paris

That which Grecian art created,
Let the Frank, with joy elated,
Bear to Seine's triumphant strand,
And in his museums glorious
Show the trophies all-victorious
To his wondering fatherland.

They to him are silent ever,
Into life's fresh circle never
From their pedestals come down.
He alone e'er holds the Muses
Through whose breast their power diffuses,--
To the Vandal they're but stone!

Paris, August, 1865

I stand at the break of day
In the Champs Elysees.
The tremulous shafts of dawning
As they shoot o'er the Tuileries early,
Strike Luxor's cold gray spire,
And wild in the light of the morning
With their marble manes on fire,
Ramp the white Horses of Marly.

But the Place of Concord lies
Dead hushed 'neath the ashy skies.
And the Cities sit in council
With sleep in their wide stone eyes.
I see the mystic plain
Where the army of spectres slain

I knew that James Whistler was part of the Paris scene,
but I was still surprised when I found the painting
of his mother at the Musée d'Orsay
among all the colored dots and mobile brushstrokes
of the French Impressionists.

And I was surprised to notice
after a few minutes of benign staring,
how that woman, stark in profile
and fixed forever in her chair,
began to resemble my own ancient mother
who was now fixed forever in the stars, the air, the earth.

You can understand why he titled the painting

I might!--unhappy word--O me, I might,
And then would not, or could not, see my bliss;
Till now wrapt in a most infernal night,
I find how heav'nly day, wretch! I did miss.
Heart, rend thyself, thou dost thyself but right;
No lovely Paris made thy Helen his,
No force, no fraud robb'd thee of thy delight,
Nor Fortune of thy fortune author is;
But to myself myself did give the blow,
While too much wit, forsooth, so troubled me
That I respects for both our sakes must show:
And yet could not by rising morn foresee

It's the day of the ram
and the head of the year
Rosh Ha'Shanah at
services I sat next to
Mel Torme who outshone
all comers with his bar
mitzvah heroics while on
my left is Barnett Newman
big talker whose favorite
subjects include the horses
and the stock market he
knows the odds the women
are seated upstairs this is
an orthodox congregation
very serious I make
eye contact with the wife
of Menelaus who runs off
with Paris confident I'm Paris.

The fox pushes softly, blindly through me at night,
between the liver and the stomach. Comes to the heart
and hesitates. Considers and then goes around it.
Trying to escape the mildness of our violent world.
Goes deeper, searching for what remains of Pittsburgh
in me. The rusting mills sprawled gigantically
along three rivers. The authority of them.
The gritty alleys where we played every evening were
stained pink by the inferno always surging in the sky,
as though Christ and the Father were still fashioning the Earth.

Guns on the battle lines have pounded now a year
between Brussels and Paris.
And, William Morris, when I read your old chapter on
the great arches and naves and little whimsical
corners of the Churches of Northern France--Brr-rr!
I'm glad you're a dead man, William Morris, I'm glad
you're down in the damp and mouldy, only a memory
instead of a living man--I'm glad you're gone.
You never lied to us, William Morris, you loved the
shape of those stones piled and carved for you to

I, born in Weimar
Of a mother who was French
And German father, a most learned professor,
Orphaned at fourteen years,
Became a dancer, known as Russian Sonia,
All up and down the boulevards of Paris,
Mistress betimes of sundry dukes and counts,
And later of poor artists and of poets.
At forty years, passée, I sought New York
And met old Patrick Hummer on the boat,
Red-faced and hale, though turned his sixtieth year,
Returning after having sold a ship-load
Of cattle in the German city, Hamburg.

I look at no one, me;
I pass them on the stair;
Shadows! I don't see;
Shadows! everywhere.
Haunting, taunting, staring, glaring,
Shadows! I don't care.
Once my room I gain
Then my life begins.
Shut the door on pain;
How the Devil grins!
Grin with might and main;
Grin and grin in vain;
Here's where Heav'n begins:
Cocaine! Cocaine!

A whiff! Ah, that's the thing.
How it makes me gay!
Now I want to sing,
Leap, laugh, play.
Ha! I've had my fling!
Mistress of a king

He gives me such a bold and curious look,
That young American across the way,
As if he'd like to put me in a book
(Fancies himself a poet, so they say.)
Ah well! He'll make no "document" of me.
I lock my door. Ha! ha! Now none shall see. . . .

Pictures, just pictures piled from roof to floor,
Each one a bit of me, a dream fulfilled,
A vision of the beauty I adore,
My own poor glimpse of glory, passion-thrilled . . .
But now my money's gone, I paint no more.

For three days past I have not tasted food;