2019年9月17日 星期二

Don Marquis's Archy and Mehitabel. .freddy the rat perishes



freddy the rat perishes

Posted on October 26, 2011 by  — Leave a reply
freddy the rat perishes
By Don Marquis, in “archy and mehitabel,” 1927
listen to me there have
been some doings here since last
i wrote there has been a battle
behind that rusty typewriter cover
in the corner
you remember freddy the rat well
freddy is no more but
he died game the other
day a stranger with a lot of
legs came into our
little circle a tough looking kid
he was with a bad eye
who are you said a thousand legs
if i bite you once
said the stranger you won t ask
again he he little poison tongue said
the thousand legs who gave you hydrophobia
i got it by biting myself said
the stranger i m bad keep away
from me where i step a weed dies
if i was to walk on your forehead it would
raise measles and if
you give me any lip i ll do it
they mixed it then
and the thousand legs succumbed
well we found out this fellow
was a tarantula he had come up from
south america in a bunch of bananas
for days he bossed us life
was not worth living he would stand in
the middle of the floor and taunt
us ha ha he would say where i
step a weed dies do
you want any of my game i was
raised on red pepper and blood i am
so hot if you scratch me i will light
like a match you better
dodge me when i m feeling mean and
i don t feel any other way i was nursed
on a tabasco bottle if i was to slap
your wrist in kindness you
would boil over like job and heaven
help you if i get angry give me
room i feel a wicked spell coming on
last night he made a break at freddy
the rat keep your distance
little one said freddy i m not
feeling well myself somebody poisoned some
cheese for me im as full of
death as a drug store i
feel that i am going to die anyhow
come on little torpedo don t stop
to visit and search then they
went at it and both are no more please
throw a late edition on the floor i want to
keep up with china we dropped freddy
off the fire escape into the alley with
military honors
archy
未提供相片說明。

Everyman's Library

Poet and journalist Donald Robert Perry Marquis was born in Walnut, Illinois on this day in 1878.
"The Tom-Cat" by Don Marquis
At midnight in the alley
A Tom-cat comes to wail,
And he chants the hate of a million years
As he swings his snaky tail.
Malevolent, bony, brindled
Tiger and devil and bard,
His eyes are coals from the middle of Hell
And his heart is black and hard.
He twists and crouches and capers
And bares his curved sharp claws,
And he sings to the stars of the jungle nights
Ere cities were, or laws.
Beast from world primeval,
He and his leaping clan,
When the blotched red moon leers over the roofs,
Give voice to their scorn of man.
He will lie on a rug to-morrow
And lick his silky fur,
And veil the brute in his yellow eyes
And play he's tame, and purr.
But at midnight in the alley
He will crouch again and wail,
And beat the time for his demon's song
With the swing of his demon's tail.
*

"what the ants are saying" (1935) by Don Marquis

dear boss i was talking with an ant
the other day
and he handed me a lot of
gossip which ants the world around
are chewing over among themselves

i pass it on to you
in the hope that you may relay it to other
human beings and hurt their feelings with it
no insect likes human beings
and if you think you can see why
the only reason i tolerate you is because
you seem less human to me than most of them
here is what the ants are saying

it wont be long now it wont be long
man is making deserts of the earth
it wont be long now
before man will have used it up
so that nothing but ants
and centipedes and scorpions
can find a living on it
man has oppressed us for a million years
but he goes on steadily
cutting the ground from under
his own feet making deserts deserts deserts

we ants remember
and have it all recorded
in our tribal lore
when gobi was a paradise
swarming with men and rich
in human prosperity
it is a desert now and the home
of scorpions ants and centipedes

what man calls civilization
always results in deserts
man is never on the square
he uses up the fat and greenery of the earth
each generation wastes a little more
of the future with greed and lust for riches

north africa was once a garden spot
and then came carthage and rome
and despoiled the storehouse
and now you have sahara
sahara ants and centipedes

