Say not the struggle naught availeth, by Arthur Hugh Clough

Franz Liszt - Waldesrauschen (Forest Murmurs), Two Concert Études 
with Eileen Joyce, piano 

Say not the struggle naught availeth,
The labour and the wounds are vain,
The enemy faints not, nor faileth,
And as things have been they remain.

 If hopes were dupes, fears may be liars;
It may be, in yon smoke conceal'd,
Your comrades chase e'en now the fliers,
And, but for you, possess the field.

For while the tired waves, vainly breaking,
Seem here no painful inch to gain,
Far back, through creeks and inlets making,
Comes silent, flooding in, the main.

And not by eastern windows only,
When daylight comes, comes in the light;
In front the sun climbs slow, how slowly!
But westward, look, the land is bright!

Rhapsody on a windy night, by T. S. Eliot

Béla Bartók - Out of Doors, Sz.81 Pt1 
with Maurizio Pollini, piano

Twelve o'clock.
Along the reaches of the street
Held in a lunar synthesis,
Whispering lunar incantations
Dissolve the floors of memory
And all its clear relations,
Its divisions and precisions,
Every street lamp that I pass
Beats like a fatalistic drum,
And through the spaces of the dark
Midnight shakes the memory
As a madman shakes a dead geranium.

Half-past one,
The street lamp sputtered,
The street lamp muttered,
The street lamp said, "Regard that woman
Who hesitates towards you in the light of the door
Which opens on her like a grin.
You see the border of her dress
Is torn and stained with sand,
And you see the corner of her eye
Twists like a crooked pin."

The memory throws up high and dry
A crowd of twisted things;
A twisted branch upon the beach
Eaten smooth, and polished
As if the world gave up
The secret of its skeleton,
Stiff and white.
A broken spring in a factory yard,
Rust that clings to the form that the strength has left
Hard and curled and ready to snap.

Half-past two,
The street lamp said,
"Remark the cat which flattens itself in the gutter,
Slips out its tongue
And devours a morsel of rancid butter."
So the hand of a child, automatic,
Slipped out and pocketed a toy that was running along the quay.
I could see nothing behind that child's eye.
I have seen eyes in the street
Trying to peer through lighted shutters,
And a crab one afternoon in a pool,
An old crab with barnacles on his back,
Gripped the end of a stick which I held him.

Half-past three,
The lamp sputtered,
The lamp muttered in the dark.

The lamp hummed:
"Regard the moon,
La lune ne garde aucune rancune,
She winks a feeble eye,
She smiles into corners.
She smoothes the hair of the grass.
The moon has lost her memory.
A washed-out smallpox cracks her face,
Her hand twists a paper rose,
That smells of dust and old Cologne,
She is alone
With all the old nocturnal smells
That cross and cross across her brain."
The reminiscence comes
Of sunless dry geraniums
And dust in crevices,
Smells of chestnuts in the streets,
And female smells in shuttered rooms,
And cigarettes in corridors
And cocktail smells in bars."

The lamp said,
"Four o'clock,
Here is the number on the door.
Memory!
You have the key,
The little lamp spreads a ring on the stair,
Mount.
The bed is open; the tooth-brush hangs on the wall,
Put your shoes at the door, sleep, prepare for life."

The last twist of the knife.


poem from PoetryArchive

Betrayal, by William Hathaway

Maurice Ravel - Ma mère l'oye (Mother Goose)
with Martha Argerich and Lang Lan

It’s now all about money

about which poetry rarely reaches

transcendence. But love must still fester

even under that. Everyone I know

frets if poetry can still matter,

but what about love? It’s all become

too much for them, and they’re all

on the soma. It makes sense

with these pills when the someone

they thought they loved for years

by never thinking about it says,

“I don’t love you anymore,

but let’s stay friends in that mellow

woebegone way poetry now

sings without singing.” Of course,

they’re always asking “What is poetry?”

