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Cat in an Empty Apartment -- Wislawa Szymborska

Guest poem sent in by John K. Taber
(Poem #1608) Cat in an Empty Apartment
 Die—you can't do that to a cat.
 Since what can a cat do
 in an empty apartment?
 Climb the walls?
 Rub up against the furniture?
 Nothing seems different here,
 but nothing is the same.
 Nothing has been moved,
 but there's more space.
 And at nighttime no lamps are lit.

 Footsteps on the staircase,
 but they're new ones.
 The hand that puts fish on the saucer
 has changed, too.

 Something doesn't start
 at its usual time.
 Something doesn't happen
 as it should.
 Someone was always, always here,
 then suddenly disappeared
 and stubbornly stays disappeared.

 Every closet has been examined.
 Every shelf has been explored.
 Excavations under the carpet turned up nothing.
 A commandment was even broken,
 papers scattered everywhere.
 What remains to be done.
 Just sleep and wait.

 Just wait till he turns up,
 just let him show his face.
 Will he ever get a lesson
 on what not to do to a cat.
 Sidle toward him
 as if unwilling
 and ever so slow
 on visibly offended paws,
 and no leaps or squeals at least to start.
-- Wislawa Szymborska
        (Translated from the Polish by Joanna Maria Trzeciak)

In newsgroups devoted to pets, the passing of a beloved cat is often
mentioned to a lot of sympathy. But often it is the owner who dies while the
cat is the survivor, though this eventuality has never been posted to my
knowledge.

This is a wonderful poem by one of my favorites, Wyslawa Szymborska, the
Polish poet who won the Nobel a few years ago. It is just like her to take
an unexpected point of view, a little thing perhaps, and open a whole world.

Add this to the latest poems on cats.

John

[Links]

Biography of Szymborska
  http://nobelprize.org/literature/laureates/1996/szymborska-bio.html

and of Trzeciak:
  http://www.pan.net/trzeciak/

Lament for Thomas MacDonagh -- Francis Ledwidge

Guest poem sent in by a contributor who wishes to remain anonymous
(Poem #1607) Lament for Thomas MacDonagh
 He shall not hear the bittern cry
 In the wild sky, where he is lain,
 Nor voices of the sweeter birds
 Above the wailing of the rain.
 Nor shall he know when loud March blows
 Thro' slanting snows her fanfare shrill,
 Blowing to flame the golden cup
 Of many an upset daffodil.
 But when the dark cow leaves the moor,
 And pastures poor with greedy weeds,
 Perhaps he'll hear her low at morn
 Lifting her horn in pleasant meads.
-- Francis Ledwidge
As there are no Francis Ledwidge poems on your page, I thought that I would
send this one on to you. Ledwidge was an Irish nationalist, from a quite
poor background who, notwithstanding his nationalist feelings, joined the
British army in the First World War. He felt bitterly let down when, in the
middle of that war, in the aftermath of the Easter Rebellion in Dublin in
1916, the British authorities executed the leaders of this rebellion, one of
whom was his friend, the poet Thomas MacDonagh. Notwithstanding his
disillusion, he returned to the Front and was killed himself at the age of
29 in the Battle of Ypres in Belgium.

The Easter Rising gave rise to an extraordinary amount of poetry. One of the
most moving has been run previously, Padraic Pearse’s "The Mother" [Poem
#1188],
written by one of MacDonagh’s fellow rebels and poet on the eve of his own
execution.  Yeats’ poem, "Easter 1916" [Poem #1011] was also written about the
same event.

I first came across this poem in school, and like very much the sound of the
first lines. Apart from the beauty of this testament to a slain friend, the
appropriateness of wailing, lamenting, tearlike rain as a metaphor for the
grief associated with death, the arrival of spring representing the hope
perhaps of something better to follow, the poem (and in particular, the
first two verses) conjure up for me a vivid image of the weather, the feel
and the look of the Irish countryside.  The dark cow leaving the moor,
supposedly, is a metaphor for Ireland. I think that this is the poet’s hope
that when things get better for his country that his executed friend will
somehow become aware of this and know that his own death has not been in
vain.

