Paris: Ferlinghetti, Fenton & Forche

A HOUSE WHERE ALL'S ACCUSTOMED, CEREMONIOUS

Shakespeare and Company Bookstore, Paris
On the right is my friend Victoria Amador, who has been around the world!

Recipe for Happiness
Khabarovsk or Anyplace

One grand boulevard with trees
with one grand cafe in sun
with strong black coffee in very small cups

One not necessarily very beautiful
man or woman who loves you

One fine day

Lawrence Ferlinghetti
American, b. 1919
Paris Street ~ Rainy Day
Gustave Caillebotte ~ French, 1848 - 94

I guess Ferlinghetti feels that to say "Paris" -- rather than "Khabarovsk or Anyplace" -- would be simply too obvious; whereas, in the next poem, "Paris" becomes the substitute code word for something even more obvious and too often cliched:

In Paris With You

Don’t talk to me of love. I’ve had an earful
And I get tearful when I’ve drowned a drink or two.
I’m one of your talking wounded
I’m a hostage. I’m marooned.
But I’m in Paris with you.

Yes I’m angry at the way I’ve been bamboozled
And resentful at the mess that I’ve been through
I admit I’m on the rebound
And I don’t care where are we bound.
I’m in Paris with you.

Do you mind if we do not go to the Louvre,
If we say sod off to sodding Notre Dame,
If we skip the Champs Elysees
And remain here in this sleazy
Old hotel room
Doing this and that
To what and whom
Learning who you are,
Learning what I am.

Don’t talk to me of love. Let’s talk of Paris,
The little bit of Paris in our view.
There’s that crack across the ceiling

And the hotel walls are peeling
And I’m in Paris with you.

Don’t talk to me of love. Let’s talk of Paris.
I’m in Paris with the slightest thing you do.
I’m in Paris with your eyes, your mouth,
I’m in Paris with . . . all points south.
Am I embarrassing you?
I’m in Paris with you.

James Fenton
British, b. 1949

La Tour Eiffel
Photographed by my niece, Sara Carriker, 2013

And one more poem about Paris in which the last line says it all:
"I've been to Paris . . . "

As Children Together

Under the sloped snow
pinned all winter with Christmas
lights, we waited for your father
to whittle his soap cakes
away, finish the whisky,
your mother to carry her coffee
from room to room closing lights
cubed in the snow at our feet.
Holding each other's
coat sleeves we slid down
the roads in our tight
black dresses, past
crystal swamps and the death
face of each dark house,
over the golden ice
of tobacco spit, the blue
quiet of ponds, with town
glowing behind the blind
white hills and a scant
snow ticking in the stars.
You hummed "blanche comme
la neige" and spoke of Montreal
where a québecoise could sing,
take any man's face
to her unfastened blouse
and wake to wine
on the bedside table.
I always believed this,
Victoria, that there might
be a way to get out.

You were ashamed of that house,
its round tins of surplus flour,
chipped beef and white beans,
relief checks and winter trips
that always ended in deer
tied stiff to the car rack,
the accordion breath of your uncles
down from the north, and what
you called the stupidity
of the Michigan French.

Your mirror grew ringed
with photos of servicemen
who had taken your breasts
in their hands, the buttons
of your blouses in their teeth,
who had given you the silk
tassles of their graduation,
jackets embroidered with dragons
from the Far East. You kept
the corks that had fired
from bottles over their beds,
their letters with each city
blackened, envelopes of hair
from their shaved heads.

I am going to have it, you said.
Flowers wrapped in paper from carts
in Montreal, a plane lifting out
of Detroit, a satin bed, a table
cluttered with bottles of scent.

So standing in a Platter of ice
outside a Catholic dance hall
you took their collars
in your fine chilled hands
and lied your age to adulthood.

I did not then have breasts of my own,
nor any letters from bootcamp
and when one of the men who had
gathered around you took my mouth
to his own there was nothing
other than the dance hall music
rising to the arms of iced trees.

