Hart Crane Quotes

One must be drenched in words, literally soaked in them, to have the right ones form themselves into the proper pattern at the right moment.

The seasonal urge is strong in poets. Milton wrote chiefly in winter. Keats looked for spring to wake him up (as it did in the miraculous months of April and May, 1819). Burns chose autumn. Longfellow liked the month of September. Shelley flourished in the hot months. Some poets, like Wordsworth, have gone outdoors to work. Others, like Auden, keep to the curtained room. Schiller needed the smell of rotten apples about him to make a poem. Tennyson and Walter de la Mare had to smoke. Auden drinks lots of tea, Spender coffee; Hart Crane drank alcohol. Pope, Byron, and William Morris were creative late at night. And so it goes.

We all fear loneliness, madness, dying. Shakespeare and Walt Whitman, Leopardi and Hart Crane will not cure those fears. And yet these poets bring us fire and light.

Love: a burnt match skating in a urinal.

Permit me voyage, love, into your hands...

And so it was I entered the broken world To trace the visionary company of love, its voice An instant in the wind (I know not whither hurled) But not for long to hold each desperate choice.

I can remember much forgetfulness.

This homosexual dream of perfect metaphysical union is not so much a reflected heterosexual ideal as it is the compensation for having wept in the darkness.

I wanted you, nameless Woman of the South, No wraith, but utterly—as still more alone The Southern Cross takes night And lifts her girdles from her, one by one— High, cool, wide from the slowly smoldering fire Of lower heavens,— vaporous scars! Eve! Magdalene! or Mary, you? Whatever call—falls vainly on the wave. O simian Venus, homeless Eve, Unwedded, stumbling gardenless to grieve Windswept guitars on lonely decks forever; Finally to answer all within one grave! And this long wake of phosphor, iridescent Furrow of all our travel—trailed derision! Eyes crumble at its kiss. Its long-drawn spell Incites a yell. Slid on that backward vision The mind is churned to spittle, whispering hell. I wanted you . . . The embers of the Cross Climbed by aslant and huddling aromatically. It is blood to remember; it is fire To stammer back . . . It is God—your namelessness. And the wash— All night the water combed you with black Insolence. You crept out simmering, accomplished. Water rattled that stinging coil, your Rehearsed hair—docile, alas, from many arms. Yes, Eve—wraith of my unloved seed! The Cross, a phantom, buckled—dropped below the dawn. Light drowned the lithic trillions of your spawn.

O sleepless as the river under thee, / Vaulting the sea, the prairies' dreaming sod, / Onto us lowliest sometime sweep, descend / And of the curveship lend a myth to God.

Once a poet calls his myth a myth, he prevents the reader from treating it as a reality; we use the word 'myth' only for stories we ourselves cannot believe.

نتكيّف خاضعين مكتفين بتعزيّات جزافية كتلك التى تضعها الريح فى جيوب عميقة وواسعة لأنه لا يزال فى وسعنا أن نحب العالم، نحن الذين نجد قطا صغيرا على العتبة ونعرف كيف نحميه من قساوة الشارع فى فجوة دافئة مغطاة بالريش. سوف نسير جانبيا، وحتى البسمة المتكلفة الأخيرة نتحاشى حكم ذلك الإبهام المحتوم الذى يدير نحونا ببطء سبّابته المجعدة مواجهين النظرة الشذراء الفاترة ببراءة وبالكثير من الدهشة! ومع ذلك، فتلك السقطات البارعة ليست أكاذيب أكثر مما هى استدارات أى خيزرانة مطواع، وليس مأتمنا، بصورةٍ ما، مشروعاً. فى وسعنا التملص منكم، ومن كل شىء آخر، لكن ليس من القلب: ما ذنبنا إذا بقى القلب حيّا؟ تفرض اللعبة ابتسامات متكلفة، لكننا رأينا القمر يصنع فى المعابر المقفرة كأس ضحك مقدسة من منفضة فارغة وعبر أصوات المرح والبحث جميعا سمعنا مواء قطٍ فى البرية

The game enforces smirks; but we have seen The moon in lonely alleys make A grail of laughter of an empty ash can, And all through the sound of gaiety and quest Have heard a kitten in the wilderness.

