There is no faith in claret, and it shall
Henceforth with me be held apocryphal.
I'll trust a small-beer promise, nay, a troth
Washed in the Thames, before a French wine oath.
That grape, they say, is binding; yes, 'tis so,
And it has made your souls thus costive too.
Circe transformed the Greeks; no hard design,
For some can do as much with claret wine
Upon themselves; witness you two, allowed
Once honest, now turned air, and à la mode.
Begin no health in this, or if by chance
The King's 'twill question your allegiance;

Give this soldier two dates, and engrave
them on the cold face of a lasting tomb.
They will not tell of what he lost and gave,
nor how he lived and was beloved by all
back in the little town from which he came,
nor how, inside a foxhole all alone,
he curled up like a fetus in the womb
when the sniper’s bullet called his name
and, like a judgment to be writ in stone,
found him neither cowardly nor brave.

Skin remembers how long the years grow
when skin is not touched, a gray tunnel
of singleness, feather lost from the tail
of a bird, swirling onto a step,
swept away by someone who never saw
it was a feather. Skin ate, walked,
slept by itself, knew how to raise a
see-you-later hand. But skin felt
it was never seen, never known as
a land on the map, nose like a city,
hip like a city, gleaming dome of the mosque
and the hundred corridors of cinnamon and rope.

Skin had hope, that's what skin does.

Because the road to our house
is a back road, meadowlands punctuated
by gravel quarry and lumberyard,
there are unexpected travelers
some nights on our way home from work.
Once, on the lawn of the Tool

and Die Company, a swan;
the word doesn't convey the shock
of the thing, white architecture
rippling like a pond's rain-pocked skin,
beak lifting to hiss at my approach.
Magisterial, set down in elegant authority,

he let us know exactly how close we might come.
After a week of long rains

When she came out, that white little Russian dancer,
With her bright hair, and her eyes, so young, so young,
He suddenly lost his leader, and all the players,
And only heard an immortal music sung,--

Of dryads flashing in the green woods of April,
On cobwebs trembing over the deep, wet grass:
Fleeing their shadows with laughter, with hands uplifted,
Through the whirled sinister sun he saw them pass,--

Lovely immortals gone, yet existing somewhere,
Still somewhere laughing in woods of immortal green,

Behold me, in my chiffon, gauze, and tinsel,
Flitting out of the shadow into the spotlight,
And into the shadow again, without a whisper!--
Firefly's my name, I am evanescent.

Firefly's your name. You are evanescent.
But I follow you as remorselessly as darkness,
And shut you in and enclose you, at last, and always,
Till you are lost,--as a voice is lost in silence.

Till I am lost, as a voice is lost in silence. . .
Are you the one who would close so cool about me?
My fire sheds into and through you and beyond you:

Thou first-born of the year's delight,
Pride of the dewy glade,
In vernal green and virgin white,
Thy vestal robes, arrayed:

'Tis not because thy drooping form
Sinks graceful on its nest,
When chilly shades from gathering storm
Affright thy tender breast;

Nor for yon river islet wild
Beneath the willow spray,
Where, like the ringlets of a child,
Thou weav'st thy circle gay;

'Tis not for these I love thee dear -
Thy shy averted smiles
To Fancy bode a joyous year,
One of Life's fairy isles.

"Fill high the bowl, and spice it well, and pour
The dews oblivious: for the Cross is sharp,
The Cross is sharp, and He
Is tenderer than a lamb.

"He wept by Lazarus' grave--how will He bear
This bed of anguish? and His pale weak form
Is worn with many a watch
Of sorrow and unrest.

"His sweat last night was as great drops of blood,
And the sad burthen pressed Him so to earth,
The very torturers paused
To help Him on His way.

"Fill high the bowl, benumb His aching sense

I will teach you my townspeople
how to perform a funeral
for you have it over a troop
of artists-
unless one should scour the world-
you have the ground sense necessary.

See! the hearse leads.
I begin with a design for a hearse.
For Christ's sake not black-
nor white either - and not polished!
Let it be whethered - like a farm wagon -
with gilt wheels (this could be
applied fresh at small expense)
or no wheels at all:
a rough dray to drag over the ground.

Knock the glass out!
My God - glass, my townspeople!

SMILINDA and CARDELIA.CARDELIA.
THE bassette-table spread, the tallier come,
Why stays SMILINDA in the dressing-room ?
Rise, pensive nymph ! the tallier stays for you.

SMILINDA.
Ah ! Madam, since my SHARPER is untrue,
I joyless make my once ador'd alpieu.
I saw him stand behind OMBRELIA's Chair,
And whisper with that soft deluding air,
And those feign'd sighs that cheat the list'ng fair --

CARDELIA.
Is this the cause of your romantic strains ?
A mightier grief my heavy heart sustains.