You can never rouse Harris. There is no poetry about Harris- no wild yearning for the unattainable. Harris never "weeps, he knows not why." If Harris's eyes fill with tears, you can bet it is because Harris has been eating raw onions, or has put too much Worcester over his chop.If you were to stand at night by the sea-shore with Harris, and say:"Hark! do you not hear? Is it but the mermaids singing deep below the waving waters; or sad spirits, chanting dirges for white corpses held by seaweed?" Harris would take you by the arm, and say:"I know what it is, old man; you've got a chill. Now you come along with me. I know a place round the corner here, where you can get a drop of the finest Scotch whisky you ever tasted- put you right in less than no time."Harris always does know a place round the corner where you can get something brilliant in the drinking line. I believe that if you met Harris up in Paradise (supposing such a thing likely), he would immediately greet you with:"So glad you've come, old fellow; I've found a nice place round the corner here, where you can get some really first-class nectar.

from "Semele Recycled"But then your great voice rang out under the skiesmy name!-- and all those private namesfor the parts and places that had loved you best.And they stirred in their nest of hay and dung.The distraught old ladies chasing their lost altar,and the seers pursuing my skull, their lost employment,and the tumbling boys, who wanted the magic marbles,and the runaway groom, and the fisherman's thirteen children,set up such a clamor, with their cries of "Miracle!"that our two bodies met like a thunderclapin midday-- right at the corner of that wretched fieldwith its broken fenceposts and startled, skinny cattle.We fell in a heap on the compost heapand all our loving parts made love at once,while the bystanders cheered and prayed and hid their eyesand then went decently about their business.And here is is, moonlight again; we've bathed in the riverand are sweet and wholesome once more.We kneel side by side in the sand;we worship each other in whispers.But the inner parts remember fermenting hay,the comfortable odor of dung, the animal incense,and passion, its bloody labor,its birth and rebirth and decay.

SPRING POEMIt is spring, my decision, the earthferments like rising breador refuse, we are burninglast year's weeds, the smokeflares from the road, the clumped stalksglow like sluggish phoenixes / it wasn'tonly my fault / birdsongs burst fromthe feathered pods of their bodies, dandelionswhirl their blades upwards, from beneaththis decaying board a snakesidewinds, chained hidesmelling of reptile sex / the hensroll in the dust, squinting with bliss, frogbodiesbloat like bladders, contract, stringthe pond with living jellyeyes, can I be thisruthless? I plungemy hands and arms into the dirt,swim among stones and cutworms,come up rank as a fox,restless. Nights, while seedlingsdig near my headI dream of reconciliationswith those I have hurtunbearably, we move stilltouching over the greening fields, the futurewounds folded like seedsin our tender fingers, daysI go for vicious walks past the charredroadbed over the bashed stubbleadmiring the view, avoidingthose I have not hurtyet, apocalypse coiled in my tongue,it is spring, I am searchingfor the word:finishedfinishedso I can begin overagain, some yearI will take this word too far.

A Psalm of LifeTell me not in mournful numbers,Life is but an empty dream!For the soul is dead that slumbers,And things are not what they seem.Life is real! Life is earnest!And the grave is not its goal;Dust thou are, to dust thou returnest,Was not spoken of the soul.Not enjoyment, and not sorrow,Is our destined end or way;But to act, that each tomorrowFind us farther than today.Art is long, and Time is fleeting,And our hearts, though stout and brave,Still, like muffled drums, are beatingFuneral marches to the grave.In the world's broad field of battle,In the bivouac of Life,Be not like dumb, driven cattle!Be a hero in the strife!Trust no Future, howe'er pleasant!Let the dead Past bury its dead!Act, - act in the living Present!Heart within, and God o'erhead!Lives of great men all remind usWe can make our lives sublime,And, departing, leave behind usFootprintson the sand of time;Footprints, that perhaps another,Sailing o'er life's solenm main,A forlorn and shipwrecked brother,Seeing, shall take heart again.Let us then be up and doing,With a heart for any fate;Still achieving, still pursuing,Learn to labor and to wait.

Invitation to EternitySay, wilt thou go with me, sweet maid,Say, maiden, wilt thou go with meThrough the valley-depths of shade, Of bright and dark obscurity; Where the path has lost its way, Where the sun forgets the day, Where there's nor light nor life to see, Sweet maiden, wilt thou go with me? Where stones will turn to flooding streams, Where plains will rise like ocean's waves, Where life will fade like visioned dreams And darkness darken into caves, Say, maiden, wilt thou go with meThrough this sad non-identity Where parents live and are forgot, And sisters live and know us not? Say, maiden, wilt thou go with me In this strange death of life to be, To live in death and be the same,Without this life or home or name, At once to be and not to be— That was and is not—yet to see Things pass like shadows, and the skyAbove, below, around us lie? The land of shadows wilt thou trace,Nor look nor know each other's face;The present marred with reason gone,And past and present both as one? Say, maiden, can thy life be led To join the living and the dead? Then trace thy footsteps on with me: We are wed to one eternity.

