Richard Wilbur
1921-Present
Please note that I only include poems that I personally have
transcribed from my personal library.
Many copies of most poems that circulate
on the internet are riddled with textual errors.
I therefore choose not to copy
them.
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In April, thirteen centuries ago,
Bede cast his cassocked shadow on the ground
Of Jarrow and, proceeding heel-to-toe,
Measured to where a head that could contain
The lore of Christendom had darkly lain,
And thereby, for that place and season, found
That a man's shade, at the third hour from dawn,
Stretches eleven feet upon the lawn.
This morning, with his tables in my hand,
Adapting them as near as I can gauge,
Foot after foot, on Massachusetts land,
I pace through April sunlight toward a wall
On which he knew my shadow's end would fall
Whatever other dark might plague the age,
And, warmed by the fidelity of time,
Make with his sun-ringed head a dusky rhyme.
¤ Bede. [bēd.] (pr. n.) Anglo-Saxon theologian and historian whose major work, Ecclesiastical History of the English Nation (731), written in Latin, remains an important source of ancient English history. He introduced the method of dating events from the birth of Christ. Bede wrote about the calendar, marine tides, the shape of the earth, and provided an accurate table of shadow lengths in De Temporum Ratione, or On the Reckoning of Time.
¤ cassock. [kăs'ək.] (n. Ecclesiastical) An ankle-length garment with a close-fitting waist and sleeves, worn by the clergy and others assisting in church services.
¤ Jarrow. [jä'rō, -rŭ.] (pr. n.) A town on the River Tyne in Northumbria, England. The Monastery of Saint Paul in Jarrow was once the home of the Venerable Bede. It was reputed at the time to have been the only center of learning in Europe north of Rome.
A thrush, because I'd been wrong,
Burst rightly into song
In a world not vague, not lonely,
Not governed by me only.
As we left the garden-party
By the far gate,
There were many loitering on
Who had come late
And a few arriving still,
Though the lawn lay
Like a fast-draining shoal
Of ochre day.
Curt shadows in the grass
Hatched every blade,
And now on pedestals
Of mounting shade
Stood all our friends—iconic,
Now, in mien,
Half-lost in dignities
Till now unseen.
There were the hostess' hands
Held out to greet
The scholar's limp, his wife's
Quick-pecking feet,
And there was wit's cocked head,
And there the sleek
And gaze-enameled look
Of beauty's cheek.
We saw now, loitering there
Knee-deep in night,
How even the wheeling children
Moved in a rite
Or masque, or long charade
Where we, like these,
Had blundered into grand
Identities,
Filling our selves as sculpture
Fills the stone.
We had not played so surely,
Had we known.
¤ ochre. [ō'kər.] (n.) A moderate orange yellow, from moderate or deep orange to moderate or strong yellow.
¤ mien. [mēn.] (n.) 1: Bearing or manner, especially as it reveals an inner state of mind. 2: An appearance or aspect. (A shortening and alteration of "demean.")
¤ masque. [măsk.] (n.) 1: A dramatic entertainment, usually performed by masked players representing mythological or allegorical figures, that was popular in England in the 16th and early 17th centuries. 2: A dramatic verse composition written for such an entertainment. 3: A party of guests wearing costumes and masks. (Variant of "masquerade.")
¤ charade. [shə-rād'.] (n.) An
imitation of someone's or something's style.
From the dress-box's plashing tis- That she has
somehow hooked and gaffed I, in my chair,
make shift to say And then is back
in half a minute, Has changed
appreciably, and gains With a fierce
frown and hard-pursed lips Plucks
at the shoulder-straps a bit, Is wholly charming,
it is she, ¤ gaff. [găf.]
1: (n.) A large iron hook attached to a pole or handle and used to land
large fish. 2: (v. tr.) To hook or land (a fish) using a gaff.
¤ corrugate.
[kôr'ə-gāt, kŏr'-.] 1: (v. tr.) To shape into folds or
parallel and alternating ridges and grooves. 2: (v. intr.) To become
shaped into such folds or ridges and grooves.
Never take her away, We know those tales of gods in hot pursuit And changing then into a branchy shape But this, we say, is more how love is made— Where overheard we hear tossed leaves consent And, answering with supple blade and stem, Under the Mirabeau Bridge there flows the Seine
Let night come on bells end the day Hands joined and face to face let's stay just so
Let night come on bells end the day All love goes by as water to the sea
Let night come on bells end the day The days the weeks pass by beyond our ken
Let night come on bells end the day As with the dapper terns, or that sole cloud His unreflectiveness, his flings in air, Blue in the water's blue, which is the shade Or is so to the mind's blue eye until Of the old darkness of Devonian dream,
¤ dapper.