toltecs and aztecs had a mighty
civilization on this continent
but they robbed the soil and wasted nature
and now you have deserts scorpions ants and centipedes
and the deserts of the near east
followed egypt and babylon and assyria
and persia and rome and the turk
the ant is the inheritor of tamerlane
and the scorpion succeeds the caesars

america was once a paradise
of timberland and stream
but it is dying because of the greed
and money lust of a thousand little kings
who slashed the timber all to hell
and would not be controlled
and changed the climate
and stole the rainfall from posterity
and it wont be long now
it wont be long
till everything is desert
from the alleghenies to the rockies
the deserts are coming
the deserts are spreading
the springs and streams are drying up
one day the mississippi itself
will be a bed of sand
ants and scorpions and centipedes
shall inherit the earth

men talk of money and industry
of hard times and recoveries
of finance and economics
but the ants wait and the scorpions wait
for while men talk they are making deserts all the time
getting the world ready for the conquering ant
drought and erosion and desert
because men cannot learn

rainfall passing off in flood and freshet
and carrying good soil with it
because there are no longer forests
to withhold the water in the
billion meticulations of the roots

it wont be long now It won’t be long
till earth is barren as the moon
and sapless as a mumbled bone

dear boss i relay this information
without any fear that humanity
will take warning and reform

archy

*

A selection of the best of the hilarious free-verse poems by the irreverent cockroach poet Archy and his alley-cat pal Mehitabel. Don Marquis’s famous fictional insect appeared in his newspaper columns from 1916 into the 1930s, and he has delighted generations of readers ever since. A poet in a former life, Archy was reincarnated as a bug who expresses himself by diving headfirst onto a typewriter. His sidekick Mehitabel is a streetwise feline who claims to have been Cleopatra in a previous life. As E. B. White wrote in his now-classic introduction, the Archy poems “contain cosmic reverberations along with high comedy” and have “the jewel-like perfection of poetry.” Adorned with George Herriman’s whimsical illustrations and including White’s introduction, our Pocket Poets selection—the only hardcover Archy and Mehitabel in print—is a beautiful volume, and perfectly sized for its tiny hero.

READ an excerpt from the introduction by E.B. White
here: https://www.penguinrandomhouse.com/…/the-best-of-archy-and…/







https://en.wikipedia.org/wiki/Don_Marquis


Marquis's best-known creation was Archy, a fictional cockroach (developed as a character during 1916) who had been a free-verse poet in a previous life, and who supposedly left poems on Marquis's typewriter by jumping on the keys. Archy usually typed only lower-case letters, without punctuation, because he could not operate the shift key. His verses were a type of social satire, and were used by Marquis in his newspaper columns titled "archy and mehitabel"; mehitabel was an alley cat, occasional companion of archy and the subject of some of archy's verses. The archy and mehitabel pieces were illustrated by cartoonist George Herriman, better known to posterity as the author of the newspaper comic Krazy Kat. Other characters developed by Marquis included Pete the Pup, Clarence the ghost, and an egomaniacal toad named Warty Bliggins.

Marquis was the author of about 35 books. He co-wrote (or contributed posthumously) to the films The Sports Pages, Shinbone Alley, The Good Old Soak and Skippy. The 1926 film The Cruise of the Jasper B was supposedly based on his 1916 novel of the same name, although the plots have little in common.
Literature[edit]

