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                    <text>Albert to Antinous
White tons of marble say that I and you
Brought forth a mourning offered unto few.
If broken up to make a pyramid,
The statues of us, as the quarries did,
Would give employment to entire East Ends.
If my Memorial, just now, offends
Aesthetics, you--medallion, statue, bust-Offend as all idealism must
Created on command: it buys off guilt
By laying on the laurel, fig leaf, kilt.
Too much themselves to be idealized,
The Queen, the Emperor are well advised
To settle for their portraitists. The Greek
Identifies strong-featured with the freak,
So caught up as it is in vapid masks
Of pure idea, to the point one asks
If any sculptor ever used a live
And fully compos mentis model. Dive
Misjudged or self-destruction, when you drowned
You bloated just enough that in the round
No stomach muscles had to be defined.
Aesthetically with German-Greek aligned,
I, fittingly, have gained that bland un-face
Of discus throwers and a male Third Grace,
To be replaced, somewhat, by kilts and Brown.
And you? By any legionnaire in town.

�</text>
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                    <text>Against All Odds
It is a certain recompense, withal,
To know that high-wire artists sometimes fall;
That those who swallow swords quite often choke,
And those who swallow flame go up in smoke.
East Indians who walk across hot coals
End up as purchasers of Dr. Scholl's.
Do rednecks wrestling alligators lose
Important body parts? Snake charmers use
Merck anti-toxins if their snakes rebel
At oboe music and ignore its spell?.
Daredevil is a word of two proud parts.
But which is the horse's, which the cart's?
The Devil may be gravity, or steel,
Or, surely, fire. Who dares has the appeal
For couch potatoes of I-told-you-so,
But couches run the risk of shrinks in tow;
Potato famine brought us Joe and sons,
Political Wallendas, they the ones
Who drive off bridges, run the rums, lose brains,
Make you appreciate the bore from Plains.

�</text>
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                    <text>Afterward
An earthquake jolts aside the stone;
The tomb is empty. An unknown
Informant says “He is not here.”
And so we have to go from there.
The highway to Emmaus leads
No farther than where hearsay breeds;
Outside the room where Thomas doubts
Others doubt also. Touch that routs
Such unbelief, if within reach
Of all of us, might have us each
Believer. To distrust the hand
Thrust in the side is to demand
Proof of so high a standard, sense
Plus Second Sight could not convince.
“The evidence of things not seen”
Is what the leap of faith has been,
But notice ‘evidence’ is still
How we describe it. Past the sill
And sepulcher, threshold of lime,
For some brief forty days of time,
At random, not as if on cue,
Appears the missing to the few;
Comes in quite through the bolted door;
Eats; promises; is seen no more.

�</text>
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                    <text>After the Fall
Created out of five and dimes,
The Woolworth sums up better times:
A Flemish Gothic 1910
Metropolis that might have been;
As, wholly 1932,
The Empire State, forever new,
Foretells a city so far seen
In drawings only, caught between
Prospectus and a backward glance
Toward Babylon. As we advance
The future takes on m ore and more
A look of follies gone before.
On every planner’s mounting zeal
Hell’s Kitchen comes to put its seal,
And where the streets of Haussmann go
Stood once the Walls of Jericho.
Above the airship mooring mast
The TV aerials broadcast,
Confirming that Count Zeppelin
Is where our Captain Kirks begin.
In fiction--pulp or subtler art-In film, the silents at the start
And talkies after, Emerald
Or Seven Gated, tightly walled
Yet welcoming, a citadel
No actuality can quell,
Our future is that city, myth
We are from childhood encumbered with.

�</text>
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                    <text>Advice for Joshua
Command it to stand still, the sun,
And let your struggle finish. Won,
The battle will refute who fault
Prospect of universal halt;
Of time and motion held by war.
As if the pulse our heartbeats are,
If interrupted, left a space
In which the challenge is not pace
But goal: to use the interval
In which the oldest measures stall
For vision of an Israel
No longer tribe. A grim farewell
En route to Judges and to Kings,
All Canaanites your underlings.
A sky resuming sees you slowed
But wiser--sworn, but to a code
Yours: post-Mosaic. Victories
Unaltered as the shadows rise,
The blood's set rhythm keeps its beat,
The hours' alone is the defeat.

