by Unknown
(1835)
EMMA LAZARUS (1849–1887)
The Exodus (August 3, 1492)
1. The Spanish noon is a blaze of azure fire, and the dusty pilgrims crawl like an endless serpent along treeless plains and bleached high-roads, through rock-split ravines and castellated, cathedral-shadowed towns.
2. The hoary patriarch, wrinkled as an almond shell, bows painfully upon his staff. The beautiful young mother, ivory-pale, well-nigh swoons beneath her burden; in her large enfolding arms nestles her sleeping babe, round her knees flock her little ones with bruised and bleeding feet. “Mother, shall we soon be there?”
3. The youth with Christ-like countenance speaks comfortably to father and brother, to maiden and wife. In his breast, his own heart is broken.
4. The halt, the blind, are amid the train. Sturdy pack-horses laboriously drag the tented wagons wherein lie the sick athirst with fever.
5. The panting mules are urged forward with spur and goad; stuffed are the heavy saddlebags with the wreckage of ruined homes.
6. Hark to the tinkling silver bells that adorn the tenderly-carried silken scrolls.
7. In the fierce noon-glare a lad bears a kindled lamp; behind its network of bronze the airs of heaven breathe not upon its faint purple star.
8. Noble and abject, learned and simple, illustrious and obscure, plod side by side, all brothers now, all merged in one routed army of misfortune.
9. Woe to the straggler who falls by the wayside! no friend shall close his eyes.
10. They leave behind, the grape, the olive, and the fig; the vines they planted, the corn they sowed, the garden-cities of Andalusia, and Aragon, Estremadura and La Mancha, of Granada and Castile; the altar, the hearth, and the grave of their fathers.
11. The townsman spits at their garments, the shepherd quits his flock, the peasant his plow, to pelt with curses and stones; the villager sets on their trail his yelping cur.
12. Oh the weary march, oh the uptorn roots of home, oh the blankness of the receding goal!
13. Listen to their lamentation: They that ate dainty food are desolate in the streets; they that were reared in scarlet embrace dunghills. They flee away and wander about. Men say among the nations, they shall no more sojourn there; our end is near, our days are full, our doom is come.
14. Wither shall they turn? for the West hath cast them out, and the East refuseth to receive.
15. O bird of the air, whisper to the despairing exiles, that to-day, to-day, from the many-masted, gayly-bannered port of Palos, sails the world-unveiling Genoese, to unlock the golden gates of sunset and bequeath a Continent to Freedom!
(1887)
AMY LOWELL (1874–1925)
Red Slippers
Red slippers in a shop-window; and outside in the street, flaws of gray, windy sleet!
Behind the polished glass the slippers hang in long threads of red, festooning from the ceiling like stalactites of blood, flooding the eyes of passers-by with dripping color, jamming their crimson reflections against the windows of cabs and tram-cars, screaming their claret and salmon into the teeth of the sleet, plopping their little round maroon lights upon the tops of umbrellas.
The row of white, sparkling shop-fronts is gashed and bleeding, it bleeds red slippers. They spout under the electric light, fluid and fluctuating, a hot rain—and freeze again to red slippers, myriadly multiplied in the mirror side of the window.
They balance upon arched insteps like springing bridges of crimson lacquer; they swing up over curved heels like whirling tanagers sucked in a wind-pocket; they flatten out, heelless, like July ponds, flared and burnished by red rockets.
Snap, snap, they are cracker sparks of scarlet in the white, monotonous block of shops.
They plunge the clangor of billions of vermilion trumpets into the crowd outside, and echo in faint rose over the pavement.
People hurry by, for these are only shoes, and in a window farther down is a big lotus bud of cardboard, whose petals open every few minutes and reveal a wax doll, with staring bead eyes and flaxen hair, lolling awkwardly in its flower chair.
One has often seen shoes, but whoever saw a cardboard lotus bud before?
The flaws of gray, windy sleet beat on the shop-window where there are only red slippers.
(1916)
GERTRUDE STEIN (1874–1946)
22 Objects from Tender Buttons
A CARAFE, THAT IS A BLIND GLASS
A kind in glass and a cousin, a spectacle and nothing strange a single hurt color and an arrangement in a system to pointing. All this and not ordinary, not unordered in not resembling. The difference is spreading.
A BOX
Out of kindness comes redness and out of rudeness comes rapid same question, out of an eye comes research, out of selection comes painful cattle. So then the order is that a white way of being round is something suggesting a pin and is it disappointing, it is not, it is so rudimentary to be analysed and see a fine substance strangely, it is so earnest to have a green point not to red but to point again.
DIRT AND NOT COPPER
Dirt and not copper makes a color darker. It makes the shape so heavy and makes no melody harder.
