty compound of all hues,
For here she spits, and here she spews.
But oh! it turned poor Strephon's bowels,
When he beheld and smelled the towels,
Begummed, bemattered, and beslimed
With dirt, and sweat, and earwax grimed.
No object Strephon's eye escapes,
Here petticoats in frowzy heaps;
Nor be the handkerchiefs forgot
All varnished o'er with snuff and snot.
The stockings why should I expose,
Stained with the marks of stinking toes;
Or greasy coifs and pinners reeking,
Which Celia slept at least a week in?
A pair of tweezers next he found
To pluck her brows in arches round,
Or hairs that sink the forehead low,
Or on her chin like bristles grow.
The virtues we must not let pass,
Of Celia's magnifying glass.
When frighted Strephon cast his eye on't
It showed visage of a giant.
A glass that can to sight disclose,
The smallest worm in Celia's nose,
And faithfully direct her nail
To squeeze it out from head to tail;
For catch it nicely by the head,
It must come out alive or dead.
Why Strephon will you tell the rest?
And must you needs describe the chest?
That careless wench! no creature warn her
To move it out from yonder corner;
But leave it standing full in sight
For you to exercise your spite.
In vain the workman showed his wit
With rings and hinges counterfeit
To make it seem in this disguise
A cabinet to vulgar eyes;
For Strephon ventured to look in,
Resolved to go through thick and thin;
He lifts the lid, there needs no more,
He smelled it all the time before.
As from within Pandora's box,
When Epimetheus op'd the locks,
A sudden universal crew
Of human evils upwards flew;
He still was comforted to find
That Hope at last remained behind;
So Strephon lifting up the lid,
To view what in the chest was hid.
The vapors flew from out the vent,
But Strephon cautious never meant
The bottom of the pan to grope,
And foul his hands in search of Hope.
O never may such vile machine
Be once in Celia's chamber seen!
O may she better learn to keep
Those "secrets of the hoary deep!"
As mutton cutlets, prime of meat,
Which though with art you salt and beat
As laws of cookery require,
And toast them at the clearest fire;
If from adown the hopeful chops
The fat upon a cinder drops,
To stinking smoke it turns the flame
Pois'ning the flesh from whence it came,
And up exhales a greasy stench,
For which you curse the careless whench;
So things, which must not be expressed,
When plumped into the reeking chest,
Send up an excremental smell
To taint the parts from whence they fell.
The petticoats and gown perfume,
Which waft a stink round every room.
Thus finishing his grand survey,
Disgusted Strephon stole away
Repeating in his amorous fits,
Oh! Celia, Celia, Celia shits!
But Vengeance, goddess never sleeping
Soon punished Strephon for his peeping;
His foul imagination links
Each Dame he sees with all her stinks:
And, if unsavory odors fly,
Conceives a lady standing by:
All women his description fits,
And both ideas jump like wits:
By vicious fancy coupled fast,
And still appearing in contrast.
I pity wretched Strephon blind
To all the charms of female kind;
Should I the queen of love refuse,
Because she rose from stinking ooze?
To him that looks behind the scene,
Satira's but some pocky quean.
When Celia in her glory shows,
If Strephon would but stop his nose
(Who now so impiously blasphemes
Her ointments, daubs, and paints and creams,
Her washes, slops, and every clout,
With which he makes so foul a rout)
He soon would learn to think like me,
And bless his ravished sight to see
Such order from confusion sprung,
Such gaudy tulips raised from dung.

I think it's important to read this to the end. The low comedy and implied misogyny of the majority of the poem is, for me, redeemed by the way Swift broadens this out at the end to turn it into a parable about the paradox of humanity's imperfection and sublimity.____________________________________
 
Sorry - double post - just realised it's Shakespeare's birthday

From Midsummer Night's Dream, Act 5 Scene 1. Spoken by Theseus.

I never may believe
These antique fables, nor these fairy toys.
Lovers and madmen have such seething brains,
Such shaping fantasies, that apprehend
More than cool reason ever comprehends.
The lunatic, the lover and the poet
Are of imagination all compact:
One sees more devils than vast hell can hold,
That is, the madman: the lover, all as frantic,
Sees Helen's beauty in a brow of Egypt:
The poet's eye, in fine frenzy rolling,
Doth glance from heaven to earth, from earth to heaven;
And as imagination bodies forth
The forms of things unknown, the poet's pen
Turns them to shapes and gives to airy nothing
A local habitation and a name.
Such tricks hath strong imagination,
That if it would but apprehend some joy,
It comprehends some bringer of that joy;
Or in the night, imagining some fear,
How easy is a bush supposed a bear!
 
Thanksgiving

a monstering horror swallows
this unworld me by you
as the god of our fathers' fathers bows
to a which that walks like a who

but the voice-with-a-smile of democracy
announces night & day
"all poor little peoples that want to be free
just trust in the u s a"

suddenly uprose hungary
and she gave a terrible cry
"no slave's unlife shall murder me
for i will freely die"

she cried so high thermopylae
heard her and marathon
and all prehuman history
and finally The UN

"be quiet little hungary
and do as you are bid
a good kind bear is angary
we fear for the quo pro quid"

uncle same shurgs his pretty
pink shoulders you know how
and he twitches a liberal titty
and lisps "i'm busy right now"

so rah-rah-rah democracy
let's all be as thankful as hell
and bury the statue of liberty
(because it begins to smell)

- ee cummings
 
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