[dăp'ər.] (adj.) Lively and alert.
¤ scintillate.
[sĭn'tl-āt.] (v. intr.) 1: To throw off sparks; flash. 2: To
be animated and brilliant.
¤ chiasmodon. [kī-ăz'mə-dôn.]
(n.)
Chiasmodon refers to a genus of fishes, of the order Perciformes,
suborder Trachinoidei, family Chiasmodontidae. Its most famous
occupant is the Black Swallower (chiasmodon niger)
which can swallow prey up to three times its own size. Its detachable jaws
allow large prey quick passage into its expandable stomach, and its
inward-facing teeth ensure that its prey cannot escape. They grow up to 25cm
long. Its other species include C. bolangeri, C. braueri, C.
microcephalus, C. subniger, C. niger pluriradiatus, and Ponerodon
vastator. As deep-sea fishes, they exist on the barest threads of life,
moving slowly so they do not waste precious energy and living only to eat. The
name refers to the fish species' mouth: chiasma, Greek for
"cross;" odous, Greek for "tooth, teeth." Click
here to view illustrations of the profiles of fishes who share the general
family category Chisamadontidae to get an idea why they deserve the
name.
¤ Devonian. [dĭ-vō'nē-ən.]
(adj.) Referring to the prehistoric Devonian period, which lasted
between 410 and 356 million years ago. It has been traditionally referred to
as "the Age of Fishes" because of the remarkable species
diversification that occurred during the time. It saw the appearance of the
first ray-fin fishes, which includes the Chiasmodons.
How credible, the room which you evoke: Bid now a woman enter in a mood Now that the bearded man who in a rage Still, something should escape us, something like Of motives for some act, propose a few,
¤ infra-red. [ĭn-frə-rĕd'.] (adj.) Of or
relating to the range of invisible radiation wavelengths. In this case,
infra-red light's invisibility is the key attribute.
¤ mottle. [mŏt'l.] (v. tr.)
To mark with spots or blotches of different shades or colors. ¤ Celebes. [sĕl'ə-bēz, sə-lē'bēz,
sĕ-lā'bĕs.] (pr. n.) Also known as Sulawesi. It is the
largest Indonesian island. Celebes is zoologically remarkable for the variety
of rare, exclusive species of animals that live there. Examples include the
dwarf buffalo (Bubalus depressicornis), the pigdeer (Babyroussa
babyrussa), the giant palm civet
(Macrogalidia musschenbroeki), an endemic species of tarsier (Tarsius
spectrum), and several varieties of the Sulawesi macaque (Cynopithecus
niger).
Though between sullen hills, The shadblow's white racemes Or as the Thracian strings, Shadblow; in farthest air And in this eddy here It is a day to guess So that this boulder, this Though cloudily astrew
¤ shadblow. [shăd'blō.] (n.) Variant of
shadbush. Any of various North American shrubs or trees of the genus
Amelanchier, having white flowers, edible blue-black or purplish fruit, and
smooth, gray, striped twigs. Also called Juneberry. Its name comes from its
being in bloom when shad are found in streams.
¤ raceme. [rā-sēm', rə-.] (n.) An
inflorescence having stalked flowers arranged singly along an elongated
unbranched axis, as in the lily of the valley.
¤ Thracian strings. [thrā'shən strĭngz.] (n.)
Classical reference to the lyre, a stringed instrument used chiefly to
accompany Ancient Greek recitations. The specific instance of the lyre's use
described in "Shad-Time" ("Descending past the bedrock's
muted staves, / Picked out the signatures of things / Even in death's own
caves.") refers to the Greek hero Orpheus's descent into Hades to
retrieve his wife, Eurydice, where he gained the chance to revive her by
playing the lyre.
¤ russet. [rŭs'ĭt.] 1: (adj.) Moderate to
strong brown. 2: (n.) A coarse reddish-brown to brown homespun cloth.
3: (n.) A winter apple with a rough reddish-brown skin.
At the alder-darkened brink A startled inchling trout To where, in a flicked slew Beneath a sliding glass And a white precipice Joy's trick is to supply
¤ trawl; trawling.