[Links]

  On Ledwidge:
    http://www.slane.com/ledwidge.htm and
    http://oldpoetry.com/authors/Francis%20Ledwidge

[broken link] http://www.pgil-eirdata.org/html/pgil_datasets/authors/l/Ledwidge,F/life.htm

  On MacDonagh:
    http://www.searcs-web.com/mcdonagh.html and
    http://www.1916rising.com/pic_tom_mcdonagh.html

Frost at Midnight -- Samuel Taylor Coleridge

Guest poem sent in by Mark Penney

All this Romantic poetry brought me back to my favorite Romantic poet of
them all, particularly since it's really cold here tonight:
(Poem #1606) Frost at Midnight
 The frost performs its secret ministry,
 Unhelped by any wind.  The owlet's cry
 Came loud--and hark, again! Loud as before.
 The inmates of my cottage, all at rest,
 Have left me to that solitude, which suits
 Abstruser musings: save that at my side
 My cradled infant slumbers peacefully.
 'Tis calm indeed! So calm, that it disturbs
 And vexes meditation with its strange
 And extreme silentness.  Sea, hill, and wood,
 This populous village!  Sea, and hill, and wood,
 With all the numberless goings-on of life,
 Inaudible as dreams! the thin blue flame
 Lies on my low-burnt fire, and quivers not;
 Only that film, which fluttered on the grate,

 Still flutters there, the sole unquiet thing.
 Methinks, its motion in this hush of nature
 Gives it dim sympathies with me who live,
 Making it a companionable form,
 Whose puny flaps and freaks the idling Spirit
 By its own moods interprets, every where
 Echo or mirror seeking of itself,
 And makes a toy of Thought.

                But O! how oft,
 How oft, at school, with most believing mind,
 Presageful, have I gazed upon the bars,
 To watch that fluttering stranger! and as oft
 With unclosed lids, already had I dreamt
 Of my sweet birth-place and the old church-tower,
 Whose bells, the poor man's only music, rang
 From morn to evening, all the hot Fair-day,
 So sweetly, that they stirred and haunted me
 With a wild pleasure, falling on mine ear
 Most like articulate sounds of things to come!
 So gazed I, till the soothing things I dreamt,
 Lulled me to sleep, and sleep prolonged my dreams!
 And so I brooded all the following morn,
 Awed by the stern preceptor's face, mine eye
 Fixed with mock study on my swimming book:
 Save if the door half opened, and I snatched
 A hasty glance, and still my heart leaped up,
 For still I hoped to see the stranger's face,
 Townsman, or aunt, or sister more beloved,
 My play-mate when we both were clothed alike!

 Dear babe, that sleepest cradled by my side,
 Whose gentle breathings heard in this deep calm,
 Fill up the interspersed vacancies
 And momentary pauses of the thought.
 My babe so beautiful! It thrills my heart
 With tender gladness, thus to look at thee,
 And think that thou shalt learn far other lore,
 And in far other scenes!  For I was reared
 In the great city, pent 'mid cloisters dim,
 And saw nought lovely but the sky and stars.
 But thou, my babe! Shalt wander like a breeze
 By lakes and sandy shores, beneath the crags
 Of ancient mountain, and beneath the clouds,
 Which image in their bulk both lakes and shores
 And mountain crags: so shalt thou see and hear
 The lovely shapes and sounds intelligible
 Of that eternal language, which thy God
 Utters, who from eternity doth teach
 Himself in all, and all things in himself.
 Great universal teacher! He shall mould
 Thy spirit, and by giving make it ask.

 Therefore all seasons shall be sweet to thee,
 Whether the summer clothe the general earth
 With greenness, or the redbreast sit and sing
 Betwixt the tufts of snow on the bare branch
 Of mossy apple-tree, while the nigh thatch
 Smokes in the sun-thaw; whether the eave-drops fall
 Heard only in the trances of the blast,
 Or if the secret ministry of frost
 Shall hang them up in silent icicles,
 Quietly shining to the quiet Moon.
-- Samuel Taylor Coleridge
One of the great things about the Romantics is their spectacular reinvention
of blank verse.  You could read "Frost at Midnight" almost without the
awareness that there was conscious effort put into the meter. It's just a
guy, looking out the window, watching his world freeze over, admiring its
beauty, and then letting his mind wander from there.  And yet it's in this
most astoundingly beautiful and perfect, yet conversational, blank verse.

Coleridge notes that films in one's grate are referred to as "strangers,
supposed to portend the arrival of some absent friend."

This poem captures the perfect beauty and stillness of a cold winter night
better than any other poem I know.  It's so still that the frost actually
represents action; it's practically a living thing, performing its secret
ministry.  And then it's something so small and quiet as the motion of the
film in the grate that starts Coleridge's own mind working--quietly too, in
its own way.  A masterpiece.

