To A Skylark

Hail to thee blithe spirit!

Bird thou never wert -

That from heaven or near it

Pourest thy full heart

In profuse strains of unpremeditated art.

Higher still and higher
From the earth thou springest,
Like a cloud of fire;
The blue deep thou wingest,
And singing still dost soar, and soaring ever singest.

In the golden light'ning
Of the sunken sun,
O'er which clouds are bright'ning,
Thou dost float and run,
Like an unbodied joy whose race is just begun.

The pale purple even
Melts around thy flight;
Like a star of heaven,
In the broad daylight
Thou art unseen, but yet I hear thy shrill delight.

Keen as are the arrows
Of that silver sphere
Whose intense lamp narrows
In the white dawn clear,
Until we hardly see, we feel that it is there.

Read the rest of this remarkable poem below:

A Lady at her Mirror (Translated by Len Krisak)

 As spices blend into her sleeping-drink,

She softly melts those features loosed to sleep

Inside her mirror’s fluency, and deep

Down in it, lets her smile subside and sink.

And then she waits to watch clear liquid rise

From it, and pours the hair that she’s let down

Into the mirror. From her evening gown,

She lifts one wondrous shoulder, as her eyes

Drink from her image quietly. She takes

In what a reeling lover would who’d face

That glass filled with mistrust, and then she makes

The gesture for her maid, but not before

She finds a candle at the mirror’s base,

An armoire, and the dregs of this late hour.

Krisak's translations often appear in The New English Review, with this: Len Krisak has published in The London Magazine, The Oxonian Review, PN Review, Standpoint, Agni, The Antioch Review, The Sewanee Review, The Hudson Review, The Dark Horse, Agenda, The Hopkins Review, Commonweal, Literary Imagination, The Oxford Book of Poems on Classical Mythology, and others. His latest book is Virgil’s Eclogues, University of Pennsylvania Press, 2010. Forthcoming: The Carmina of Catullus, Carcanet Press, 2015, Afterimage, Measure Press, 2014, Rilke: New Poems, Boydell & Brewer, 2015 and Ovid: The Amores and The Ars Amatoria, University of Pennsylvania Press, 2014.

What's your name?  
"Puddin Tain."
What's your other?
"Bread and Butter."
Where do you live?
"Down the lane."
What's your number?
"Cucumber."
What do you eat?
"Pork pie."
Greedy pig you ought to die!

Trad.

On His Blindness

The Teasers

Not but they die, the teasers and the dreams,
Not but they die,
and tell the careful flood
To give them what they clamour for and why.

You could not fancy where they rip to blood
You could not fancy
nor that mud
I have heard speak that will not cake or dry.

Our claims to act appear so small to these
Our claims to act
colder lunacies
That cheat the love, the moment, the small fact.

Make no escape because they flash and die,
Make no escape
build up your love,
Leave what you die for and be safe to die.

I believe this quasi- villanelle was written in the 1930s. I have quoted a brief bio of Empson on the continuation page below, from this site.

Dream Song 45: He stared at ruin

He stared at ruin. Ruin stared straight back.
He thought they was old friends. He felt on the stair
where her papa found them bare
they became familiar. When the papers were lost
rich with pals' secrets, he thought he had the knack
of ruin. Their paths crossed

and once they crossed in jail; they crossed in bed;
and over an unsigned letter their eyes met,
and in an Asian city
directionless & lurchy at two & three,
or trembling to a telephone's fresh threat,
and when some wired his head

to reach a wrong opinion, 'Epileptic'.
But he noted now that: they were not old friends.
He did not know this one.
This one was a stranger, come to make amends
for all the imposters, and to make it stick.
Henry nodded, un-.

Here's the wiki on Berryman.