كان يشعر بالوحشةوحشة من يموت الليلةكأن جماعة من الموتى أو الملائكةينتظرونه كي يأخذوه معهمحيث لا رجعة أبدامرات عدة أفلت النوم منهوظل قلبه يحوم بأرجاء البيتكعصفور أضاع سبيله ليدخل غرفة بالصدفة

I measure every Grief I meetWith narrow, probing, Eyes;I wonder if It weighs like Mine,Or has an Easier size. I wonder if They bore it long,Or did it just begin?I could not tell the Date of Mine, It feels so old a pain. I wonder if it hurts to live,And if They have to try,And whether, could They choose between, It would not be, to die. I note that Some -- gone patient long --At length, renew their smile.An imitation of a LightThat has so little Oil. I wonder if when Years have piled,Some Thousands -- on the Harm Of early hurt -- if such a lapseCould give them any Balm; Or would they go on aching stillThrough Centuries above,Enlightened to a larger PainBy Contrast with the Love. The Grieved are many, I am told;The reason deeper lies, --Death is but oneand comes but once,And only nails the eyes. There's Grief of Want and Grief of Cold, --A sort they call "Despair";There's Banishment from native Eyes,In sight of Native Air. And though I may not guess the kindCorrectly, yet to meA piercing Comfort it affordsIn passing Calvary, To note the fashions of the Cross,And how they're mostly worn,Still fascinated to presumeThat Some are like My Own.

Higgledy piggledy, my black hen,She lays eggs for gentlemen.Gentlemen come every dayTo count what my black hen doth lay.If perchance she lays too many,They fine my hen a pretty penny;If perchance she fails to lay,The gentlemen a bonus pay.Mumbledy pumbledy, my red cow,She’s cooperating now.At first she didn’t understandThat milk production must be planned;She didn’t understand at firstShe either had to plan or burst,But now the government reportsShe’s giving pints instead of quarts.Fiddle de dee, my next-door neighbors,They are giggling at their labors.First they plant the tiny seed,Then they water, then they weed,Then they hoe and prune and lop,They they raise a record crop,Then they laugh their sides asunder,And plow the whole caboodle under.Abracadabra, thus we learnThe more you create, the less you earn.The less you earn, the more you’re given,The less you lead, the more you’re driven,The more destroyed, the more they feed,The more you pay, the more they need,The more you earn, the less you keep,And now I lay me down to sleep.I pray the Lord my soul to takeIf the tax-collector hasn’t got it before I wake.

Across the centuries the moral systems from medival chivalry to Bruce Springsteen love anthems have worked the same basic way. They take immediate selfish interests and enmesh them within transcendent, spiritual meanings. Love becomes a holy cause, an act of self-sacrifice and selfless commitment.But texting and the utilitarian mind-set are naturally corrosive toward poetry and imagination. A coat of ironic detachment is required for anyone who hopes to withstand the brutal feedback of the marketplace. In today's world, the choice of a Prius can be a more sanctified act than the choice of an erotic partner.This does not mean that young people today are worse or shallower than young people in the past. It does mean they get less help. People once lived within a pattern of being, which educated the emotions, guided the temporary toward the permanent and linked everyday urges to higher things. The accumulated wisdom of the community steered couples as they tried to earn each other's commitment.Today there are fewer norms that guide that way. Today's technology seems to threaten the sort of recurring and stable reciprocity that is the building block of trust.

Language signifies when instead of copying thought it lets itself be taken apart and put together again by thought. Language bears the sense of thought as a footprint signifies the movement and effort of a body. The empirical use of already established language should be distinguished from its creative use. Empirical language can only be the result of creative language. Speech in the sense of empirical language - that is, the opportune recollection of a preestablished sign – is not speech in respect to an authentic language. It is, as Mallarmé said, the worn coin placed silently in my hand. True speech, on the contrary - speech which signifies, which finally renders "l'absente de tous bouquets" present and frees the sense captive in the thing - is only silence in respect to empirical usage, for it does not go so far as to become a common noun. Language is oblique and autonomous, and if it sometimes signifies a thought or a thing directly, that is only a secondary power derived from its inner life. Like the weaver, the writer works on the wrong side of his material. He has only to do with the language, and it is thus that he suddenly finds himself surrounded by sense.

