What a beautiful tableau tinted and towering,
The arm of bronze outstretched against all evil!
MEDITATION CELESTIAL & TERRESTRIAL
The wild warblers are warbling in the jungle
Of life and spring and of the lustrous inundations,
Flood on flood, of our returning sun.
Day after day, throughout the winter,
We hardened ourselves to live by bluest reason
In a world of wind and frost,
And by will, unshaken and florid
In mornings of angular ice,
That passed beyond us through the narrow sky.
But what are radiant reason and radiant will
To warblings early in the hilarious trees
Of summer, the drunken mother?
LIONS IN SWEDEN
No more phrases, Swenson: I was once
A hunter of those sovereigns of the soul
And savings banks, Fides, the sculptor’s prize,
All eyes and size, and galled Justitia,
Trained to poise the tables of the law,
Patientia, forever soothing wounds,
And mighty Fortitudo, frantic bass.
But these shall not adorn my souvenirs,
These lions, these majestic images.
If the fault is with the soul, the sovereigns
Of the soul must likewise be at fault, and first.
Are the soul itself. And the whole of the soul, Swenson,
As every man in Sweden will concede,
Still hankers after lions, or, to shift,
Still hankers after sovereign images.
If the fault is with the lions, send them back
To Monsieur Dufy’s Hamburg whence they came.
The vegetation still abounds with forms.
HOW TO LIVE. WHAT TO DO
Last evening the moon rose above this rock
Impure upon a world unpurged.
The man and his companion stopped
To rest before the heroic height.
Coldly the wind fell upon them
In many majesties of sound:
They that had left the flame-freaked sun
To seek a sun of fuller fire.
Instead there was this tufted rock
Massively rising high and bare
Beyond all trees, the ridges thrown
Like giant arms among the clouds.
There was neither voice nor crested image,
No chorister, nor priest. There was
Only the great height of the rock
And the two of them standing still to rest.
There was the cold wind and the sound
It made, away from the muck of the land
That they had left, heroic sound
Joyous and jubilant and sure.
SOME FRIENDS FROM PASCAGOULA
Tell me more of the eagle, Cotton,
And you, black Sly,
Tell me how he descended
Out of the morning sky.
Describe with deepened voice
And noble imagery
His slowly-falling round
Down to the fishy sea.
Here was a sovereign sight,
Fit for a kinky clan.
Tell me again of the point
At which the flight began,
Say how his heavy wings,
Spread on the sun-bronzed air,
Turned tip and tip away,
Down to the sand, the glare
Of the pine trees edging the sand,
Dropping in sovereign rings
Out of his fiery lair.
Speak of the dazzling wings.
WAVING ADIEU, ADIEU, ADIEU
That would be waving and that would be crying,
Crying and shouting and meaning farewell,
Farewell in the eyes and farewell at the centre,
Just to stand still without moving a hand.
In a world without heaven to follow, the stops
Would be endings, more poignant than partings, profounder,
And that would be saying farewell, repeating farewell,
Just to be there and just to behold.
To be one’s singular self, to despise
The being that yielded so little, acquired
So little, too little to care, to turn
To the ever-jubilant weather, to sip
One’s cup and never to say a word,
Or to sleep or just to lie there still,
Just to be there, just to be beheld,
That would be bidding farewell, be bidding farewell.
One likes to practice the thing. They practice,
Enough, for heaven. Ever-jubilant,
What is there here but weather, what spirit
Have I except it comes from the sun?
THE IDEA OF ORDER AT KEY WEST
She sang beyond the genius of the sea.
The water never formed to mind or voice,
Like a body wholly body, fluttering
Its empty sleeves; and yet its mimic motion
Made constant cry, caused constantly a cry,
That was not ours although we understood,
Inhuman, of the veritable ocean.
The sea was not a mask. No more was she.
The song and water were not medleyed sound
Even if what she sang was what she heard,
Since what she sang was uttered word by word.
It may be that in all her phrases stirred
The grinding water and the gasping wind;
But it was she and not the sea we heard.
For she was the maker of the song she sang.
