“Tell me what you’re doing over here, John Gorham,
Sighing hard and seeming to be sorry when you’re not;
Make me laugh or let me go now, for long faces in the moonlight
Are a sign for me to say again a word that you forgot.”—

“I’m over here to tell you what the moon already
May have said or maybe shouted ever since a year ago;
I’m over here to tell you what you are, Jane Wayland,
And to make you rather sorry, I should say, for being so.”—

“Tell me what you’re saying to me now, John Gorham,

Though for your sake I would not have you now
So near to me tonight as now you are,
God knows how much a stranger to my heart
Was any cold word that I may have written;
And you, poor woman that I made my wife,
You have had more of loneliness, I fear,
Than I—though I have been the most alone,
Even when the most attended. So it was
God set the mark of his inscrutable
Necessity on one that was to grope,
And serve, and suffer, and withal be glad
For what was his, and is, and is to be,
When his old bones, that are a burden now,

Because no one could ever praise me enough,
because I don't mean these poems only
but the unseen
unbelievable effort it takes to live
the life that goes on between them,
I think all the time about invisible work.
About the young mother on Welfare
I interviewed years ago,
who said, "It's hard.
You bring him to the park,
run rings around yourself keeping him safe,
cut hot dogs into bite-sized pieces fro dinner,
and there's no one
to say what a good job you're doing,
how you were patient and loving

The height of wisdom seems to me
That of a child;
So let my ageing vision be
Serene and mild.
The depth of folly, I aver,
Is to fish deep
In that dark pool of science where
Truth-demons sleep.
II
Let me not be a bearded sage
Seeing too clear;
In issues of the atom age
Man-doom I fear.
So long as living's outward show
To me is fair,
What lies behind I do not know,
And do not care.
III
Of woeful fears of future ill

Per me si va ne la città dolente,
per me si va ne l'etterno dolore,
per me si va tra la perduta gente .

THROUGH ME THE WAY INTO THE SUFFERING CITY,
THROUGH ME THE WAY TO THE ETERNAL PAIN,
THROUGH ME THE WAY THAT RUNS AMONG THE LOST.


Giustizia mosse il mio alto fattore:
fecemi la divina podestate,
la somma sapienza e 'l primo amore .

JUSTICE URGED ON MY HIGH ARTIFICER;
MY MAKER WAS DIVINE AUTHORITY,
THE HIGHEST WISDOM, AND THE PRIMAL LOVE.


Dinanzi a me non fuor cose create

I said,—for Love was laggard, O, Love was slow to come,—
"I'll hear his step and know his step when I am warm in
bed;
But I'll never leave my pillow, though there be some
As would let him in—and take him in with tears!" I said.
I lay,—for Love was laggard, O, he came not until dawn,—
I lay and listened for his step and could not get to sleep;
And he found me at my window with my big cloak on,
All sorry with the tears some folks might weep!

Still sits the school-house by the road,
A ragged beggar sleeping;
Around it still the sumachs grow,
And blackberry-vines are creeping.

Within, the master's desk is seen,
Deep-scarred by raps official;
The warping floor, the battered seats,
The jack-knife's carved initial;

The charcoal frescoes on its wall;
Its door's worn sill, betraying
The feet that, creeping slow to school,
Went storming out to playing!

Long years ago a winter sun
Shone over it at setting;
Lit up its western window-panes,

to Robert Hass and in memory of Elliot Gilbert


Slow dulcimer, gavotte and bow, in autumn,
Bashõ and his friends go out to view the moon;
In summer, gasoline rainbow in the gutter,

The secret courtesy that courses like ichor
Through the old form of the rude, full-scale joke,
Impossible to tell in writing. 'Bashõ'

He named himself, 'Banana Tree': banana
After the plant some grateful students gave him,
Maybe in appreciation of his guidance

Threading a long night through the rules and channels

529

I'm sorry for the Dead—Today—
It's such congenial times
Old Neighbors have at fences—
It's time o' year for Hay.

And Broad—Sunburned Acquaintance
Discourse between the Toil—
And laugh, a homely species
That makes the Fences smile—

It seems so straight to lie away
From all of the noise of Fields—
The Busy Carts—the fragrant Cocks—
The Mower's Metre—Steals—

A Trouble lest they're homesick—
Those Farmers—and their Wives—
Set separate from the Farming—
And all the Neighbors' lives—

she's young, she said,
but look at me,
I have pretty ankles,
and look at my wrists, I have pretty
wrists
o my god,
I thought it was all working,
and now it's her again,
every time she phones you go crazy,
you told me it was over
you told me it was finished,
listen, I've lived long enough to become a
good woman,
why do you need a bad woman?
you need to be tortured, don't you?
you think life is rotten if somebody treats you
rotten it all fits,
doesn't it?
tell me, is that it? do you want to be treated like a