Digital image of the dust jacket of Hermione and her Little Group of Serious Thinkers, an early work of humour, produced in 1916 (early edition, hardcover).
1912: Danny's Own Story (novel)
1915: Dreams & Dust (poems)
1916: Cruise of the Jasper B. (novel)
1916: Hermione and Her Little Group of Serious Thinkers (sketches)
1919: Prefaces (essays)
1921: The Old Soak and Hail and Farewell (sketches) Dramatized 1921, 1926, 1937.
1921: Carter and Other People (short stories)
1921: Noah an' Jonah an' Cap'n John Smith (poems, sketches)
1922: Poems and Portraits (poems)
1922: Sonnets to a Red-Haired Lady and Famous Love Affairs(poems)
1922: The Revolt of the Oyster (short stories)
1924: The Dark Hours (play) This story of the trial, passion and crucifixion of Jesus had its professional premiere on 14 March 1932 at the Maryland Theatre in Baltimore, Maryland. Bretaigne Windustdirected the University Players with a cast of more than 50, which included Joshua Logan as Caiaphas, Charles Crane Leatherbee as Pilate, Henry Fonda as Peter, and Kent Smith as Jesus. The play subsequently opened on Broadway on 14 November 1932 and ran 8 performances. See, Houghton, Norris. But Not Forgotten: The Adventure of the University Players, New York, William Sloane Associates: 1951, pp. 285–6.
1924: Pandora Lifts the Lid (novel)
1924: Words and Thoughts (play)
1924: The Awakening (poems)
1927: Out of the Sea (play)
1927: The Almost Perfect State (essays)
1927: archy and mehitabel (poems, sketches)
1928: Love Sonnets of a Cave Man (poems)
1928: When the Turtles Sing (short stories)
1929: A Variety of People (short stories)
1930: Off the Arm (novel)
1933: archys life of mehitabel (poems, sketches)
1934: Master of the Revels (play)
1934: Chapters for the Orthodox (short stories)
1935: archy does his part (poems, sketches)
1936: Sun Dial Time (short stories)
1939: Sons of the Puritans (novel)
1940: the lives and times of archy and mehitabel (omnibus)
1946: The Best of Don Marquis (omnibus)
1978: Everything's Jake (play)
1982: Selected Letters of Don Marquis (letters) Edited by William McCollum Jr.
1996: archyology (poems, sketches) Edited by Jeff Adams.
1998: archyology ii (poems, sketches) Edited by Jeff Adams.
2006: The Annotated Archy and Mehitabel (poems, sketches) Edited by Michael Sims.
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2019年9月12日 星期四

William Shakespeare, A Midsummer Night's Dream Illustration by Ismet Voljevica, Iugoslavia, 1974




圖像裡可能有畫畫

"...Lovers and madmen have such seething
brains,
Such shaping fantasies, that apprehend
More than cool reason ever comprehends.
The lunatic, the lover, and the poet
Are of imagination all compact.
One sees more devils than vast hell can hold—
That is the madman. The lover, all as frantic,
Sees Helen’s beauty in a brow of Egypt.
The poet’s eye, in fine frenzy rolling,
Doth glance from heaven to Earth, from Earth to heaven.
And as imagination bodies forth
The forms of things unknown, the poet’s pen
Turns them to shapes and gives to airy nothing
A local habitation and a name.
Such tricks hath strong imagination,
That if it would but apprehend some joy,
It comprehends some bringer of that joy.
Or in the night, imagining some fear,
How easy is a bush supposed a bear!"

― William Shakespeare, A Midsummer Night's Dream
Illustration by Ismet Voljevica, Iugoslavia, 1974
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2019年9月9日 星期一

大江健三郎 《死水》 IV. Death by Waterㄝ, IV. Death by WaterThe Waste Land by T. S. Eliot







大江健三郎 《死水》許金龍譯，台北：聯經，2012，頁4

圖像裡可能有文字







The Waste Land by T. S. Eliot | Poetry Foundation


  IV. Death by Water

Phlebas the Phoenician, a fortnight dead,
Forgot the cry of gulls, and the deep sea swell
And the profit and loss.
                                   A current under sea
Picked his bones in whispers. As he rose and fell
He passed the stages of his age and youth
Entering the whirlpool.
                                   Gentile or Jew
O you who turn the wheel and look to windward,
Consider Phlebas, who was once handsome and tall as you.

