"Life has no pleasure higher or nobler than that of friendship."
Useless to think you'll park and capture it
More thoroughly. You are neither here nor there,
A hurry through which known and strange things pass
Life stand still here, Mrs. Ramsay said.
for Michael Longley
As a child, they could not keep me from wells
And old pumps with buckets and windlasses.
I loved the dark drop, the trapped sky, the smells
Of waterweed, fungus and dank moss.
One, in a brickyard, with a rotted board top.
I savoured the rich crash when a bucket
Plummeted down at the end of a rope.
So deep you saw no reflection in it.
A shallow one under a dry stone ditch
Fructified like any aquarium.
When you dragged out long roots from the soft mulch
A white face hovered over the bottom.
Others had echoes, gave back your own call
With a clean new music in it. And one
Was scaresome, for there, out of ferns and tall
Foxgloves, a rat slapped across my reflection.
Now, to pry into roots, to finger slime,
To stare, big-eyed Narcissus, into some spring
Is beneath all adult dignity. I rhyme
To see myself, to set the darkness echoing.
"[Updike’s] prose embodies what his stories examine: that most American of subjects, the pursuit of happiness. That is what Couples is about, and that is certainly what the Rabbit cycle is about—with stress on the pursuit, the running part. Updike believed in America, but with a powerful ambivalence. Rabbit puts it perfectly—dressed as Uncle Sam on the Fourth of July, no less—’all in all this is the happiest fucking country the world has ever seen.’
"Happiest, with Rabbit’s ever-present undertone of angry self-pity. Happiest, with a happiness that’s always fleeting, always fleeing, always piling up the damage and the waste. The Rabbit novels are a great symphony of American junk, accumulating in suburbs and arteries, of American lives, killed and wounded in families and wars. The country is winding down, like Rabbit himself, a large, selfish, thwarted power. The pursuit becomes ever more desperate. ‘What will become of us,’ Updike had paraphrased the theme of The Poorhouse Fair, the novel that preceded Rabbit, Run, ‘having lost our faith?’ In Rabbit at Rest, Rabbit thinks, ‘We’re all trash, really. Without God to lift us up and make us into angels we’re all trash.’ Half-wistfully, half- desperately he wonders, ‘There must be a good way to live.’”
"What are you doing on this side of the dark?
You chose that side, and those you left
feel your image across their sleeping lids
as a blinding atomic blast.
Last we knew,
you were suspended midair
like an angel for a pageant off the room
where your wife slept. She had
to cut you down who’d been (I heard)
so long holding you up. We all tried to,
faced with your need, which we somehow
understood and felt for and took
into our veins like smack. And you
must be lured by that old pain smoldering
like woodsmoke across the death boundary.
Prowl here, I guess, if you have to bother somebody.
Or, better yet, go bother God, who shaped
that form you despised from common clay.
That light you swam so hard away from
still burns, like a star over a desert or atop
a tree in a living room where a son’s photos
have been laid face down for the holiday."
"In romantic thought, repetition is the enemy of freedom, the greatest force of repression both in the mind and in the state. Outside romanticism, repetition has a very different import: it is the sustaining and renewing power of nature, the basis for all art and understanding…. Repetition lost its moral value only with the spread of the industrial machine and the swelling of the romantic chorus of praise for personal originality. Until two hundred years ago virtually no one associated repetition with boredom or constraint. Ennui is ancient; its link to repetition is not. The damned in Dante’s Hell never complain that their suffering is repetitive, only that it is eternal, which is not the same thing."
Composed upon Westminster Bridge, September 3, 1802
Earth has not anything to show more fair:
Dull would he be of soul who could pass by
A sight so touching in its majesty:
This City now doth, like a garment, wear
The beauty of the morning; silent, bare,
Ships, towers, domes, theatres, and temples lie
Open unto the fields, and to the sky;
All bright and glittering in the smokeless air.
Never did sun more beautifully steep
In his first splendour, valley, rock, or hill;
Ne’er saw I, never felt, a calm so deep!
The river glideth at his own sweet will:
Dear God! the very houses seem asleep;
And all that mighty heart is lying still!
The Song of the Happy Shepherd
The woods of Arcady are dead,
And over is their antique joy;
Of old the world on dreaming fed;
Grey Truth is now her painted toy;
Yet still she turns her restless head:
But O, sick children of the world,
Of all the many changing things
In dreary dancing past us whirled,
To the cracked tune that Chronos sings,
Words alone are certain good.
Where are now the warring kings,
Word be-mockers?—By the Rood,
Where are now the watring kings?
An idle word is now their glory,
By the stammering schoolboy said,
Reading some entangled story:
The kings of the old time are dead;
The wandering earth herself may be
Only a sudden flaming word,
In clanging space a moment heard,
Troubling the endless reverie.
Then nowise worship dusty deeds,
Nor seek, for this is also sooth,
To hunger fiercely after truth,
Lest all thy toiling only breeds
New dreams, new dreams; there is no truth
Saving in thine own heart. Seek, then,
No learning from the starry men,
Who follow with the optic glass
The whirling ways of stars that pass—
Seek, then, for this is also sooth,
No word of theirs—the cold star-bane
Has cloven and rent their hearts in twain,
And dead is all their human truth.
Go gather by the humming sea
Some twisted, echo-harbouring shell.
And to its lips thy story tell,
And they thy comforters will be.
Rewording in melodious guile
Thy fretful words a little while,
Till they shall singing fade in ruth
And die a pearly brotherhood;
For words alone are certain good:
Sing, then, for this is also sooth.
I must be gone: there is a grave
Where daffodil and lily wave,
And I would please the hapless faun,
Buried under the sleepy ground,
With mirthful songs before the dawn.
His shouting days with mirth were crowned;
And still I dream he treads the lawn,
Walking ghostly in the dew,
Pierced by my glad singing through,
My songs of old earth’s dreamy youth:
But ah! she dreams not now; dream thou!
For fair are poppies on the brow:
Dream, dream, for this is also sooth.
"There is an enormous contingent of thoughtful people in this country who, though they are frustrated with the language and forms of contemporary American religion, nevertheless feel that burn of being that drives us out of ourselves, that insistent, persistent gravity of the ghost called God."
From the Preface of My Bright Abyss
Very excited to read this one.
"Late have I loved you, O Beauty ever ancient, ever new, late have I loved you! You were within me, but I was outside, and it was there that I searched for you. In my unloveliness I plunged into the lovely things which you created. You were with me, but I was not with you. Created things kept me from you; yet if they had not been in you they would not have been at all. You called, you shouted, and you broke through my deafness. You flashed, you shone, and you dispelled my blindness. You breathed your fragrance on me; I drew in breath and now I pant for you. I have tasted you, now I hunger and thirst for more. You touched me, and I burned for your peace.”