It makes mercy and relaxation and even a strength to spread a table fuller. There are more places not empty. They see cover.
NOTHING ELEGANT
A charm a single charm is doubtful. If the red is rose and there is a gate surrounding it, if inside is let in and there places change then certainly something is upright. It is earnest.
MILDRED’S UMBRELLA
A cause and no curve, a cause and loud enough, a cause and extra a loud clash and an extra wagon, a sign of extra, a sac a small sac and an established color and cunning, a slender grey and no ribbon, this means a loss a great loss a restitution.
A METHOD OF A CLOAK
A single climb to a line, a straight exchange to a cane, a desperate adventure and courage and a clock, all this which is a system, which has feeling, which has resignation and success, all makes an attractive black silver.
A RED STAMP
If lilies are lily white if they exhaust noise and distance and even dust, if they dusty will dirt a surface that has no extreme grace, if they do this and it is not necessary it is not at all necessary if they do this they need a catalogue.
A LONG DRESS
What is the current that makes machinery, that makes it crackle, what is the current that presents a long line and a necessary waist. What is this current.
What is the wind, what is it.
Where is the serene length, it is there and a dark place is not a dark place, only a white and red are black, only a yellow and green are blue, a pink is scarlet, a bow is every color. A line distinguishes it. A line just distinguishes it.
A RED HAT
A dark grey, a very dark grey, a quite dark grey is monstrous ordinarily, it is so monstrous because there is no red in it. If red is in everything it is not necessary. Is that not an argument for any use of it and even so is there any place that is better, is there any place that has so much stretched out.
A BLUE COAT
A blue coat is guided guided away, guided and guided away, that is the particular color that is used for that length and not any width not even more than a shadow.
A FRIGHTFUL RELEASE
A bag which was left and not only taken but turned away was not found. The place was shown to be very like the last time. A piece was not exchanged, not a bit of it, a piece was left over. The rest was mismanaged.
A PURSE
A purse was not green, it was not straw color, it was hardly seen and it had a use a long use and the chain, the chain was never missing, it was not misplaced, it showed that it was open, that is all that it showed.
A MOUNTED UMBRELLA
What was the use of not leaving it there where it would hang what was the use if there was no chance of ever seeing it come there and show that it was handsome and right in the way it showed it. The lesson is to learn that it does show
it, that it shows it and that nothing, that there is nothing, that there is no more to do about it and just so much more is there plenty of reason for making an exchange.
A LITTLE CALLED PAULINE
A little called anything shows shudders.
Come and say what prints all day. A whole few watermelon. There is no pope.
No cut in pennies and little dressing and choose wide soles and little spats really little spices.
A little lace makes boils. This is not true.
Gracious of gracious and a stamp a blue green white bow a blue green lean, lean on the top.
If it is absurd then it is leadish and nearly set in where there is a tight head.
A DOG
A little monkey goes like a donkey that means to say that means to say that more sighs last goes. Leave with it. A little monkey goes like a donkey.
A WHITE HUNTER
A white hunter is nearly crazy.
A LEAVE
In the middle of a tiny spot and nearly bare there is a nice thing to say that wrist is leading. Wrist is leading.
SUPPOSE AN EYES
Suppose it is within a gate which open is open at the hour of closing summer that is to say it is so.
All the seats are needing blackening. A white dress is in sign. A soldier a real soldier has a worn lace a worn lace of different sizes that is to say if he can read, if he can read he is a size to show shutting up twenty-four.
Go red go red, laugh white.
Suppose a collapse in rubbed purr, in rubbed purr get.
Little sales ladies little sales ladies little saddles of mutton.
Little sales of leather and such beautiful beautiful, beautiful beautiful.
BOOK
Book was there, it was there. Book was there. Stop it, stop it, it was a cleaner, a wet cleaner and it was not where it was wet, it was not high, it was directly placed back, not back again, back it was returned, it was needless, it put a bank, a bank when, a bank care.
Suppose a man a realistic expression of resolute reliability suggests pleasing itself white all white and no head does that mean soap. It does not so. It means kind wavers and little chance to beside beside rest. A plain.
Suppose ear rings that is one way to breed, breed that. Oh chance to say, oh nice old pole. Next best and nearest a pillar. Chest not valuable, be papered.
Cover up cover up the two with a little piece of string and hope rose and green, green.
Please a plate, put a match to the seam and really then really then, really then it is a remark that joins many many lead games. It is a sister and sister and a flower and a flower and a dog and a colored sky a sky colored grey and nearly that nearly that let.
PEELED PENCIL, CHOKE
Rub her coke.
IT WAS BLACK, BLACK TOOK
Black ink best wheel bale brown.