Coincidences undeniably imply meaning. I am rereading Hart Crane. I notice the date On which he stepped off that boat Was April 26. Tomorrow is April 26. The year of his suicide was 1932. I was four. I am now fifty-one. One undeniable implication in this case then Is that the year, today, Is 1979. Afterward, Crane’s mother scrubbed floors. Eventually, I may or may not Jump overboard. Are there questions?

There are no stars tonight but those of memory.

When I was sixteen I read ten books a week: E.E. Cummings, William Faulkner, Henry James, Hart Crane, John Steinbeck. I thought I progressed in literature by reading faster and faster--but reading more is reading less. I learned to slow down.

And as the bandage knot was tightened The two men smiled into each other's eyes.

Mishima. Rothko. Hemingway. Berryman. Koestler. Pavese. Kosinski. Arshile Gorky. Primo Levi. Hart Crane. Walter Benjamin. Peerless bunch. Nothing dishonorable signing on there.

The matrix of the heart, lift down the eye That shrines the quiet lake and swells a tower… The commodious, tall decorum of that sky Unseals her earth, and lifts love in its shower.

The bells, I say, the bells break down their tower; And swing I know not where. Their tongues engrave Membrane through marrow, my long-scattered score Of broken intervals … And I, their sexton slave!

It is as though a poem gave the reader as he left it a single, new word, never before spoken and impossible to actually enunciate, but self-evident as an active principle in the reader’s consciousness henceforward.

And so it was I entered the broken world To trace the visionary company of hue, its voice An instant in the wind (I know not whither hurled) But not for long to hold each desperate choice. “The Broken Tower” by Hart Crane

To the bankrupt poet, to the jilted lover, to anyone who yearns to elude the doubt within and the din without, the tidal strait between Manhattan Island and her favorite suburb offers the specious illusion of easy death. Melville prepared for the plunge from the breakwater on the South Street promenade, Whitman at the railing of the outbound ferry, both men redeemed by some Darwinian impulse, maybe some epic vision, which enabled them to change leaden water into lyric wine. Hart Crane rejected the limpid estuary for the brackish swirl of the Caribbean Sea. In each generation, from Washington Irving’s to Truman Capote’s, countless young men of promise and talent have examined the rippling foam between the nation’s literary furnace and her literary playground, questioning whether the reams of manuscript in their Brooklyn lofts will earn them garlands in Manhattan’s salons and ballrooms, wavering between the workroom and the water. And the city had done everything in its power to assist these men, to ease their affliction and to steer them toward the most judicious of decisions. It has built them a bridge.

The arts are obsessional, and obsession is dangerous. It's like a knife in the mind. In some cases—Dylan Thomas comes to mind, and Ross Lockridge and Hart Crane and Sylvia Plath—the knife can turn savagely upon the person wielding it. Art is a localized illness, usually benign—creative people tend to live a long time—sometimes terribly malignant. You use the knife carefully, because you know it doesn't care who it cuts. And if you are wise you sift the sludge carefully . . . because some of that stuff may not be dead.

How many dawns, chill from his rippling rest The seagull’s wings shall dip and pivot him, Shedding white rings of tumult, building high Over the chained bay waters Liberty— Then, with inviolate curve, forsake our eyes As apparitional as sails that cross Some page of figures to be filed away; —Till elevators drop us from our day ...

O Thou steeled Cognizance whose leap commits The agile precincts of the lark’s return; Within whose lariat sweep encinctured sing In single chrysalis the many twain — Of stars Thou art the stitch and stallion glow And like an organ, Thou, with sound of doom — Sight, sound and flesh Thou leadest from time’s realm As love strikes clear direction for the helm

He began as a minor imitator of Fitzgerald, wrote a novel in the late twenties which won a prize, became dissatisfied with his work, stopped writing for a period of years. When he came back it was to BLACK MASK and the other detective magazines with a curious and terrible fiction which had never been seen before in the genre markets; Hart Crane and certainly Hemingway were writing of people on the edge of their emotions and their possibility but the genre mystery markets were filled with characters whose pain was circumstantial, whose resolution was through action; Woolrich's gallery was of those so damaged that their lives could only be seen as vast anticlimax to central and terrible events which had occurred long before the incidents of the story. Hammett and his great disciple, Chandler, had verged toward this more than a little, there is no minimizing the depth of their contribution to the mystery and to literature but Hammett and Chandler were still working within the devices of their category: detectives confronted problems and solved (or more commonly failed to solve) them, evil was generalized but had at least specific manifestations: Woolrich went far out on the edge. His characters killed, were killed, witnessed murder, attempted to solve it but the events were peripheral to the central circumstances. What I am trying to say, perhaps, is that Hammett and Chandler wrote of death but the novels and short stories of Woolrich *were* death. In all of its delicacy and grace, its fragile beauty as well as its finality. Most of his plots made no objective sense. Woolrich was writing at the cutting edge of his time. Twenty years later his vision would attract a Truffaut whose own influences had been the philosophy of Sartre, the French nouvelle vague, the central conception that nothing really mattered. At all. But the suffering. Ah, that mattered; that mattered quite a bit.

