Shivpreet Singh
Shivpreet Singh
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Photo: David Gilbert [see below for more]

I saw this beautiful photo of a bee on a flower, so enchantingly in tune with the colors of the bloom and the color of the noon, I was reminded of an Emily Dickinson’s poem (see below). 

On first look it seems like the bee is idling, doing nothing of purpose.  It is striking how the idleness of the bee is a tune, much like it’s labor which is chant. And if that it all it was doing it would still be beautiful.  Even the ones that are waiting are serving reminds John Milton.  Just by being itself the bee sings. This singing is it’s true calling, it’s service of its truth. The service of the guru of truth is fruitful says Guru Amar Das. The service of the bee is fruitful. In singing this beautiful song of being itself the bee opens the door of heaven on earth, So Dar (Guru Nanak). That door beyond which everything sings, from the elements to the planets and the universe. 

But if you carefully think about it, the bee is not just being beautiful and idling. It is pollinating the flowers.  She goes from flower to flower vanquishing them and  herself. She helps propagate her own species and plants. Her labor is true, it is the service of the guru. This is her song that maker her part of the eden she is creating on earth. 

The Bee by Emily Dickinson

Like trains of cars on tracks of plush
I hear the level bee:
A jar across the flowers goes,
Their velvet masonry

Withstands until the sweet assault
Their chivalry consumes,
While he, victorious, tilts away
To vanquish other blooms.

His feet are shod with gauze,
His helmet is of gold;
His breast, a single onyx
With chrysoprase, inlaid.

His labor is a chant,
His idleness a tune;
Oh, for a bee’s experience
Of clovers and of noon!

More about the David Gilbert 
https://davidgilbertpoetry.com/

The photograph was taken by poet David Gilbert with his iPhone. David is a born and bred Londoner. He is the youngest son of a kinder-transport refugee, and has worked for 35 years in health and healthcare. He is a mental health user and the first ‘Patient Director’ in the NHS. Throughout his career, he has written poetry, and has published four collections:
  • The Rare Bird Recovery Protocol, book published by Cinnamon Press;
  • Liberian Pygmy Hippopotamus, pamphlet published by Templar;
  • ReCollections – reflections on the 70th anniversary of the NHS, with artist Beth Hopkins, pamphlet published by The Bethlem Gallery;
  • Elephants Fragile, pamphlet published by Cinnamon Press





It’s nice to be complete
Like a cloud over the green hill
And the blue sky. Without any fires. 
Like being free to open
The windows and sunroof 
In the car and to inhale. Truly. 
So today I give you
What you need the most 
Both truth and beauty completely 


Reading Khalil Gibran today from "Children of Gods, Scions of Apes"

Animal, Gorilla, Ape, Primate, Herbivore, Silver BackHow amazing time is, and how amazing we are. Time has been transformed, and we have changed; it has advanced and set us in motion; it has unveiled its face, inspiring us with bewilderment and exhilaration.

Yesterday we complained of time and feared it, but today we love and embrace it. Indeed, we have begun to perceive its purposes and characteristics, and to comprehend its secrets and enigmas.

Yesterday we crawled apprehensively, like phantoms quaking between the terrors of night and the horrors of day. Today we stride zealously toward the summits of mountains, where raging storms ensconce themselves and blazing lightning and crashing thunder are engendered.

Yesterday we ate bread kneaded with blood and drank water mingled with tears. But today we dine on manna from the hands of dawn-sprites and sip wine fragrant with the breaths of spring.

Yesterday we were playthings in the hand of fate, and fate was a drunken tyrant, bending us to the right and then to the left. But today fate has sobered up, and we play with it and it plays back; we jest with it and it laughs; then we lead it and it follows behind us.

Yesterday we burned incense before graven images and immolated sacrifices before irascible gods. But today we light incense only for ourselves and offer sacrifices only to our own essences. For the greatest and most gloriously beautiful of deities has made his temple in our breasts.

Yesterday we obeyed kings and bent our necks before emperors. But today we kneel only to the truth, follow only beauty, and obey only love.

Yesterday we humbly lowered our eyes before priests and dreaded the visions of oracles. But today the times have changed and we have changed, and we stare only at the countenance of the sun, listen only to the melodies of the sea, and tremble only with the typhoon.

Yesterday we demolished the thrones of our souls in order to build from them the tombs of our grandfathers. But today our souls have been transformed into holy altars, which the ghosts of dusty centuries cannot approach and the grizzled fingers of the dead cannot touch.

We were a silent, hidden thought in the folds of oblivion, and we have become a voice that causes the heavens to tremble.

We were a faint spark buried in ash, but have become a fire blazing above the sheltered ravine.

How many are the nights that we stayed up late, cradling our heads on the dirt with snow for a blanket, weeping for lost friendships and possessions. How many are the days we spent lying about like sheep without a shepherd, nibbling at our thoughts and chewing our emotions, remaining hungry and thirsty. How often we stood between waning day and onrushing night, mourning our fading youth, yearning for an unknown person, lonely for some obscure reason, staring at a dark, empty sky, listening to the groans of silence and nothingness.

Those centuries passed, like a thieving wolf-pack through a cemetery, but today the sky has awakened and we have awakened. We spend white nights on celestial beds, staying up late with our imaginations, keeping our thoughts company and embracing our passions. Flames glimmer all around us, and we seize them with steady fingers; the spirits of genies ascend all around us, and we address them unequivocally. Hosts of the angels pass by us, and we entice them by the yearning in our hearts and make them drunk with the rhapsodies of our spirits.

Yesterday we were and today we have become, and this is the will of the gods for their children. What, then, is your will, scions of the apes?

Have you advanced even one stride forward since you issued from fissures in the earth? Or have you lifted your gaze toward the heights since the demons opened your eyes? Have you pronounced a single word from the Book of Truth since the serpents kissed your mouths with theirs?

Or have you listened even an instant to the song of life since death stopped up your ears?

I have been passing by you for seven thousand years and have seen you metamorphose like insects in the corners of grottoes. Seven minutes ago I looked at you from behind the pane of my window and found you ambling in filthy alleyways, led by the devils of apathy, the chains of servitude shackling your feet and the wings of death fluttering above your heads. You are today as you were yesterday and shall remain tomorrow and thereafter, just as I saw you in the beginning.

Yesterday we were and today we have become, for this is the wont of the gods with the children of gods. What, then, is the way of apes with you, O scions of the apes?

-Kahlil Gibran


Translation Started 12/29/18. Continued 1/19/24.

जिस सर को ग़ुरूर आज है याँ ताज-वरी का
कल उस पे यहीं शोर है फिर नौहागरी का

On the head
that has a crown today,
will be lamentation tomorrow.
Then what’s the point of this pride?

शर्मिंदा तिरे रुख़ से है रुख़्सार परी का
चलता नहीं कुछ आगे तिरे कब्क-ए-दरी का
More beautiful than a partridge,
you put a fairy's beauty
to shame.

आफ़ाक़ की मंज़िल से गया कौन सलामत
अस्बाब लुटा राह में याँ हर सफ़री का

No one 
goes skyward 
safe and sound from here;
everyone's luggage is robbed in this journey

ज़िंदाँ में भी शोरिश न गई अपने जुनूँ की
अब संग मदावा है इस आशुफ़्ता-सरी का
(madaavaa not mudaavaa)

Prison has not end my craziness;
Now I would have to be 
done by stoning 

(koi pathar se na maare mere diwane ko - kids throw rocks on crazy people?)

हर ज़ख़्म-ए-जिगर दावर-ए-महशर से हमारा
इंसाफ़-तलब है तिरी बेदाद-गरी का

O God! 
All my heart's wounds 
will ask for justice for this cruelty

अपनी तो जहाँ आँख लड़ी फिर वहीं देखो
आईने को लपका है परेशाँ-नज़री का

While my eye is stuck,
the mirror's eye
is troubled

(Wherever I see beauty
my eye gets stuck?)

सद मौसम-ए-गुल हम को तह-ए-बाल ही गुज़रे
मक़्दूर न देखा कभू बे-बाल-ओ-परी का

I've spent many springs in the folds of hair
I don't know the power of 
an angel without hair 

इस रंग से झमके है पलक पर कि कहे तू
टुकड़ा है मिरा अश्क अक़ीक़-ए-जिगरी का


tomyeyelashessuchagleam,yousay,itdoesimpart
myteardropisafragmentofmyrubycolouredheart


कल सैर किया हम ने समुंदर को भी जा कर
था दस्त-ए-निगर पंजा-ए-मिज़्गाँ की तरी का

yesterday I went to see the ocean
but he was longingly looking
at my teary eyelashes


ले साँस भी आहिस्ता कि नाज़ुक है बहुत काम
आफ़ाक़ की इस कारगह-ए-शीशागरी का

breathe carefully if you have to
because this is a shop
where glass is
made


टुक 'मीर' जिगर-ए-सोख़्ता की जल्द ख़बर ले
क्या यार भरोसा है चराग़-ए-सहरी का

Recently my heart was burned, ask about me!
How much trust can you put on
the morning lamp?

(morning lamp is an old person, about to extinguish)


Explanation in Urdu: https://youtube.com/watch?v=psnqmkIDmCk
I was thinking of rain while practicing the melodic scale of rain, Raag Megh Malhar, and thought to look up what one of my favorite poets had to say about rain and found this beautiful poem: The voice of the rain. Here is the poem followed by my observations on it. 



THE VOICE OF THE RAIN.

Walt Whitman 
And who art thou? said I to the soft-falling shower,
Which, strange to tell, gave me an answer, as here translated:
I am the Poem of Earth, said the voice of the rain,
Eternal I rise impalpable out of the land and the bottomless sea,
Upward to heaven, whence, vaguely form'd, altogether changed,
and yet the same,
I descend to lave the drouths, atomies, dust-layers of the globe,
And all that in them without me were seeds only, latent, unborn;
And forever, by day and night, I give back life to my own
origin, and make pure and beautify it;
(For song, issuing from its birth-place, after fulfilment, wander-
ing,
Reck'd or unreck'd. duly with love returns.)