The Wood Pile

Out walking in the frozen swamp one grey day
I paused and said, "I will turn back from here.
No, I will go on farther--and we shall see."
The hard snow held me, save where now and then
One foot went down. The view was all in straight up and down of tall slim trees
Too much alike to mark or name a place by
So as to say for certain I was here
Or somewhere else: I was just far from home.
A small bird flew before me. He was careful
To put a tree between us when he lighted,
And say no word to tell me who he was
Who was so foolish as to think what he thought.
He thought that I was after him for a feather--
The white one in his tail; like one who takes
Everything said as personal to himself.
One flight out sideways would have undeceived him.
And then there was a pile of wood for which
I forgot him and let his little fear
Carry him off the way I might have gone,
Without so much as wishing him good-night.
He went behind it to make his last stand.
It was a cord of maple, cut and split
And piled--and measured, four by four by eight.
And not another like it could I see.
No runner tracks in this year's snow looped near it.
And it was older sure than this year's cutting,
Or even last year's or the year's before.
The wood was grey and the bark warping off it
And the pile somewhat sunken. Clematis
Had wound strings round and round it like a bundle.
What held it though on one side was a tree
Still growing, and on one a stake and prop,
These latter about to fall. I thought that only
Someone who lived in turning to fresh tasks
Could so forget his handiwork on which
He spent himself, the labour of his axe,
And leave it there far from a useful fireplace
To warm the frozen swamp as best it could
With the slow smokeless burning of decay.

Image is Robert Frost's New Hampshire farmhouse.

Green Grow the Rashes O!

Chorus:
Green grow the rashes O!
Green grow the rashes O!
The sweetest hour that e'er I spent
Were spent among the lasses O!

There's naught but care on ev'ry han',
In ev'ry hour that passes, O!
What signifies the life o' man,
An' 'twere na for the lasses O?

The war'ly race may riches chase,
An riches may fly them, O!
An tho at last they catch them fast,
Their hearts can ne'er enjoy them, O!

But gie me a cannie hour at e'en
My arms about my dearie, O!
An war'ly cares and warldly men,
May a' gae tapsalteerie, O!

For you sae douce wha sneer at this,
Ye're not but senseless asses, O!
The wisest man the warl' e'er saw,
He dearly loved the lasses, O!

Auld Nature swears the lovely dears,
Her noblest work she classes, O!
Her prentice han' she tried on man,
An' then she made the lasses, O!

Meaning of unusual words:
rashes= rushes, reeds
war'ly=worldly
cannie=quiet
tapsalteerie=topsy-turvy
douce=respectable

Death Of A Naturalist

All year the flax-dam festered in the heart
Of the townland; green and heavy headed
Flax had rotted there, weighted down by huge sods.
Daily it sweltered in the punishing sun.
Bubbles gargled delicately, bluebottles
Wove a strong gauze of sound around the smell.
There were dragon-flies, spotted butterflies,
But best of all was the warm thick slobber
Of frogspawn that grew like clotted water
In the shade of the banks. Here, every spring
I would fill jampotfuls of the jellied
Specks to range on window-sills at home,
On shelves at school, and wait and watch until
The fattening dots burst into nimble-
Swimming tadpoles. Miss Walls would tell us how
The daddy frog was called a bullfrog
And how he croaked and how the mammy frog
Laid hundreds of little eggs and this was
Frogspawn. You could tell the weather by frogs too
For they were yellow in the sun and brown
In rain.
Then one hot day when fields were rank
With cowdung in the grass the angry frogs
Invaded the flax-dam; I ducked through hedges
To a coarse croaking that I had not heard
Before. The air was thick with a bass chorus.
Right down the dam gross-bellied frogs were cocked
On sods; their loose necks pulsed like sails. Some hopped:
The slap and plop were obscene threats. Some sat
Poised like mud grenades, their blunt heads farting.
I sickened, turned, and ran. The great slime kings
Were gathered there for vengeance and I knew
That if I dipped my hand the spawn would clutch it. 

Here are some memories of Heaney

He wrote lots of poetry. This is a piece he wrote about the travails of painting the Sistine chapel ceiling:

I’ve already grown a goiter from this torture,
hunched up here like a cat in Lombardy
(or anywhere else where the stagnant water’s poison).
My stomach’s squashed under my chin, my beard’s
pointing at heaven, my brain’s crushed in a casket,
my breast twists like a harpy’s. My brush,
above me all the time, dribbles paint
so my face makes a fine floor for droppings!

That is via  Art Is Work. It Isn’t Theory. - Great masterpieces don't flow out without devotion and sacrifice.

Here's a fun essay:  Was Michelangelo the first celebrity artist?

Probably was. Before the Renaissance, artists were artisans and nobody knew or cared who made the pretty pictures. Same with music too.