and then answering by saying

it’s what Boethius was thinking about

when they squished his head

until his eyes popped out,

or anything barbaric enough to get

everyone to stop eating for a bit

and reach for a moment past

a chatty moment. Sort of a solution

to awkward goodbyes. How money

becomes a sort of welcome

relief that defuses the poetry

charging tense moments. “Interesting,”

someone remarks between bites,

“to be right here in the moment

yet also out there watching

some once-in-a-lifetime sublimity

unfold, as if living as if already

dead.” As if standing in a dream far up

in the stars somewhere with Scipio

and seeing how little love matters,

or poetry for that matter,

considering how glory endures

only in glittering plunder. But best

of all, all of it stays just sort of

as if.

poem from Poetry (October 2009)

No worst, there is none, by Gerard Manley Hopkins

Giacomo Puccini - Vissi d'arte, from Tosca 
with Angela Gheorghiu

No worst, there is none. Pitched past pitch of grief,
More pangs will, schooled at forepangs, wilder wring.
Comforter, where, where is your comforting?
Mary, mother of us, where is your relief?
My cries heave, herds-long; huddle in a main, a chief
Woe, world-sorrow; on an age-old anvil wince and sing —
Then lull, then leave off. Fury had shrieked ‘No ling-
ering! Let me be fell: force I must be brief’.

O the mind, mind has mountains; cliffs of fall
Frightful, sheer, no-man-fathomed. Hold them cheap
May who ne’er hung there. Nor does long our small
Durance deal with that steep or deep. Here! creep,
Wretch, under a comfort serves in a whirlwind: all
Life death does end and each day dies with sleep.


poem from here

Not the loss alone, by Gregory Orr

Antonio Vivaldi - Concerto No. 4 in F minor, Op. 8, RV 297, "L'inverno" (Winter)
Part II. Largo

Not the loss alone,
But what comes after.
If it ended completely
At loss, the rest
Wouldn't matter.

But you go on.
And the world also.

And words, words
In a poem or song:
Aren't they a stream
On which your feelings float?

Aren't they also
The banks of that stream
And you yourself the flowing?


poem from Concerning the Book that is the Body of the Beloved
Copper Canyon Press, 2013

I love the dark hours, by Ranier Maria Rilke

 
Franz Schubert - "An den Mond", op. 57 No.3, D 193 
with Rita Streich, voice and Erik Werba, piano 

I love the dark hours of my being.
My mind deepens into them.
There I can find, as in old letters,
the days of my life, already lived,
and held like a legend, and understood.

Then the knowing comes: I can open
to another life that's wide and timeless.

So I am sometimes like a tree
rustling over a gravesite
and making real the dream
of the one its living roots embrace:

a dream once lost
among sorrows and songs.


from Rilke’s Book of Hours: Love Poems to God 
translated by Anita Barrows and Joanna Macy

These Poems, She Said, by Robert Bringhurst

Maurice Ravel - Bolero 

These poems, these poems,
these poems, she said, are poems
with no love in them. These are the poems of a man
who would leave his wife and child because
they made noise in his study. These are the poems
of a man who would murder his mother to claim
the inheritance. These are the poems of a man
like Plato, she said, meaning something I did not
comprehend but which nevertheless
offended me. These are the poems of a man
who would rather sleep with himself than with women,
she said. These are the poems of a man
with eyes like a drawknife, with hands like a pickpocket’s
hands, woven of water and logic
and hunger, with no strand of love in them. These
poems are as heartless as birdsong, as unmeant
as elm leaves, which if they love love only
the wide blue sky and the air and the idea
of elm leaves. Self-love is an ending, she said,
and not a beginning. Love means love
of the thing sung, not of the song or the singing.
These poems, she said....
                                               You are, he said,
beautiful.
                    That is not love, she said rightly.


poem from The Beauty of the Weapons: Selected Poems 1972-1982 (Copper Canyon Press, 1982)
as posted at poetryfoundation.org

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