[trôl', trôl'ĭng.] 1: (n.) A long fishing line with many shorter
lines and hooks attached to it. 2: (n.) A conical fishnet dragged through
the water at great depths. 3: (v. tr.) To fish using trawler lines.
¤ founder. [foun'dər.] (v. intr.) To sink below
the surface of the water. Example: The ship struck a reef and foundered.
¤ brace.
[brās.] (n.) 1: An extremely stiff, erect posture. 2: A cause or
source of renewed physical or spiritual vigor. 3: (pl.) A pair of like
things: three brace of partridges. Wilbur possibly uses the word brace
ambiguously, gathering the description of the dragon-flies' needled posture, the
effect that the dragon-flies enact upon the inchling trout, and the number of
dragon-flies into on tight word.
¤ burnished. [bûr'nĭsht.] (v. tr.)
Made smooth or glossy as if by rubbing; polished. Etymologically descended from
Middle English, burnishen, which came from Old French, burnir, burniss-,
a variant of brunir which came from brun, meaning shining.
Of Germanic origin. See bher- in Indo-European roots.
O tell me where, in lands or seas, Where too is learned
Héloïse, Queen Blanche the fair,
whose voice could please Not next week, Prince, nor
next decade,
¤ Flora.
[flôr'ə, flōr'ə.] (pr. n.)
A few possibilities for the identity of Flora exist. The most immediately
recognizable definition is the Roman goddess of Spring. However, some have
speculated that Villon referred to the courtesan named Flora mentioned in
Juvenal's second satire: "Tedia non lambit Cluuiam nec Flora Catullam: /
Hispo subit iuuenes et morbo pallet utroque" (lines 49, 50).
However, Juvenal did not elaborate upon Flora beyond her use as a prop to
illustrate women's restraint from homosexual passion.
The fourth century Christian apologist Lactantius wrote of a
Flora, likely referring to the same courtesan as Juvenal. In Chapter 20 of Book
I of Divinæ Institutiones, Lactantius gave his account for the origins
of the annual Floralia festival, during which participants would observe
public sexual performances. The festival was religiously associated with Flora,
the bearer of flowers and spring, and was obviously regarded by the
apologist as a detestable fertility rite. However, Lactantius ascribed its
origins to a courtesan named Flora, rather than the Roman goddess. He wrote that
the courtesan Flora had amassed such great wealth through prostitution that she
left it to heirs along with the instruction that her birthday should be
celebrated by future generations by public games. Lactantius used his origin for
Floralia as an example to illustrate the Romans' abiding sexual immorality.
Villon seems to
have intended to refer to this mytho-historical woman.
¤ Thais.
[thä-ēs.] (pr. n.) Saint Thais. She was a fourth century courtesan who traveled to
Egypt with Alexander the Great. She was converted to Christianity by Saint Paphnutius. She repented for her sins,
became a recluse enclosed in a convent cell for three years, and died only
fourteen days after having been genuinely accepted into the convent community.
Her name is sometimes presented as Thaïsis or Thaïsia. ¤ Archipiades. [ä-kē-pəē'dä.] (pr. n.)
Disagreement exists regarding the actual figure referred to as "Archipiades."
Dante Gabriel Rossetti decided that Villon meant to refer to Hipparchia from
Diogenes Laertius' Lives of the Philosophers, and so he substituted
Hipparchia for Archipiades. In the 1920 edition of The Oxford Book of French
Verse, St. John Lucas supposes that Archipiada refers to Archippe, Sophocles'
mistress. Another speculation holds that Villon had misremembered the name of
Alcibiades from Plato's Symposium. While Alcibiades was, in fact, a
man, the speculation argues that during the Middle Ages his character was
believed to be female because he was described as the paragon of beauty. The
point is, Archipiades is hot. ¤ Echo. [ĕk'ō.] (pr. n.) Echo was a nymph
in Greek and Roman mythology. Her story varies between the two mythologies. In
the Roman story, Zeus would leave Echo to distract Hera with incessant chatter
while he left for one of his love affairs. Hera learned of Echo's role in her
husband's infidelity, and as punishment she cursed Echo to be able to only say
what her company has just said. Echo later fell in love with Narcissus, who
died after having become enthralled by his own image in a pool of water. She
watched him waste away, and she wasted away herself to leave only her voice
behind. In the Greek story, Echo was a multi-talented nymph who earned Pan's
wrath when she refused his love. Pan ordered his shepherds to hunt and destroy
her, which they did. Gaia (the goddess of the Earth) took Echo's destroyed body
and spread it all over the world, and the Muses purportedly infuse her remains
with her talents to create music. ¤ Héloïse and Abélard.