4. Death by Water -

by T. S. Eliot
IV. DEATH BY WATER 

Phlebas the Phoenician, a fortnight dead, 
Forgot the cry of gulls, and the deep sea swell 
And the profit and loss. 
A current under sea 
Picked his bones in whispers. As he rose and fell 
He passed the stages of his age and youth 
Entering the whirlpool. 
Gentile or Jew 
O you who turn the wheel and look to windward, 
Consider Phlebas, who was once handsome and tall as you.
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2019年8月13日 星期二

Sarojini Naidu Poems 詩人奈都夫人


初中時代讀的，都化為永恆詩篇。
"奈都夫人（沙拉金尼·奈都；Sarojini Naidu ，1879年2月13日－1949年3月2日）印度政治家、女權運動者及詩人，被尊為神童(Child prodigy)、印度的南丁格爾和印度獨立運動的自由鬥士(Freedom fighter)，第一個任國大黨主席的婦女、第一位任邦行政長官的女性。"


Sarojini Naidu
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Sarojini Naidu Poems

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2019年8月10日 星期六

William Carlos Williams: 'The Figure 5 in Gold'. I Saw the Figure 5 in Gold

William Carlos Williams: 'The Figure 5 in Gold'

https://www.youtube.com/watch?v=IQ8vYsQcCVY



The Great Figure

Among the rain 
and lights 
I saw the figure 5 
in gold 
on a red 
firetruck 
moving 
tense 
unheeded 
to gong clangs 
siren howls 
and wheels rumbling 
through the dark city. 

I Saw the Figure 5 in Gold

From Wikipedia, the free encyclopedia
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For the fictional character, see List of Scream Queens characters § Chanel #5. For the first perfume by Coco Chanel, see Chanel No. 5.
I Saw the Figure 5 in Gold
NY Met demuth figure 5 gold.JPG
ArtistCharles Demuth
Year1928
Dimensions90.2 cm × 76.2 cm (35.5 in × 30 in)
LocationMetropolitan Museum of Art, New York City
I Saw the Figure 5 in Gold, also known as The Figure 5 in Gold,[1] is a 1928 painting by American artist Charles Demuth. It has been described as influenced by Futurism and Cubism. Painted as a homage to Demuth's friend William Carlos Williams, the painting references Williams' poem The Great Figure, which describes a fire engine speeding through the streets of New York on a rainy night. The painting's title is a phrase from the poem.

Charles Demuth[edit]

Demuth was known as a painter in the Precisionist style, incorporating clean lines and geometry into images. Art historian H.W. Janson mentions Demuth's interactions with Cubist painters in New York, and the connections between Futurism and Precisionism styles.[2] This particular work was part of a series of five abstract, poster-style portraits Demuth painted between 1924 and 1929 in homage to his personal artist and writer friends: William Carlos Williams, Georgia O'Keeffe, Arthur Dove, Charles Duncan and John Marin.[1] He and Williams had become friends when they were both living in the same boarding house in Philadelphia while Demuth was studying at the Pennsylvania Academy of the Fine Arts and Williams was attending the University of Pennsylvania School of Medicine. As with I Saw the Figure 5 in Gold, each painting incorporated the artist's name. This portrait series is often described as also including writers Marsden Hartley, Gertrude Stein, Eugene O'Neill and Wallace Stevens, but those four were never completed. The Yale University Art Gallery has the preliminary sketch, in watercolor and graphite, for the Marsden Hartley portrait.[3]

Poem and painting[edit]

