All that is human slips away;
everything was mere husk.
All that is left, indivisible,
is birdsong and dusk.
A sharp scent of warm mint,
the river’s far-off noise;
all equal, and equally light –
all my losses and joys.
Slowly, with its warm towel
the wind dries my face;
moths immolate themselves
in the campfire’s flames.
by Варлам Тихонович Шаламов (Varlam Tikhonovich Shalamov)
(1955)
translated by Robert Chandler
Clouds that whiten in a dome of blue
and twisted trees sharply delineated,
the dust aglow, each shadow elongated
and phantoms that pass through the heart anew.
Why was the tale so brief? I cannot say.
Was there a second half I didn’t know?
In pale skies the clouds dissolve away
and night roams through the blackened tree below.
That man, the bench he sits on in the dusk
are growing heavier and more grotesque…
Don’t move! For as carnations start to shine
and leafy bushes melt and intertwine,
the poet shakes away his uniform
of tired bronze and prings on the lawn.
by Иннокентий Фёдорович Анненский (Innokenty Fyodorovich Annensky)
(date unknown)
translated by Peter Oram
Fun fact: Annensky is thinking of a statue of Pushkin in the Lycee Garden in Tsarkoye Selo.
She dips her bill in the rim of the sea.
Her beak is the ellipse
of a world much smaller
than that far section of the sea’s
circumference. A curve enough to calculate
the field’s circle and its heart
of eggs in the cold grass.
All day while I scythed my territory
out of nettles, laid claim to my cantref,
she has cut her share of sky. Her song bubbles
long as a plane trail from her savage mouth.
I clean the blade with newspaper. Dusk blurs
circle within circle till there’s nothing left
but the egg pulsing in the dark against her ribs.
For each of us the possessed space contracts
to the nest’s heat, the blood’s small cicuit.
by Gillian Clarke
from The Sundial (Gwasg Gomer, 1978)
Fun fact: A cantref was a medieval Welsh land division, particularly important in the administration of Welsh law.
I used to go to St John’s Wood
On Saturday evenings in summer
To look on London behind the dusty garden trees,
And argue pleasantly and bitterly
About Marx and Heine, the iron brain and the laughing sword;
And the ghost of Keats would sit in a corner,
Smiling slowly behind a summer of wine,
Sadly smiling at the fires of the future.
And late in the summer night
I heard the tall Victorian critics snapping
Grim grey fingers at London Transport,
And sober, solemn students of James Joyce,
Dawdling and hissing into Camden Town.
But now in the winter dusk
I go to Dowlais Top
and stand by the railway bridge
Which joins the bleak brown hills,
And gaze at the streets of Dowlais
Lop-sided on the steep dark slope,
A bettered bucket on a broken hill,
And see the rigid phrases of Marx
Bold and black against the steel-grey west,
Riveted along the sullen skies.
And as for Heine, I look on the rough
Bleak, colourless hills around,
Naked and hard as flint,
Romance in a rough chemise.
by Idris Davies
Fun facts:
Dowlais is a village and community of the county borough of Merthyr Tydfil, in Wales. Dowlais is notable within Wales and Britain for its historic association with ironworking; once employing, through the Dowlais Iron Company, roughly 5,000 people, the works being the largest in the world at one stage.
Marx, I assume, refers to Karl Marx (5 May 1818 – 14 March 1883) the German philosopher, economist, historian, political theorist, sociologist, journalist and revolutionary socialist.
Heine, refers to Christian Johann Heinrich Heine (13 December 1797 – 17 February 1856) was a German poet, journalist, essayist, and literary critic. He is best known outside of Germany for his early lyric poetry, which was set to music in the form of Lieder (art songs) by composers such as Robert Schumann and Franz Schubert. Heine’s later verse and prose are distinguished by their satirical wit and irony. He is considered part of the Young Germany movement. His radical political views led to many of his works being banned by German authorities, which however only added to his fame. Heine spent the last 25 years of his life as an expatriate in Paris.
James Augustine Aloysius Joyce (2 February 1882 – 13 January 1941) was an Irish novelist, short story writer, and poet. He contributed to the modernist avant-garde and is regarded as one of the most influential and important authors of the 20th century. Joyce is best known for Ulysses (1922), a landmark work in which the episodes of Homer’s Odyssey are paralleled in a variety of literary styles, most famously stream of consciousness. Other well-known works are the short-story collection Dubliners (1914), and the novels A Portrait of the Artist as a Young Man (1916) and Finnegans Wake (1939). His other writings include three books of poetry, a play, his published letters and occasional journalism.
S’io credesse che mia risposta fosse
A persona che mai tornasse al mondo,
Questa fiamma staria senza piu scosse.
Ma percioche giammai di questo fondo
Non torno vivo alcun, s’i’odo il vero,
Senza tema d’infamia ti rispondo.
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 towards 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.
by T. S. Eliot
Fun Facts:
Like many of Eliot’s poems, “The Love Song of J. Alfred Prufrock” makes numerous allusions to other works, which are often symbolic themselves.
Rambling At The Bridge Head 
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