[ĕl'ə-wēz, ā-lô-ēz'], [ä-bā-lär'.] (pr. n.)
Pierre Abélard was a French scholastic philosopher who lived during the late
11th and early 12th centuries. Héloïse
was born in 1101, around the time when Abélard
was twenty years old. She matured into a beautiful and brilliant young woman,
and Abélard used his position to secure her as his student. He seduced her as
her teacher; she returned the affection. They loved each other in secret,
though the secret soon became known to everyone except Héloïse's uncle, her
guardian. When Héloïse's uncle found out, his fury drove the lovers apart.
They later wed in secret. Héloïse's life under her uncle became unbearable, so Abélard arranged for her to join a convent in Argenteuil. Enraged,
Héloïse's uncle called together a group of men who broke into Abélard's chambers and
forcibly castrated him. Later in life, when Héloïse's covenant had been disbanded, Abélard used his administrative authority to transfer the nuns to Paraclete.
During Héloïse's time as the prioress at Paraclete, the two former lovers
began corresponding. They are chiefly known for the love expressed in their
correspondence, and their letters remain one of the earliest recorded accounts
of romantic love. They are reputedly buried together in a tomb in Père
Lachaise cemetery in eastern Paris. ¤ tonsure. [tŏn'shər.]
1: (n.) The act of shaving the head or part of the head, especially as
a preliminary to becoming a priest of a member of a monastic order. 2: (n.)
The part of a monk's or priest's head that has been shaved. 3: (tr. v.)
To shave the head of. ¤ Buridan.
[bœ'rĕ-dŏn.] (pr. n.) John Buridan was born sometime before
1300 near the town of Béthune in Picardy, France. He died possibly around
1358. Buridan is currently a fairly obscure philosopher from the Middle Ages,
but in his time he was extremely well-known. The circumstances of his death
are unknown, but a popular (and unsubstantiated) rumor concerning his end has
it that he and the Queen of France were lovers. Out of rage, the King of
France purportedly had Buridan tied in a sack and thrown into the Seine River
to drown. Again, it should be noted that this is an unverified account of
Buridan's demise. ¤ Queen Blanche.
[bläNsh.] (pr. n.) Villon referred to the French queen Blanche de Castille, wife
to King Louis VIII and mother to King Louis IX. She supported her husband when
he engaged England in war, and then learned that he was at a severe
disadvantage. She went so far as to organize two naval fleets to support his
war efforts. Blanche served France as regent after the king's death since the
oldest prince (who became King Louis IX) was too young to ascend the throne
when his father died. She successfully defended her son's right to inherit the
throne by dissolving a league of barons and repelling an attack by the King of
England. She descended from the throne as regent when her son came of age, and
ascended as regent again later when King Louis IX left to fight the crusades.
She died in 1252. ¤ Great Bertha, AKA Bertrada.
[bĕrträ'də.] (pr. n.) Unfortunately, I'm unable to learn
more about Bertha beyond some superficial details and the titles of specific
texts that would explain her relevance a bit more. Wilbur has translated her
name "Great Bertha," though she goes by other names as well:
Bertrada, Bethrada, Queen Goosefoot, Bigfoot Berta, and Berta de li pè
grandi to name a few. Bertha was both in 720 A.D. and died on 12 July 783.
She was a Frankish Queen, married to Pepin the Short
who offered to lead the Franks for Pope Zacharias. The Franks accepted Pepin
as their king, and he and Bertha had a son who became the Charlemagne of
Carolingian fame. Bertha was apparently an important person within the
Carolingian consciousness, since a whole cycle of the epic poem La Geste
Francor ("the Frankish Epic") was dedicated to her.
Specifically, she is the focus of lines 1164 through 2917. Unfortunately, I
have been unable to find translations of these lines of La Geste Francor
available online, so I am unable to clarify the majority of her biography. ¤ Beatrice. [bē'ətrĭs, ITAL. bāätrē'chā.]