--And yet this great wink of eternity, Of rimless floods, unfettered leewardings, Samite sheeted and processioned where Her undinal vast belly moonward bends, Laughing the wrapt inflections of our love; Take this Sea, whose diapason knells On scrolls of silver snowy sentences, The sceptred terror of whose sessions rends As her demeanors motion well or ill, All but the pieties of lovers’ hands. And onward, as bells off San Salvador Salute the crocus lustres of the stars, In these poinsettia meadows of her tides,-- Adagios of islands, O my Prodigal, Complete the dark confessions her veins spell. Mark how her turning shoulders wind the hours, And hasten while her penniless rich palms Pass superscription of bent foam and wave,-- Hasten, while they are true,--sleep, death, desire, Close round one instant in one floating flower. Bind us in time, O Seasons clear, and awe. O minstrel galleons of Carib fire, Bequeath us to no earthly shore until Is answered in the vortex of our grave The seal’s wide spindrift gaze toward paradise.

He has reason, as all the philosophic and poetic class have: but he has also, what they have not.--this strong solving sense to reconcile his poetry with the appearances of the world, and build a bridge from the streets of cities to the Atlantis.

To haste as a cause of confusion must be added distraction. Normally, except for those who work in the early hours of the morning, or who live up a long country lane, it is almost impossible to avoid being disturbed by incidental noises of traffic, industry, schools, and the wireless, or by the telephone, or by callers. Few people can immediately switch their minds from one complicated subject to another, and presently switch back again, without losing something in the process. Most business men and journalists claim that they are accustomed to noise and can ‘work through anything’. But this does not mean that they are not affected by noise: part of the brain must be employed in sorting out the noises and discounting them. The intense concentration achieved when one writes in complete silence, security and leisure, with the mental senses cognizant of every possible aspect of the theme as it develops—this was always rare and is now rarer than ever. Modern conditions of living encourage habitual distraction and, though there are still opportunities for comparative quiet, most people feel that they are not really alive unless they are in close touch with their fellow men—and close touch involves constant disturbance. Hart Crane, a leading American poet of the Nineteen-Twenties, decided that he could not write his best except with a radio or victrola playing jazz at him and street-noises coming up through the open window. He considered that distraction was the chief principle of modern living; he cultivated it, distractedly, and committed suicide in his early thirties.

Forgetfulness is like a song That, freed from beat and measure, wanders. Forgetfulness is like a bird whose wings are reconciled, Outspread and motionless, -- A bird that coasts the wind unwearyingly. Forgetfulness is rain at night, Or an old house in a forest, -- or a child. Forgetfulness is white, -- white as a blasted tree, And it may stun the sybil into prophecy, Or bury the Gods. I can remember much forgetfulness.

Приспособяваме се тихо към живота, доволни и от бледите утехи, които вятърът довява и пуска в празните ни джобове. Но още храним обич към света щом спираме пред гладно котенце на прага, готови да го приютим в протрития ръкав, да го спасим от улицата - шумна и жестока. (...) Играта е такава - кара ни да се усмихваме насила. И все пак виждаме луната, спряла над самотна уличка, да преобръща празна кофа в искряща чаша на смеха, и все пак чуваме през веселия шум и нашите стремежи гласа на котенце, което вика сред пустинята.