I don't know where you are now, Victoria.
They say you have children, a trailer
in the snow near our town,
and the husband you found as a girl
returned from the Far East broken
cursing holy blood at the table
where nightly a pile of white shavings
is paid from the edge of his knife.

If you read this poem, write to me.
I have been to Paris since we parted.

Carolyn Forché
American, b. 1950

Girls Together in Paris ~ Sara & her friend Angela

SEE YOU IN TWO WEEKS FOR MY
Next Fortnightly Post
Friday, June 14th

Between now and then, read
THE QUOTIDIAN KIT
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogspot.com

To Forgive: Reprove, Restore, Reclaim

ACCUSTOMED, CEREMONIOUS

Tree of Forgiveness
by Sir Edward Coley Burne-Jones

Last week, Gerry and I were lucky enough to view this painting
at The Lady Lever Art Gallery
in Port Sunlight, Merseyside, England
Before we proceed, allow me to express my dismay at the preponderance of exclusionary masculine pronouns to be encountered in this post: "restored to himself" ~ "he who will not be taught" ~ "wholly His" ~ "He has forgiven." In scripture, literature, female authors, male authors: How long, O Lord? Naturally, I find the omnipresence of gender - bound sentence structure depressing and distressing; yet, I like all of the following passages and their common theme that forgiveness requires searching your own soul and using your thinking cap:

"In short, I began to think, and to think indeed is one real advance from hell to heaven. All that hardened state and temper of soul, which I said so much of before, is but a deprivation of thought; he that is restored to his thinking, is restored to himself." ~ Daniel Defoe, from his novel Moll Flanders

"Impatient is he who will not be taught or reproved of his sin, and by strife wars against truth wittingly, and defends his folly."
~ Chaucer

"When He talks of their losing their selves, He means only abandoning the clamour of self-will; once they have done that, He really gives them back all their personality, and boasts . . . that when they are wholly His they will be more themselves than ever."
~ C. S. Lewis, from The Screwtape Letters

"He has forgiven me not just a great deal, but everything."
~ St. Therese of Lisieux

My friend Joni added this insight on forgiveness . . .

"That is, in Christ, God was reconciling the world to himself,
not counting their trespasses against them,
and entrusting to us the message of reconciliation."
~ 2 Corinthians 5:19:

. . . with her own concluding comment: So if God's no longer counting why are we?

Good question, Joni!

One of my favorites:
"As far as the east is from the west, so far
are our transgressions removed from us."
~ Psalms 103: 12

It took me awhile to notice that our transgressions are removed not only from the mind of God -- they are also removed from us! We no longer have to align ourselves with every old mistake we ever made. As Joni points out, "If God is not looking backwards, why are we?"

***********************************
On both the use of paternalistic pronouns and the topic of forgiveness, I am reminded of the musical, Children of Eden written in the late 1980s by Stephen Schwartz. Schwartz takes some interesting and creative liberties with the Book of Genesis, but, alas, he totally forgot to eliminate the patriarchal sexism. Now, that's what I would have done! Instead, we have the same - old same - old God as grand-dad, with no grand-mom in sight; and the relentless chant of "Father, Father, Father." [See also A Twin Sister For Jesus]

Even so, some of the lyrics are quite beautiful:

Children of Eden
Like this brief day
My light is nearly gone
But through the night
My children you will go on
You will know heartache
Prayers that don't work
And times of bitter circumstances
But I still believe in second chances

Children of Eden
Where have we left you
Born to uncertainty
Destined for pain
Sins of your parents
Haunt you and test you
This your inheritance
Fire and rain

Children of Eden
Try not to blame us
We were just human
To error prone
Children of Eden will you reclaim us
You and your children to come
Someday you'll come home

Children of Eden
Where is our garden
Where is the innocence
We can't reclaim
Once eyes are opened
Must those eyes harden
Lost in the wilderness
Must we remain . . . you will reclaim us . . .