A few observations on this poem: 
  1. Rain has never talked to the listener of the poem.  It doesn't talk to everyone apparently.   In this poem, Walt Whitman asks a question of the rain (Who are you?) and surprisingly, the rain responds.    It was a private discussion between Walt and the rain, so he kindly translates for us, the rain-deaf. 
  2. What a beautiful way to describe rain: it is the poem of the earth. Indeed, a poem is what gives life to the world as we know it.  A spiritual poem, a guru, gives life to its reciter, its student.  If there were no Guru, there would be no enlightenment and thereby no life.  Just like if there were no rain, there would be no fresh water, and there would be no life as we know it.  Rain gives earth life, literally. So it is indeed the poem of the earth.  
  3. Walt then describes the nature of water: unending, perhaps a poem that is repeated ad infinitum. Water rises from lands and oceans and goes into the sky, and then condenses in the form of rain. In the process it does three things: (1) it gives life back to itself (it can evaporate and condense again), (2) it purifies and cleans everything it touches, and (3) it beautifies it.  
[updated 2020]

Reminds me of Akhaan Jeevan - as long as I say, I live; as soon as I forget I die. Poetry and their songs are essential to life. "I am not an essential service." says Jane Hirshfield in her poem during the pandemic. I bet Walt Whitman would differ. The poet is the most essential, perhaps only lesser than her poem, Today when I could do nothing. 
To be beautiful one has to accept one's innate beauty.  Lady Gaga's song Born This Way encourages us to do that ... 

Born This Way - Lady Gaga Lyrics

It doesn't matter if you love him or capital H-I-M
Just put your paws up
'Cause you were born this way, baby

My mama told me when I was young
We are all born superstars
She rolled my hair and put my lipstick on
In the glass of her boudoir

There's nothin' wrong with lovin' who you are
She said, 'cause He made you perfect, babe
So hold your head up,
girl and you'll go far
Listen to me when I say

I'm beautiful in my way
'Cause God makes no mistakes
I'm on the right track, baby
I was born this way

Don't hide yourself in regret
Just love yourself and you're set
I'm on the right track, baby
I was born this way, born this way

Ooh, there ain't no other way, baby, I was born this way
Baby, I was born this way
Ooh, there ain't no other way, baby, I was born this way
I'm on the right track, baby, I was born this way

Don't be a drag, just be a queen
Don't be a drag, just be a queen
Don't be a drag, just be a queen
Don't be

Give yourself prudence and love your friends
Subway kid, rejoice of truth
In the religion of the insecure
I must be myself, respect my youth

A different lover is not a sin
Believe capital H-I-M
I love my life, I love this record and
Mi amore vole fe yah

I'm beautiful in my way,
'Cause God makes no mistakes
I'm on the right track, baby
I was born this way

Don't hide yourself in regret,
Just love yourself and you're set
I'm on the right track, baby
I was born this way

Ooh, there ain't no other way, baby, I was born this way
Baby, I was born this way
Ooh, there ain't no other way, baby, I was born this way
I'm on the right track, baby, I was born this way

Don't be drag, just be a queen
Whether you're broke or evergreen
You're black, white, beige, chola descent
You're Lebanese, you're orient

Whether life's disabilities
Left you outcast, bullied or teased
Rejoice and love yourself today
'Cause baby, you were born this way

No matter gay, straight or bi
Lesbian, transgendered life
I'm on the right track, baby
I was born to survive

No matter black, white or beige
Chola or orient made
I'm on the right track, baby
I was born to be brave

I'm beautiful in my way
'Cause God makes no mistakes
I'm on the right track, baby
I was born this way

Don't hide yourself in regret,
Just love yourself and you're set
I'm on the right track, baby
I was born this way, yeah

Ooh, there ain't no other way, baby, I was born this way
Baby, I was born this way
Ooh, there ain't no other way, baby, I was born this way
I'm on the right track, baby, I was born this way
I was born this way, hey
I was born this way, hey
I'm on the right track, baby, I was born this way, hey

I was born this way, hey
I was born this way, hey
I'm on the right track, baby, I was born this way, hey



Sam Levenson, the teacher, author, and famed humorist, wrote a letter to his granddaughter when she was born. Mummy loved it so, she read selections from it this last Christmas Eve. From a line in the letter she entitled it:



TIME-TESTED BEAUTY TIPS

For attractive lips, speak words of kindness.
For lovely eyes, seek out the good in people.
For a slim figure, share your food with the hungry.
For beautiful hair, let a child run his fingers through it once a day.
For poise, walk with the knowledge you’ll never walk alone.

We leave you a tradition with a future.
The tender loving care of human beings will never become obsolete.
People even more than things have to be restored, renewed, revived, reclaimed and redeemed and redeemed and redeemed.
Never throw out anybody.

Remember, if you ever need a helping hand, you’ll find one at the end of your arm.
As you grow older, you will discover that you have two hands: one for helping yourself, the other for helping others.

Your “good old days” are still ahead of you, may you have many of them.

An excerpt from "35 simple ways of being beautiful"

Written by Lori Deschene 

There are times when, like Alexander, I’m having a terrible, horrible, no good, very bad day. Times when it seems like I might get swept into the tornado of chaos around me. Times when the voice in my head is unkind, and I interpret everything that happens through a negative filter. When I think the worst of people and complain about it; when I expect the worst of my day and lament it.

This admission might seem like the biggest possible acknowledgment of hypocrisy, but I have nothing to give if not my honesty. And the reality is I am imperfect. We all are. We all have moments of weakness—but they’ll only define us if they far surpass moments of kindness, compassion, love, and strength.

Being beautiful doesn’t mean adhering to some picture-perfect fantasy, or living every moment that way. It means realizing this moment is a new opportunity to be who you want to be, and making the effort to seize it.



"When you do something beautiful and nobody noticed, do not be sad. For the sun every morning is a beautiful spectacle yet most of the audience still sleeps." - John Lennon

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The story of Laila Majnu and its Moral
By Osho

What I am teaching is not a religion but a religiousness. A religion is a creed, a dogma, an ideology; it is intellectual. You can be convinced about it -- arguments can be given, proofs can be supplied, you can be silenced. Argumentation is a kind of violence, a very subtle violence. It is an attempt to manipulate you, control you, enslave you. All the religions have been doing that for thousands of years; it is a subtle strategy to create mental slavery.

What I am doing here has nothing to do with religion at all. It is a kind of religiousness -- no belief, no dogma, no church. It is a love affair; you cannot be convinced of it. Do you think Majnu can convince others about the beauty of Laila? It is impossible. Nobody can convince anybody else about his love affair. It is far deeper than the intellect, it is of the heart, and the heart knows no arguments, no proofs; it is simply so. One can dance, one can sing, but one cannot prove it. One can shout with joy, one can say "Alleluia!" but those are not arguments, they are not convincing.

The story about Majnu is very significant. It is a Sufi story. It is not an ordinary love story as people have been thinking, it is an allegory.

Majnu fell in love with a woman called Laila who was not beautiful according to others. According to the public opinion she was very ordinary, homely -- not only that but ugly too. And Majnu was mad, so mad that the very name of Majnu has become synonymous with madness. He was continuously praying to God, continuously moving around the city asking people for help, because he was a poor man and the woman he had fallen in love with belonged to an aristocratic family. Even to see Laila from far away was not easy. It was a Mohammedan country, and in a Mohammedan country it is very difficult to see even the face of a woman.

Seeing his agony, his anguish, even the king became a little concerned. He called Majnu; he felt great compassion for him. He told him, "I know that woman; that family is well known to me, and if Laila had been a beautiful woman she would have been part of my harem. I have not chosen her -- she is not worth choosing. I have got all the beautiful women from all over the country, and I feel so much for you that I will give you a chance. You can choose any woman from my harem and she will be yours!" -- and he called the most beautiful women.

Majnu looked at each woman in minute detail and said, "This is not Laila!" Again and again...he passed over a dozen women, and the remark was always the same: "This is not Laila!"

The king said, "You must have gone utterly crazy! Laila is nothing compared to these beautiful women! You can choose anyone. I KNOW your Laila, I have known the most beautiful women of the world, and my women are some of the greatest that have ever been on the earth."

Majnu said, "But you don't understand me. And I can understand that you cannot understand. It is not a question of choosing somebody else; the choice is not in my hands. It has happened already; the heart has chosen! I am nobody, I cannot interfere in it. The mind is only the circumference; the heart is the center. The center has chosen, how can the circumference interfere?

"And moreover -- forgive me for saying so, because you have been so kind -- I still insist that there has never been a woman like Laila and there will never be again. But to see the beauty of Laila you need the eyes of a Majnu, and you don't have those eyes so nothing can be done about it. You have to see her through MY eyes; only then will you be able to see the grandeur, the splendor of her being."

Remember these words: To see the beauty of Laila you need the eyes of a Majnu.
This is not a religion. The people who have gathered around me are lovers -- not intellectually convinced of what I am saying, but existentially convinced of what I am. It is a question not decided by the mind but something to be felt.

Heart-Shape, Tree, Red, Outdoors, Flowers
What was said to the rose
- Rumi

What was said to the rose that made it open
was said to me here in my chest.

What was told the Cypress that made it strong and straight,
what was whispered the jasmine so it is what it is,
whatever made sugarcane sweet,
whatever was said to the inhabitants of the town of Chigil in Turkestan that makes them so handsome,
whatever lets the pomegranate flower blush like a human face,
that is being said to me now.
I blush.

Whatever put eloquence in
language, that's happening here.
The great warehouse doors open; I fill with gratitude,
chewing a piece of sugarcane,
in love with the one to whom every that belongs!

RUMI


Brahmas and Shivas
And others Meditate on
The beauty of my love

Yogis and spiritual gurus
Chant in the waves of
The beauty or my love

I love the ones
Who are stooped in
The beauty of my love

Rejuvenated mind and body
Ever With the color of
The beauty of my love

The beauty of my love

Sobha mere laalan ki: Guru Arjan


Against Interpretation
by Susan Sontag



“Content is a glimpse of something, an encounter like a flash. It’s very tiny - very tiny, content.”
- Willem De Kooning, in an interview
           
“It is only shallow people who do not judge by appearances. The mystery of the world is the visible, not the invisible.”
- Oscar Wilde, in a letter


1


The earliest experience of art must have been that it was incantatory, magical; art was an instrument of ritual. (Cf. the paintings in the caves at Lascaux, Altamira, Niaux, La Pasiega, etc.) The earliest theory of art, that of the Greek philosophers, proposed that art was mimesis, imitation of reality. 


