And out of their droning sibilants makes
A serenade.
Say, puerile, that the buzzards crouch on the ridge-pole
And sleep with one eye watching the stars fall
Below Key West.
Say that the palms are clear in a total blue,
Are clear and are obscure; that it is night;
That the moon shines.
THEORY
I am what is around me.
Women understand this.
One is not duchess
A hundred yards from a carriage.
These, then are portraits:
A black vestibule;
A high bed sheltered by curtains.
These are merely instances.
TO THE ONE OF FICTIVE MUSIC
Sister and mother and diviner love,
And of the sisterhood of the living dead
Most near, most clear, and of the clearest bloom,
And of the fragrant mothers the most dear
And queen, and of diviner love the day
And flame and summer and sweet fire, no thread
Of cloudy silver sprinkles in your gown
Its venom of renown, and on your head
No crown is simpler than the simple hair.
Now, of the music summoned by the birth
That separates us from the wind and sea,
Yet leaves us in them, until earth becomes,
By being so much of the things we are,
Gross effigy and simulacrum, none
Gives motion to perfection more serene
Than yours, out of our imperfections wrought,
Most rare, or ever of more kindred air
In the laborious weaving that you wear.
For so retentive of themselves are men
That music is intensest which proclaims
The near, the clear, and vaunts the clearest bloom,
And of all vigils musing the obscure,
That apprehends the most which sees and names,
As in your name, an image that is sure,
Among the arrant spices of the sun,
O bough and bush and scented vine, in whom
We give ourselves our likest issuance.
Yet not too like, yet not so like to be
Too near, too clear, saving a little to endow
Our feigning with the strange unlike, whence springs
The difference that heavenly pity brings.
For this, musician, in your girdle fixed
Bear other perfumes. On your pale head wear
A band entwining, set with fatal stones.
Unreal, give back to us what once you gave:
The imagination that we spurned and crave.
HYMN FROM A WATERMELON PAVILION
You dweller in the dark cabin,
To whom the watermelon is always purple,
Whose garden is wind and moon,
Of the two dreams, night and day,
What lover, what dreamer, would choose
The one obscured by sleep?
Here is the plantain by your door
And the best cock of red feather
That crew before the clocks.
A feme may come, leaf-green,
Whose coming may give revel
Beyond revelries of sleep,
Yes, and the blackbird spread its tail,
So that the sun may speckle,
While it creaks hail.
You dweller in the dark cabin,
Rise, since rising will not waken,
And hail, cry hail, cry hail.
PETER QUINCE AT THE CLAVIER
I
Just as my fingers on these keys
Make music, so the selfsame sounds
On my spirit make a music, too.
Music is feeling, then, not sound;
And thus it is that what I feel,
Here in this room, desiring you,
Thinking of your blue-shadowed silk,
Is music. It is like the strain
Waked in the elders by Susanna.
Of a green evening, clear and warm,
She bathed in her still garden, while
The red-eyed elders watching, felt
The basses of their beings throb
In witching chords, and their thin blood
Pulse pizzicati of Hosanna.
II
In the green water, clear and warm,
Susanna lay.
She searched
The touch of springs,
And found
Concealed imaginings.
She sighed,
For so much melody.
Upon the bank, she stood
In the cool
Of spent emotions.
She felt, among the leaves,
The dew
Of old devotions.
She walked upon the grass,
Still quavering.
The winds were like her maids,
On timid feet,
Fetching her woven scarves,
Yet wavering.
A breath upon her hand
Muted the night.
She turned—
A cymbal crashed,
And roaring horns.
III
Soon, with a noise like tambourines,
Came her attendant Byzantines.
They wondered why Susanna cried
Against the elders by her side;
And as they whispered, the refrain
Was like a willow swept by rain.
Anon, their lamps’ uplifted flame
Revealed Susanna and her shame.
And then, the simpering Byzantines
Fled, with a noise like tambourines.
IV
Beauty is momentary in the mind—
The fitful tracing of a portal;
But in the flesh it is immortal.