Garden of Eden by He Qi
[artist's bio / previous post]
In the Beginning
This step is one again our first
We set our feet upon a virgin land
We hold the promise of the earth
In our hands

No flood from heaven comes again
No deluge will destroy and purify
We hold the fate of man and men
In our hands

Now at this dawn so green and glad
We pray that we may long remember
How lovely was the world we had
In the beginning

Of all the gifts we have received
One is most precious and most terrible
The will of each of us is free*
It's in our hands . . .

Children of Eden
Grant us your pardon
All that we leave to you
is the unknown

Children of Eden
Seek for your garden
You and your children to come
Some day to come home

[emphasis added]

*As wise Kurt Vonnegut, Jr. observes it in Slaughterhouse Five: "We just can't seem to help feeling so entitled to free will, but what does that really mean?"

SEE YOU IN TWO WEEKS FOR MY
Next Fortnightly Post
Tuesday, May 28th

Between now and then, read
THE QUOTIDIAN KIT
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogspot.com

Broken and Beautiful

ACCUSTOMED, CEREMONIOUS
Complete Modern Home No. 115
Sears, Roebuck & Company ~ 1908 - 1940
Similar to so many homes right here in my Indiana Neighborhood!
Including the one I lived in years ago as a student in South Bend.

***************
When my cousin Maggie sent me the following photograph, I couldn't help thinking of "The House With Nobody In It" by Joyce Kilmer. Maggie's caption perfectly condenses the sentiment of the poem:

Broken & Beautiful
"Whenever I see abandoned houses I wonder about the family that used to live there. The excitement when the house was first built, the children who ran through those rooms, the meals that were served and shared. The happiness and even the pain. Oh, if walls could talk!"
~ Maggie Mesneak Wick* ~

The House with Nobody In It

Whenever I walk to Suffern along the Erie track
I go by a poor old farmhouse with its shingles broken and black.
I suppose I've passed it a hundred times, but I always stop for a minute
And look at the house, the tragic house, the house with nobody in it.

I never have seen a haunted house, but I hear there are such things;
That they hold the talk of spirits, their mirth and sorrowings.
I know this house isn't haunted, and I wish it were, I do;
For it wouldn't be so lonely if it had a ghost or two.

This house on the road to Suffern needs a dozen panes of glass,
And somebody ought to weed the walk and take a scythe to the grass.
It needs new paint and shingles, and the vines should be trimmed and tied;
But what it needs the most of all is some people living inside.

If I had a lot of money and all my debts were paid
I'd put a gang of men to work with brush and saw and spade.
I'd buy that place and fix it up the way it used to be
And I'd find some people who wanted a home and give it to them free.

Now, a new house standing empty, with staring window and door,
Looks idle, perhaps, and foolish, like a hat on its block in the store.
But there's nothing mournful about it; it cannot be sad and lone
For the lack of something within it that it has never known.

But a house that has done what a house should do, a house that has sheltered life,
That has put its loving wooden arms around a man and his wife,
A house that has echoed a baby's laugh and held up his stumbling feet,
Is the saddest sight, when it's left alone, that ever your eyes could meet.

So whenever I go to Suffern along the Erie track
I never go by the empty house without stopping and looking back,
Yet it hurts me to look at the crumbling roof and the shutters fallen apart,
For I can't help thinking the poor old house is a house with a broken heart.

by American poet Joyce Kilmer(1886-1918)
best known for the occasionally parodied poem, "Trees"

***************

Many desolate, heart - breaking paintings and photographs
have been paired with Kilmer's poem.
Click here to see more.

***************

I'm also reminded of a couple of songs

1. "You're Beautiful Just As You Are,"
sung by Oscar the Grouch
in one of Ben and Sam's favorite childhood videos:
Don't Eat the Pictures:

"Broken and beautiful, fractured and rare
Missing pieces that used to be there . . .

Broken and beautiful, cracked but okay
Can't imagine who'd throw you away . . ."