Poet is Priest Money has reckoned the soul of America Congress broken thru to the precipice of Eternity the president built a War machine which will vomit and rear Russia out of Kansas The American Century betrayed by a mad Senate which no longer sleeps with its wife. Franco has murdered Lorca the fairy son of Whitman just as Maykovsky committed suicide to avoid Russia Hart Crane distinguished Platonist committed suicide to cave in the wrong America just as millions of tons of human wheat were burned in secret caverns under the White House while India starved and screamed and ate mad dogs full of rain and mountains of eggs were reduced to white powder in the halls of Congress no godfearing man will walk there again because of the stink of the rotten eggs of America and the Indians of Chiapas continue to gnaw their vitaminless tortillas aborigines of Australia perhaps gibber in the eggless wilderness and I rarely have an egg for breakfast tho my work requires infinite eggs to come to birth in Eternity eggs should be eaten or given to their mothers and the grief of the countless chickens of America is expressed in the screaming of her comedians over the radio

Often beneath the wave, wide from this ledge The dice of drowned men’s bones he saw bequeath An embassy. Their numbers as he watched, Beat on the dusty shore and were obscured. And wrecks passed without sound of bells, The calyx of death’s bounty giving back A scattered chapter, livid hieroglyph, The portent wound in corridors of shells. Then in the circuit calm of one vast coil, Its lashings charmed and malice reconciled, Frosted eyes there were that lifted altars; And silent answers crept across the stars. Compass, quadrant and sextant contrive No farther tides ... High in the azure steeps Monody shall not wake the mariner. This fabulous shadow only the sea keeps.

Voyages III Infinite consanguinity it bears This tendered theme of you that light Retrieves from sea plains where the sky Resigns a breast that every wave enthrones; While ribboned water lanes I wind Are laved and scattered with no stroke Wide from your side, whereto this hour The sea lifts, also, reliquary hands. And so, admitted through black swollen gates That must arrest all distance otherwise, Past whirling pillars and lithe pediments, Light wrestling there incessantly with light, Star kissing star through wave on wave unto Your body rocking! and where death, if shed, Presumes no carnage, but this single change,- Upon the steep floor flung from dawn to dawn The silken skilled transmemberment of song; Permit me voyage, love, into your hands . .

Out of some subway scuttle, cell or loft A bedlamite speeds to thy parapets, Tilting there momently, shrill shirt ballooning, A jest falls from the speechless caravan.

Shirt" The back, the yoke, the yardage. Lapped seams, The nearly invisible stitches along the collar Turned in a sweatshop by Koreans or Malaysians Gossiping over tea and noodles on their break Or talking money or politics while one fitted This armpiece with its overseam to the band Of cuff I button at my wrist. The presser, the cutter, The wringer, the mangle. The needle, the union, The treadle, the bobbin. The code. The infamous blaze At the Triangle Factory in nineteen-eleven. One hundred and forty-six died in the flames On the ninth floor, no hydrants, no fire escapes— The witness in a building across the street Who watched how a young man helped a girl to step Up to the windowsill, then held her out Away from the masonry wall and let her drop. And then another. As if he were helping them up To enter a streetcar, and not eternity. A third before he dropped her put her arms Around his neck and kissed him. Then he held Her into space, and dropped her. Almost at once He stepped to the sill himself, his jacket flared And fluttered up from his shirt as he came down, Air filling up the legs of his gray trousers— Like Hart Crane’s Bedlamite, “shrill shirt ballooning.” Wonderful how the pattern matches perfectly Across the placket and over the twin bar-tacked Corners of both pockets, like a strict rhyme Or a major chord. Prints, plaids, checks, Houndstooth, Tattersall, Madras. The clan tartans Invented by mill-owners inspired by the hoax of Ossian, To control their savage Scottish workers, tamed By a fabricated heraldry: MacGregor, Bailey, MacMartin. The kilt, devised for workers To wear among the dusty clattering looms. Weavers, carders, spinners. The loader, The docker, the navvy. The planter, the picker, the sorter Sweating at her machine in a litter of cotton As slaves in calico headrags sweated in fields: George Herbert, your descendant is a Black Lady in South Carolina, her name is Irma And she inspected my shirt. Its color and fit And feel and its clean smell have satisfied Both her and me. We have culled its cost and quality Down to the buttons of simulated bone, The buttonholes, the sizing, the facing, the characters Printed in black on neckband and tail. The shape, The label, the labor, the color, the shade. The shirt.

Keaton’s modernism—brash in ambition but melancholy in tone—is that of his fellow 1890s babies F. Scott Fitzgerald and Hart Crane, who both made spectacular literary debuts in 1920. Like those writers (whom he almost certainly never read), Keaton was formally innovative, inclined to puncture social pretension, and given to making art that was, in a uniquely 1920s way, sardonic and romantic at once.

The bottom of the sea is cruel.