William Carlos Williams claims that the inspiration for the 32-word poem The Great Figure[4] (1920) came from seeing a fire engine pass him by, sounding gong clangs and siren howls as it receded in the night. He said he was so struck by the sight that he took paper and pencil out of his pocket and wrote the poem, standing there on the sidewalk.[5] Two lines: "I saw the figure 5/in gold" were taken by Demuth for his painting's title.[6] The upper right corner has an arc, implying a fragment of a large number five, repeated three times in progressively smaller, complete number fives to create an impression of the fire engine moving away from the viewer. The fire engine itself is reduced to an abstracted form composed of red rectangles, but there is a hint of a ladder on the right side and an axle across the bottom. Above the truck are globular streetlamps flanked by sidewalks and buildings in blacks and grays. Demuth conveyed his friendship with Williams by incorporating fragments of his name: "Bill" across the top, and "CARLO" (the "O" cut off and the "S" missing entirely) in yellow dots as in an illuminated theater sign. Across the bottom the painter has placed his own initials "C.D." and also the poet's "W.C.W." in the same size and color.[5]


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2019年7月29日 星期一

"A Vision of the Mermaids" The Windhover by Gerard Manley Hopkins (1844–89)

    
"All things counter, original, spare, strange;
Whatever is fickle, freckled (who knows how?)
With swift, slow; sweet, sour; adazzle, dim;
He fathers-forth whose beauty is past change:
Praise him." - 'Pied Beauty'
Gerard Manley Hopkins was born #OTD 1844. Very little of Hopkins's work was published during his lifetime; the first anthology of his poetry appeared posthumously in 1918 under the editorship of his friend, long-standing correspondent, and literary executor, Robert Bridges. This delayed appearance, combined with his experiments in poetic form, led to his initial association with the modernist poetics exemplified in the work of T. S. Eliot and Ezra Pound. Since the 1970s, however, the Victorian character of his work has been more widely explored and recognized.




GLOBAL.OUP.COM
Gerard Manley Hopkins: The Major Works
This authoritative edition brings together all of Hopkins's poetry and a generous selection of his prose writings to explore the essence of…


From Wikipedia, the free encyclopedia
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The Reverend

Gerard Manley Hopkins

SJ
GerardManleyHopkins.jpg
ChurchLatin Church
Orders
OrdinationSeptember 1877
Personal details
Born28 July 1844
Stratford, Essex, England
Died8 June 1889 (aged 44)
Dublin, Ireland
BuriedGlasnevin Cemetery, Dublin, Ireland
NationalityBritish
DenominationRoman Catholic
Occupation
  • Poet
  • Jesuit priest
  • academic
EducationHighgate School
Alma materHeythrop College, London
Balliol College, Oxford
Gerard Manley Hopkins SJ (28 July 1844 – 8 June 1889) was an English poet and Jesuitpriest, whose posthumous fame established him among the leading Victorian poets. His manipulation of prosody – particularly his concept of sprung rhythm and use of imagery – established him as an innovative writer of verse. Two of his major themes were nature and religion. Only after his death did Robert Bridges begin to publish a few of Hopkins's mature poems in anthologies, hoping to prepare the way for wider acceptance of his style. By 1930 his work was recognized as being among the most original literary accomplishments of his century. It had a marked influence on such leading 20th-century poets as T. S. Eliot, Dylan Thomas, W. H. Auden, Stephen Spender and C. Day Lewis.

Selected poems[edit]

Well-known works by Hopkins include:

External links[edit]

At poetsgraves.co.uk

The Caged Skylark
God's Grandeur
Hurrahing in Harvest
In the Valley of the Elwy
The May Magnificat
Moonrise
SpringAt bartleby.com
"As Kingfishers Catch Fire"
"Carrion Comfort"
"Felix Randal"
"Inversnaid"
"Spring and Fall: To a Young Child"
"That Nature is a Heraclitean Fire and of the comfort of the Resurrection"
"The Sea and the Skylark"At The Fresh Reads
"No Worst, There Is None"
[https://www.thefreshreads.com/gods-grandeur/ "God's Grandeur"Via poemhunter.com
"The Habit of Perfection"

Recordings[edit]