The QuitterWhen you're lost in the Wild, and you're scared as a child, And Death looks you bang in the eye, And you're sore as a boil, it's according to Hoyle To cock your revolver and . . . die. But the Code of a Man says: "Fight all you can," And self-dissolution is barred. In hunger and woe, oh, it's easy to blow...It's the hell-served-for-breakfast that's hard. "You're sick of the game!" Well, now, that's a shame. You're young and you're brave and you're bright. "You've had a raw deal!" I know — but don't squeal, Buck up, do your damnedest, and fight. It's the plugging away that will win you the day, So don't be a piker, old pard! Just draw on your grit; it's so easy to quit: It's the keeping-your-chin-up that's hard. It's easy to cry that you're beaten — and die; It's easy to crawfish and crawl; But to fight and to fight when hope's out of sight — Why, that's the best game of them all! And though you come out of each gruelling bout, All broken and beaten and scarred, Just have one more try — it's dead easy to die, It's the keeping-on-living that's hard.

victor hugo, Les Contemplations, MorsJe vis cette faucheuse. Elle était dans son champ. Elle allait à grands pas moissonnant et fauchant, Noir squelette laissant passer le crépuscule. Dans l'ombre où l'on dirait que tout tremble et recule, L'homme suivait des yeux les lueurs de la faulx.Et les triomphateurs sous les arcs triomphaux Tombaient ; elle changeait en désert Babylone, Le trône en échafaud et l'échafaud en trône, Les roses en fumier, les enfants en oiseaux,L'or en cendre, et les yeux des mères en ruisseaux. Et les femmes criaient : - Rends-nous ce petit être. Pour le faire mourir, pourquoi l'avoir fait naître ? -Ce n'était qu'un sanglot sur terre, en haut, en bas ; Des mains aux doigts osseux sortaient des noirs grabats ; Un vent froid bruissait dans les linceuls sans nombre ; Les peuples éperdus semblaient sous la faulx sombre Un troupeau frissonnant qui dans l'ombre s'enfuit ; Tout était sous ses pieds deuil, épouvante et nuit.Derrière elle, le front baigné de douces flammes, Un ange souriant portait la gerbe d'âmes.

Picnic, LightningIt is possible to be struck by a meteoror a single-engine planewhile reading in a chair at home.Safes drop from rooftopsand flatten the odd pedestrianmostly within the panels of the comics,but still, we know it is possible,as well as the flash of summer lightning,the thermos toppling over,spilling out on the grass.And we know the messagecan be delivered from within.The heart, no valentine,decides to quit after lunch,the power shut off like a switch,or a tiny dark ship is unmooredinto the flow of the body’s rivers,the brain a monastery,defenseless on the shore.This is what I think aboutwhen I shovel compostinto a wheelbarrow,and when I fill the long flower boxes,then press into rowsthe limp roots of red impatiens—the instant hand of Deathalways ready to burst forthfrom the sleeve of his voluminous cloak.Then the soil is full of marvels,bits of leaf like flakes off a fresco,red-brown pine needles, a beetle quickto burrow back under the loam.Then the wheelbarrow is a wilder blue,the clouds a brighter white,and all I hear is the rasp of the steel edgeagainst a round stone,the small plants singingwith lifted faces, and the clickof the sundialas one hour sweeps into the next.

Robot BoyMr. an Mrs. Smith had a wonderful life.They were a normal, happy husband and wife.One day they got news that made Mr. Smith glad.Mrs. Smith would would be a momwhich would make him the dad!But something was wrong with their bundle of joy.It wasn't human at all,it was a robot boy!He wasn't warm and cuddlyand he didn't have skin.Instead there was a cold, thin layer of tin.There were wires and tubes sticking out of his head.He just lay there and stared,not living or dead.The only time he seemed alive at allwas with a long extension cordplugged into the wall.Mr. Smith yelled at the doctor,"What have you done to my boy?He's not flesh and blood,he's aluminum alloy!"The doctor said gently,"What I'm going to saywill sound pretty wild.But you're not the father of this strange looking child.You see, there still is some questionabout the child's gender,but we think that its fatheris a microwave blender."The Smith's lives were now filledwith misery and strife.Mrs. Smith hated her husband,and he hated his wife.He never forgave her unholy alliance:a sexual encounterwith a kitchen appliance.And Robot Boygrew to be a young man.Though he was often mistakenfor a garbage can.

THIS IS WHYHe will never be given to wonder muchif he was the mouth for some cruel forcethat said it. But if he were(this will comfort her) less than one momentout of millions had he meant it. So many years and so many turnsthey had swerved around the subject.And he will swear for many morethe kitchen and everything in it vanished --the oak table, their guests, the refrigerator doorhe had been surely propped against--all changed to rusted ironwork and ashexcept in the center in her linen caftan:she was not touched.He remembers the silence before he spokeand her nodding a little,as if in the meat of this gray wastehere was the signalfor him to speak what they had long agreed,what somewhere they had prepared together.And this one moment in the desert of ashstretches into forever.They had been having a dinner party.She had been lonely. A friend asked her almost jokingif she had ever felt really crazy,and when she started to unwind her answerin long, lovely sentences like scarves within herhe saw this was the waythey could no longer talk together.And that is when he said it,in front of the guests,because he couldn't bear to hear her.And this is why the guests have leftand she screams as he comes near her.