Some poetry.

[olite71]

Another one of my favorite poems:

Slouching Towards Bethlehem

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 Spritus Mundi
Troubles my sight: somewhere in the 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?

-W.B. Yeats

For the sake of correcting the record, the title of that poem is "The Second Coming." It appears the way you've copied it here that the title is "Slouching Toward Bethlehem."

[olite71]

Spring and Fall: To a Young Child



Márgarét, are you gríeving

Over Goldengrove unleaving?

Leáves, líke the things of man, you

With your fresh thoughts care for, can you?

Ah! ás the heart grows older

It will come to such sights colder

By and by, nor spare a sigh

Though worlds of wanwood leafmeal lie;

And yet you wíll weep and know why.

Now no matter, child, the name:

Sórrow's spríngs áre the same.

Nor mouth had, no nor mind, expressed

What heart heard of, ghost guessed:

It ís the blight man was born for,

It is Margaret you mourn for.



Gerard Manley Hopkins

[Jericho]

Prompted by another thread, i remembered this one:

Get Drunk

One should always be drunk. That's all that matters;
that's our one imperative need. So as not to feel Time's
horrible burden one which breaks your shoulders and bows
you down, you must get drunk without cease.

But with what?
With wine, poetry, or virtue
as you choose.
But get drunk.

And if, at some time, on steps of a palace,
in the green grass of a ditch,
in the bleak solitude of your room,
you are waking and the drunkenness has already abated,
ask the wind, the wave, the stars, the clock,
all that which flees,
all that which groans,
all that which rolls,
all that which sings,
all that which speaks,
ask them, what time it is;
and the wind, the wave, the stars, the birds, and the clock,
they will all reply:

"It is time to get drunk!

So that you may not be the martyred slaves of Time,
get drunk, get drunk,
and never pause for rest!
With wine, poetry, or virtue,
as you choose!"

::Charles Baudelaire

[Quinn]

Another one of my favorite poems:

Slouching Towards Bethlehem

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 Spritus Mundi
Troubles my sight: somewhere in the 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?

-W.B. Yeats

For the sake of correcting the record, the title of that poem is "The Second Coming." It appears the way you've copied it here that the title is "Slouching Toward Bethlehem."

Yes, I saw that, too, after I copied it, but didn't care enough to correct it because it's a very famous poem and most readers of poetry are familiar with its title. Thanks anyway though.

-Quinn

[Quinn]

I've probably posted this somewhere before, but whatever. Here's another from Ted Hughes' greatest work, Crow:

Crow's Theology

Crow realized God loved him-
Otherwise, he would have dropped dead.
So that was proved.
Crow reclined, marveling, on his heart-beat.
And he realized that God spoke Crow-
Just existing was his revelation.
But what Loved the stones and spoke stone?
They seemed to exist too.
And what spoke that strange silence
After his clamor of caws faded?
And what loved the shot-pellets
That dribbled from those strung-up mummifying crows?
What spoke the silence of lead?
Crow realized there were two Gods-
One of them much bigger than the other
Loving his enemies
And having all the weapons.

By Ted Hughes

[spedius]

Hi all,

Many thanks to everyone who've contributed such wonderful items to this thread.

Mine is a little different today, in that it's poetic song lyrics.

"Eleanor Rigby (Lennon/McCartney)
From the Beatles album "Revolver" (1966)

Ah, look at all the lonely people
Ah, look at all the lonely people

Eleanor Rigby picks up the rice in the church where a wedding has been
Lives in a dream
Waits at the window, wearing the face that she keeps in a jar by the door
Who is it for?

All the lonely people
Where do they all come from ?
All the lonely people
Where do they all belong ?

Father McKenzie writing the words of a sermon that no one will hear
No one comes near.
Look at him working. Darning his socks in the night when there's nobody there
What does he care?

All the lonely people
Where do they all come from?
All the lonely people
Where do they all belong?

Eleanor Rigby died in the church and was buried along with her name
Nobody came
Father McKenzie wiping the dirt from his hands as he walks from the grave
No one was saved

All the lonely people
Where do they all come from?
All the lonely people
Where do they all belong?"

Enjoy.

Spedius

[xact]

Something completely different...

...
Soles occidere et redire possunt:
nobis cum semel occidit brevis lux,
nox est perpetua una dormienda.
...

From Catullus (Carmen V)

I'm not satisfied with English translations... See
http://rudy.negenborn.net/catullus/text2/l5.htm
for translations in various languages.

[spedius]

Hi all,

Does anyone know the origins of this song as it seems to be very familiar to me?

