I'm Nobody! Who are you?
Are you - Nobody - too?
Then there's a pair of us!
Don't tell! they'd advertise - you know!
How dreary - to be - Somebody!
How public - like a Frog -
To tell one's name - the livelong June -
To an admiring Bog!
The tower has vanished in the fog;
The boat is hidden in moon-shadow;
The perfect peach field cannot be found.
I'm shut in by the cold rain of Spring.
I hear the cuckoo's call at sunset.
Apricot blossoms sent by my friends
In letters received through the post
Cause an assault by countless memories.
A lonely river rounds the mountain,
But why should it flow toward my lost world?
Wild nights -- Wild nights!
Were I with thee
Wild nights should be
Our luxury!
Futile -- the winds --
To a Heart in port --
Done with the Compass --
Done with the Chart!
Rowing in Eden --
Ah -- the Sea!
Might I but moor - tonight -
In thee!
My mistress' eyes are nothing like the sun;
Coral is far more red than her lips' red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes there is more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground.
And yet, by heaven, I think my love as rare
As any she belied with false compare.
The building blocks of everything --
Too fine to feel or see or smell --
Dance their way into hardened shapes
Via forces, invisible.
And so water flows, flowers bud,
But - also - dew evaporates.
This expansive path stretches on --
It's slow-going through dark lands.
It can't be spoken of smartly.
It can't be pondered fruitfully.
It's Early Spring green in sunlight,
Or like the snow seen by moonlight.
NOTE: The late Tang Dynasty poet, Sikong Tu (a.k.a. Ssŭ-k‘ung T‘u,) wrote an ars poetica entitled Twenty-Four Styles of Poetry. It presents twenty-four poems that are each in a different tone, reflecting varied concepts from Taoist philosophy and aesthetics. Above is a translation of the fourteenth of the twenty-four poems. Translated titles vary: Giles calls it “Close Woven” and others have titled it, “Fine.”
This darksome burn, horseback brown,
His rollback highroad roaring down,
In coop and in comb the fleece of his foam
Flutes and low to the lake falls home.
A windpuff-bonnet of fawn-froth
Turns and twindles over the broth
Of a pool so pitchblack, fell frowning,
It rounds and rounds Despair and drowning.
Degged with dew, dappled with dew
Are the groins of the braes that the brook threads through.
Wiry heathpacks, flitches of fern,
And the beadbonny ash that sits over the burn.
What would the world be, once bereft
Of wet and of wildness? Let them be left,
O let them be left, wildness and wet;
Long live the weeds and the wilderness yet.
Beginning my studies, the first step pleas'd me so much,
The mere fact, consciousness -- these forms -- the power of motion,
The least insect or animal -- the senses -- eyesight -- love;
The first step, I say, aw'd me and pleas'd me so much,
I have hardly gone, and hardly wish'd to go, any further,
But stop and loiter all the time, to sing it in ecstatic songs.
Without a word,
The gist is grasped.
With no wails or soft sobs,
Sadness spreads heart-to-heart.
There is an enigmatic Prime Mover
With whom each of us either sinks or floats.
Dregs of rustic wine in a fine strainer.
Buds on the cusp of bloom turned back by cold.
Dust motes spreading by Brownian motion.
Sea spume floating and tumbling onto shore.
Shallow, deep, cohering, or scattering.
Of ten thousand, any sample will do.
NOTE: The late Tang Dynasty poet, Sikong Tu (a.k.a. Ssŭ-k‘ung T‘u,) wrote an ars poetica entitled Twenty-Four Styles of Poetry. It presents twenty-four poems that are each in a different tone, reflecting varied concepts from Taoist philosophy and aesthetics. Above is a translation of the twelfth of the twenty-four poems. Translated titles vary: Herbert Giles entitled this one “Conservation,” whereas Tony Barnstone and Chou Ping called it “The Implicit Style.”
O Rose thou art sick.
The invisible worm
That flies in the night
In the howling storm,
Has found out thy bed
Of crimson joy:
And his dark secret love
Does thy life destroy.
Be not afeard: the isle is full of noises,
Sound and sweet airs, that give delight, and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears; and sometimes voices,
That, if I then had wak'd after long sleep,
Will make me sleep again: and then, in dreaming,
The clouds methought would open and show riches
Ready to drop upon me; that, when I wak'd
I cried to dream again.
NOTE: In The Tempest, Act III: Scene 2, Caliban speaks these words to Stephano and Trinculo.
Tiger Riding for Beginners 