******

2. And Janis Ian's classic, "Memories"
(mentioned elsewhere on this blog):

"There are memories within the walls and tapestries . . . "

***************

Lastly (and also mentioned a few times before) is Philip Larkin's abbreviated sonnet; for surely this poem cries out for a final quatrain, but, no, that's all there is, no fitting conclusion, no closure, no fond farewell, just the "poor old house . . . with a broken heart," the "shot . . . long fallen wide":

Home is so sad. It stays as it was left,
Shaped to the comfort of the last to go
As if to win them back. Instead, bereft
Of anyone to please, it withers so,
Having no heart to put aside the theft
And turn again to what it started as,
A joyous shot at how things ought to be,
Long fallen wide. You can see how it was:
Look at the pictures and the cutlery.
The music in the piano stool. That vase.

The Bereft Music Room With Nobody In It: Too Sad to Explain

Photography by Aaron B. Carriker

***************

*For more insights from my Cousin Extraordinaire,
Maggie Mesneak Wick:
Empty Nest
The Still Small Voice of Heaven
Here Comes Peter Cottontail, Or Not

See also: The Mailbox Without a House

P.S.
Things break; things can be mended:
Kintsugi / Kintsukuroi

SEE YOU IN TWO WEEKS FOR MY
Next Fortnightly Post
Tuesday, May 14th

Between now and then, read
THE QUOTIDIAN KIT
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogspot.com

