• BishopBishopBishop just love you so so - [阅读]

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    some pomes of   Bishop's:

    Letter to N.Y.

    for Louise crane


    In your next letter I wish you'd say
    where you are going and what you are doing;
    how are the plays and after the plays
    what other pleasures you're pursuing:

    taking cabs in the middle of the night,
    driving as if to save your soul
    where the road gose round and round the park
    and the meter glares like a moral owl,

    and the trees look so queer and green
    standing alone in big black caves
    and suddenly you're in a different place
    where everything seems to happen in waves,

    and most of the jokes you just can't catch, 
    like dirty words rubbed off a slate,
    and the songs are loud but somehow dim
    and it gets so teribly late,

    and coming out of the brownstone house
    to the gray sidewalk, the watered street,
    one side of the buildings rises with the sun
    like a glistening field of wheat.

    --Wheat, not oats, dear. I'm afraid
    if it's wheat it's none of your sowing, 
    nevertheless I'd like to know
    what you are doing and where you are going.


    The Armadillo

    for Robert Lowell


    This is the time of year
    when almost every night
    the frail, illegal fire balloons appear.
    Climbing the mountain height,

    rising toward a saint
    still honored in these parts,
    the paper chambers flush and fill with light
    that comes and goes, like hearts.

    Once up against the sky it's hard 
    to tell them from the stars--
    planets, that is--the tinted ones:
    Venus going down, or Mars,

    or the pale green one. With a wind,
    they flare and falter, wobble and toss;
    but if it's still they steer between
    the kite sticks of the Southern Cross,

    receding, dwindling, solemnly
    and steadily forsaking us,
    or, in the downdraft from a peak,
    suddenly turning dangerous.

    Last night another big one fell.
    It splattered like an egg of fire
    against the cliff behind the house.
    The flame ran down. We saw the pair

    of owls who nest there flying up 
    and up, their whirling black-and-white
    stained bright pink underneath, until
    they shrieked up out of sight.

    The ancient owls' nest must have burned.
    Hastily, all alone,
    a glistening armadillo left the scene,
    rose-flecked, head down, tail down,

    and then a baby rabbit jumped out,
    short-eared, to our surprise.
    So soft!--a handful of intangible ash
    with fixed, ignited eyes.

    Too pretty, dreamlike mimicry!
    O falling fire and piercing cry 
    and panic, and a weak mailed fist 
    clenched ignorant against the sky!

    In the waiting Room


    In Worcester, Massachusetts,
    I went with Aunt Consuelo
    to keep her dentist's appointment
    and sat and waited for her
    in the dentist's waiting room.
    It was winter. It got dark
    early. The waiting room
    was full of grown-up people,
    arctics and overcoats,
    lamps and magazines.
    My aunt was inside
    what seemed like a long time
    and while I waited and read
    the National Geographic 
    (I could read) and carefully 
    studied the photographs:
    the inside of a volcano,
    black, and full of ashes;
    then it was spilling over
    in rivulets of fire.
    Osa and Martin Johnson 
    dressed in riding breeches,
    laced boots, and pith helmets.
    A dead man slung on a pole
    "Long Pig," the caption said.
    Babies with pointed heads
    wound round and round with string;
    black, naked women with necks
    wound round and round with wire
    like the necks of light bulbs.
    Their breasts were horrifying.
    I read it right straight through.
    I was too shy to stop.
    And then I looked at the cover:
    the yellow margins, the date.
    Suddenly, from inside,
    came an oh! of pain
    --Aunt Consuelo's voice--
    not very loud or long.
    I wasn't at all surprised;
    even then I knew she was 
    a foolish, timid woman.
    I might have been embarrassed,
    but wasn't. What took me
    completely by surprise
    was that it was me:
    my voice, in my mouth.
    Without thinking at all
    I was my foolish aunt,
    I--we--were falling, falling,
    our eyes glued to the cover
    of the National Geographic,
    February, 1918.

    I said to myself: three days
    and you'll be seven years old.
    I was saying it to stop
    the sensation of falling off
    the round, turning world.
    into cold, blue-black space.
    But I felt: you are an I,
    you are an Elizabeth,
    you are one of them.
    Why should you be one, too?
    I scarcely dared to look
    to see what it was I was.
    I gave a sidelong glance
    --I couldn't look any higher--
    at shadowy gray knees,
    trousers and skirts and boots
    and different pairs of hands
    lying under the lamps.
    I knew that nothing stranger
    had ever happened, that nothing
    stranger could ever happen.

    Why should I be my aunt,
    or me, or anyone?
    What similarities 
    boots, hands, the family voice
    I felt in my throat, or even
    the National Geographic
    and those awful hanging breasts 
    held us all together
    or made us all just one?
    How I didn't know any
    word for it how "unlikely". . .
    How had I come to be here,
    like them, and overhear
    a cry of pain that could have
    got loud and worse but hadn't?