The ever-hooded, tragic-gestured sea
Was merely a place by which she walked to sing.
Whose spirit is this? we said, because we knew
It was the spirit that we sought and knew
That we should ask this often as she sang.
If it was only the dark voice of the sea
That rose, or even colored by many waves;
If it was only the outer voice of sky
And cloud, of the sunken coral water-walled,
However clear, it would have been deep air,
The heaving speech of air, a summer sound
Repeated in a summer without end
And sound alone. But it was more than that,
More even than her voice, and ours, among
The meaningless plungings of water and the wind,
Theatrical distances, bronze shadows heaped
On high horizons, mountainous atmospheres
Of sky and sea.
It was her voice that made
The sky acutest at its vanishing.
She measured to the hour its solitude.
She was the single artificer of the world
In which she sang. And when she sang, the sea,
Whatever self it had, became the self
That was her song, for she was the maker. Then we,
As we beheld her striding there alone,
Knew that there never was a world for her
Except the one she sang and, singing, made.
Ramon Fernandez, tell me, if you know,
Why, when the singing ended and we turned
Toward the town, tell why the glassy lights,
The lights in the fishing boats at anchor there,
As the night descended, tilting in the air,
Mastered the night and portioned out the sea,
Fixing emblazoned zones and fiery poles,
Arranging, deepening, enchanting night.
Oh! Blessed rage for order, pale Ramon,
The maker’s rage to order words of the sea,
Words of the fragrant portals, dimly-starred,
And of ourselves and of our origins,
In ghostlier demarcations, keener sounds.
THE AMERICAN SUBLIME
How does one stand
To behold the sublime,
To confront the mockers,
The mickey mockers
And plated pairs?
When General Jackson
Posed for his statue
He knew how one feels.
Shall a man go barefoot
Blinking and blank?
But how does one feel?
One grows used to the weather,
The landscape and that;
And the sublime comes down
To the spirit itself,
The spirit and space,
The empty spirit
In vacant space.
What wine does one drink?
What bread does one eat?
MOZART, 1935
Poet, be seated at the piano.
Play the present, its hoo-hoo-hoo,
Its shoo-shoo-shoo, its ric-a-nic,
Its envious cachinnation.
If they throw stones upon the roof
While you practice arpeggios,
It is because they carry down the stairs
A body in rags.
Be seated at the piano.
That lucid souvenir of the past,
The divertimento;
That airy dream of the future,
The unclouded concerto…
The snow is falling.
Strike the piercing chord.
Be thou the voice,
Not you. Be thou, be thou
The voice of angry fear,
The voice of this besieging pain.
Be thou that wintry sound
As of the great wind howling,
By which sorrow is released,
Dismissed, absolved
In a starry placating.
We may return to Mozart.
He was young, and we, we are old.
The snow is falling
And the streets are full of cries.
Be seated, thou.
SNOW AND STARS
The grackles sing avant the spring
Most spiss—oh! Yes, most spissantly.
They sing right puissantly.
This robe of snow and winter stars,
The devil take it, wear it, too.
It might become his hole of blue.
Let him remove it to his regions,
White and star-furred for his legions,
And make much bing, high bing.
It would be ransom for the willow
And fill the hill and fill it full
Of ding, ding, dong.
THE SUN THIS MARCH
The exceeding brightness of this early sun
Makes me conceive how dark I have become,
And re-illumines things that used to turn
To gold in broadest blue, and be a part
Of a turning spirit in an earlier self.
That, too, returns from out the winter’s air,
Like an hallucination come to daze
The corner of the eye. Our element,
Cold is our element and winter’s air
Brings voices as of lions coming down.
Oh! Rabbi, rabbi, fend my soul for me
And true savant of this dark nature be.
BOTANIST ON ALP (NO. 1)
Panoramas are not what they used to be.
Claude has been dead a long time
And apostrophes are forbidden on the funicular.
Marx has ruined Nature,
For the moment.
For myself, I live by leaves,
So that corridors of clouds,
Corridors of cloudy thoughts,
Seem pretty much one:
I don’t know what.