The body dies; the body’s beauty lives.
So evenings die, in their green going,
A wave, interminably flowing.
So gardens die, their meek breath scenting
The cowl of winter, done repenting.
So maidens die, to the auroral
Celebration of a maiden’s choral.
Susanna’s music touched the bawdy strings
Of those white elders; but, escaping,
Left only Death’s ironic scraping.
Now, in its immortality, it plays
On the clear viol of her memory,
And makes a constant sacrament of praise.
THIRTEEN WAYS OF LOOKING AT A BLACKBIRD
I
Among twenty snowy mountains,
The only moving thing
Was the eye of the blackbird.
II
I was of three minds,
Like a tree
In which there are three blackbirds.
III
The blackbird whirled in the autumn winds.
It was a small part of the pantomime.
IV
A man and a woman
Are one.
A man and a woman and a blackbird
Are one.
V
I do not know which to prefer,
The beauty of inflections
Or the beauty of innuendoes,
The blackbird whistling
Or just after.
VI
Icicles filled the long window
With barbaric glass.
The shadow of the blackbird
Crossed it, to and fro.
The mood
Traced in the shadow
An indecipherable cause.
VII
O thin men of Haddam,
Why do you imagine golden birds?
Do you not see how the blackbird
Walks around the feet
Of the women about you?
VIII
I know noble accents
And lucid, inescapable rhythms;
But I know, too,
That the blac
kbird is involved
In what I know.
IX
When the blackbird flew out of sight,
It marked the edge
Of one of many circles.
X
At the sight of blackbirds
Flying in a green light,
Even the bawds of euphony
Would cry out sharply.
XI
He rode over Connecticut
In a glass coach.
Once, a fear pierced him,
In that he mistook
The shadow of his equipage
For blackbirds.
XII
The river is moving.
The blackbird must be flying.
XIII
It was evening all afternoon.
It was snowing
And it was going to snow.
The blackbird sat
In the cedar-limbs.
NOMAD EXQUISITE
As the immense dew of Florida
Brings forth
The big-finned palm
And green vine angering for life,
As the immense dew of Florida
Brings forth hymn and hymn
From the beholder,
Beholding all these green sides
And gold sides of green sides,
And blessed mornings,
Meet for the eye of the young alligator,
And lightning colors
So, in me, come flinging
Forms, flames, and the flakes of flames.
THE MAN WHOSE PHARYNX WAS BAD
The time of year has grown indifferent.
Mildew of summer and the deepening snow
Are both alike in the routine I know.
I am too dumbly in my being pent.
The wind attendant on the solstices
Blows on the shutters of the metropoles,
Stirring no poet in his sleep, and tolls
The grand ideas of the villages.
The malady of the quotidian.…
Perhaps, if winter once could penetrate
Through all its purples to the final slate,
Persisting bleakly in an icy haze,
One might in turn become less diffident,
Out of such mildew plucking neater mould
And spouting new orations of the cold.
One might. One might. But time will not relent.
THE DEATH OF A SOLDIER
Life contracts and death is expected,
As in a season of autumn.
The soldier falls.
He does not become a three-days personage,
Imposing his separation,
Calling for pomp.
Death is absolute and without memorial,
As in a season of autumn,
When the wind stops,
When the wind stops and, over the heavens,
The clouds go, nevertheless,
In their direction.
NEGATION
Hi! The creator too is blind,
Struggling toward his harmonious whole,
Rejecting intermediate parts,
Horrors and falsities and wrongs;
Incapable master of all force,
Too vague idealist, overwhelmed
By an afflatus that persists.
For this, then, we endure brief lives,
The evanescent symmetries
From that meticulous potter’s thumb.
THE SURPRISES OF THE SUPERHUMAN
The palais de justice of chambermaids
Tops the horizon with its colonnades.
If it were lost in Übermenschlichkeit,
Perhaps our wretched state would soon come right.
For somehow the brave dicta of its kings
Make more awry our faulty human things.