It is at this point that the peculiar question of the value of art arose. For the mimetic theory, by its very terms, challenges art to justify itself. 


Plato, who proposed the theory, seems to have done so in order to rule that the value of art is dubious. Since he considered ordinary material things as themselves mimetic objects, imitations of transcendent forms or structures, even the best painting of a bed would be only an “imitation of an imitation.” For Plato, art is neither particularly useful (the painting of a bed is no good to sleep on), nor, in the strict sense, true. And Aristotle’s arguments in defense of art do not really challenge Plato’s view that all art is an elaborate trompe l’oeil, and therefore a lie. But he does dispute Plato’s idea that art is useless. Lie or no, art has a certain value according to Aristotle because it is a form of therapy. Art is useful, after all, Aristotle counters, medicinally useful in that it arouses and purges dangerous emotions. 


In Plato and Aristotle, the mimetic theory of art goes hand in hand with the assumption that art is always figurative. But advocates of the mimetic theory need not close their eyes to decorative and abstract art. The fallacy that art is necessarily a “realism” can be modified or scrapped without ever moving outside the problems delimited by the mimetic theory. 


The fact is, all Western consciousness of and reflection upon art have remained within the confines staked out by the Greek theory of art as mimesis or representation. It is through this theory that art as such - above and beyond given works of art - becomes problematic, in need of defense. And it is the defense of art which gives birth to the odd vision by which something we have learned to call “form” is separated off from something we have learned to call “content,” and to the well-intentioned move which makes content essential and form accessory. 


Even in modern times, when most artists and critics have discarded the theory of art as representation of an outer reality in favor of the theory of art as subjective expression, the main feature of the mimetic theory persists. Whether we conceive of the work of art on the model of a picture (art as a picture of reality) or on the model of a statement (art as the statement of the artist), content still comes first. The content may have changed. It may now be less figurative, less lucidly realistic. But it is still assumed that a work of art is its content. Or, as it’s usually put today, that a work of art by definition says something. (“What X is saying is . . . ,” “What X is trying to say is . . .,” “What X said is . . .” etc., etc.)

2

None of us can ever retrieve that innocence before all theory when art knew no need to justify itself, when one did not ask of a work of art what it said because one knew (or thought one knew) what it did. From now to the end of consciousness, we are stuck with the task of defending art. We can only quarrel with one or another means of defense. Indeed, we have an obligation to overthrow any means of defending and justifying art which becomes particularly obtuse or onerous or insensitive to contemporary needs and practice. 


This is the case, today, with the very idea of content itself. Whatever it may have been in the past, the idea of content is today mainly a hindrance, a nuisance, a subtle or not so subtle philistinism. 


Though the actual developments in many arts may seem to be leading us away from the idea that a work of art is primarily its content, the idea still exerts an extraordinary hegemony. I want to suggest that this is because the idea is now perpetuated in the guise of a certain way of encountering works of art thoroughly ingrained among most people who take any of the arts seriously. What the overemphasis on the idea of content entails is the perennial, never consummated project of interpretation. And, conversely, it is the habit of approaching works of art in order to interpret them that sustains the fancy that there really is such a thing as the content of a work of art.


3



Of course, I don’t mean interpretation in the broadest sense, the sense in which Nietzsche (rightly) says, “There are no facts, only interpretations.” By interpretation, I mean here a conscious act of the mind which illustrates a certain code, certain “rules” of interpretation. 


Directed to art, interpretation means plucking a set of elements (the X, the Y, the Z, and so forth) from the whole work. The task of interpretation is virtually one of translation. The interpreter says, Look, don’t you see that X is really - or, really means - A? That Y is really B? That Z is really C? 


What situation could prompt this curious project for transforming a text? History gives us the materials for an answer. Interpretation first appears in the culture of late classical antiquity, when the power and credibility of myth had been broken by the “realistic” view of the world introduced by scientific enlightenment. Once the question that haunts post-mythic consciousness - that of the seemliness of religious symbols - had been asked, the ancient texts were, in their pristine form, no longer acceptable. Then interpretation was summoned, to reconcile the ancient texts to “modern” demands. Thus, the Stoics, to accord with their view that the gods had to be moral, allegorized away the rude features of Zeus and his boisterous clan in Homer’s epics. What Homer really designated by the adultery of Zeus with Leto, they explained, was the union between power and wisdom. In the same vein, Philo of Alexandria interpreted the literal historical narratives of the Hebrew Bible as spiritual paradigms. The story of the exodus from Egypt, the wandering in the desert for forty years, and the entry into the promised land, said Philo, was really an allegory of the individual soul’s emancipation, tribulations, and final deliverance. Interpretation thus presupposes a discrepancy between the clear meaning of the text and the demands of (later) readers. It seeks to resolve that discrepancy. The situation is that for some reason a text has become unacceptable; yet it cannot be discarded. Interpretation is a radical strategy for conserving an old text, which is thought too precious to repudiate, by revamping it. The interpreter, without actually erasing or rewriting the text, is altering it. But he can’t admit to doing this. He claims to be only making it intelligible, by disclosing its true meaning. However far the interpreters alter the text (another notorious example is the Rabbinic and Christian “spiritual” interpretations of the clearly erotic Song of Songs), they must claim to be reading off a sense that is already there. 


Interpretation in our own time, however, is even more complex. For the contemporary zeal for the project of interpretation is often prompted not by piety toward the troublesome text (which may conceal an aggression), but by an open aggressiveness, an overt contempt for appearances. The old style of interpretation was insistent, but respectful; it erected another meaning on top of the literal one. The modern style of interpretation excavates, and as it excavates, destroys; it digs “behind” the text, to find a sub-text which is the true one. The most celebrated and influential modern doctrines, those of Marx and Freud, actually amount to elaborate systems of hermeneutics, aggressive and impious theories of interpretation. All observable phenomena are bracketed, in Freud’s phrase, as manifest content. This manifest content must be probed and pushed aside to find the true meaning - the latent content - beneath. For Marx, social events like revolutions and wars; for Freud, the events of individual lives (like neurotic symptoms and slips of the tongue) as well as texts (like a dream or a work of art) - all are treated as occasions for interpretation. According to Marx and Freud, these events only seem to be intelligible. Actually, they have no meaning without interpretation. To understand is to interpret. And to interpret is to restate the phenomenon, in effect to find an equivalent for it. 


Thus, interpretation is not (as most people assume) an absolute value, a gesture of mind situated in some timeless realm of capabilities. Interpretation must itself be evaluated, within a historical view of human consciousness. In some cultural contexts, interpretation is a liberating act. It is a means of revising, of transvaluing, of escaping the dead past. In other cultural contexts, it is reactionary, impertinent, cowardly, stifling.

4

Today is such a time, when the project of interpretation is largely reactionary, stifling. Like the fumes of the automobile and of heavy industry which befoul the urban atmosphere, the effusion of interpretations of art today poisons our sensibilities. In a culture whose already classical dilemma is the hypertrophy of the intellect at the expense of energy and sensual capability, interpretation is the revenge of the intellect upon art. 


Even more. It is the revenge of the intellect upon the world. To interpret is to impoverish, to deplete the world - in order to set up a shadow world of “meanings.” It is to turn the world into this world. (“This world”! As if there were any other.) 


The world, our world, is depleted, impoverished enough. Away with all duplicates of it, until we again experience more immediately what we have.

5


In most modern instances, interpretation amounts to the philistine refusal to leave the work of art alone. Real art has the capacity to make us nervous. By reducing the work of art to its content and then interpreting that, one tames the work of art. Interpretation makes art manageable, comformable. 


This philistinism of interpretation is more rife in literature than in any other art. For decades now, literary critics have understood it to be their task to translate the elements of the poem or play or novel or story into something else. Sometimes a writer will be so uneasy before the naked power of his art that he will install within the work itself - albeit with a little shyness, a touch of the good taste of irony - the clear and explicit interpretation of it. Thomas Mann is an example of such an overcooperative author. In the case of more stubborn authors, the critic is only too happy to perform the job. 


The work of Kafka, for example, has been subjected to a mass ravishment by no less than three armies of interpreters. Those who read Kafka as a social allegory see case studies of the frustrations and insanity of modern bureaucracy and its ultimate issuance in the totalitarian state. Those who read Kafka as a psychoanalytic allegory see desperate revelations of Kafka’s fear of his father, his castration anxieties, his sense of his own impotence, his thralldom to his dreams. Those who read Kafka as a religious allegory explain that K. in The Castle is trying to gain access to heaven, that Joseph K. in The Trial is being judged by the inexorable and mysterious justice of God. . . . Another oeuvre that has attracted interpreters like leeches is that of Samuel Beckett. Beckett’s delicate dramas of the withdrawn consciousness - pared down to essentials, cut off, often represented as physically immobilized - are read as a statement about modern man’s alienation from meaning or from God, or as an allegory of psychopathology. 


Proust, Joyce, Faulkner, Rilke, Lawrence, Gide . . . one could go on citing author after author; the list is endless of those around whom thick encrustations of interpretation have taken hold. But it should be noted that interpretation is not simply the compliment that mediocrity pays to genius. It is, indeed, the modern way of understanding something, and is applied to works of every quality. Thus, in the notes that Elia Kazan published on his production of A Streetcar Named Desire, it becomes clear that, in order to direct the play, Kazan had to discover that Stanley Kowalski represented the sensual and vengeful barbarism that was engulfing our culture, while Blanche Du Bois was Western civilization, poetry, delicate apparel, dim lighting, refined feelings and all, though a little the worse for wear to be sure. Tennessee Williams’ forceful psychological melodrama now became intelligible: it was about something, about the decline of Western civilization. Apparently, were it to go on being a play about a handsome brute named Stanley Kowalski and a faded mangy belle named Blanche Du Bois, it would not be manageable.

6


It doesn’t matter whether artists intend, or don’t intend, for their works to be interpreted. Perhaps Tennessee Williams thinks Streetcar is about what Kazan thinks it to be about. It may be that Cocteau in The Blood of a Poet and in Orpheus wanted the elaborate readings which have been given these films, in terms of Freudian symbolism and social critique. But the merit of these works certainly lies elsewhere than in their “meanings.” Indeed, it is precisely to the extent that Williams’ plays and Cocteau’s films do suggest these portentous meanings that they are defective, false, contrived, lacking in conviction. 