But in Claude how near one was
(In a world that was resting on pillars,
That was seen through arches)
To the central composition,
The essential theme.
What composition is there in all this:
Stockholm slender in a slender light,
An Adriatic riva rising,
Statues and stars,
Without a theme?
The pillars are prostrate, the arches are haggard,
The hotel is boarded and bare.
Yet the panorama of despair
Cannot be the specialty
Of this ecstatic air.
BOTANIST ON ALP (NO. 2)
The crosses on the convent roofs
Gleam sharply as the sun comes up.
What’s down below is in the past
Like last night’s crickets, far below.
And what’s above is in the past
As sure as all the angels are.
Why should the future leap the clouds
The bays of heaven, brighted, blued?
Chant, O ye faithful, in your paths
The poem of long celestial death;
For who could tolerate the earth
Without that poem, or without
An earthier one, tum, tum-ti-tum,
As of those crosses, glittering,
And merely of their glittering,
A mirror of a mere delight?
EVENING WITHOUT ANGELS
the great interests of man: air and light, the joy of having a body, the voluptuousness of looking.
MARIO ROSSI
Why seraphim like lutanists arranged
Above the trees? And why the poet as
Eternal chef d’orchestre?
Air is air,
Its vacancy glitters round us everywhere.
Its sounds are not angelic syllables
But our unfashioned spirits realized
More sharply in more furious selves.
And light
That fosters seraphim and is to them
Coiffeur of haloes, fecund jeweller—
Was the sun concoct for angels or for men?
Sad men made angels of the sun, and of
The moon they made their own attendant ghosts,
Which led them back to angels, after death.
Let this be clear that we are men of sun
And men of day and never of pointed night,
Men that repeat antiquest sounds of air
In an accord of repetitions. Yet,
If we repeat, it is because the wind
Encircling us, speaks always with our speech.
Light, too, encrusts us making visible
The motions of the mind and giving form
To moodiest nothings, as, desire for day
Accomplished in the immensely flashing East,
Desire for rest, in that descending sea
Of dark, which in its very darkening
Is rest and silence spreading into sleep.
…Evening, when the measure skips a beat
And then another, one by one, and all
To a seething minor swiftly modulate.
Bare night is best. Bare earth is best. Bare, bare,
Except for our own houses, huddled low
Beneath the arches and their spangled air,
Beneath the rhapsodies of fire and fire,
Where the voice that is in us makes a true response,
Where the voice that is great within us rises up,
As we stand gazing at the rounded moon.
THE BRAVE MAN
The sun, that brave man,
Comes through boughs that lie in wait,
That brave man.
Green and gloomy eyes
In dark forms of the grass
Run away.
The good stars,
Pale helms and spiky spurs,
Run away.
Fears of my bed,
Fears of life and fears of death,
Run away.
That brave man comes up
From below and walks without meditation,
That brave man.
A FADING OF THE SUN
Who can think of the sun costuming clouds
When all people are shaken
Or of night endazzled, proud,
When people awaken
And cry and cry for help?
The warm antiquity of self,
The tea is bad, bread sad.
How can the world so old be so mad
That the people die?
If joy shall be without a book
It lies, themselves within themselves,
If they will look
Within themselves
And cry and cry for help?
Within as pillars of the sun,
Supports of night. The tea,
The wine is good. The bread,
The meat is sweet.
And they will not die.
GRAY STONES AND GRAY PIGEONS
The archbishop is away. The church is gray.
He has left his robes folded in camphor
And, dressed in black, he walks
Among fireflies.
The bony buttresses, the bony spires
Arranged under the stony clouds
Stand in a fixed light.
The bishop rests.
He is away. The church is gray.
This is his holiday.
The sexton moves with a sexton’s stare
In the air.
A dithery gold falls everywhere.
It wets the pigeons,
It goes and the birds go,
Turn dry,
Birds that never fly
Except when the bishop passes by,
Globed in today and tomorrow,
Dressed in his colored robes.
WINTER BELLS
The Jew did not go to his synagogue
To be flogged.
But it was solemn,
That church without bells.
The Collected Poems of Wallace Stevens Page 9