SEA SURFACE FULL OF CLOUDS
I
In that November off Tehuantepec,
The slopping of the sea grew still one night
And in the morning summer hued the deck
And made one think of rosy chocolate
And gilt umbrellas. Paradisal green
Gave suavity to the perplexed machine
Of ocean, which like limpid water lay.
Who, then, in that ambrosial latitude
Out of the light evolved the moving blooms,
Who, then, evolved the sea-blooms from the clouds
Diffusing balm in that Pacific calm?
C’était mon enfant, mon bijou, mon âme.
The sea-clouds whitened far below the calm
And moved, as blooms move, in the swimming green
And in its watery radiance, while the hue
Of heaven in an antique reflection rolled
Round those flotillas. And sometimes the sea
Poured brilliant iris on the glistening blue.
II
In that November off Tehuantepec
The slopping of the sea grew still one night.
At breakfast jelly yellow streaked the deck
And made one think of chop-house chocolate
And sham umbrellas. And a sham-like green
Capped summer-seeming on the tense machine
Of ocean, which in sinister flatness lay.
Who, then, beheld the rising of the clouds
That strode submerged in that malevolent sheen,
Who saw the mortal massives of the blooms
Of water moving on the water-floor?
C’était mon frère du ciel, ma vie, mon or.
The gongs rang loudly as the windy booms
Hoo-hooed it in the darkened ocean-blooms.
The gongs grew still. And then blue heaven spread
Its crystalline pendentives on the sea
And the macabre of the water-glooms
In an enormous undulation fled.
III
In that November off Tehuantepec,
The slopping of the sea grew still one night
And a pale silver patterned on the deck
And made one think of porcelain chocolate
And pied umbrellas. An uncertain green,
Piano-polished, held the tranced machine
Of ocean, as a prelude holds and holds.
Who, seeing silver petals of white blooms
Unfolding in the water, feeling sure
Of the milk within the saltiest spurge, heard, then,
The sea unfolding in the sunken clouds?
Oh! C’était mon extase et mon amour.
So deeply sunken were they that the shrouds,
The shrouding shadows, made the petals black
Until the rolling heaven made them blue,
A blue beyond the rainy hyacinth,
And smiting the crevasses of the leaves
Deluged the ocean with a sapphire blue.
IV
In that November off Tehuantepec
The night-long slopping of the sea grew still.
A mallow morning dozed upon the deck
And made one think of musky chocolate
And frail umbrellas. A too-fluent green
Suggested malice in the dry machine
Of ocean, pondering dank stratagem.
Who then beheld the figures of the clouds
Like blooms secluded in the thick marine?
Like blooms? Like damasks that were shaken off
From the loosed girdles in the spangling must.
C’était ma foi, la nonchalance divine.
The nakedness would rise and suddenly turn
Salt masks of beard and mouths of bellowing,
Would—But more suddenly the heaven rolled
Its bluest sea-clouds in the thinking green,
And the nakedness became the broadest blooms,
Mile-mallows that a mallow sun cajoled.
V
In that November off Tehuantepec
Night stilled the slopping of the sea. The day
Came, bowing and voluble, upon the deck,
Good clown.… One thought of Ch
inese chocolate
And large umbrellas. And a motley green
Followed the drift of the obese machine
Of ocean, perfected in indolence.
What pistache one, ingenious and droll,
Beheld the sovereign clouds as jugglery
And the sea as turquoise-turbaned Sambo, neat
At tossing saucers—cloudy-conjuring sea?
C’était mon esprit bâtard, l’ignominie.
The sovereign clouds came clustering. The conch
Of loyal conjuration trumped. The wind
Of green blooms turning crisped the motley hue
To clearing opalescence. Then the sea
And heaven rolled as one and from the two
Came fresh transfigurings of freshest blue.
THE REVOLUTIONISTS STOP FOR ORANGEADE
Capitán profundo, capitán geloso,
Ask us not to sing standing in the sun,
Hairy-backed and hump-armed,
Flat-ribbed and big-bagged.
There is no pith in music
Except in something false.
The Collected Poems of Wallace Stevens Page 7