Excerpted from Thanatopsis:

So shalt thou rest- and what if thou withdraw
Unheeded by the living- and no friend
Take note of thy departure? All that breathe
Will share thy destiny. The gay will laugh
When thou art gone, the solemn brood of care
Plod on, and each one as before will chase
His favorite phantom; yet all these shall leave
Their mirth and their employments, and shall come
And make their bed with thee. As the long train
Of ages glide away, the sons of men,
The youth in life's green spring, and he who goes
In the full strength of years, matron and maid,
The speechless babe, and the gray-headed man-
Shall one by one be gathered to thy side,
By those, who in their turn shall follow them. -
So live, that when thy summons comes to join
The innumerable caravan, which moves
To that mysterious realm, where each shall take
His chamber in the silent halls of death,
'Thou go not like the quarry-slave at night,
Scourged to his dungeon, but, sustained and soothed
By an unfaltering trust, approach thy grave,
Like one who wraps the drapery of his couch
About him, and lies down to pleasant dreams.

Read entire master work by the Massachusetts Berkshire poet below the fold.

Bryant is the man for whom NYC's Bryant Park was named, a lawyer-journalist-poet who turned the New York (Evening) Post into a Republican, abolitionist, pro-Lincoln and highly influential newspaper.

Carmen 91

It's not because I knew you well or thought you faithful,
Gellius, or thought you could keep your mind from vile sin,
that I expected you to be true to me
in this hopeless ruinous love of mine:
but because I was aware that she, for whom a vast desire
consumes me, was no mother or sister of yours.
And though I was closely linked to you by friendship,
I didn't think that was enough excuse for you.
You considered it enough: there's so much pleasure
in every game to you, in which there's any sin.

(Translated by T. Kline at this Catullus website.)

By Carl H. Emmons (h/t American Digest)

 Did you ever have a longin’ to get out and buck the trail,
And to face the crashin’ lightnin’ and the thunder and the gale?
Not for no partic’lar reason but to give the world the laugh,
And to show the roarin’ elyments you still can stand the gaff.

Don’t you ever feel a yearnin’ just to try your luck again
Down the rippin’ plungin’ rapids with a bunch of reg’lar men?
Don’t you ever sorta hanker for a rough and risky trip,
Just to prove you’re still a livin’ and you haven’t lost your grip?

Can’t you hear the woods a-callin’ for to have another try
Sleepin’ out beneath the spruces with a roof of moonlit sky,
With the wind a sorta singin’ through the branches overhead
And your fire a gaily crackin’ and your pipe a-glowin’ red?

Don’t you often get to feelin’ sorta cramped and useless there,
Makin’ figgers and a-shinin’ your pants upon a chair?
Don’t you yearn to get acquainted once again with Life and God?
If you don’t, then Heaven help you, for you’re a dyin’ in yer pod.

The River of Bees (from Merwin's The Second Four Books of Poems)

In a dream I returned to the river of bees
Five orange trees by the bridge and
Beside two mills my house
Into whose courtyard a blindman followed
The goats and stood singing
Of what was older

Soon it will be fifteen years

He was old he will have fallen into his eyes

I took my eyes
A long way to the calendars
Room after room asking how shall I live

One of the ends is made of streets
One man processions carry through it
Empty bottles their
Image of hope
It was offered to me by name

Once once and once
In the same city I was born
Asking what shall I say

He will have fallen into his mouth
Men think they are better than grass

I return to his voice rising like a forkful of hay

He was old he is not real nothing is real
Nor the noise of death drawing water

We are the echo of the future

On the door it says what to do to survive
But we were not born to survive
Only to live

Elegy Written in a Country Churchyard

The Curfew tolls the knell of parting day,
The lowing herd winds slowly o'er the lea,
The ploughman homeward plods his weary way,
And leaves the world to darkness and to me.

Now fades the glimmering landscape on the sight,
And all the air a solemn stillness holds,
Save where the beetle wheels his droning flight,
And drowsy tinklings lull the distant folds.

Save that from yonder ivy-mantled tower,
The moping owl does to the moon complain,
Of such as wand'ring near her secret bower,
Molest her ancient solitary reign.

Beneath those rugged elms, that yew-tree's shade,
Where heaves the turf in many a mould'ring heap,
Each in his narrow cell for ever laid,
The rude forefathers of the hamlet sleep.

The breezy call of incense-breathing morn,
The swallow twittering from the straw-built shed,
The cock's shrill clarion, and the echoing horn,
No more shall rouse them from their lowly bed.

For them no more the blazing hearth shall burn,
Or busy housewife ply her evening care,
No children run to lisp their Sire's return,
Nor climb his knees the envied kiss to share.

The rest of his poem is below the fold -

Requiem

Under the wide and starry sky,
Dig the grave and let me lie.
Glad did I live and gladly die,
And I laid me down with a will.