La Cucaracha

A HOUSE WHERE ALL'S ACCUSTOMED, CEREMONIOUS

~ A Favorite Game of Childhood ~

~~~~~~~

First they came for the Socialists,
and I didn't speak out because I wasn't a communist.
Then they came for the communists,
and I didn't speak out because I wasn't a communist.
Then they came for the socialists,
and I didn't speak out because I wasn't a socialist.
Then they came for the trade unionists,
and I didn't speak out because I wasn't a trade unionist.
Then they came for the Jews,
and I didn't speak out because I wasn't a Jew.
Then they came for the Catholics,
and I didn't speak out because I wasn't a Catholic.
Then they came for me,
and there was no one left to speak for me.

Paraphrased from the lectures of
Lutheran minister Martin Niemöller (1892-1984),
spoke against Hitler and was imprisoned
who in concentration camps from 1937 - 42
Whenever I hear these lines from Niemöller, I am reminded of the following poems by Muriel Rukeyser. And I was reminded of them again this weekend in connection with the hugely popular Purdue Bug Bowl -- a giant science / fun fair, held every spring, where they are more than decent to cockroaches, and insects are king!

What Do We See?
When they’re decent about women, they’re frightful about children,
When they’re decent about children, they’re rotten about artists,
When they’re decent about artists, they’re vicious about whores,
What do we see? What do we not see?

When they’re kind to whores, they’re death on communists,
When they respect communists, they’re foul to bastards,
When they’re human to bastards, they mock at hysterectomy-
What do we see? What do we not see?

When they’re decent about surgery, they bomb the Vietnamese,
When they’re decent to Vietnamese, they’re frightful to police,
When they’re human to police, they rough up lesbians,
What do we see? What do we not see?

When they’re decent to old women, they kick homosexuals,
When they’re good to homosexuals, they can’t stand drug people,
When they’re calm about drug people, they hate all Germans,
What do we see? What do we not see?

Cadenza for the reader

When they’re decent to Jews, they dread the blacks,
When they know blacks, there’s always something : roaches
And the future and children and all potential. Can’t stand themselves
Will we never see? Will we ever know?

by Muriel Rukeyser
from Breaking Open, 1973

In "What Do We See," Rukeyser is willing to count everyone in. Her pattern of inclusiveness extends to all the groups she can think of who are regularly subject to oppression and exclusion. In an ideal world, no group or individual would suffer discrimination for her being or her beliefs; yet the poet is realistic, realizing that even if in theory everyone is accepted, in practice this is almost never so. If we bring ourselves at last to take all human beings on their own terms, we'll balk at something else.


Cockroach, Periplaneta americana
Pushing the limits of tolerance, Rukeyser concludes with an invitation to consider the cockroach. Could we go that far? Can we overcome the words we were taught to sing as children:

La Cucaracha, La Cucaracha!
Me, I love you not at all!
To be fair, the roach is merely another living creature, trying to do its job on the planet, just as we are trying to do ours. In much the same context, Rukeyser expands upon the roach image in a later poem, "St. Roach," testing the reader's ability to empathize with the outgroup, the other. The poem begins with a lament for closemindedness:

St. Roach
For that I never knew you, I only learned to dread you,
for that I never touched you, they told me you are filth,
they showed me by every action to despise your kind;
for that I saw my people making war on you,
I could not tell you apart, one from another,
for that in childhood I lived in places clear of you,
for that all the people I knew met you by
crushing you, stamping you to death, they poured boiling
water on you, they flushed you down,
for that I could not tell one from another
only that you were dark, fast on your feet, and slender.
Not like me.
For that I did not know your poems
And that I do not know any of your sayings
And that I cannot speak or read your language
And that I do not sing your songs
And that I do not teach our children
to eat your food
or know your poems
or sing your songs
But that we say you are filthing our food
But that we know you not at all.

Yesterday I looked at one of you for the first time.
You were lighter than the others in color, that was
neither good nor bad.

I was really looking for the first time.
You seemed troubled and witty.

Today I touched one of you for the first time.
You were startled, you ran, you fled away
Fast as a dancer, light, strange and lovely to the touch.
I reach, I touch, I begin to know you.

by Muriel Rukeyser
from The Gates, 1976 (McGraw-Hill)

Any discussion of the poetic cockroach must include at least a nod to poor Gregor Samsa who is certainly troubled but beyond all wit. Rejected by all who know him, he is a victim of the disregard and loathing that Rukeyser describes. Untouchable.