There's nothing like this in the world,' you say, knowing I cannot touch your hand and look too, into that godless cleft of sky where nothing turns but dead sands flashing. '--And never to quite understand!

Sylvia Plath, John Berryman, Virginia Woolf, David Foster Wallace, Seneca, Hunter S. Thompson, Ernest Hemingway, William Inge, Anne Sexton, Hart Crane, Yukio Mishima, and John Kennedy Toole.

Infinite consanguinity it bears - This tendered theme of you that light Retrieves from sea plains where the sky Resigns a breast that every wave enthrones; While ribboned water lanes I wind Are laved and scattered with no stroke Wide from your side, whereto this hour The sea lifts, also, reliquary hands. And so, admitted through black swollen gates That must arrest all distance otherwise, - Past whirling pillars and lithe pediments, Light wrestling there incessantly with light, Star kissing star through wave on wave unto Your body rocking! and where death, if shed, Presumes no carnage, but this single change, - Upon the steep floor flung from dawn to dawn The silken skilled transmemberment of song; Permit me voyage, love, into your hands ...

In my youth . . . my sacred youth . . . in eaves sole sparowe sat not more alone than I . . . in my youth, my saucer-deep youth, when I possessed a mirror and both a morning and an evening comb . . . in my youth, my pimpled, shame-faced, sugared youth, when I dreamed myself a fornicator and a poet; when life seemed to be ahead somewhere like a land o’ lakes vacation cottage, and I was pure tumescence, all seed, afloat like fuzz among the butterflies and bees; when I was the bursting pod of a fall weed; when I was the hum of sperm in the autumn air, the blue of it like watered silk, vellum to which I came in a soft cloud; O minstrel galleons of Carib fire, I sang then, knowing naught, clinging to the tall slim wheatweed which lay in a purple haze along the highway like a cotton star . . . in my fumbling, lubricious, my uticated youth, when a full bosom and a fine round line of Keats, Hart Crane, or Yeats produced in me the same effect—a moan throughout my molecules—in my limeade time, my uncorked innocence, my jellybelly days, when I repeated Olio de Oliva like a tenor; then I would touch the page in wonder as though it were a woman, as though I were blind in my bed, in the black backseat, behind the dark barn, the dim weekend tent, last dance, date's door, reaching the knee by the second feature, possibly the thigh, my finger an urgent emissary from my penis, alas as far away as Peking or Bangkok, so I took my heart in my hand, O my love, O my love, I sighed, O Christina, Italian rose; my inflated flesh yearning to press against that flesh becoming Word—a word—words which were wet and warm and responsive as a roaming tongue; and her hair was red, long, in ringlets, kiss me, love me up, she said in my anxious oral ear; I read: Milton! thou shouldst be living at this hour; for I had oodles of needs, if England didn't; I was nothing but skin, pulp, and pit, in my grapevine time, during the hard-on priesthood of the poet; because then—in my unclean, foreskinned, and prurient youth—I devoutly believed in Later Life, in Passion, in Poetry, the way I thought only fools felt about God, prayer, heaven, foreknowledge, sin; for what was a poem if not a divine petition, a holy plea, a prophecy:

In my youth . . . my sacred youth . . . in eaves sole sparowe sat not more alone than I . . . in my youth, my saucer-deep youth, when I possessed a mirror and both a morning and an evening comb . . . in my youth, my pimpled, shame-faced, sugared youth, when I dreamed myself a fornicator and a poet; when life seemed to be ahead somewhere like a land o’ lakes vacation cottage, and I was pure tumescence, all seed, afloat like fuzz among the butterflies and bees; when I was the bursting pod of a fall weed; when I was the hum of sperm in the autumn air, the blue of it like watered silk, vellum to which I came in a soft cloud; O minstrel galleons of Carib fire, I sang then, knowing naught, clinging to the tall slim wheatweed which lay in a purple haze along the highway like a cotton star . . . in my fumbling, lubricious, my uticated youth, when a full bosom and a fine round line of Keats, Hart Crane, or Yeats produced in me the same effect—a moan throughout my molecules—in my limeade time, my uncorked innocence, my jellybelly days, when I repeated Olio de Oliva like a tenor; then I would touch the page in wonder as though it were a woman, as though I were blind in my bed, in the black backseat, behind the dark barn, the dim weekend tent, last dance, date's door, reaching the knee by the second feature, possibly the thigh, my finger an urgent emissary from my penis, alas as far away as Peking or Bangkok, so I took my heart in my hand, O my love, O my love, I sighed, O Christina, Italian rose; my inflated flesh yearning to press against that flesh becoming Word—a word—words which were wet and warm and responsive as a roaming tongue; and her hair was red, long, in ringlets, kiss me, love me up, she said in my anxious oral ear; I read: Milton! thou shouldst be living at this hour; for I had oodles of needs, if England didn't; I was nothing but skin, pulp, and pit, in my grapevine time, during the hard-on priesthood of the poet; because then—in my unclean, foreskinned, and prurient youth—I devoutly believed in Later Life, in Passion, in Poetry, the way I thought only fools felt about God, prayer, heaven, foreknowledge, sin; for what was a poem if not a divine petition, a holy plea, a prophecy: [...] a stranger among strangers, myself the strangest because I could never bring myself to enter adolescence, but kept it about like a bit of lunch you think you may eat later, and later come upon at the bottom of a bag, dry as dust, at the back of the refrigerator, bearded with mold, or caked like sperm in the sock you've fucked, so that gingerly, then, you throw the mess out, averting your eyes, just as Rainer complained he never had a childhood—what luck!—never to have suffered birthpang, nightfear, cradlecap, lake in your lung; never to have practiced scales or sat numb before the dentist's hum or picked your mother up from the floor she's bled and wept and puked on; never to have been invaded by a tick, sucked by a leech, bitten by a spider, stung by a bee, slimed on by a slug, seared by a hot pan, or by paper or acquaintance cut, by father cuffed; never to have been lost in a crowd or store or parking lot or left by a lover without a word or arrogantly lied to or outrageously betrayed—really what luck!—never to have had a nickel roll with slow deliberation down a grate, a balloon burst, toy break; never to have skinned a knee, bruised a friendship, broken trust; never to have had to conjugate, keep quiet, tidy, bathe; to have lost the chance to be hollered at, bullied, beat up (being nothing, indeed, to have no death), and not to have had an earache, life's lessons to learn, or sums to add reluctantly right up to their bitter miscalculated end—what sublime good fortune, the Greek poet suggested—because Nature is not accustomed to life yet; it is too new, too incidental, this shiver in the stone, never altogether, and would just as soon (as Culp prefers to say) cancer it; erase, strike, stamp it out— [...]

The arts are obsessional, and obsession is dangerous. It's like a knife in the mind. In some cases—Dylan Thomas comes to mind, and Ross Lockridge and Hart Crane and Sylvia Plath—the knife can turn savagely upon the person wielding it. Art is a localized illness, usually benign—creative people tend to live a long time—sometimes terribly malignant. You use the knife carefully, because you know it doesn't care who it cuts.

And it was the end of class distinction in filling the boats. The White Star Line always denied anything of the kind—and the investigators backed them up—yet there’s overwhelming evidence that the steerage took a beating: Daniel Buckley kept from going into First Class … Olaus Abelseth released from the poop deck as the last boat pulled away … Steward Hart convoying two little groups of women topside, while hundreds were kept below … steerage passengers crawling along the crane from the well deck aft … others climbing vertical ladders to escape the well deck forward.

My Grandmother's Love Letters" There are no stars tonight But those of memory. Yet how much room for memory there is In the loose girdle of soft rain. There is even room enough For the letters of my mother's mother, Elizabeth, That have been pressed so long Into a corner of the roof That they are brown and soft, And liable to melt as snow. Over the greatness of such space Steps must be gentle. It is all hung by an invisible white hair. It tremble as birch limbs webbing the air. And I ask myself: "Are your fingers long enough to play Old keys that are but echoes: Is the silence strong enough To carry back the music to its source And back to you again As though to her?" Yet I would lead my grandmother by the hand Through much of what she would not understand; And so I stumble. And the rain continues on the roof With such a sound of gently pitying laughter.

poet Harold Hart Crane #203 on top 500 poets Poet's Page Poems Comments Stats E-Books Biography Videos Share on Facebook Share on Twitter Poems by Harold Hart Crane : 6 / 38 « prev. poem next poem » Exile - Poem by Harold Hart Crane Autoplay next video My hands have not touched pleasure since your hands, -- No, -- nor my lips freed laughter since 'farewell', And with the day, distance again expands Voiceless between us, as an uncoiled shell. Yet, love endures, though starving and alone. A dove's wings clung about my heart each night With surging gentleness, and the blue stone Set in the tryst-ring has but worn more bright.