From interviews, it appears that Resnais and Robbe-Grillet consciously designed Last Year at Marienbad to accommodate a multiplicity of equally plausible interpretations. But the temptation to interpret Marienbad should be resisted. What matters in Marienbad is the pure, untranslatable, sensuous immediacy of some of its images, and its rigorous if narrow solutions to certain problems of cinematic form. 


Again, Ingmar Bergman may have meant the tank rumbling down the empty night street in The Silence as a phallic symbol. But if he did, it was a foolish thought. (“Never trust the teller, trust the tale,” said Lawrence.) Taken as a brute object, as an immediate sensory equivalent for the mysterious abrupt armored happenings going on inside the hotel, that sequence with the tank is the most striking moment in the film. Those who reach for a Freudian interpretation of the tank are only expressing their lack of response to what is there on the screen. 


It is always the case that interpretation of this type indicates a dissatisfaction (conscious or unconscious) with the work, a wish to replace it by something else. 


Interpretation, based on the highly dubious theory that a work of art is composed of items of content, violates art. It makes art into an article for use, for arrangement into a mental scheme of categories.

7


Interpretation does not, of course, always prevail. In fact, a great deal of today’s art may be understood as motivated by a flight from interpretation. To avoid interpretation, art may become parody. Or it may become abstract. Or it may become (“merely”) decorative. Or it may become non-art. 


The flight from interpretation seems particularly a feature of modern painting. Abstract painting is the attempt to have, in the ordinary sense, no content; since there is no content, there can be no interpretation. Pop Art works by the opposite means to the same result; using a content so blatant, so “what it is,” it, too, ends by being uninterpretable. 


A great deal of modern poetry as well, starting from the great experiments of French poetry (including the movement that is misleadingly called Symbolism) to put silence into poems and to reinstate the magic of the word, has escaped from the rough grip of interpretation. The most recent revolution in contemporary taste in poetry - the revolution that has deposed Eliot and elevated Pound - represents a turning away from content in poetry in the old sense, an impatience with what made modern poetry prey to the zeal of interpreters. 


I am speaking mainly of the situation in America, of course. Interpretation runs rampant here in those arts with a feeble and negligible avant-garde: fiction and the drama. Most American novelists and playwrights are really either journalists or gentlemen sociologists and psychologists. They are writing the literary equivalent of program music. And so rudimentary, uninspired, and stagnant has been the sense of what might be done with form in fiction and drama that even when the content isn’t simply information, news, it is still peculiarly visible, handier, more exposed. To the extent that novels and plays (in America), unlike poetry and painting and music, don’t reflect any interesting concern with changes in their form, these arts remain prone to assault by interpretation. 


But programmatic avant-gardism - which has meant, mostly, experiments with form at the expense of content - is not the only defense against the infestation of art by interpretations. At least, I hope not. For this would be to commit art to being perpetually on the run. (It also perpetuates the very distinction between form and content which is, ultimately, an illusion.) Ideally, it is possible to elude the interpreters in another way, by making works of art whose surface is so unified and clean, whose momentum is so rapid, whose address is so direct that the work can be . . . just what it is. Is this possible now? It does happen in films, I believe. This is why cinema is the most alive, the most exciting, the most important of all art forms right now. Perhaps the way one tells how alive a particular art form is, is by the latitude it gives for making mistakes in it, and still being good. For example, a few of the films of Bergman - though crammed with lame messages about the modern spirit, thereby inviting interpretations - still triumph over the pretentious intentions of their director. In Winter Light and The Silence, the beauty and visual sophistication of the images subvert before our eyes the callow pseudo-intellectuality of the story and some of the dialogue. (The most remarkable instance of this sort of discrepancy is the work of D. W. Griffith.) In good films, there is always a directness that entirely frees us from the itch to interpret. Many old Hollywood films, like those of Cukor, Walsh, Hawks, and countless other directors, have this liberating anti-symbolic quality, no less than the best work of the new European directors, like Truffaut’s Shoot the Piano Player and Jules and Jim, Godard’s Breathless and Vivre Sa Vie, Antonioni’s L’Avventura, and Olmi’s The Fiancés. 


The fact that films have not been overrun by interpreters is in part due simply to the newness of cinema as an art. It also owes to the happy accident that films for such a long time were just movies; in other words, that they were understood to be part of mass, as opposed to high, culture, and were left alone by most people with minds. Then, too, there is always something other than content in the cinema to grab hold of, for those who want to analyze. For the cinema, unlike the novel, possesses a vocabulary of forms - the explicit, complex, and discussable technology of camera movements, cutting, and composition of the frame that goes into the making of a film.

8


What kind of criticism, of commentary on the arts, is desirable today? For I am not saying that works of art are ineffable, that they cannot be described or paraphrased. They can be. The question is how. What would criticism look like that would serve the work of art, not usurp its place? 


What is needed, first, is more attention to form in art. If excessive stress on content provokes the arrogance of interpretation, more extended and more thorough descriptions of form would silence. What is needed is a vocabulary - a descriptive, rather than prescriptive, vocabulary - for forms.[1] The best criticism, and it is uncommon, is of this sort that dissolves considerations of content into those of form. On film, drama, and painting respectively, I can think of Erwin Panofsky’s essay, “Style and Medium in the Motion Pictures,” Northrop Frye’s essay “A Conspectus of Dramatic Genres,” Pierre Francastel’s essay “The Destruction of a Plastic Space.” Roland Barthes’ book On Racine and his two essays on Robbe-Grillet are examples of formal analysis applied to the work of a single author. (The best essays in Erich Auerbach’s Mimesis, like “The Scar of Odysseus,” are also of this type.) An example of formal analysis applied simultaneously to genre and author is Walter Benjamin’s essay, “The Story Teller: Reflections on the Works of Nicolai Leskov.” 


Equally valuable would be acts of criticism which would supply a really accurate, sharp, loving description of the appearance of a work of art. This seems even harder to do than formal analysis. Some of Manny Farber’s film criticism, Dorothy Van Ghent’s essay “The Dickens World: A View from Todgers’,” Randall Jarrell’s essay on Walt Whitman are among the rare examples of what I mean. These are essays which reveal the sensuous surface of art without mucking about in it.

9


Transparence is the highest, most liberating value in art - and in criticism - today. Transparence means experiencing the luminousness of the thing in itself, of things being what they are. This is the greatness of, for example, the films of Bresson and Ozu and Renoir’s The Rules of the Game. 


Once upon a time (say, for Dante), it must have been a revolutionary and creative move to design works of art so that they might be experienced on several levels. Now it is not. It reinforces the principle of redundancy that is the principal affliction of modern life. 


Once upon a time (a time when high art was scarce), it must have been a revolutionary and creative move to interpret works of art. Now it is not. What we decidedly do not need now is further to assimilate Art into Thought, or (worse yet) Art into Culture. 


Interpretation takes the sensory experience of the work of art for granted, and proceeds from there. This cannot be taken for granted, now. Think of the sheer multiplication of works of art available to every one of us, superadded to the conflicting tastes and odors and sights of the urban environment that bombard our senses. Ours is a culture based on excess, on overproduction; the result is a steady loss of sharpness in our sensory experience. All the conditions of modern life - its material plenitude, its sheer crowdedness - conjoin to dull our sensory faculties. And it is in the light of the condition of our senses, our capacities (rather than those of another age), that the task of the critic must be assessed. 


What is important now is to recover our senses. We must learn to see more, to hear more, to feel more. 


Our task is not to find the maximum amount of content in a work of art, much less to squeeze more content out of the work than is already there. Our task is to cut back content so that we can see the thing at all. 


The aim of all commentary on art now should be to make works of art - and, by analogy, our own experience - more, rather than less, real to us. The function of criticism should be to show how it is what it is, even that it is what it is, rather than to show what it means.

10


In place of a hermeneutics we need an erotics of art. 



[1964]




[1] “One of the difficulties is that our idea of form is spatial (the Greek metaphors for form are all derived from notions of space). This is why we have a more ready vocabulary of forms for the spatial than for the temporal arts. The exception among the temporal arts, of course, is the drama; perhaps this is because the drama is a narrative (i.e., temporal) form that extends itself visually and pictorially, upon a stage. . . . What we don’t have yet is a poetics of the novel, any clear notion of the forms of narration. Perhaps film criticism will be the occasion of a breakthrough here, since films are primarily a visual form, yet they are also a subdivision of literature. o deplete the world — in order to set up a shadow world of “meanings.” It is to turn the world into this world. (“This world”! As if there were any other.) The world, our world, is depleted, impoverished enough. Away with all duplicates of it, until we again experience more immediately what we have.”



Heaven’ Garden by Randy Burns

God's Garden by Robert Frost

God made a beatous garden
With lovely flowers strown,
But one straight, narrow pathway
That was not overgrown.
And to this beauteous garden
He brought mankind to live,
And said: "To you, my children,
These lovely flowers I give.
Prune ye my vines and fig trees,
With care my flowerets tend,
But keep the pathway open
Your home is at the end."

Then came another master,
Who did not love mankind,
And planted on the pathway
Gold flowers for them to find.
And mankind saw the bright flowers,
That, glitt'ring in the sun,
Quite hid the thorns of av'rice
That poison blood and bone;
And far off many wandered,
And when life's night came on,
They still were seeking gold flowers,
Lost, helpless and alone.

O, cease to heed the glamour
That blinds your foolish eyes,
Look upward to the glitter
Of stars in God's clear skies.
Their ways are pure and harmless
And will not lead astray,
Bid aid your erring footsteps
To keep the narrow way.
And when the sun shines brightly
Tend flowers that God has given
And keep the pathway open
That leads you on to heaven.