    The waiting room was bright
    and too hot. It was sliding
    beneath a big black wave,
    another, and another.

    Then I was back in it.
    The War was on. Outside,
    in Worcester, Massachusetts,
    were night and slush and cold,
    and it was still the fifth 
    of February, 1918.

    This is the house of Bedlam


    This is the man
    that lies in the house of Bedlam.

    This is the time
    of the tragic man
    that lies in the house of Bedlam.

    This is a wristwatch
    telling the time
    of the talkative man
    that lies in the house of Bedlam.

    This is a sailor
    wearing the watch
    that tells the time
    of the honored man
    that lies in the house of Bedlam.

    This is the roadstead all of board
    reached by the sailor
    wearing the watch
    that tells the time
    of the old brave man
    that lies in the house of Bedlam.

    These are the years and the walls of the ward
    the winds and clouds of the sea of board
    sailed by the sailor
    wearing the watch
    that tells the time
    of the cranky man
    that lies in the house of Bedlam.

    This is a Jew in a newspaper hat
    that dances weeping down the ward
    over the creaking sea of board
    beyond the sailor
    winding his watch
    that tells the time
    of the cruel man
    that lies in the house of Bedlam.

    This is a world of books gone flat.
    This is a Jew in a newspaper hat
    that dances weeping down the ward
    over the creaking sea of board
    of the batty sailor
    that winds his watch
    that tells the time
    of the busy man
    that lies in the house of Bedlam.

    This is a boy that pats the floor
    to see if the world is there is flat
    for the widowed Jew in the newspaper hat
    that dances weeping down the ward
    waltzing the length of a weaving board
    by the silent sailor
    that hears his watch
    that ticks the time
    of the tedious man
    that lies in the house of Bedlam.

    These are the years and the walls and the door
    that shut on a boy that pats the floor
    to feel if the world is there and flat.
    This is a Jew in a newspaper hat
    that dances joyfully down the ward
    into the parting seas of board
    past the staring sailor
    that shakes his watch
    that tells the time
    of the poet the man
    that lies in the house of Bedlam.

    This is the soldier home from the war.
    These are the years and the walls and the door
    that shut on a boy that pats the floorto see if the world is round or flat.
    This is a Jew in a newspaper hat
    that dances carefully down the ward
    walking the plank of a coffin board
    with the crazy sailor
    that shows his watch
    that tells the time
    of the wretched man
    that lies in the house of Bedlam.


    Invitation to Miss Marianne Moore


    From Brooklyn, over the Brooklyn Bridge, on this fine morning,
    please come flying.
    In a cloud of fiery pale chemicals,
    please come flying,
    to the rapid rolling of thousands of small blue drums
    descending out of the mackerel sky
    over the glittering grandstand of harbor-water,
    please come flying.

    Whistles, pennants and smoke are blowing. The ships
    are signaling cordially with multitudes of flags
    rising and falling like birds all over the harbor.
    Enter: two rivers, gracefully bearing
    countless little pellucid jellies
    in cut-glass epergnes dragging with silver chains.
    The flight is safe; the weather is all arranged.
    The waves are running in verses this fine morning.
    Please come flying.

    Come with the pointed toe of each black shoe
    trailing a sapphire highlight,
    with a black capeful of butterfly wings and bon-mots,
    with heaven knows how many angels all riding
    on the broad black brim of your hat,
    please come flying.

    Bearing a musical inaudible abacus,
    a slight censorious frown, and blue ribbons,
    please come flying.
    Facts and skyscrapers glint in the tide; Manhattan
    is all awash with morals this fine morning,
    so please come flying.

    Mounting the sky with natural heroism,
    above the accidents, above the malignant movies,
    the taxicabs and injustices at large,
    while horns are resounding in your beautiful ears
    that simultaneously listen to
    a soft uninvented music, fit for the musk deer,
    please come flying.

    For whom the grim museums will behave 
    like courteous male bower-birds,
    for whom the agreeable lions lie in wait
    on the steps of the Public Library,
    eager to rise and follow through the doors
    up into the reading rooms,
    please come flying.
    We can sit down and weep; we can go shopping,
    or play at a game of constantly being wrong
    with a priceless set of vocabularies,
    or we can bravely deplore, but please
    please come flying.

    With dynasties of negative constructions
    darkening and dying around you,
    with grammar that suddenly turns and shines
    like flocks of sandpipers flying,
    please come flying.

    Come like a light in the white mackerel sky,
    come like a daytime comet
    with a long unnebulous train of words,
    from Brooklyn, over the Brooklyn Bridge, on this fine morning,
    please come flying.


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