(pr. n.) Beatrice Portinari was Dante Alighieri's famed love who (in
Dante's Divine Commodia) masterminded his epic passage through
Hell, Purgatory, and finally to Heaven. In life, she was the focus of Dante's
childhood affection, though the two never married. Beatrice lived from 1266 to
1290, a short twenty-four years. She also appeared in Dante's Vita Nuova. ¤ Alice. [ă'lĭs.] (pr. n.) As before with
Bertha, little direct information is freely accessible online. (I
unfortunately lack the funds or the means to acquire direct access to the
relevant texts.) However, I have found some information. First,
"Alice" is Wilbur's rendition of the name written by Villon. Villon
wrote "Aliss." In the 1920 edition of The Oxford Book of French
Verse, St. John Lucas suggests that Villon's "Aliss" is the
daughter of the French King Louis the Pious who was given to the hero
Rainouart as a bride. A number of names may be used in place of
"Alice": Aélis, Alix, Aliss, Adele, Adelheid, Adelaide, and a
number of other variations. The text that most likely contains the direct
textual presence of Alice/Aliss/Aelis is in the William Cycle of the
Carolingian Gestes, either Geste de Guillaume d'Orange or Geste de
Garin de Monglane. ¤ Arembourg. [ä'räm-bōōrg.] (pr. n.)
Villon referred to Arembourg, the daughter of Helias who was the Count of
Maine. Maine is a province in northwestern France. She lived during the late
11th and early 12th centuries. When her father died, she inherited political
ownership of the county. She later married King Fulk V. I haven't learned any
more about this figure beyond these facts. Alternative spellings of her name
include: Erembourg, Ermengarde, Aramburga, and Aremburga. ¤ Joan d'Arc.
[zhän därk'.] (pr. n.) Joan d'Arc was a French nationalist soldier
whose impetus to battle was supposedly inspired by God. Her divine motivations
have earned her a spot in the Catholic Church's canon of saints. The betrayal
mentioned in the poem refers to Joan d'Arc's capture by the forces of the Duke
of Burgundy, Philip the Good. Philip's father (John the Fearless, then the
Duke of Burgundy) had been a power-seeker until 1419, when he was betrayed by
the French Dauphin's forces and assassinated. Philip blamed the Dauphin for
his father's death (even though the Dauphin's forces had acted without
consulting the Dauphin on the matter) and allied himself with England under
the Treaty of Troyes. Philip captured Joan d'Arc in 1430 at Compiègne and
sold her to the English government. The Duke of Bedford had her tried as a
symbolic challenge to the legitimacy of the Dauphin's claim to the throne. She
was executed in 1431, tied to a stake and burnt. Links to Richard Wilbur materials online Fresh Bilge: A Salty Journal. Essays on Wilbur by Alan Sullivan.
Audio Recording Information 1: Recorded with ARCHOS VIDEO AV 120 Jukebox from HP Pavilion Laptop. Saved
to harddrive with Real7ime Converter as a .WAV file from .RAM content originally
accessed from the web page International Poetry Forum - Poets & Performers.
The entire performance may be accessed from the International Poetry Forum's web
site. 2: Recorded with ARCHOS VIDEO AV 120 Jukebox from HP Pavilion Laptop. Saved
to harddrive from the website of the Amherst Recording Council. Originally
performed 16 April 2005 at a tribute to Richard Wilbur, in honor of the
publication of Wilbur's Collected Poems. 2: Recorded with ARCHOS VIDEO AV 120 Jukebox from HP Pavilion Laptop. Saved
to harddrive with Real7ime Converter as a .WAV file from .RAM content originally
accessed from the web page Richard Wilbur - Cover Page.
The entire performance from which this selection has been excerpted may be
accessed from The Internet Poetry Archive's web site. The audio quality is
fairly poor, but Wilbur's cadences and vocal idiosyncrasies come through when
the listener has the poem in hand while listening. Web design for Adilegian copyrighted 2006
James Clinton Howell.
The Catch.
Sue paper she pulls out her prize,
Dangling it to one side before my eyes
Like a
weird sort of fish
And on the dock-end holds in air—
Limp, corrugated, lank, a catch too rare
Not to be
photographed.
Some bright, discerning thing, but
fail,
Proving once more the blindness of the male.
Annoyed,
she stalks away
Consulting, now, not me at all
But the long mirror, mirror on the wall.
The dress,
now that she's in it,
By lacy shows, a light perfume
Whose subtle field electrifies the room,
And two
slim golden chains.