- Robert Frost

Thoughts on God’s Garden 


The following poem has Robert Frost’s take on man’s purpose and potential return to home (heaven). The forbidden fruit of the Bible is substituted by gold flowers. The simplicity of the poem is apparent; it is one of Frost’s earlier poems and it’s not interesting as his later work. It reminds me of “valon nikki pursalat” - Gurbani’s reference to the “narrow path” to heaven. It also reminds me of Mirza Ghalib’s khayaabaan khayaabaan iram: “Wherever I see your footsteps, flowerbed after flowerbed I see heaven’s garden.”
A THING of beauty is a joy for ever:
Its loveliness increases; it will never
Pass into nothingness; but still will keep
A bower quiet for us, and a sleep
Full of sweet dreams, and health, and quiet breathing. 5
Therefore, on every morrow, are we wreathing
A flowery band to bind us to the earth,
Spite of despondence, of the inhuman dearth
Of noble natures, of the gloomy days,
Of all the unhealthy and o’er-darkened ways 10
Made for our searching: yes, in spite of all,
Some shape of beauty moves away the pall
From our dark spirits. Such the sun, the moon,
Trees old and young, sprouting a shady boon
For simple sheep; and such are daffodils 15
With the green world they live in; and clear rills
That for themselves a cooling covert make
’Gainst the hot season; the mid forest brake,
Rich with a sprinkling of fair musk-rose blooms:
And such too is the grandeur of the dooms 20
We have imagined for the mighty dead;
All lovely tales that we have heard or read:
An endless fountain of immortal drink,
Pouring unto us from the heaven’s brink.

Nor do we merely feel these essences 25
For one short hour; no, even as the trees
That whisper round a temple become soon
Dear as the temple’s self, so does the moon,
The passion poesy, glories infinite,
Haunt us till they become a cheering light 30
Unto our souls, and bound to us so fast,
That, whether there be shine, or gloom o’ercast,
They alway must be with us, or we die.

Therefore, ’tis with full happiness that I
Will trace the story of Endymion. 35
The very music of the name has gone
Into my being, and each pleasant scene
Is growing fresh before me as the green
Of our own vallies: so I will begin
Now while I cannot hear the city’s din; 40
Now while the early budders are just new,
And run in mazes of the youngest hue
About old forests; while the willow trails
Its delicate amber; and the dairy pails
Bring home increase of milk. And, as the year 45
Grows lush in juicy stalks, I’ll smoothly steer
My little boat, for many quiet hours,
With streams that deepen freshly into bowers.
Many and many a verse I hope to write,
Before the daisies, vermeil rimm’d and white, 50
Hide in deep herbage; and ere yet the bees
Hum about globes of clover and sweet peas,
I must be near the middle of my story.
O may no wintry season, bare and hoary,
See it half finished: but let Autumn bold, 55
With universal tinge of sober gold,
Be all about me when I make an end.
And now at once, adventuresome, I send
My herald thought into a wilderness:
There let its trumpet blow, and quickly dress 60
My uncertain path with green, that I may speed
Easily onward, thorough flowers and weed.

Upon the sides of Latmos was outspread
A mighty forest; for the moist earth fed
So plenteously all weed-hidden roots 65
Into o’er-hanging boughs, and precious fruits.
And it had gloomy shades, sequestered deep,
Where no man went; and if from shepherd’s keep
A lamb strayed far a-down those inmost glens,
Never again saw he the happy pens 70
Whither his brethren, bleating with content,
Over the hills at every nightfall went.
Among the shepherds, ’twas believed ever,
That not one fleecy lamb which thus did sever
From the white flock, but pass’d unworried 75
By angry wolf, or pard with prying head,
Until it came to some unfooted plains
Where fed the herds of Pan: ay great his gains
Who thus one lamb did lose. Paths there were many,
Winding through palmy fern, and rushes fenny, 80
And ivy banks; all leading pleasantly
To a wide lawn, whence one could only see
Stems thronging all around between the swell
Of turf and slanting branches: who could tell
The freshness of the space of heaven above, 85
Edg’d round with dark tree tops? through which a dove
Would often beat its wings, and often too
A little cloud would move across the blue.

Full in the middle of this pleasantness
There stood a marble altar, with a tress 90
Of flowers budded newly; and the dew
Had taken fairy phantasies to strew
Daisies upon the sacred sward last eve,
And so the dawned light in pomp receive.
For ’twas the morn: Apollo’s upward fire 95
Made every eastern cloud a silvery pyre
Of brightness so unsullied, that therein
A melancholy spirit well might win
Oblivion, and melt out his essence fine
Into the winds: rain-scented eglantine 100
Gave temperate sweets to that well-wooing sun;
The lark was lost in him; cold springs had run
To warm their chilliest bubbles in the grass;
Man’s voice was on the mountains; and the mass
Of nature’s lives and wonders puls’d tenfold, 105
To feel this sun-rise and its glories old.

Now while the silent workings of the dawn
Were busiest, into that self-same lawn
All suddenly, with joyful cries, there sped
A troop of little children garlanded; 110
Who gathering round the altar, seemed to pry
Earnestly round as wishing to espy
Some folk of holiday: nor had they waited
For many moments, ere their ears were sated
With a faint breath of music, which ev’n then 115
Fill’d out its voice, and died away again.
Within a little space again it gave
Its airy swellings, with a gentle wave,
To light-hung leaves, in smoothest echoes breaking
Through copse-clad vallies,—ere their death, oer-taking 120
The surgy murmurs of the lonely sea.

And now, as deep into the wood as we
Might mark a lynx’s eye, there glimmered light
Fair faces and a rush of garments white,
Plainer and plainer shewing, till at last 125
Into the widest alley they all past,
Making directly for the woodland altar.
O kindly muse! let not my weak tongue faulter
In telling of this goodly company,
Of their old piety, and of their glee: 130
But let a portion of ethereal dew
Fall on my head, and presently unmew
My soul; that I may dare, in wayfaring,
To stammer where old Chaucer used to sing.

Leading the way, young damsels danced along, 135
Bearing the burden of a shepherd song;
Each having a white wicker over brimm’d
With April’s tender younglings: next, well trimm’d,
A crowd of shepherds with as sunburnt looks
As may be read of in Arcadian books; 140
Such as sat listening round Apollo’s pipe,
When the great deity, for earth too ripe,
Let his divinity o’er-flowing die
In music, through the vales of Thessaly:
Some idly trailed their sheep-hooks on the ground, 145
And some kept up a shrilly mellow sound
With ebon-tipped flutes: close after these,
Now coming from beneath the forest trees,
A venerable priest full soberly,
Begirt with ministring looks: alway his eye 150
Stedfast upon the matted turf he kept,
And after him his sacred vestments swept.
From his right hand there swung a vase, milk-white,
Of mingled wine, out-sparkling generous light;
And in his left he held a basket full 155
Of all sweet herbs that searching eye could cull:
Wild thyme, and valley-lilies whiter still
Than Leda’s love, and cresses from the rill.
His aged head, crowned with beechen wreath,
Seem’d like a poll of ivy in the teeth 160
Of winter hoar. Then came another crowd
Of shepherds, lifting in due time aloud
Their share of the ditty. After them appear’d,
Up-followed by a multitude that rear’d
Their voices to the clouds, a fair wrought car, 165
Easily rolling so as scarce to mar
The freedom of three steeds of dapple brown:
Who stood therein did seem of great renown
Among the throng. His youth was fully blown,
Shewing like Ganymede to manhood grown; 170
And, for those simple times, his garments were
A chieftain king’s: beneath his breast, half bare,
Was hung a silver bugle, and between
His nervy knees there lay a boar-spear keen.
A smile was on his countenance; he seem’d, 175
To common lookers on, like one who dream’d
Of idleness in groves Elysian:
But there were some who feelingly could scan
A lurking trouble in his nether lip,
And see that oftentimes the reins would slip 180
Through his forgotten hands: then would they sigh,
And think of yellow leaves, of owlets cry,
Of logs piled solemnly.—Ah, well-a-day,
Why should our young Endymion pine away!

Soon the assembly, in a circle rang’d, 185
Stood silent round the shrine: each look was chang’d
To sudden veneration: women meek
Beckon’d their sons to silence; while each cheek
Of virgin bloom paled gently for slight fear.
Endymion too, without a forest peer, 190
Stood, wan, and pale, and with an awed face,
Among his brothers of the mountain chase.
In midst of all, the venerable priest
Eyed them with joy from greatest to the least,
And, after lifting up his aged hands, 195
Thus spake he: “Men of Latmos! shepherd bands!
Whose care it is to guard a thousand flocks:
Whether descended from beneath the rocks
That overtop your mountains; whether come
From vallies where the pipe is never dumb; 200
Or from your swelling downs, where sweet air stirs
Blue hare-bells lightly, and where prickly furze
Buds lavish gold; or ye, whose precious charge
Nibble their fill at ocean’s very marge,
Whose mellow reeds are touch’d with sounds forlorn 205
By the dim echoes of old Triton’s horn:
Mothers and wives! who day by day prepare
The scrip, with needments, for the mountain air;
And all ye gentle girls who foster up
Udderless lambs, and in a little cup 210
Will put choice honey for a favoured youth:
Yea, every one attend! for in good truth
Our vows are wanting to our great god Pan.
Are not our lowing heifers sleeker than
Night-swollen mushrooms? Are not our wide plains 215
Speckled with countless fleeces? Have not rains
Green’d over April’s lap? No howling sad
Sickens our fearful ewes; and we have had
Great bounty from Endymion our lord.
The earth is glad: the merry lark has pour’d 220
His early song against yon breezy sky,
That spreads so clear o’er our solemnity.”

Thus ending, on the shrine he heap’d a spire
Of teeming sweets, enkindling sacred fire;
Anon he stain’d the thick and spongy sod 225
With wine, in honour of the shepherd-god.
Now while the earth was drinking it, and while
Bay leaves were crackling in the fragrant pile,
And gummy frankincense was sparkling bright
’Neath smothering parsley, and a hazy light 230
Spread greyly eastward, thus a chorus sang:

“O THOU, whose mighty palace roof doth hang
From jagged trunks, and overshadoweth
Eternal whispers, glooms, the birth, life, death
Of unseen flowers in heavy peacefulness; 235
Who lov’st to see the hamadryads dress
Their ruffled locks where meeting hazels darken;
And through whole solemn hours dost sit, and hearken
The dreary melody of bedded reeds—
In desolate places, where dank moisture breeds 240
The pipy hemlock to strange overgrowth;
Bethinking thee, how melancholy loth
Thou wast to lose fair Syrinx—do thou now,
By thy love’s milky brow!
By all the trembling mazes that she ran, 245
Hear us, great Pan!