-Mark

[Biography]

Minstrels has run three Coleridge poems before, but none since 2000;
none of the previous posts contain anything at all in the way of
biography.  I'm not the Britannica, but here goes:  Coleridge
(1772-1834) was a contemporary and close friend of Wordsworth's; in 1798
the two poets wrote and published the seminal book Lyrical Ballads,
which is generally regarded as the founding document of English
Romanticism.  (The full text is online in several places; go read it!)
Coleridge is also notable as a literary critic and theorist; his
Biographia Literaria is the seminal work in that area.  The most famous
Coleridge poems are undoubtedly Kubla Khan, The Rime of the Ancient
Mariner, and this one.

[Links]

  http://www.online-literature.com/coleridge/ has another biography and a
selection of Coleridge's works

The Masque of Anarchy (extract) -- Percy Bysshe Shelley

We don't often run two consecutive poems by the same poet, but after my
commentary yestarday, Amulya was moved to offer this in
defense of Shelley:
(Poem #1605) The Masque of Anarchy (extract)
 XXXVII.

 "Men of England, Heirs of Glory,
 Heroes of unwritten story,
 Nurslings of one mighty mother,
 Hopes of her, and one another,

 XXXVIII.

 "Rise, like lions after slumber,
 In unvanquishable number,
 Shake your chains to earth like dew,
 Which in sleep had fall'n on you.

 XXXIX.

 "What is Freedom? Ye can tell
 That which Slavery is too well,
 For its very name has grown
 To an echo of your own.

 XL.

 "'Tis to work, and have such pay,
 As just keeps life from day to day
 In your limbs, as in a cell
 For the tyrants' use to dwell:

 XLI.

 "So that ye for them are made,
 Loom, and plough, and sword, and spade;
 With or without your own will, bent
 To their defense and nourishment.

 XLII.

 "'Tis to see your children weak
 With their mothers pine and peak;
 When the winter winds are bleak:
 They are dying whilst I speak.

 XLIII.

 "'Tis to hunger for such diet,
 As the rich man in his riot
 Casts to the fat dogs that lie
 Surfeiting beneath his eye.

 XLIV.

 "'Tis to let the Ghost of Gold
 Take from toil a thousand fold,
 More than e'er its substance could
 In the tyrannies of old:

 XLV.

 "Paper coin--that forgery
 Of the title deeds, which ye
 Hold to something of the worth
 Of the inheritance of Earth.

 E

 XLVI.

 "'Tis to be a slave in Soul,
 And to bold no strong controul.
 Over your own wills, but be
 All that others make of ye.

 XLVII.

 "And at length when ye complain,
 With a murmur weak and vain,
 'Tis to see the tyrant's crew
 Ride over your wives and you:
 Blood is on the grass like dew.

 XLVIII.

 "Then it is to feel revenge,
 Fiercely thirsting to exchange
 Blood for blood-and wrong for wrong:
 DO NOT THUS, WHEN YE ARE STRONG.

 XLIX.

 "Birds find rest in narrow nest,
 When-weary of the winged quest;
 Beasts find fare in woody lair,
 When storm and snow are in the air.

 E 2

 L.

 "Asses, swine, have litter spread,
 And with fitting food are fed;
 All things have a home but one:
 Thou, oh Englishman, hast none!

 LI.

 "This is Slavery-savage men,
 Or wild beasts within a den,
 Would endure not as ye do:
 But such ills they never knew.

 LII.

 "What art thou, Freedom? Oh! could Slaves
 Answer from their living graves
 This demand, tyrants would flee
 Like a dream's dim imagery.

 LIII.

 Thou art not, as impostors say,
 A shadow soon to pass away,
 A superstition, and a name
 Echoing from the eaves of Fame.

 LIV.

 "For the labourer thou art bread,
 And a comely table spread,
 From his daily labour come,
 In a neat and happy home.

 LV.

 "Thou art clothes, and fire, and food
 For the trampled multitude:
 NO-in countries that are free
 Stich starvation cannot be,
 As in England now we see.

 LVI.

 "To the rich thou art. a check;
 When his foot is on the neck
 Of his victim; thou dost make
 That he treads upon a snake.

 LVII.

 "Thou art Justice--ne'er for gold
 May thy righteous laws be sold,
 As laws are in England:--thou
 Sheild'st alike the high and low.

 "Thou art Wisdom-Freedom never
 Dreams that God will damn for ever
 All who think those things untrue,
 Of which priests make such ado

 LIX.