She twists a little on her stem
To test the even swirling of the hem,
Smooths
down the waist and hips,
Then turns around and looks behind,
Her face transfigured now by peace of mind.
There is no
question—it
As I belatedly remark,
And may be hung now in the fragrant dark
Of her soft
armory.
¤ plash.
[plăsh.] 1: (v. tr.) To spatter (liquid) about; splash. 2: (v.
intr.) To cause a light splash.
VINICIUS DE MORAES: Song.
The daughter whom you gave me,
The gentle, moist, untroubled
Small daughter whom you gave me;
O let her heavenly babbling
Beset me and enslave me.
Don't take her; let her stay,
Beset my heart, and win me,
That I may put away
The firstborn child within me,
That cold, petrific, dry
Daughter whom death once gave,
Whose life is a long cry
For milk she may not have,
And who, in the night-time, calls me
In the saddest voice that can be
Father, Father, and tells me
Of the love she feels for me.
Don't let her go away,
Her whom you gave—my daughter—
Lest I should come to favor
That wilder one, that other
Who does not leave me ever.
VINICIUS DE MORAES: Song MP32
2.43 MB
¤ Vinicius de Moraes.
[vĬ-nē'sē-ŭs dĕ mô'rā.] (pr. n.) He
was an extremely popular Brazilian songwriter. Lived from 1913 to 1980.
Under a Tree.
Who frightened wood-nymphs into taking root
Fair, but perplexing to the thought of rape:
Ply and reply of limbs in fireshot shade,
To take the wind in free dishevelment
Caress the gusts that are caressing them
GUILLAUME APOLLINAIRE: Mirabeau Bridge.
Must I recall
Our loves recall how then
After each sorrow joy came back again
The days go by me still I stay
While underneath
The bridge of our arms
shall go
Weary of endless looks the river's flow
The days go by me still I stay
All love goes by
How slow life seems to
me
How violent the hope of love can be
The days go by me still I stay
Neither time past
Nor love comes back
again
Under the Mirabeau Bridge there flows the Seine
The days go by me still I stay
Trolling for Blues.
for John and Barbara
Which like a slow-evolving embryo
Moils in the sky, we make of this keen fish
Whom fight and beauty have endeared to us
A mirror of our kind. Setting aside
The aberration of his flocking swerve
To spawning-grounds a hundred miles at sea,
How clearly, musing to the engine's thrum,
Do we conceive him as he waits below:
Of thought, and in that scintillating flux
Poised weightless, all attention, yet on edge
To lunge and seize with sure incisiveness,
He is a type of coolest intellect,
He strikes and runs unseen beneath the rip,
Yanking imagination back and down
Past recognition to the unlit deep
Of the glass sponges, of chiasmodon,
Phase of a meditation not our own,
That long mêlée where selves were not, that life
Merciless, painless, sleepless, unaware,
From which, in time, unthinkably we rose.
¤ trolling. [trōl'ĭng.] (v. tr.) 1.a.: To
fish for by trailing a baited line from behind a slowly moving boat. 1.b: To
fish in by trailing a baited line. 1.c: To trail (a baited line) in fishing.
Etymology from Middle English, trollen, meaning to wander about;
descended from Old French, troller, which has Germanic origins.
Advice from the Muse.
for T. W. W.
At the far end, a lamplit writing-desk.
Nearer, the late sun swamps an arabesque
Carpet askew upon a floor of oak,
And makes a cherry table-surface glow,
Upon which lies an open magazine.
Beyond are shelves and pictures, as we know,
Which cannot in the present light be seen.
That we, because she brings a bowl of roses
Which, touch by delicate tough, she redisposes,
May think to catch with some exactitude.
And let her, in complacent silence, hear
A squirrel chittering like an unoiled joint
To tell us that a grove of beech lies near.
Have all be plain, but only to a point.
Arises ranting from a shadowy chair,
And of whose presence she was unaware,
Should not be fathomed by the final page,
And all his tale, not hers, be measured out
With facts enough, good ground for inference,
No gross unlikelihood or major doubt,
And, at the end, an end to all suspense.
A question one had meant to ask the dead.
The day's heat come and gone in infra-red,
The deep-down jolting nibble of a pike,
Remembered strangers who in picnic dress
Traverse a field and under mottling trees
Enter a midnight of forgetfulness
Rich as our ignorance of the Celebes.
