giovedì 20 giugno 2013

"Bacchanalia"


         Borgogna, prati, mowers, Larkin, Montrachet, Arnold, Darwin, taccuini, attese.

The evening comes, the fields are still.
The tinkle of the thirsty rill,
Unheard all day, ascends again;
Deserted is the half-mown plain,
Silent the swaths! the ringing wain,
The mower's cry, the dog's alarms,
All housed within the sleeping farms!
The business of the day is done,
The last-left haymaker is gone.
And from the thyme upon the height,
And from the elder-blossom white
And pale dog-roses in the hedge,
And from the mint-plant in the sedge,
In puffs of balm the night-air blows
The perfume which the day forgoes.
And on the pure horizon far,
See, pulsing with the first-born star,
The liquid sky above the hill! (...)

The world but feels the present's spell,
The poet feels the past as well (...) 

(Bacchanalia, Matthew Arnold)
bell,
cell,
hell,
sell,
smell,
tell,
shell,
farewell.

The mower stalled, twice; kneeling, I found
A hedgehog jammed up against the blades,
Killed. It had been in the long grass.

I had seen it before, and even fed it, once.
Now I had mauled its unobtrusive world
Unmendably. Burial was no help:

Next morning I got up and it did not.
The first day after a death, the new absence
Is always the same; we should be careful

Of each other, we should be kind
While there is still time.


(The Mower, Philip Larkin)

"Everything's ending here"


Summer is fading:
The leaves fall in ones and twos
From trees bordering
The new recreation ground.
In the hollows of afternoons
Young mothers assemble
At swing and sandpit
Setting free their children.

Behind them, at intervals,
Stand husbands in skilled trades,
An estateful of washing,
And the albums, lettered
Our Wedding, lying
Near the television:
Before them, the wind
Is ruining their courting-places

That are still courting-places
(But the lovers are all in school),
And their children, so intent on
Finding more unripe acrons,
Expect to be taken home.
Their beauty has thickened.
Something is pushing them
To the side of their own lives.

(Afternoons, Philip Larkin)