 "Thou art Peace-never by thee
 Would blood and treasure wasted be,
 As tyrants wasted them, when all
 Leagued to quench thy flame in Gaul,

 LX.

 "What if English toil and blood
 Was poured forth-, even as a flood!
 It availed,--oh Liberty!
 To dim --- but not extinguish thee.

 LXI.

 "Thou art Love--the rich have kist
 Thy feet, and like him following Christ,
 Give their substance to the free,
 And through the rough world follow thee.

 LXII.

 "Oh turn their wealth to arms, and make
 War for thy beloved sake,
 On wealth and war and fraud: whence they
 Drew the power which is their prey.

 LXIII.

 "Science, and Poetry, and Thought,
 Are thy lamps; they make the lot
 Of the dwellers in a cot
 So serene, they curse it not.

 LXIV.

 "Spirit, Patience, Gentleness,
 All that can adorn and bless,
 Art thou: let deeds, not words, express
 Thine exceeding loveliness.

 LXV.

 "Let a great assembly be
 Of the fearless, of the free,
 On some spot of English ground,
 Where the plains stretch wide around.

 LXVI.

 "Let the blue sky overhead,
 The green earth, on which ye tread,
 All that must eternal be,
 Witness the solemnity.

 LXVII.

 "From the corners uttermost
 Of the bounds of English coast;
 From every but, village, and town,
 Where those who live and suffer, moan
 For others' misery and their own:

 LXVIII.

 "From the workhouse and the prison,
 Where pale as corpses newly risen,
 Women, children, young, and old,
 Groan for pain, and weep for cold;

 LXIX.

 "From the haunts of daily life,
 Where is waged the daily strife
 With common wants and common cares,
 Which sow the human heart with tares;

 LXX.

 "Lastly, from the palaces,
 Where the murmur of distress
 Echoes, like the distant sound
 Of a wind alive around;

 LXXI.

 "Those prison-halls of wealth and fashion,
 Where some few feel such compassion
 For those who groan, and toil, and wait,
 As must make their brethren pale;

 LXXII.

 "Ye who suffer woes untold,
 Or to feel, or to behold
 Your lost country bought and sold
 With a price of blood and gold;

 LXXIII.

 "Let a vast assembly be,
 And with great solemnity
 Declare with measured words, that ye
 Are, as God has made ye, free!

 LXXIV.

 "Be your strong and simple words
 Keen to wound as sharpened swords,
 And wide as targes let them be,
 With their shade to cover ye.

 LXXV.

 Let the tyrants pour around
 With a quick and startling sound,
 Like the loosening of a sea,
 Troops of armed emblazonry.

 LXXVI.

 "Let the charged artillery drive,
 Till the dead air seems alive
 With the clash of clanging wheels,
 And the tramp of horses' heels.

 LXXVII.

 "Let the fixed bayonet
 Gleam with sharp desire to wet
 Its bright point in English blood,
 Looking keen as one for food.

 F

 LXXVIII.

 "Let the horsemen's scimitars
 Wheel and flash, like sphereless stars,
 Thirsting to eclipse their burning
 In a sea of death and mourning.

 LXXIX.

 "Stand ye calm and resolute,
 Like a forest close and mute,
 With folded arms, and looks which are
 Weapons of an unvanquished war.

 LXXX.

 "And let Panic, who outspeeds
 The career of armed steeds,
 Pass, a disregarded shade,
 Thro' your phalanx indismay'd.

 [The next three stanzas are italicised]

 LXXXI.

 "Let the laws of your own land,
 Good or ill, between ye stand,
 Hand to hand, and foot to foot,
 Arbiters of the dispute.

 LXXXII.

 "The old laws of England--they
 Whose reverend heads with age are grey,
 Children of a wiser day;
 And whose solemn voice must be
 Thine own echo--Liberty!

 LXXXIII.

 "On those who first should violate
 Such sacred heralds in their state,
 Rest the blood that must ensue,
 And it will not rest on you.

 LXXXIV.

 "And if then the tyrants dare,
 Let them ride among you there;
 Slash, and stab, and maim, and hew;
 What they like, that let them do.

 LXXXV.

 "With folded arms and steady eyes,
 And little fear and less surprise,
 Look upon them as they stay
 Till their rage hasdied away:

 LXXXVI.

 "Then they will return with shame,
 To the place from which they came,
 And the blood thus shed will speak
 In hot blushes on their cheek,

 LXXXVII.