My hands have not touched pleasure since your hands, -- No, -- nor my lips freed laughter since 'farewell', And with the day, distance again expands Voiceless between us, as an uncoiled shell. Yet, love endures, though starving and alone. A dove's wings clung about my heart each night With surging gentleness, and the blue stone Set in the tryst-ring has but worn more bright.

I used to walk out, at night, to the breakwater which divides the end of the harbor form the broad moor of the salt marsh. There was nothing to block the wind that had picked up speed and vigor from its Atlantic crossing. I’d study the stars in their brilliant blazing, the diaphanous swath of the milk Way, the distant glow of Boston backlighting the clouds on the horizon as if they’d been drawn there in smudgy charcoal. I felt, perhaps for the first time, particularly American, embedded in American history, here at the nation’s slender tip. Here our westering impulse, having flooded the continent and turned back, finds itself face to face with the originating Atlantic, November’s chill, salt expanses, what Hart Crane called the “unfettered leewardings,” here at the end of the world.

And by his side rode loathsome Gluttony, Deformed creature, on a filthie swyne, His belly was vp-blowne with luxury, And eke with fatnesse swollen were his eyne, And like a Crane his necke was long and fyne, With which he swallowd vp excessiue feast; For want whereof poore people oft did pyne; And all the way, most like a brutish beast, He spued vp his gorge, that all did him deteast. In greene vine leaues he was right fitly clad; For other clothes he could not weare for heat, And on his head an yuie girland had, From vnder which fast trickled downe the sweat: Still as he rode, he somewhat still did eat, And in his hand did beare a bouzing can, “Of which he supt so oft, that on his seat His dronken corse he scarse vpholden can, In shape and life more like a monster, then a man. Vnfit he was for any worldly thing, And eke vnhable once to stirre or go, Not meet to be of counsell to a king, Whose mind in meat and drinke was drowned so, That from his friend he seldome knew his fo: Full of diseases was his carcas blew, And a dry dropsie through his flesh did flow And next to him rode lustfull Lechery, Vpon a bearded Goat, whose rugged haire, And whally eyes (the signe of gelosy,) Was like the person selfe, whom he did beare: Who rough, and blacke, and filthy did appeare, Vnseemely man to please faire Ladies eye; Yet he of Ladies oft was loued deare, When fairer faces were bid standen by: O who does know the bent of womens fantasy? In a greene gowne he clothed was full faire, Which vnderneath did hide his filthinesse, And in his hand a burning hart he bare, Full of vaine follies, and new fanglenesse: For he was false, and fraught with ficklenesse, And learned had to loue with secret lookes, And well could daunce, and sing with ruefulnesse, And fortunes tell, and read in louing bookes, And thousand other wayes, to bait his fleshly hookes. And greedy Auarice by him did ride, Vpon a Camell loaden all with gold; Two iron coffers hong on either side, With precious mettall full, as they might hold, And in his lap an heape of coine he told; For of his wicked pelfe his God he made, And vnto hell him selfe for money sold; Accursed vsurie was all his trade, And right and wrong ylike in equall ballaunce waide. His life was nigh vnto deaths doore yplast, And tired-bare cote, and cobled shoes he ware, Ne scarse good morsell all his life did tast, But both from backe and belly still did spare, To fill his bags, and richesse to compare; Yet chylde ne kinsman liuing had he none To leaue them to; but thorough daily care To get, and nightly feare to lose his owne, He led a wretched life vnto himselfe vnknowne. And next to him malicious Enuie rode, Vpon a rauenous wolfe, and still did chaw Betweene his cankred teeth a venemous tode, That all the poison ran about his chaw; But inwardly he chawed his owne maw At neighbours wealth, that made him euer sad For death it was, when any good he saw, And wept, that cause of weeping none he had But when he heard of harme, he wexed wondrous glad. And him beside rides fierce reuenging Wrath, Vpon a Lion, loth for to be led; And in his hand a burning brond he hath, The which he brandisheth about his hed; His eyes did hurle forth sparkles fiery red, And stared sterne on all, that him beheld, As ashes pale of hew and seeming ded; And on his dagger still his hand he held, Trembling through hasty rage, when choler in him sweld.

een hart op leeftijd verdraagt niet zoveel breken.

The siren of the springs of guilty song— Let us take her on the incandescent wax Striated with nuances, nervosities That we are heir to