This be the verse you grave for me:
Here he lies where he longed to be;
Home is the sailor, home from sea,
And the hunter home from the hill.

Stevenson's Requiem is inscribed on his gravestone in Samoa. A great admirer, A.E. Housman, wrote R.L.S as a tribute to Stevenson:

R.L.S.

Home is the sailor, home from sea:
Her far-borne canvas furled
The ship pours shining on the quay
The plunder of the world.

Home is the hunter from the hill:
Fast in the boundless snare
All flesh lies taken at his will
And every fowl of air.

'Tis evening on the moorland free,
The starlit wave is still:
Home is the sailor from the sea,
The hunter from the hill.

Painting of Stevenson and his wife (in Indian dress) by John Singer Sargent:

River-Mates

I'll be an otter, and I'll let you swim
A mate beside me; we will venture down
A deep, dark river, when the sky above
Is shut of the sun; spoilers are we,
Thick-coated; no dog's tooth can bite at our veins
With eyes and ears of poachers; deep-earthed ones
Turned hunters; let him slip past
The little vole; my teeth are on an edge
For the King-fish of the River!
I hold him up
The glittering salmon that smells of the sea;
I hold him high and whistle!
Now we go
Back to our earths; we will tear and eat
Sea-smelling salmon; you will tell the cubs
I am the Booty-bringer, I am the Lord
Of the River; the deep, dark, full and flowing River.

You can read about Irish writer Colum (aka Patrick Collumb) here.

The Village Blacksmith

 Under a spreading chestnut tree
The village smithy stands;
The smith, a might man is he,
With large and sinewy hands;
And the muscles of his brawny arms
Are strong as iron bands.

His hair is crisp, and black, and long,
His face is like the tan;
His brow is wet with honest sweat,
He earns what'er he can,
And looks the whole word in the face,
For he owes not any man.

Week in, week out, from morn till night,
You can hear the bellows blow;
You can hear him swing his might sledge,
With measure beat and slow,
Like a sexton ringing the village bell,
When the evening sun is low.

And children coming home from school
Look in the open door;
They love to see the flaming forge,
And hear the bellows roar.
And catch the flaming sparks that fly
Like chaff from a threshing floor.

He goes on Sunday to the church,
And sits among his boys;
He hears the parson pray and preach,
He hears his daughter's voice,
Singing in the choir,
And it makes his heart rejoice.

It sounds to him like his mother's voice,
Singing in Paradise!
He needs must think of her once more,
How in the grave she lies;
And with his hard, rough hands he wipes
A tear out of his eyes.

Toiing, -- rejoicing, -- sorrowing,
Onward in life he goes;
Each morning sees some task begin,
Each evening sees it close;
Something attempted, something done,
Has earned his night's repose.

Thanks, thanks to thee, my worthy friend,
For the lesson thou has taught!
Thus at the flaming forge of life
Our fortunes must be wrought;
Thus on its sounding anvil shaped
Each burning deed and thought.

The Gods of the Copybook Headings (1919)

AS I PASS through my incarnations in every age and race,
I make my proper prostrations to the Gods of the Market Place.
Peering through reverent fingers I watch them flourish and fall,
And the Gods of the Copybook Headings, I notice, outlast them all.

We were living in trees when they met us. They showed us each in turn
That Water would certainly wet us, as Fire would certainly burn:
But we found them lacking in Uplift, Vision and Breadth of Mind,
So we left them to teach the Gorillas while we followed the March of Mankind.

We moved as the Spirit listed. They never altered their pace,
Being neither cloud nor wind-borne like the Gods of the Market Place,
But they always caught up with our progress, and presently word would come
That a tribe had been wiped off its icefield, or the lights had gone out in Rome.

With the Hopes that our World is built on they were utterly out of touch,
They denied that the Moon was Stilton; they denied she was even Dutch;
They denied that Wishes were Horses; they denied that a Pig had Wings;
So we worshipped the Gods of the Market Who promised these beautiful things.

When the Cambrian measures were forming, They promised perpetual peace.
They swore, if we gave them our weapons, that the wars of the tribes would cease.
But when we disarmed They sold us and delivered us bound to our foe,
And the Gods of the Copybook Headings said: "Stick to the Devil you know."

On the first Feminian Sandstones we were promised the Fuller Life
(Which started by loving our neighbour and ended by loving his wife)
Till our women had no more children and the men lost reason and faith,
And the Gods of the Copybook Headings said: "The Wages of Sin is Death."