�</text>
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                    <text>Administrating
How many legionnaires would have been killed
Had Pilate not released Barabbas? Scores?
A minyan? None? The urgent mandate was,
Look to it Palestine does not revolt.
And, not till Titus, did it. Faced with zeal
Astride an ass and credence waving palms,
Authority will drive its nails, add thieves
To render trivial the grievances,
Be more than ever thankful for the salver.
Centered in the center of the world,
Jerusalem whose navel is its view,
Upon a cross two others parallel,
Sedition distances itself from theft
Or promises it place in Paradise.
As if to whitewash washing of the hands,
Or pose in his own person “What is truth?”
The Procurator will go back to Rome.
Rome’s judgments can, like any, be reversed-If legionnaires are not the jury pool.

�</text>
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                    <text>Adam Delves
A Song Omitted from Pique-Dame
The Ace of Clubs is too much like a clover-Three-leaf if not four-To have a hint of death be carried over
From its metaphor
The Ace of Spades. Nor is a diamond,
In spite of curses such
As may upon the big Hope Blue be found
A competition much.
The jinx of jinxes, as by enharmonic
Change, escapes its suit:
As cosmic pique in heart and blood subsonic
Says still, “Dig, poor brute;”

�</text>
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                    <text>Accepting a Commission
As opera it virtually writes itself:
Funeral march for Norma's monkey; tango scene;
A trio at the tailor; card game as quartet;
A bit of organ passacaglia for Max
And big orchestral coming-down-the-staircase theme.
The body in the pool can have a barcarolle.
That ingenue may trip us up. High notes and trills
Our younger audience will not accept. A plain
Pop tune, perhaps. It need not surface more than once.
We cannot quote from Salome--firm copyrights-But we can quote the repertoire Strauss quoted from.
The Queen of Sheba. Parsifal Act II. Himself.
DeMille can be a gospel hymn. Or spoken role.
The score will be no problem. Trust me. Warner does.
If Hollywood is not Die tote Stadt, what is?

�</text>
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                    <text>Absolute Pitch
It is genetic, obviously, as not all
Possess it.
Does it require our Western scales to find it out,
Express it?
Do Chinese have it? Do their pentatonic modes
Confuse it?
Does raising standard pitch above four-forty-two
Abuse it?
A puzzling heritage of some ancestral need
Now useless,
The sensitivity endures as might disease:
Deep, traceless,
Until new science spots it. Oboes sound their A,
As nearly
On the pitch as lip and reed and wood permit,
A merely
Brute approximation. In the ear itself,
In what is
Probably the only evidence--and that
Is gratis-Arguing in favor of platonic forms,
Exactly
Waits the abstract tuning fork, the pure ideal.
Correctly
Tempered intervals, meanwhile, a compromise,
But habit,
Serve. Such music as we need is not the spheres’
In orbit.

�</text>
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                    <text>Abdul Hamid
Before the Jewish murders I was that Great Beast
You Christians seem always to need. Armenia,
Land no one ever heard of, I made a Crusade
No one took up. As long as I was Caliph, Rhodes
And Crete were not a threat to Suez or Toulon;
The Hijaz and that other Holy Land were safe,
Which hardly can be said for Ataturk. Grant me
That I thought up the bank accounts in Switzerland
Accessible by number only, which is how
Alone of many I contrived to die in bed,
If after years of a palatial house arrest.
Gallipoli, the holocaust of "Greater Greece,"
Freeing the eunuchs, opening the harem walls,
The works of German architects in Ankara,
I'd have enjoyed, their evocations of a siege-Vienna--or some parody of Herod's Temple.
Sick Man I may have been; remember that I lingered.

�</text>
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