“O thou, for whose soul-soothing quiet, turtles
Passion their voices cooingly ’mong myrtles,
What time thou wanderest at eventide
Through sunny meadows, that outskirt the side 250
Of thine enmossed realms: O thou, to whom
Broad leaved fig trees even now foredoom
Their ripen’d fruitage; yellow girted bees
Their golden honeycombs; our village leas
Their fairest-blossom’d beans and poppied corn; 255
The chuckling linnet its five young unborn,
To sing for thee; low creeping strawberries
Their summer coolness; pent up butterflies
Their freckled wings; yea, the fresh budding year
All its completions—be quickly near, 260
By every wind that nods the mountain pine,
O forester divine!

“Thou, to whom every fawn and satyr flies
For willing service; whether to surprise
The squatted hare while in half sleeping fit; 265
Or upward ragged precipices flit
To save poor lambkins from the eagle’s maw;
Or by mysterious enticement draw
Bewildered shepherds to their path again;
Or to tread breathless round the frothy main, 270
And gather up all fancifullest shells
For thee to tumble into Naiads’ cells,
And, being hidden, laugh at their out-peeping;
Or to delight thee with fantastic leaping,
The while they pelt each other on the crown 275
With silvery oak apples, and fir cones brown—
By all the echoes that about thee ring,
Hear us, O satyr king!

“O Hearkener to the loud clapping shears,
While ever and anon to his shorn peers 280
A ram goes bleating: Winder of the horn,
When snouted wild-boars routing tender corn
Anger our huntsman: Breather round our farms,
To keep off mildews, and all weather harms:
Strange ministrant of undescribed sounds, 285
That come a swooning over hollow grounds,
And wither drearily on barren moors:
Dread opener of the mysterious doors
Leading to universal knowledge—see,
Great son of Dryope, 290
The many that are come to pay their vows
With leaves about their brows!

Be still the unimaginable lodge
For solitary thinkings; such as dodge
Conception to the very bourne of heaven, 295
Then leave the naked brain: be still the leaven,
That spreading in this dull and clodded earth
Gives it a touch ethereal—a new birth:
Be still a symbol of immensity;
A firmament reflected in a sea; 300
An element filling the space between;
An unknown—but no more: we humbly screen
With uplift hands our foreheads, lowly bending,
And giving out a shout most heaven rending,
Conjure thee to receive our humble Paean, 305
Upon thy Mount Lycean!

Even while they brought the burden to a close,
A shout from the whole multitude arose,
That lingered in the air like dying rolls
Of abrupt thunder, when Ionian shoals 310
Of dolphins bob their noses through the brine.
Meantime, on shady levels, mossy fine,
Young companies nimbly began dancing
To the swift treble pipe, and humming string.
Aye, those fair living forms swam heavenly 315
To tunes forgotten—out of memory:
Fair creatures! whose young children’s children bred
Thermopylæ its heroes—not yet dead,
But in old marbles ever beautiful.
High genitors, unconscious did they cull 320
Time’s sweet first-fruits—they danc’d to weariness,
And then in quiet circles did they press
The hillock turf, and caught the latter end
Of some strange history, potent to send
A young mind from its bodily tenement. 325
Or they might watch the quoit-pitchers, intent
On either side; pitying the sad death
Of Hyacinthus, when the cruel breath
Of Zephyr slew him,—Zephyr penitent,
Who now, ere Phoebus mounts the firmament, 330
Fondles the flower amid the sobbing rain.
The archers too, upon a wider plain,
Beside the feathery whizzing of the shaft,
And the dull twanging bowstring, and the raft
Branch down sweeping from a tall ash top, 335
Call’d up a thousand thoughts to envelope
Those who would watch. Perhaps, the trembling knee
And frantic gape of lonely Niobe,
Poor, lonely Niobe! when her lovely young
Were dead and gone, and her caressing tongue 340
Lay a lost thing upon her paly lip,
And very, very deadliness did nip
Her motherly cheeks. Arous’d from this sad mood
By one, who at a distance loud halloo’d,
Uplifting his strong bow into the air, 345
Many might after brighter visions stare:
After the Argonauts, in blind amaze
Tossing about on Neptune’s restless ways,
Until, from the horizon’s vaulted side,
There shot a golden splendour far and wide, 350
Spangling those million poutings of the brine
With quivering ore: ’twas even an awful shine
From the exaltation of Apollo’s bow;
A heavenly beacon in their dreary woe.
Who thus were ripe for high contemplating, 355
Might turn their steps towards the sober ring
Where sat Endymion and the aged priest
’Mong shepherds gone in eld, whose looks increas’d
The silvery setting of their mortal star.
There they discours’d upon the fragile bar 360
That keeps us from our homes ethereal;
And what our duties there: to nightly call
Vesper, the beauty-crest of summer weather;
To summon all the downiest clouds together
For the sun’s purple couch; to emulate 365
In ministring the potent rule of fate
With speed of fire-tailed exhalations;
To tint her pallid cheek with bloom, who cons
Sweet poesy by moonlight: besides these,
A world of other unguess’d offices. 370
Anon they wander’d, by divine converse,
Into Elysium; vieing to rehearse
Each one his own anticipated bliss.
One felt heart-certain that he could not miss
His quick gone love, among fair blossom’d boughs, 375
Where every zephyr-sigh pouts and endows
Her lips with music for the welcoming.
Another wish’d, mid that eternal spring,
To meet his rosy child, with feathery sails,
Sweeping, eye-earnestly, through almond vales: 380
Who, suddenly, should stoop through the smooth wind,
And with the balmiest leaves his temples bind;
And, ever after, through those regions be
His messenger, his little Mercury.
Some were athirst in soul to see again 385
Their fellow huntsmen o’er the wide champaign
In times long past; to sit with them, and talk
Of all the chances in their earthly walk;
Comparing, joyfully, their plenteous stores
Of happiness, to when upon the moors, 390
Benighted, close they huddled from the cold,
And shar’d their famish’d scrips. Thus all out-told
Their fond imaginations,—saving him
Whose eyelids curtain’d up their jewels dim,
Endymion: yet hourly had he striven 395
To hide the cankering venom, that had riven
His fainting recollections. Now indeed
His senses had swoon’d off: he did not heed
The sudden silence, or the whispers low,
Or the old eyes dissolving at his woe, 400
Or anxious calls, or close of trembling palms,
Or maiden’s sigh, that grief itself embalms:
But in the self-same fixed trance he kept,
Like one who on the earth had never stept.
Aye, even as dead-still as a marble man, 405
Frozen in that old tale Arabian.

Who whispers him so pantingly and close?
Peona, his sweet sister: of all those,
His friends, the dearest. Hushing signs she made,
And breath’d a sister’s sorrow to persuade 410
A yielding up, a cradling on her care.
Her eloquence did breathe away the curse:
She led him, like some midnight spirit nurse
Of happy changes in emphatic dreams,
Along a path between two little streams,— 415
Guarding his forehead, with her round elbow,
From low-grown branches, and his footsteps slow
From stumbling over stumps and hillocks small;
Until they came to where these streamlets fall,
With mingled bubblings and a gentle rush, 420
Into a river, clear, brimful, and flush
With crystal mocking of the trees and sky.
A little shallop, floating there hard by,
Pointed its beak over the fringed bank;
And soon it lightly dipt, and rose, and sank, 425
And dipt again, with the young couple’s weight,—
Peona guiding, through the water straight,
Towards a bowery island opposite;
Which gaining presently, she steered light
Into a shady, fresh, and ripply cove, 430
Where nested was an arbour, overwove
By many a summer’s silent fingering;
To whose cool bosom she was used to bring
Her playmates, with their needle broidery,
And minstrel memories of times gone by. 435

So she was gently glad to see him laid
Under her favourite bower’s quiet shade,
On her own couch, new made of flower leaves,
Dried carefully on the cooler side of sheaves
When last the sun his autumn tresses shook, 440
And the tann’d harvesters rich armfuls took.
Soon was he quieted to slumbrous rest:
But, ere it crept upon him, he had prest
Peona’s busy hand against his lips,
And still, a sleeping, held her finger-tips 445
In tender pressure. And as a willow keeps
A patient watch over the stream that creeps
Windingly by it, so the quiet maid
Held her in peace: so that a whispering blade
Of grass, a wailful gnat, a bee bustling 450
Down in the blue-bells, or a wren light rustling
Among seer leaves and twigs, might all be heard.

O magic sleep! O comfortable bird,
That broodest o’er the troubled sea of the mind
Till it is hush’d and smooth! O unconfin’d 455
Restraint! imprisoned liberty! great key
To golden palaces, strange minstrelsy,
Fountains grotesque, new trees, bespangled caves,
Echoing grottos, full of tumbling waves
And moonlight; aye, to all the mazy world 460
Of silvery enchantment!—who, upfurl’d
Beneath thy drowsy wing a triple hour,
But renovates and lives?—Thus, in the bower,
Endymion was calm’d to life again.
Opening his eyelids with a healthier brain, 465
He said: “I feel this thine endearing love
All through my bosom: thou art as a dove
Trembling its closed eyes and sleeked wings
About me; and the pearliest dew not brings
Such morning incense from the fields of May, 470
As do those brighter drops that twinkling stray
From those kind eyes,—the very home and haunt
Of sisterly affection. Can I want
Aught else, aught nearer heaven, than such tears?
Yet dry them up, in bidding hence all fears 475
That, any longer, I will pass my days
Alone and sad. No, I will once more raise
My voice upon the mountain-heights; once more
Make my horn parley from their foreheads hoar:
Again my trooping hounds their tongues shall loll 480
Around the breathed boar: again I’ll poll
The fair-grown yew tree, for a chosen bow:
And, when the pleasant sun is getting low,
Again I’ll linger in a sloping mead
To hear the speckled thrushes, and see feed 485
Our idle sheep. So be thou cheered sweet,
And, if thy lute is here, softly intreat
My soul to keep in its resolved course.”