In the Carboniferous Epoch we were promised abundance for all,
By robbing selected Peter to pay for collective Paul;
But, though we had plenty of money, there was nothing our money could buy,
And the Gods of the Copybook Headings said: "If you don't work you die."

Then the Gods of the Market tumbled, and their smooth-tongued wizards withdrew
And the hearts of the meanest were humbled and began to believe it was true
That All is not Gold that Glitters, and Two and Two make Four
And the Gods of the Copybook Headings limped up to explain it once more.

As it will be in the future, it was at the birth of Man
There are only four things certain since Social Progress began.
That the Dog returns to his Vomit and the Sow returns to her Mire,
And the burnt Fool's bandaged finger goes wobbling back to the Fire;

And that after this is accomplished, and the brave new world begins
When all men are paid for existing and no man must pay for his sins,
As surely as Water will wet us, as surely as Fire will burn,
The Gods of the Copybook Headings with terror and slaughter return! 

What were copybook headings?  Kipling led an interesting life. He wrote the Jungle Books in Vermont, of all places.

A Refusal to Mourn the Death, by Fire, of a Child in London

Never until the mankind making
Bird beast and flower
Fathering and all humbling darkness
Tells with silence the last light breaking
And the still hour
Is come of the sea tumbling in harness

And I must enter again the round
Zion of the water bead
And the synagogue of the ear of corn
Shall I let pray the shadow of a sound
Or sow my salt seed
In the least valley of sackcloth to mourn

The majesty and burning of the child's death.
I shall not murder
The mankind of her going with a grave truth
Nor blaspheme down the stations of the breath
With any further
Elegy of innocence and youth.

Deep with the first dead lies London's daughter,
Robed in the long friends,
The grains beyond age, the dark veins of her mother,
Secret by the unmourning water
Of the riding Thames.
After the first death, there is no other.

Sonnet 41

I thank all who have loved me in their hearts,
With thanks and love from mine.
Deep thanks to all
Who paused a little near the prison-wall
To hear my music in its louder parts
Ere they went onward, each one to the mart’s
Or temple’s occupation, beyond call.
But thou, who, in my voice’s sink and fall
When the sob took it, thy divinest Art’s
Own instrument didst drop down at thy foot
To harken what I said between my tears, . . .
Instruct me how to thank thee!
Oh, to shoot My soul’s full meaning into future years,
That they should lend it utterance, and salute
Love that endures, from life that disappears!

The Lightning is a Yellow Fork

The Lightning is a yellow Fork
From Tables in the sky
By inadvertent fingers dropt
The awful Cutlery
Of mansions never quite disclosed
And never quite concealed
The Apparatus of the Dark
To ignorance revealed.

The New Colossus

Not like the brazen giant of Greek fame,
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.

“Keep, ancient lands, your storied pomp!” cries she
With silent lips. "Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tossed to me,
I lift my lamp beside the golden door!”

Yes, it's a sonnet. Who was Emma Lazarus?

Thirteen Ways of Looking at a Blackbird

 I
Among twenty snowy mountains,
The only moving thing
Was the eye of the blackbird.

II
I was of three minds,
Like a tree
In which there are three blackbirds.

III
The blackbird whirled in the autumn winds.
It was a small part of the pantomime.

IV
A man and a woman
Are one.
A man and a woman and a blackbird
Are one.

V
I do not know which to prefer,
The beauty of inflections
Or the beauty of innuendoes,
The blackbird whistling
Or just after.

VI
Icicles filled the long window
With barbaric glass.
The shadow of the blackbird
Crossed it, to and fro.
The mood
Traced in the shadow
An indecipherable cause.

VII
O thin men of Haddam,
Why do you imagine golden birds?
Do you not see how the blackbird
Walks around the feet
Of the women about you?

VIII
I know noble accents
And lucid, inescapable rhythms;
But I know, too,
That the blackbird is involved
In what I know.

IX
When the blackbird flew out of sight,
It marked the edge
Of one of many circles.

X
At the sight of blackbirds
Flying in a green light,
Even the bawds of euphony
Would cry out sharply.

XI
He rode over Connecticut
In a glass coach.
Once, a fear pierced him,
In that he mistook
The shadow of his equipage
For blackbirds.

XII
The river is moving.
The blackbird must be flying.

XIII
It was evening all afternoon.
It was snowing
And it was going to snow.
The blackbird sat
In the cedar-limbs.