The Streets of Laredo
arranged & adapted by Arlo Guthrie

As I walked out in the streets of Laredo
As I walked out in Laredo one day
I spied a poor cowboy wrapped up in white linen
All wrapped in white linen as cold as the clay

"I see by your outfit that you are a cowboy"
These words he did say as I proudly stepped by
"Come sit down beside me and hear my sad story
I'm shot in the breast and I know I must die

"'Twas once in the saddle I used to go ridin'
Once in the saddle I used to go gay
First lead to drinkin', and then to card-playing
I'm shot in the breast and I'm dying today

"Let six jolly cowboys come carry my coffin
Let six pretty gals come to carry my pall
Throw bunches of roses all over my coffin
Throw roses to deaden the clods as they fall

"Oh, beat the drum slowly, and play the fife lowly
And play the dead march as you carry me along
Take me to the green valley and lay the earth o'er me
For I'm a poor cowboy and I know I've done wrong"

We beat the drum slowly and played the fife lowly
And bitterly wept as we carried him along
For we all loved our comrade, so brave, young and handsome
We all loved our comrade although he done wrong

©1991 Arloco Music Inc
All Rights Reserved.

Enjoy.

Spedius

[Jericho]

Hi all,

Does anyone know the origins of this song as it seems to be very familiar to me?

If you were a kid in the sixties, you probably heard it in 'singing' lessons. Though a quick look on wikkipedia says it's much older.

[suckseed]

The Love Song of J Alfred Prufrock, TS Eliot

Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question . . .
Oh, do not ask, "What is it?"
Let us go and make our visit.

In the room the women come and go
Talking of Michelangelo.

The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes
Licked its tongue into the corners of the evening,
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.

And indeed there will be time
For the yellow smoke that slides along the street,
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate;
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.

In the room the women come and go
Talking of Michelangelo.

And indeed there will be time
To wonder, "Do I dare?" and, "Do I dare?"
Time to turn back and descend the stair,
With a bald spot in the middle of my hair--
[They will say: "How his hair is growing thin!"]
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin--
[They will say: "But how his arms and legs are thin!"]
Do I dare
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.

For I have known them all already, known them all:--
Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall
Beneath the music from a farther room.
So how should I presume?

And I have known the eyes already, known them all--
The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
Then how should I begin
To spit out all the butt-ends of my days and ways?
And how should I presume?

And I have known the arms already, known them all--
Arms that are braceleted and white and bare
[But in the lamplight, downed with light brown hair!]
Is it perfume from a dress
That makes me so digress?
Arms that lie along a table, or wrap about a shawl.
And should I then presume?
And how should I begin?
. . . . .
Shall I say, I have gone at dusk through narrow streets
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows? . . .

I should have been a pair of ragged claws
Scuttling across the floors of silent seas.

. . . . .

And the afternoon, the evening, sleeps so peacefully!
Smoothed by long fingers,
Asleep . . . tired . . . or it malingers,
Stretched on the floor, here beside you and me.
Should I, after tea and cakes and ices,
Have the strength to force the moment to its crisis?
But though I have wept and fasted, wept and prayed,
Though I have seen my head [grown slightly bald] brought in upon a platter,
I am no prophet--and here's no great matter;
I have seen the moment of my greatness flicker,
And I have seen the eternal Footman hold my coat, and snicker,
And in short, I was afraid.

And would it have been worth it, after all,
After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
Would it have been worth while,
To have bitten off the matter with a smile,
To have squeezed the universe into a ball
To roll it toward some overwhelming question,
To say: "I am Lazarus, come from the dead
Come back to tell you all, I shall tell you all"--
If one, settling a pillow by her head,
Should say: "That is not what I meant at all.
That is not it, at all."

And would it have been worth it, after all,
Would it have been worth while,
After the sunsets and the dooryards and the sprinkled streets,
After the novels, after the teacups, after the skirts that trail along the
floor--
And this, and so much more?--
It is impossible to say just what I mean!
But as if a magic lantern threw the nerves in patterns on a screen:
Would it have been worth while
If one, settling a pillow or throwing off a shawl,
And turning toward the window, should say:
"That is not it at all,
That is not what I meant, at all."

. . . . .

No! I am not Prince Hamlet, nor was meant to be;
Am an attendant lord, one that will do
To swell a progress, start a scene or two,
Advise the prince; no doubt, an easy tool,
Deferential, glad to be of use,
Politic, cautious, and meticulous;
Full of high sentence, but a bit obtuse
At times, indeed, almost ridiculous--
Almost, at times, the Fool.

I grow old . . .I grow old . . .
I shall wear the bottoms of my trousers rolled.

Shall I part my hair behind? Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach.
I have heard the mermaids singing, each to each.

I do not think that they will sing to me.

I have seen them riding seaward on the waves
Combing the white hair of the waves blown back
When the wind blows the water white and black.

We have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown
Till human voices wake us, and we drown.