Confessing that you can't yourself decide;
Or interpose a witness to provide,
Despite his inclination to be true,
Some fadings of the signal, as it were,
A breath which, drawing closer, may obscure
Mirror or window with a token blur—
That slight uncertainty which makes us sure.
¤ arabesque. [ăr-ə-bĕsk'.] (n.) 1: A
complex, ornate design of intertwined floral, foliate, and geometric figures. 2:
An intricate or elaborate pattern or design.
Shad-Time.
Flat intervales, harsh-bristled bank and bank,
The widening river-surface fills
With sky-depth cold and blank,
Burst here or there at random, scaled with red,
As when the spitting fuse of dreams
Lights in a vacant head,
Descending past the bedrock's muted staves,
Picked out the signatures of things
Even in death's own caves.
Toss three unsettled birds; where naked ledge
Buckles the surge is a green glare
Of moss at the water's edge;
A russet disc of maple-pollen spins.
With such brave poverties the year
Unstoppably begins.
What wide-deploying motives of delight
Concert great fields of emptiness
Beneath the mesh of sight,
Scored obstacle atilt in whittling spray,
This swarm of shadows, this abyss
In which pure numbers play,
As rivers soon shall be with scattered roe,
Instant by instant chooses to
Affirm itself and flow.
¤ intervale. [ĭn'tər-vəl.] (n. New
England.) A tract of low-lying land, especially along a river. Regional
Note: Intervale is among the distinctive New England terms
mapped by Hans Kurath in the Linguistic Atlas of New England in the
1940s. However, by the time the Dictionary of American Regional English
surveyed the New England states 20 years later, only three speakers in
72 New England communities used the word intervale to indicate a
"tract of low-lying land, especially along a river." The word was
common in New England at one time because so many settlements were made along
the rivers, where the land was more fertile and the towns were accessible by
water.
Hamlen Brook.
Where the jet stream slows to a lucid jet
I lean to the water, dinting its top with sweat,
And see, before I can drink,
Of spotted near-transparency,
Trawling a shadow solider than he.
He swerves now, darting out
Of sparks and flittering silt, he weaves
Through stream-bed rocks, disturbing foundered leaves,
And butts then out of view
Crazed by the skimming of a brace
Of burnished dragon-flies across its face,
In which deep cloudlets pass
Of mirrored birch trees plunges down
Toward where the azures of the zenith drown.
How shall I drink all this?
Dry lips with what can cool and slake,
Leaving them dumbstruck also with an ache
Nothing can satisfy.
Hamlen Brook MP33
2.43 MB
¤ alder. [ôl'dər.]
(n.) Any of various deciduous shrubs or trees of the genus Alnus,
native chiefly to northern temperate regions and having alternate simple toothed
leaves and tiny fruits of woody, conelike catkins. Etymology preserved from
Middle English, which developed from Old English, alor.
FRANÇOIS VILLON: Ballade of the Ladies of Time Past.
Flora, that Roman belle, has strayed,
Thais, or Archipiades,
Who put each other in the shade,
Or Echo who by bank and glade
Gave back the crying of the hound,
And whose sheer beauty could not fade.
But where shall last year's snow be found?
For whom shorn Abélard was made
A tonsured monk upon his knees?
Such tribute his devotion paid.
And where's that queen who, having played
With Buridan, had him bagged and bound
To swim the Seine thus ill-arrayed?
But where shall last year's snow be found?
As does a siren's serenade,
Great Bertha, Beatrice, Alice—these,
And Arembourg whom Maine obeyed,
And Joan whom Burgundy betrayed
And England burned, and Heaven crowned:
Where are they, Mary, Sovereign Maid?
But where shall last year's snow be found?
Ask me these questions I propound.
I shall but say again, dismayed,
Ah, where shall last year's snow be found?
¤ François Villon.
[frän-swä vē-yōn.] (pr. n.) Villon lived a hard life. He was
born in Paris in 1431 and lived quite recklessly until his death in 1474. He
first found himself in trouble in 1455, when he killed a man in a brawl over a
woman named Isabeau. He was banished as his punishment. That banishment was
lifted in 1456, though he was quickly back in trouble for another brawl near the
end of that same year. Villon was later banished again in 1457 for stealing five
hundred gold crowns from the chapel of the college of Navarre. He was jailed
once more in 1461 for church-robbing. He wrote his famous work Grand
Testament while in jail for his 1461 crime, and from that volume Wilbur has
translated the present poem.