Hereat Peona, in their silver source,
Shut her pure sorrow drops with glad exclaim, 490
And took a lute, from which there pulsing came
A lively prelude, fashioning the way
In which her voice should wander. ’Twas a lay
More subtle cadenced, more forest wild
Than Dryope’s lone lulling of her child; 495
And nothing since has floated in the air
So mournful strange. Surely some influence rare
Went, spiritual, through the damsel’s hand;
For still, with Delphic emphasis, she spann’d
The quick invisible strings, even though she saw 500
Endymion’s spirit melt away and thaw
Before the deep intoxication.
But soon she came, with sudden burst, upon
Her self-possession—swung the lute aside,
And earnestly said: “Brother, ’tis vain to hide 505
That thou dost know of things mysterious,
Immortal, starry; such alone could thus
Weigh down thy nature. Hast thou sinn’d in aught
Offensive to the heavenly powers? Caught
A Paphian dove upon a message sent? 510
Thy deathful bow against some deer-herd bent,
Sacred to Dian? Haply, thou hast seen
Her naked limbs among the alders green;
And that, alas! is death. No, I can trace
Something more high perplexing in thy face!” 515

Endymion look’d at her, and press’d her hand,
And said, “Art thou so pale, who wast so bland
And merry in our meadows? How is this?
Tell me thine ailment: tell me all amiss!—
Ah! thou hast been unhappy at the change 520
Wrought suddenly in me. What indeed more strange?
Or more complete to overwhelm surmise?
Ambition is no sluggard: ’tis no prize,
That toiling years would put within my grasp,
That I have sigh’d for: with so deadly gasp 525
No man e’er panted for a mortal love.
So all have set my heavier grief above
These things which happen. Rightly have they done:
I, who still saw the horizontal sun
Heave his broad shoulder o’er the edge of the world, 530
Out-facing Lucifer, and then had hurl’d
My spear aloft, as signal for the chace—
I, who, for very sport of heart, would race
With my own steed from Araby; pluck down
A vulture from his towery perching; frown 535
A lion into growling, loth retire—
To lose, at once, all my toil breeding fire,
And sink thus low! but I will ease my breast
Of secret grief, here in this bowery nest.

“This river does not see the naked sky, 540
Till it begins to progress silverly
Around the western border of the wood,
Whence, from a certain spot, its winding flood
Seems at the distance like a crescent moon:
And in that nook, the very pride of June, 545
Had I been used to pass my weary eves;
The rather for the sun unwilling leaves
So dear a picture of his sovereign power,
And I could witness his most kingly hour,
When he doth lighten up the golden reins, 550
And paces leisurely down amber plains
His snorting four. Now when his chariot last
Its beams against the zodiac-lion cast,
There blossom’d suddenly a magic bed
Of sacred ditamy, and poppies red: 555
At which I wondered greatly, knowing well
That but one night had wrought this flowery spell;
And, sitting down close by, began to muse
What it might mean. Perhaps, thought I, Morpheus,
In passing here, his owlet pinions shook; 560
Or, it may be, ere matron Night uptook
Her ebon urn, young Mercury, by stealth,
Had dipt his rod in it: such garland wealth
Came not by common growth. Thus on I thought,
Until my head was dizzy and distraught. 565
Moreover, through the dancing poppies stole
A breeze, most softly lulling to my soul;
And shaping visions all about my sight
Of colours, wings, and bursts of spangly light;
The which became more strange, and strange, and dim, 570
And then were gulph’d in a tumultuous swim:
And then I fell asleep. Ah, can I tell
The enchantment that afterwards befel?
Yet it was but a dream: yet such a dream
That never tongue, although it overteem 575
With mellow utterance, like a cavern spring,
Could figure out and to conception bring
All I beheld and felt. Methought I lay
Watching the zenith, where the milky way
Among the stars in virgin splendour pours; 580
And travelling my eye, until the doors
Of heaven appear’d to open for my flight,
I became loth and fearful to alight
From such high soaring by a downward glance:
So kept me stedfast in that airy trance, 585
Spreading imaginary pinions wide.
When, presently, the stars began to glide,
And faint away, before my eager view:
At which I sigh’d that I could not pursue,
And dropt my vision to the horizon’s verge; 590
And lo! from opening clouds, I saw emerge
The loveliest moon, that ever silver’d o’er
A shell for Neptune’s goblet: she did soar
So passionately bright, my dazzled soul
Commingling with her argent spheres did roll 595
Through clear and cloudy, even when she went
At last into a dark and vapoury tent—
Whereat, methought, the lidless-eyed train
Of planets all were in the blue again.
To commune with those orbs, once more I rais’d 600
My sight right upward: but it was quite dazed
By a bright something, sailing down apace,
Making me quickly veil my eyes and face:
Again I look’d, and, O ye deities,
Who from Olympus watch our destinies! 605
Whence that completed form of all completeness?
Whence came that high perfection of all sweetness?
Speak, stubborn earth, and tell me where, O Where
Hast thou a symbol of her golden hair?
Not oat-sheaves drooping in the western sun; 610
Not—thy soft hand, fair sister! let me shun
Such follying before thee—yet she had,
Indeed, locks bright enough to make me mad;
And they were simply gordian’d up and braided,
Leaving, in naked comeliness, unshaded, 615
Her pearl round ears, white neck, and orbed brow;
The which were blended in, I know not how,
With such a paradise of lips and eyes,
Blush-tinted cheeks, half smiles, and faintest sighs,
That, when I think thereon, my spirit clings 620
And plays about its fancy, till the stings
Of human neighbourhood envenom all.
Unto what awful power shall I call?
To what high fane?—Ah! see her hovering feet,
More bluely vein’d, more soft, more whitely sweet 625
Than those of sea-born Venus, when she rose
From out her cradle shell. The wind out-blows
Her scarf into a fluttering pavilion;
’Tis blue, and over-spangled with a million
Of little eyes, as though thou wert to shed, 630
Over the darkest, lushest blue-bell bed,
Handfuls of daisies.”—“Endymion, how strange!
Dream within dream!”—“She took an airy range,
And then, towards me, like a very maid,
Came blushing, waning, willing, and afraid, 635
And press’d me by the hand: Ah! ’twas too much;
Methought I fainted at the charmed touch,
Yet held my recollection, even as one
Who dives three fathoms where the waters run
Gurgling in beds of coral: for anon, 640
I felt upmounted in that region
Where falling stars dart their artillery forth,
And eagles struggle with the buffeting north
That balances the heavy meteor-stone;—
Felt too, I was not fearful, nor alone, 645
But lapp’d and lull’d along the dangerous sky.
Soon, as it seem’d, we left our journeying high,
And straightway into frightful eddies swoop’d;
Such as ay muster where grey time has scoop’d
Huge dens and caverns in a mountain’s side: 650
There hollow sounds arous’d me, and I sigh’d
To faint once more by looking on my bliss—
I was distracted; madly did I kiss
The wooing arms which held me, and did give
My eyes at once to death: but ’twas to live, 655
To take in draughts of life from the gold fount
Of kind and passionate looks; to count, and count
The moments, by some greedy help that seem’d
A second self, that each might be redeem’d
And plunder’d of its load of blessedness. 660
Ah, desperate mortal! I ev’n dar’d to press
Her very cheek against my crowned lip,
And, at that moment, felt my body dip
Into a warmer air: a moment more,
Our feet were soft in flowers. There was store 665
Of newest joys upon that alp. Sometimes
A scent of violets, and blossoming limes,
Loiter’d around us; then of honey cells,
Made delicate from all white-flower bells;
And once, above the edges of our nest, 670
An arch face peep’d,—an Oread as I guess’d.

“Why did I dream that sleep o’er-power’d me
In midst of all this heaven? Why not see,
Far off, the shadows of his pinions dark,
And stare them from me? But no, like a spark 675
That needs must die, although its little beam
Reflects upon a diamond, my sweet dream
Fell into nothing—into stupid sleep.
And so it was, until a gentle creep,
A careful moving caught my waking ears, 680
And up I started: Ah! my sighs, my tears,
My clenched hands;—for lo! the poppies hung
Dew-dabbled on their stalks, the ouzel sung
A heavy ditty, and the sullen day
Had chidden herald Hesperus away, 685
With leaden looks: the solitary breeze
Bluster’d, and slept, and its wild self did teaze
With wayward melancholy; and r thought,
Mark me, Peona! that sometimes it brought
Faint fare-thee-wells, and sigh-shrilled adieus!— 690
Away I wander’d—all the pleasant hues
Of heaven and earth had faded: deepest shades
Were deepest dungeons; heaths and sunny glades
Were full of pestilent light; our taintless rills
Seem’d sooty, and o’er-spread with upturn’d gills 695
Of dying fish; the vermeil rose had blown
In frightful scarlet, and its thorns out-grown
Like spiked aloe. If an innocent bird
Before my heedless footsteps stirr’d, and stirr’d
In little journeys, I beheld in it 700
A disguis’d demon, missioned to knit
My soul with under darkness; to entice
My stumblings down some monstrous precipice:
Therefore I eager followed, and did curse
The disappointment. Time, that aged nurse, 705
Rock’d me to patience. Now, thank gentle heaven!
These things, with all their comfortings, are given
To my down-sunken hours, and with thee,
Sweet sister, help to stem the ebbing sea
Of weary life.”

Thus ended he, and both 710
Sat silent: for the maid was very loth
To answer; feeling well that breathed words
Would all be lost, unheard, and vain as swords
Against the enchased crocodile, or leaps
Of grasshoppers against the sun. She weeps, 715
And wonders; struggles to devise some blame;
To put on such a look as would say, Shame
On this poor weakness! but, for all her strife,
She could as soon have crush’d away the life
From a sick dove. At length, to break the pause, 720
She said with trembling chance: “Is this the cause?
This all? Yet it is strange, and sad, alas!
That one who through this middle earth should pass
Most like a sojourning demi-god, and leave
His name upon the harp-string, should achieve 725
No higher bard than simple maidenhood,
Singing alone, and fearfully,—how the blood
Left his young cheek; and how he used to stray
He knew not where; and how he would say, nay,
If any said ’twas love: and yet ’twas love; 730
What could it be but love? How a ring-dove
Let fall a sprig of yew tree in his path;
And how he died: and then, that love doth scathe,
The gentle heart, as northern blasts do roses;
And then the ballad of his sad life closes 735
With sighs, and an alas!—Endymion!
Be rather in the trumpet’s mouth,—anon
Among the winds at large—that all may hearken!
Although, before the crystal heavens darken,
I watch and dote upon the silver lakes 740
Pictur’d in western cloudiness, that takes
The semblance of gold rocks and bright gold sands,
Islands, and creeks, and amber-fretted strands
With horses prancing o’er them, palaces
And towers of amethyst,—would I so tease 745
My pleasant days, because I could not mount
Into those regions? The Morphean fount
Of that fine element that visions, dreams,
And fitful whims of sleep are made of, streams
Into its airy channels with so subtle, 750
So thin a breathing, not the spider’s shuttle,
Circled a million times within the space
Of a swallow’s nest-door, could delay a trace,
A tinting of its quality: how light
Must dreams themselves be; seeing they’re more slight 755
Than the mere nothing that engenders them!
Then wherefore sully the entrusted gem
Of high and noble life with thoughts so sick?
Why pierce high-fronted honour to the quick
For nothing but a dream?” Hereat the youth 760
Look’d up: a conflicting of shame and ruth
Was in his plaited brow: yet his eyelids
Widened a little, as when Zephyr bids
A little breeze to creep between the fans
Of careless butterflies: amid his pains 765
He seem’d to taste a drop of manna-dew,
Full palatable; and a colour grew
Upon his cheek, while thus he lifeful spake.