***

"A Vision of the Mermaids" by Gerard Manley Hopkins
Rowing, I reach'd a rock - the sea was low -
Which the tides cover in their overflow,
Marking the spot, when they have gurgled o'er,
With a thin floating veil of water hoar.
A mile astern lay the blue shores away;
And it was at the setting of the day.
Plum-purple was the west; but spikes of light
Spear'd open lustrous gashes, crimson-white;
(Where the eye fix'd, fled the encrimsoning spot,
And, gathering, floated where the gaze was not;)
And through their parting lids there came and went
Keen glimpses of the inner firmament:
Fair beds they seem'd of water-lily flakes
Clustering entrancingly in beryl lakes:
Anon, across their swimming splendour strook,
An intense line of throbbing blood-light shook
A quivering pennon; then, for eye too keen,
Ebb'd back beneath its snowy lids, unseen.
Now all things rosy turn'd: the west had grown
To an orb'd rose, which, by hot pantings blown
Apart, betwixt ten thousand petall'd lips
By interchange gasp'd splendour and eclipse.
The zenith melted to a rose of air;
The waves were rosy-lipp'd; the crimson glare
Shower'd the cliffs and every fret and spire
With garnet wreathes and blooms of rosy-budded fire.
Then, looking on the waters, I was ware
Of something drifting through delighted air,
- An isle of roses, - and another near; -
And more, on each hand, thicken, and appear
In shoals of bloom; as in unpeopled skies,
Save by two stars, more crowding lights arise,
And planets bud where'er we turn our mazèd eyes.
I gazed unhinder'd: Mermaids six or seven,
Ris'n from the deeps to gaze on sun and heaven,
Cluster'd in troops and halo'd by the light,
Those Cyclads made that thicken'd on my sight.
This was their manner: one translucent crest
Of tremulous film, more subtle than the vest
Of dewy gorse blurr'd with the gossamer fine,
From crown to tail-fin floating, fringed the spine,
Droop'd o'er the brows like Hector's casque, and sway'd
In silken undulations, spurr'd and ray'd
With spikèd quills all of intensest hue;
And was as tho' some sapphire molten-blue
Were vein'd and streak'd with dusk-deep lazuli,
Or tender pinks with bloody Tyrian dye.
From their white waists a silver skirt was spread
To mantle o'er the tail, such as is shed
Around the Water-Nymphs in fretted falls,
At red Pompeii on medallion'd walls.
A tinted fin on either shoulder hung:
Their pansy-dark or bronzen locks were strung
With coral, shells, thick-pearlèd cords, whate'er
The abysmal Ocean hoards of strange and rare.
Some trail'd the Nautilus: or on the swell
Tugg'd the boss'd, smooth-lipp'd, giant Strombus-shell.
Some carried the sea-fan; some round the head
With lace of rosy weed were chapleted;
One bound o'er dripping gold a turquoise-gemm'd
Circle of astral flowerets - diadem'd
Like an Assyrian prince, with buds unsheath'd
From flesh-flowers of the rock; but more were wreath'd
With the dainty-delicate fretted fringe of fingers
Of that jacinthine thing, that, where it lingers
Broiders the nets with fans of amethyst
And silver films, beneath with pearly mist,
The Glaucus cleped; others small braids encluster'd
Of glassy-clear Aeolis, metal-lustred
With growths of myriad feelers, crystalline
To show the crimson streams that inward shine,
Which, lightening o'er the body rosy-pale,
Like shiver'd rubies' dance or sheen of sapphire frail.
Then saw I sudden from the waters break
Far off a Nereid company, and shake
From wings swan-fledged a wheel of watery light
Flickering with sunny spokes, and left and right
Plunge orb'd in rainbow arcs, and trample and tread
The satin-purfled smooth to foam, and spread
Slim-pointed sea-gull plumes, and droop behind
One scarlet feather trailing to the wind;
Then, like a flock of sea-fowl mounting higher,
Thro' crimson-golden floods pass swallow'd into fire.
