Richard Grantham

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Original text in yellow, anagram in pink.

A poem by Sylvia Plath from 1962.

THE NIGHT DANCES

A smile fell in the grass.
Irretrievable!

And how will your night dances
Lose themselves. In mathematics?

Such pure leaps and spirals -
Surely they travel

The world forever, I shall not entirely
Sit emptied of beauties, the gift

Of your small breath, the drenched grass
Smell of your sleeps, lilies, lilies.

Their flesh bears no relation.
Cold folds of ego, the calla,

And the tiger, embellishing itself -
Spots, and a spread of hot petals.

The comets
Have such a space to cross,

Such coldness, forgetfulness.
So your gestures flake off -

Warm and human, then their pink light
Bleeding and peeling

Through the black amnesias of heaven.
Why am I given

These lamps, these planets
Falling like blessings, like flakes

Six-sided, white
On my eyes, my lips, my hair

Touching and melting.
Nowhere.

BEDTIME BALLET

A laugh lands, is lost.
Vanished!

So how must the bedtime ballet
Dissipate. His live geometry?

Who has seen such unalloyed choreography -
Seems certain it must circle

Earth in perpetuity, I shall not fully
Lack his pleasures, delight

As he respires, the dewy
Peaceful scent, like a flower.

Yet lacking indifference.
Self-centredness of blooms

Displaying arrogant patterns -
Lewd, aggressive garlands.

These meteors
Must traverse the gaping abyss,

Sheer hellish incomprehension.
All his efforts fall flat -

Lively, heartfelt, then see him shaken
Hope hurt, flesh unsheltered

Through many miles of missing thought.
Seldom do I deserve

His illumination, fine flocks of stars
Bestowed, light as fresh snow

Hexagonal, ashen
Falling over me

Killed, dying on contact.
Impalpable.

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A simultaneous anagram and approximate translation of a poem by Vincente Huidobro.

CHANSON DE LÀ-HAUT

La Seine dort sous l'ombre de ses ponts.
Je vois tourner la terre
Et je sonne mon clarion
Vers toutes les mers.

Sur le chemin de ton parfum
Toutes les abeilles et les paroles s'en vont.
Reine de l'Aube des Pôles,
Rose des Vents que fane l'Automne!

Dans ma tête un oiseau chante toute l'année.

SOUNDS FROM OVERHEAD

See Seine asleep under l'Alma.
See a planet rotate
Let one trumpet sound
Near to all seven seas.

On scent's stone-set course
All bees, all nouns, adjectives too, need to leave.
Queen of Northmost-seen Sunrise,
Turbulent Autumn's sore injured Rose!

A sole bird cheeps in me all the time.

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Shakespeare's bawdiest sonnet, number 151.

Love is too young to know what conscience is;
Yet who knows not conscience is born of love?
Then, gentle cheater, urge not my amiss,
Lest guilty of my faults thy sweet self prove:
For, thou betraying me, I do betray
My nobler part to my gross body's treason;
My soul doth tell my body that he may
Triumph in love; flesh stays no further reason,
But rising at thy name doth point out thee
As his triumphant prize. Proud of this pride,
He is contented thy poor drudge to be,
To stand in thy affairs, fall by thy side.
   No want of conscience hold it that I call
   Her 'love' for whose dear love I rise and fall.

Our good Shakespeare's hundred and fifty-first sonnet (from the 'Dark Lady' series) is beyond doubt the most bawdy of this very rude cycle, involving not only the Act of Love (shyly represented) but also a truly graphic portrayal of his erection - even the post-coital detumescence. Yet the poem's principal theme is that of infidelity, an aspect that big lazy schoolboys with filthy minds nearly always miss. The more moody following sonnet ('In loving thee...') continues on the matter, too, but he now feels sour, hurt, too thrown off - not brought to arousal - by his most trying Other Woman.

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A poem by W.H.Auden from 1938, anagrammed to suit a different painting.

MUSÉE DES BEAUX ARTS

About suffering they were never wrong,
The Old Masters: how well they understood
Its human position; how it takes place
While someone else is eating or opening a window or just walking dully along;
How, when the aged are reverently, passionately waiting
For the miraculous birth, there always must be
Children who did not specially want it to happen, skating
On a pond at the end of the wood:
They never forgot
That even the dreadful martyrdom must run its course
Anyhow in a corner, some untidy spot
Where the dogs go on with their doggy life and the torturer's horse
Scratches its innocent behind on a tree.

In Breughel's Icarus, for instance: how everything turns away
Quite leisurely from the disaster; the ploughman may
Have heard the splash, the forsaken cry,
But for him it was not an important failure; the sun shone
As it had to on the white legs disappearing into the green
Water; and the expensive delicate ship that must have seen
Something amazing, a boy falling out of the sky,
Had somewhere to get to and sailed calmly on.

LE SOMMEIL

Concerning the subconscious they were always right,
The Surrealists; how truly they portrayed
That shadowy world; how elusive it seems,
And yet how unnervingly precise and immediate the fright;
How it manifests in the Dream, a bizarre nightmare land
Where watches droop together; where elephant turns
Into swan, while breasts fly over a corpse without head or hand
Lying out next to a donkey, semi-decayed:
They knew that when we sleep
Our thoughts roam free: we invent odd monsters who
Hide; ants seethe out onto some anonymous junk in a dirty heap
And the flower atop an egg, too;
Opposite that, the giraffe burns.

Try Pomegranate by Dalí, for example: such realism despite
The inscrutable strangeness; though the bayonet might
Equate to the sting, naught else is clear
In Salvador's instantaneous vision; he unfurled
A parabolic progression - fruit, fish,
Tigers, gun and naked woman - that evades gravity's wish,
Unlike the thin-legged elephant; while the too too familiar sheer
Cliff and the good moon uncannily set that on our own world.

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Updated: May 10, 2016


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