“Peona! ever have I long’d to slake
My thirst for the world’s praises: nothing base, 770
No merely slumberous phantasm, could unlace
The stubborn canvas for my voyage prepar’d—
Though now ’tis tatter’d; leaving my bark bar’d
And sullenly drifting: yet my higher hope
Is of too wide, too rainbow-large a scope, 775
To fret at myriads of earthly wrecks.
Wherein lies happiness? In that which becks
Our ready minds to fellowship divine,
A fellowship with essence; till we shine,
Full alchemiz’d, and free of space. Behold 780
The clear religion of heaven! Fold
A rose leaf round thy finger’s taperness,
And soothe thy lips: hist, when the airy stress
Of music’s kiss impregnates the free winds,
And with a sympathetic touch unbinds 785
Eolian magic from their lucid wombs:
Then old songs waken from enclouded tombs;
Old ditties sigh above their father’s grave;
Ghosts of melodious prophecyings rave
Round every spot where trod Apollo’s foot; 790
Bronze clarions awake, and faintly bruit,
Where long ago a giant battle was;
And, from the turf, a lullaby doth pass
In every place where infant Orpheus slept.
Feel we these things?—that moment have we stept 795
Into a sort of oneness, and our state
Is like a floating spirit’s. But there are
Richer entanglements, enthralments far
More self-destroying, leading, by degrees,
To the chief intensity: the crown of these 800
Is made of love and friendship, and sits high
Upon the forehead of humanity.
All its more ponderous and bulky worth
Is friendship, whence there ever issues forth
A steady splendour; but at the tip-top, 805
There hangs by unseen film, an orbed drop
Of light, and that is love: its influence,
Thrown in our eyes, genders a novel sense,
At which we start and fret; till in the end,
Melting into its radiance, we blend, 810
Mingle, and so become a part of it,—
Nor with aught else can our souls interknit
So wingedly: when we combine therewith,
Life’s self is nourish’d by its proper pith,
And we are nurtured like a pelican brood. 815
Aye, so delicious is the unsating food,
That men, who might have tower’d in the van
Of all the congregated world, to fan
And winnow from the coming step of time
All chaff of custom, wipe away all slime 820
Left by men-slugs and human serpentry,
Have been content to let occasion die,
Whilst they did sleep in love’s elysium.
And, truly, I would rather be struck dumb,
Than speak against this ardent listlessness: 825
For I have ever thought that it might bless
The world with benefits unknowingly;
As does the nightingale, upperched high,
And cloister’d among cool and bunched leaves—
She sings but to her love, nor e’er conceives 830
How tiptoe Night holds back her dark-grey hood.
Just so may love, although ’tis understood
The mere commingling of passionate breath,
Produce more than our searching witnesseth:
What I know not: but who, of men, can tell 835
That flowers would bloom, or that green fruit would swell
To melting pulp, that fish would have bright mail,
The earth its dower of river, wood, and vale,
The meadows runnels, runnels pebble-stones,
The seed its harvest, or the lute its tones, 840
Tones ravishment, or ravishment its sweet,
If human souls did never kiss and greet?

“Now, if this earthly love has power to make
Men’s being mortal, immortal; to shake
Ambition from their memories, and brim 845
Their measure of content; what merest whim,
Seems all this poor endeavour after fame,
To one, who keeps within his stedfast aim
A love immortal, an immortal too.
Look not so wilder’d; for these things are true, 850
And never can be born of atomies
That buzz about our slumbers, like brain-flies,
Leaving us fancy-sick. No, no, I’m sure,
My restless spirit never could endure
To brood so long upon one luxury, 855
Unless it did, though fearfully, espy
A hope beyond the shadow of a dream.
My sayings will the less obscured seem,
When I have told thee how my waking sight
Has made me scruple whether that same night 860
Was pass’d in dreaming. Hearken, sweet Peona!
Beyond the matron-temple of Latona,
Which we should see but for these darkening boughs,
Lies a deep hollow, from whose ragged brows
Bushes and trees do lean all round athwart, 865
And meet so nearly, that with wings outraught,
And spreaded tail, a vulture could not glide
Past them, but he must brush on every side.
Some moulder’d steps lead into this cool cell,
Far as the slabbed margin of a well, 870
Whose patient level peeps its crystal eye
Right upward, through the bushes, to the sky.
Oft have I brought thee flowers, on their stalks set
Like vestal primroses, but dark velvet
Edges them round, and they have golden pits: 875
’Twas there I got them, from the gaps and slits
In a mossy stone, that sometimes was my seat,
When all above was faint with mid-day heat.
And there in strife no burning thoughts to heed,
I’d bubble up the water through a reed; 880
So reaching back to boy-hood: make me ships
Of moulted feathers, touchwood, alder chips,
With leaves stuck in them; and the Neptune be
Of their petty ocean. Oftener, heavily,
When love-lorn hours had left me less a child, 885
I sat contemplating the figures wild
Of o’er-head clouds melting the mirror through.
Upon a day, while thus I watch’d, by flew
A cloudy Cupid, with his bow and quiver;
So plainly character’d, no breeze would shiver 890
The happy chance: so happy, I was fain
To follow it upon the open plain,
And, therefore, was just going; when, behold!
A wonder, fair as any I have told—
The same bright face I tasted in my sleep, 895
Smiling in the clear well. My heart did leap
Through the cool depth.—It moved as if to flee—
I started up, when lo! refreshfully,
There came upon my face, in plenteous showers,
Dew-drops, and dewy buds, and leaves, and flowers, 900
Wrapping all objects from my smothered sight,
Bathing my spirit in a new delight.
Aye, such a breathless honey-feel of bliss
Alone preserved me from the drear abyss
Of death, for the fair form had gone again. 905
Pleasure is oft a visitant; but pain
Clings cruelly to us, like the gnawing sloth
On the deer’s tender haunches: late, and loth,
’Tis scar’d away by slow returning pleasure.
How sickening, how dark the dreadful leisure 910
Of weary days, made deeper exquisite,
By a fore-knowledge of unslumbrous night!
Like sorrow came upon me, heavier still,
Than when I wander’d from the poppy hill:
And a whole age of lingering moments crept 915
Sluggishly by, ere more contentment swept
Away at once the deadly yellow spleen.
Yes, thrice have I this fair enchantment seen;
Once more been tortured with renewed life.
When last the wintry gusts gave over strife 920
With the conquering sun of spring, and left the skies
Warm and serene, but yet with moistened eyes
In pity of the shatter’d infant buds,—
That time thou didst adorn, with amber studs,
My hunting cap, because I laugh’d and smil’d, 925
Chatted with thee, and many days exil’d
All torment from my breast;—’twas even then,
Straying about, yet, coop’d up in the den
Of helpless discontent,—hurling my lance
From place to place, and following at chance, 930
At last, by hap, through some young trees it struck,
And, plashing among bedded pebbles, stuck
In the middle of a brook,—whose silver ramble
Down twenty little falls, through reeds and bramble,
Tracing along, it brought me to a cave, 935
Whence it ran brightly forth, and white did lave
The nether sides of mossy stones and rock,—
’Mong which it gurgled blythe adieus, to mock
Its own sweet grief at parting. Overhead,
Hung a lush screen of drooping weeds, and spread 940
Thick, as to curtain up some wood-nymph’s home.
“Ah! impious mortal, whither do I roam?”
Said I, low voic’d: “Ah whither! ’Tis the grot
Of Proserpine, when Hell, obscure and hot,
Doth her resign; and where her tender hands 945
She dabbles, on the cool and sluicy sands:
Or ’tis the cell of Echo, where she sits,
And babbles thorough silence, till her wits
Are gone in tender madness, and anon,
Faints into sleep, with many a dying tone 950
Of sadness. O that she would take my vows,
And breathe them sighingly among the boughs,
To sue her gentle ears for whose fair head,
Daily, I pluck sweet flowerets from their bed,
And weave them dyingly—send honey-whispers 955
Round every leaf, that all those gentle lispers
May sigh my love unto her pitying!
O charitable echo! hear, and sing
This ditty to her!—tell her”—so I stay’d
My foolish tongue, and listening, half afraid, 960
Stood stupefied with my own empty folly,
And blushing for the freaks of melancholy.
Salt tears were coming, when I heard my name
Most fondly lipp’d, and then these accents came:
‘Endymion! the cave is secreter 965
Than the isle of Delos. Echo hence shall stir
No sighs but sigh-warm kisses, or light noise
Of thy combing hand, the while it travelling cloys
And trembles through my labyrinthine hair.”
At that oppress’d I hurried in.—Ah! where 970
Are those swift moments? Whither are they fled?
I’ll smile no more, Peona; nor will wed
Sorrow the way to death, but patiently
Bear up against it: so farewel, sad sigh;
And come instead demurest meditation, 975
To occupy me wholly, and to fashion
My pilgrimage for the world’s dusky brink.
No more will I count over, link by link,
My chain of grief: no longer strive to find
A half-forgetfulness in mountain wind 980
Blustering about my ears: aye, thou shalt see,
Dearest of sisters, what my life shall be;
What a calm round of hours shall make my days.
There is a paly flame of hope that plays
Where’er I look: but yet, I’ll say ’tis naught— 985
And here I bid it die. Have not I caught,
Already, a more healthy countenance?
By this the sun is setting; we may chance
Meet some of our near-dwellers with my car.”

This said, he rose, faint-smiling like a star 990
Through autumn mists, and took Peona’s hand:
They stept into the boat, and launch’d from land.

See Notes.



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SHIVPREET SINGH

Singing oneness!
- Shivpreet Singh

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