Soon - as when Summer of his sister Spring
Crushes and tears the rare enjewelling,
And boasting "I have fairer things than these"
Plashes amidst the billowy apple-trees
His lusty hands, in gusts of scented wind
Swirling out bloom till all the air is blind
With rosy foam and pelting blossom and mists
Of driving vermeil-rain; and, as he lists,
The dainty onyx-coronals deflowers,
A glorious wanton; - all the wrecks in showers
Crowd down upon a stream, and, jostling thick
With bubbles bugle-eyed, struggle and stick
On tangled shoals that bar the brook - a crowd
Of filmy globes and rosy floating cloud:
So those Mermaidens crowded to my rock,
And thicken'd, like that drifted bloom, the flock
Sun-flush'd, until it seem'd their father Sea
Had gotten him a wreath of sweet Spring-broidery.
Careless of me they sported: some would plash
The languent smooth with dimpling drops, and flash
Their filmy tails adown whose length there show'd
An azure ridge; or clouds of violet glow'd
On prankèd scale; or threads of carmine, shot
Thro' with silver, gloom'd to a blood-vivid clot.
Some, diving merrily, downward drove, and gleam'd
With arm and fin; the argent bubbles stream'd
Airwards, disturb'd; and the scarce troubled sea
Gurgled, where they had sunk, melodiously.
Others with fingers white would comb among
The drenchèd hair of slabby weeds that swung
Swimming, and languish'd green upon the deep
Down that dank rock o'er which their lush long tresses weep.
But most in a half-circle watch'd the sun;
And a sweet sadness dwelt on everyone;
I knew not why, - but know that sadness dwells
On Mermaids - whether that they ring the knells
Of seamen whelm'd in chasms of the mid-main,
As poets sing; or that it is a pain
To know the dusk depths of the ponderous sea,
The miles profound of solid green, and be
With loath'd cold fishes, far from man - or what; -
I know the sadness but the cause know not.
Then they, thus ranged, ‘gan make full plaintively
A piteous Siren sweetness on the sea,
Withouten instrument, or conch, or bell,
Or stretch'd cords tunable on turtle's shell;
Only with utterance of sweet breath they sung
An antique chaunt and in an unknown tongue.
Now melting upward through the sloping scale
Swell'd the sweet strain to a melodious wail;
Now ringing clarion-clear to whence it rose
Slumber'd at last in one sweet, deep, heart-breaking close.
But when the sun had lapsed to Ocean, lo
A stealthy wind crept round seeking to blow,
Linger'd, then raised the washing waves and drench'd
The floating blooms and with tide flowing quench'd
The rosy isles: so that I stole away
And gain'd thro' growing dusk the stirless bay;
White loom'd my rock, the water gurgling o'er,
Whence oft I watch but see those Mermaids now no more.
*


**** The Windhover by Gerard Manley Hopkins (1844–89)
童元方著《一樣花開‧燧石之火》台北：爾雅叢書，1996，頁219-227
有一翻譯 版本  分段有錯

windhover =kestrel隼


Gerard Manley Hopkins (1844–89).  Poems.  1918.
12. The Windhover
To Christ our Lord
I CAUGHT this morning morning’s minion, king-
  dom of daylight’s dauphin, dapple-dawn-drawn Falcon, in his riding
  Of the rolling level underneath him steady air, and striding
High there, how he rung upon the rein of a wimpling wing
In his ecstasy! then off, off forth on swing,        5
  As a skate’s heel sweeps smooth on a bow-bend: the hurl and gliding
  Rebuffed the big wind. My heart in hiding
Stirred for a bird,—the achieve of; the mastery of the thing!
Brute beauty and valour and act, oh, air, pride, plume, here
  Buckle! AND the fire that breaks from thee then, a billion        10
Times told lovelier, more dangerous, O my chevalier!
  No wonder of it: shéer plód makes plough down sillion
Shine, and blue-bleak embers, ah my dear,
  Fall, gall themselves, and gash gold-vermillion.
See Notes.

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