Excellent not a hull house, not a pea soup, no bill no care, no precise no past pearl pearl goat.
THIS IS THIS DRESS, AIDER
Aider, why aider why whow, whow stop touch, aider whow, aider stop the muncher, muncher munchers.
A jack in kill her, a jack in, makes a meadowed king, makes a to let.
(1914)
WILLIAM CARLOS WILLIAMS (1883–1963)
Three Improvisations from Kora in Hell
VIII
1
Some fifteen years we’ll say I served this friend, was his valet, nurse, physician, fool and master: nothing too menial, to say the least. Enough of that: so.
Stand aside while they pass. This is what they found in the rock when it was cracked open: this fingernail. Hide your face among the lower leaves, here’s a meeting should have led to better things but—it is only one branch out of the forest and night pressing you for an answer! Velvet night weighing upon your eye-balls with gentle insistence; calling you away: Come with me, now, tonight! Come with me! now tonight . . .
In great dudgeon over the small profit that has come to him through a certain companionship a poet addresses himself and the loved one as if it were two strangers, thus advancing himself to the brink of that discovery which will reward all his labors but which he as yet only discerns as a night, a dark void coaxing him whither he has no knowledge.
2
You speak of the enormity of her disease, of her poverty. Bah, these are the fiddle she makes tunes on and its tunes bring the world dancing to your house-door, even on this swamp side. You speak of the helpless waiting, waiting till the thing squeeze her windpipe shut. Oh, that’s best of all, that’s romance—with the devil himself a hero. No my boy. You speak of her man’s callous stinginess. Yes, my God, how can he refuse to buy milk when it’s alone milk that she can swallow now? But how is it she picks market beans for him day in, day out, in the sun, in the frost? You understand? You speak of so many things, you blame me for my indifference. Well, this is you see my sister and death, great death is robbing her of life. It dwarfs most things.
Filth and vermin though they shock the over-nice are imperfections of the flesh closely related in the just imagination of the poet to excessive cleanliness. After some years of varied experience with the bodies of the rich and the poor a man finds little to distinguish between them, bulks them as one and bases his working judgements on other matters.
3
Hercules is in Hacketstown doing farm labor. Look at his hands if you’ll not believe me. And what do I care if yellow and red are Spain’s riches and Spain’s good blood. Here yellow and red mean simply autumn! The odor of the poor farmer’s fried supper is mixing with the smell of the hemlocks, mist is in the valley hugging the ground and over Parsippany—where an oldish man leans talking to a young woman—the moon is swinging from its star.
XI
1
Why pretend to remember the weather two years back? Why not? Listen close then repeat after others what they have just said and win a reputation for vivacity. Oh feed upon petals of edelweiss! one dew drop, if it be from the right flower, is five years’ drink!
Having once taken the plunge the situation that preceded it becomes obsolete which a moment before was alive with malignant rigidities.
2
When beldams dig clams their fat hams (it’s always beldams) balanced near Tellus’ hide, this rhinoceros pelt, these lumped stones—buffoonery of midges on a bull’s thigh—invoke,—what you will: birth’s glut, awe at God’s craft, youth’s poverty, evolution of a child’s caper, man’s poor inconsequence. Eclipse of all things; sun’s self turned hen’s rump.
3
Cross a knife and fork and listen to the church bells! It is the harvest moon’s made wine of our blood. Up over the dark factory into the blue glare start the young poplars. They whisper: It is Sunday! It is Sunday! But the laws of the county have been stripped bare of leaves. Out over the marshes flickers our laughter. A lewd anecdote’s the chase. On through the vapory heather! And there at banter’s edge the city looks at us sidelong with great eyes,—lifts to its lips heavenly milk! Lucina, O Lucina! beneficent cow, how have we offended thee?
Hilariously happy because of some obscure wine of the fancy which they have drunk four rollicking companions take delight in the thought that they have thus evaded the stringent laws of the county. Seeing the distant city bathed in moonlight and staring seriously at them they liken the moon to a cow and its light to milk.
XXVI
1
Doors have a back side also. And grass blades are double-edged. It’s no use trying to deceive me, leaves fall more by the buds that push them off than by lack of greenness. Or throw two shoes on the floor and see how they’ll lie if you think it’s all one way.
2
There is no truth—sh!—but the honest truth and that is that touch-me-nots mean nothing, that daisies at a distance seem mushrooms and that—your Japanese silk today was not the sky’s blue but your pajamas now as you lean over the crib’s edge are and day’s in! Grassgreen the mosquito net caught over your head’s butt for foliage. What else? except odors—an old hall
way. Moresco. Salvago.—and a game of socker. I was too nervous and young to win—that day.
3