On the witty side is Archy, the clever typing (all lower case) cockroach (and his friend Mehitabel the cat) created by humorist Don Marquis. Perhaps not as well known today, Archy was everyone's favorite cockroach when I was growing up:

He was literary:

" . . . the main question is
whether the stuff is
literature or not"

romantic:

"when the pendant moon in the leafless tree
clings and sways like a golden bat
i sing its light and my love for thee
. . . us for the life romantic"

wise:

" . . . there is always some
little thing that is too
big for us every
goliath has his david and so on ad finitum

pithy:

"procrastination is the
art of keeping
up with yesterday"

witty:

"to hell with anything unrefined
has always been my motto"

perceptive:

" . . . the lyric and imperial
attitude
believe that everything is for
you until you discover
that you are for it"

cosmic:

"I find it possible to forgive
the universe
i meet it in a give and take spirit
although i do wish
that it would consult me at times"

opinionated:

" . . . i hate one of these
grinning skipping smirking
senseless optimists worse
than i do a cynic or a
pessimist"

and just:

" . . . i would not consider
it honorable in me as a
righteous cockroach to crawl into a
near sighted man s soup . . . "

from
Archy and Mehitabel




A troop of clever cockroaches, perhaps not as wise as Archy but equally entertaining, appear in T. S. Eliot's Book of Practical Cats. The Old Gumbie Cat takes it upon herself to domesticate the roaches and put them to use around the house:


Postcard by dosankodebbie
These cartoonish cockroaches are fun, but it is Rukeyser's "St. Roach" and "What Do We See" that really ask if we are capable of overcoming prejudice and modifying our behavior. Can we open our hearts to the cockroach and grant it the title of "Saint"? A tall order, but something to think about.

What do we see?
What do we not see?
Will we never see?
Will we ever know?
In closing, thanks to Eileen Sheryl Hammer who said,
"We love Muriel, who understands what our world is made of!"

Previous References to Muriel Rukeyser
on this blog:
Icarus, Who Really Fell
Lot's Wife, Who Gave Her Life For a Single Glance
and coming next time: When the Iris Blows Blue

and on my daily blog The Quotidian Kit
All the Little Animals
Another Good Poem by Muriel Rukeyser
The Wrong Answer


SEE YOU IN TWO WEEKS FOR MY
Next Fortnightly Post
Sunday, April 28th

Between now and then, read
THE QUOTIDIAN KIT
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogspot.com

Arranging a Window

ACCUSTOMED, CEREMONIOUS

Window Over a Garden ~ by Marc Chagall, 1887 - 1985
Beloved Russian painter of both the quotidian and the fantastic
I have long admired Chagall's magical, unusual paintings, the flexible ballerinas and vividly colored violins; but I also love the usual - ness of his interiors, such as the above window scene. I am especially drawn to this sturdy, ordinary doll, dressed in her homespun clothes, perched in her toy chair perched on the table's edge, just waiting for some real life to come along and happen! The stationary kitchen table and chairs are not floating fantastically but quietly awaiting some everyday diners, such as the little person whose head appears right outside the window. The natural landscape beyond the room, the simple curtains and ceiling lamp are lovely but entirely real and expected.

I also like the way that this blue window goes perfectly with the following poem of spring by E. E. Cummings. The view is doubly mesmerizing because we get to look and stare -- just like the people in the poem -- into the room as well as out of the window to the woods beyond. If we "stare carefully" enough at the painting, we might see what Spring sees, some of everything: "a strange thing and a known thing . . . New and Old things."

We are used to the image of Spring bursting upon us, but in this poem Spring is so subtle, so careful:

Spring is like a perhaps hand
(which comes carefully
out of Nowhere)arranging
a window,into which people look(while
people stare
arranging and changing placing
carefully there a strange
thing and a known thing here)and

changing everything carefully

spring is like a perhaps
Hand in a window
(carefully to
and fro moving New and
Old things,while
people stare carefully
moving a perhaps
fraction of flower here placing
an inch of air there)and

without breaking anything.

by E. E. Cummings, 1894 - 1962
Popular, unconventional American poet

Window in the Country

" . . . arranging
a window,into which people look . . . "
[See the two faces, lower right corner?]
I've had several favorite Chagalls over the years, including for a time Le Grand Cirque, which hung in the Snite Museum of Art when I was a graduate student at Notre Dame. How lucky I was to be able to wander into the art museum for free at anytime and sit on a bench in front of this exuberant painting while grading freshman essays. Alas, since that time, Le Grand Cirque, as well as a Picasso and another very small painting that I loved called The Nights of Penelope, have all been relocated to other venues.