 "Every woman in the land
 Will point at them as they stand
 They will hardly dare to greet
 Their acquaintance in the street:

 LXXXVIII.

 "And the bold, true warriors,
 Who have hugged Danger in wars,
 Will turn to those who would be free
 Ashamed of such base company:

 LXXXIX.

 "And that slaughter to the nation
 Shall steam up like inspiration,
 Eloquent, oracular,
 A volcano heard afar:

 XC.

 "And these words shall then become
 Like Oppressions thundered doom,
 Ringing through each heart and brain,
 Heard again--again--again.

 XCI.

 Rise like lions after slumber
 In unvanquishable NUMBER!
 Shake your chains to earth, like dew
 Which in sleep had fall'n on you:
 YE ARE MANY-THEY ARE FEW.

 THE END
-- Percy Bysshe Shelley
This is an extract from The Masque of Anarchy, Percy Bysshe Shelley's
response to the Peterloo massacre of English workers.  Just offering the
obvious balance to the fey Shelley stuff so far [1] - because I think it's
rather unfair to a poet who (along with Blake), exemplified the defiant,
incendiary spirit of the Romantics.  A poet who 'erred on the side of the
profane'[2] , an aristocrat who dreamt of a day when people would be 'equal,
unclassed, tribeless, and nationless' [3], a writer who saw art as a hammer
to legislate change.  As Richard Holmes writes, Shelley possessed 'a sense
of greater design, an acute feeling for the historical moment and an
overwhelming consciousness of his duty as an artist...' Hard finding a poem
of comparable moral weight (Pablo Neruda's The People?).

I agree that his work is extremely erratic, like many other writers whose
reach exceeds their grasp.  He's produced some highly sappy,
self-dramatizing stuff... 'I fall upon the thorns of life! I bleed!'[4] .

But sometimes he is the poetic equivalent of lightning.

        Rise like Lions after slumber
        In unvanquishable number.
        Shake your chains to earth like dew
        Which in sleep had fallen on you:
        Ye are many -- they are few.

Is that not truly tremendous?

-Amulya

[1] In Matthew Arnold's withering, and ass-backwards assessment - 'a
    beautiful and ineffectual angel, beating in the void his luminous
    wings in vain'.
[2] Borrowing Rushdie's wonderful phrase
[3] From Prometheus Unbound.
[4] A bit of fine frenzy from Ode To The West Wind

[Links]

The entire poem is available, complete with historical notes, at
  [broken link] http://dspace.dial.pipex.com/town/terrace/adw03/c-eight/distress/masque.htm

One Sung of Thee who Left the Tale Untold -- Percy Bysshe Shelley

Rounding out Parker's "Trio of Lyrical Treats"
(Poem #1604) One Sung of Thee who Left the Tale Untold
 One sung of thee who left the tale untold,
    Like the false dawns which perish in the bursting;
 Like empty cups of wrought and daedal gold,
    Which mock the lips with air, when they are thirsting.
-- Percy Bysshe Shelley
       from "Percy Bysshe Shelley, Posthumous Poems", ed. Mary Shelley (1824)

Note:
  daedal:
   1. Ingenious and complex in design or function; intricate.
   2. Finely or skillfully made or employed; artistic.
         (after Daedalus, who "gave his name eponymously to any Greek artificer
   and to many Greek contraptions that represented dextrous skill."
(Wikipedia))

This is one of the "many short fragments from Shelley's MSS. published by
Mary Shelley, his wife, in her editions of 1824 and 1839", says
Representative Poetry Online, going on to note that she entitles this poem "A
Tale Untold". To my mind, these short fragments are some of the best, or at
least the most enjoyable stuff that Shelley produced, little gems that
reveal his genius for imagery without being dragged down to earth by his
rather uncertain ear for euphony.[1]

Too, I enjoy the "fragment" as a poetic form in its own right - a little
snatch of verse that is patently not a complete poem, but which nevertheless
stands very well on its own - often so well that an attempt to "complete" it
or work it into a larger poem would only dilute its impact. (See Tennyson's
"The Eagle" [Poem #15] for the best example I can think of). All in all, I
am distinctly grateful to Mary Shelley for preserving these gems of
Shelley's - Shelley is so widely acclaimed a poet that I always feel that I
am missing out on something in my dislike for the majority of his work.

martin

[1] to see what I mean, try reading "The Cloud"
[http://eir.library.utoronto.ca/rpo/display/poem1884.html] - there were
several wonderful bits in there, but the poem as a whole I had to force
myself to finish