Le Grand Cirque

In those days of proximity to these priceless treasures, it never crossed my mind that any of them were not part of the permanent collection at Notre Dame; so it was with some disappointment that I entered the Snite last Spring with my friend Megan only to discover that all my favorites were missing. Yet another incident of being met at the door by that old disheartening maxim: "You can't go home again." Turns out these words also stand true for museums -- and coffee shops!

Here I am with my friend Lisa,
wearing my Notre Dame Chagall shirt in 1987!

If I had realized that the painting was not part of the permanent collection, I would have taken better care of the shirt as a keepsake, and bought a few extras for future use or resale! Unfortunately, I had only the one, now, sadly, worn completely out. I let my sons use it as a paint shirt. I guess Chagall would be cool with that!


Le Grand Cirque, detail

SEE YOU IN TWO WEEKS FOR MY
Next Fortnightly Post
Sunday, April 14th

FOR MORE SPRING PAINTINGS by CHAGALL & POEMS by CUMMINGS
Take a look at: "In Just Sweet Spontaneous Spring"
on the THE QUOTIDIAN KIT
(my blog of shorter almost daily posts)
P.S.
Previous Chagall Posts on this blog:
"Except Thou Bless Me"
"Dagmar's Birthday"

& on The Quotidian Kit:
"Jacob's Ladder"
"Except Thou Bless Me"
"Happy 448th to William Shakespeare"
"Chagall Four Seasons Mosaic"
"Life and Good"

Previous Cummings Posts on this blog:
"The Syntax of Love"
"Hominy, Horseradish, and Buffalo Bill"
"Rocky Road"

& on The Quotidian Kit
"The Syntax of Love"
"Little Tree ~ I Will Comfort You"
"Full Moon, Full Heart"
"The Trees Stand"

Sighs A Plenty

ACCUSTOMED, CEREMONIOUS

The Pained Heart or Sigh No More Ladies, 1868
by Engish Artist Arthur Hughes, 1832 – 1915
[To view more from Arthur Hughes]

Sigh No More
Sigh no more, ladies, sigh no more.
Men were deceivers ever,
One foot in sea, and one on shore,
To one thing constant never.
Then sigh not so, but let them go,
And be you blithe and bonny,
Converting all your sounds of woe
Into hey nonny, nonny.

Sigh no more ditties, sing no more
Of dumps so dull and heavy.
The fraud of men was ever so
Since summer first was leafy.
Then sigh not so, but let them go,
And be you blithe and bonny,
Converting all your sounds of woe
Into hey, nonny, nonny.

William Shakespeare, English (1564 - 1616)
from Much Ado About Nothing

A few more poems on the significance of a sigh . . .
1. O Blush Not So!
O blush not so! O blush not so!. . .

There's a blush for won't, and a blush for shan't,
And a blush for having done it:
There's a blush for thought and a blush for naught,
And a blush for just begun it.

O sigh not so! O sigh not so! . . .

There's a sigh for yes, and a sigh for no,
And a sigh for I can't bear it! . . .

~ John Keats, English (1795 - 1821)

2. When Love Flies In
When Love flies in,
Make – make no sign;
Owl-soft his wings,
Sand-blind his eyne;
Sigh, if thou must,
But seal him thine.

Nor make no sign
If love flit out;
He’ll tire of thee
Without a doubt.
Stifle thy pangs;
Thy heart resign;
And live without!

Walter de la Mare, English (1873-1956)

3. When I Was One - And - Twenty
When I was one-and-twenty
I heard a wise man say,
"Give crowns and pounds and guineas
But not your heart away;

Give pearls away and rubies
But keep your fancy free."
But I was one-and-twenty,
No use to talk to me.

When I was one-and-twenty
I heard him say again,
"The heart out of the bosom
Was never given in vain;

’Tis paid with sighs a plenty
And sold for endless rue."
And I am two-and-twenty,
And oh, ’tis true, ’tis true.

~ A. E. Houseman, English (1859 - 1936)

4. A Drinking Song
Wine comes in at the mouth
And love comes in at the eye;
That's all we shall know for truth
Before we grow old and die.
I lift the glass to my mouth,
I look at you, and I sigh.

~ William Butler Yeats, Irish (1865 - 1939)

And a couple of songs . . .

My Love
Sung by Petula Clark

My love is warmer than the warmest sunshine
Softer than a sigh
My love is deeper than the deepest ocean
Wider than the sky

My love is brighter than the brightest star
That shines every night above
And there is nothing in this world
That can ever change my love . . .

As Time Goes By
Performed in the movie Casablanca

You must remember this
A kiss is just a kiss, a sigh is just a sigh
The fundamental things apply
As time goes by . . .

[Spring Break Disclaimer: I feel a little lazy this time, just posting these poems and not contributing a single word, but maybe sometimes the connections can stand on their own without an editor.]

SEE YOU IN TWO WEEKS FOR MY
Next Fortnightly Post
On Thursday, March 28th
~ Paintings by Marc Chagall & Poetry by E. E. Cummings ~

The Small Drawing Room

". . . arranging and changing placing
carefully there a strange
thing and a known thing here . . ."